Tony Hadley, Deborah Harry, Shawn Colvin, Shanice, Cliff Richard, Wet Wet Wet, Alliage & Boyzone, ABC, Lush, Kavana, Rapination & Kym Mazelle, Vanessa Mae
They are the performers of twelve vintage love songs that were ranked in various charts, this week (02/52) BUT … in the Nineties 90s.
Here, they are reunited in one glorious playlist. Enjoy!
For TWENTY FOUR more ‘L’Amour Toujours’ – Vintage 90s Music Videos – week 02/52 – click here and here
Tracklist
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1 . Tony Hadley – Game Of LoveTony Hadley’s “Game of Love” sits comfortably within the realm of ’90s-era pop balladry, showcasing the crooner’s signature baritone that once led Spandau Ballet to chart-topping fame. This particular track, released in 1992 on the album *The State of Play*, takes a deliberate step away from the New Romantic stylings of his band days, leaning into themes of devotion, passion, and connection with a timeless appeal. Produced by Peter Wolf under EMI Records, the song achieved a respectable peak at #15 on the UK charts, a testament to its polished craftsmanship and Hadley’s burgeoning solo identity. The production is lush yet restrained, allowing Hadley’s melancholic resonance to take center stage—a vocal masterclass in longing that straddles vulnerability and confidence. Lyrically, it wastes no time with abstraction, opting instead to dive into the raw dynamics of commitment and tenderness without pretense, making it relatable though not exactly groundbreaking. The song’s melodic progression avoids surprise, sticking to comforting pop tropes, but it’s precisely this predictability that lends it a certain charm—a throwback to an era when emotional earnestness wasn’t cloaked in irony. If there’s a minor gripe, it’s perhaps that the track feels overly safe, unwilling to experiment with the formula that listeners had come to associate with Hadley’s dramatic vocal delivery. While lacking the cultural punch of his Spandau Ballet classics, “Game of Love” still offers just enough of his rich, velvety tone to keep fans invested. The live versions often captured on YouTube showcase Hadley’s ability to deliver with precision, the kind of performance that thrives in intimate venues where voice reigns supreme. All told, the song speaks less to revolutionizing pop ballads and more to a steady hand at the wheel, content in its role as a vehicle for a voice that remains its most powerful asset. Featured on the 1992 album “The State of Play”.
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2 . Deborah Harry – Brite SideDeborah Harry’s “Brite Side” emerges as a peculiar gem from her 1986 album, *Rockbird*, a record that hovers between artistic self-assurance and the palpable imprint of its era’s production trends. The song is a collaboration between Harry and longtime partner Chris Stein, whose creative sparks had already fueled Blondie’s groundbreaking catalog, albeit here with a more restrained flicker. The track benefits—or perhaps falters—from the polished production of Seth Justman, better known for his work with The J. Geils Band, which lends the song a glossy sheen but occasionally edges it closer to radio-friendly anonymity. “Brite Side” flirts with optimism and warmth, though its lyrical core leans toward mild platitudes reflective of its time—an attempt to capture resilience without veering into revelatory depths. The music video, drenched in MTV’s love for avant-garde visuals, feels like a visual diary entry from a transitional phase in Harry’s career: edgy yet tethered by the commercial demands of 1980s pop. Commercially, while the *Rockbird* album found room on UK charts with modest success, the song’s impact in the US was largely overshadowed, leaving little to no trail on Billboard rankings. If anything, “Brite Side” encapsulates Harry’s knack for navigating reinvention, albeit here in a mode less groundbreaking than her earlier work with Blondie. It’s a period piece—stylistically of its time but forever anchored by Harry’s undeniable charisma. Featured on the 1989 album “Def Dumb & Blonde”.
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3 . Shawn Colvin – One Cool Remove“One Cool Remove” finds its home on Shawn Colvin’s 1994 album “Cover Girl,” an ode to her folk influences and a showcase of reinterpretation rather than creation. Originally penned by Greg Brown, the song carries an understated intimacy that pairs delicate reflection with sharp lyrical precision. Colvin’s decision to duet with Mary Chapin Carpenter offers a layered contrast—Carpenter’s warm vocal support elevates the track without overpowering the lead. Though not a commercial juggernaut, its charm lies in its structurally unpretentious approach, steering clear of grandiose appeals to mainstream radio while staying firmly rooted in the folk tradition. Producer John Leventhal’s crisp but minimalist arrangements allow the song’s poignant themes—connection, longing, and introspection—to take center stage. What sets this track apart is its palpable sense of distance, both emotional and narrative, giving listeners a removed yet strangely personal exploration of vulnerability. In live performances, the chemistry between Colvin and Carpenter often brings a magnetic quality to the song, their harmonies weaving a dialogue of melancholy and hope. The absence of obvious hooks doesn’t detract but rather underscores its quiet refusal to conform to pop sensibilities, making “One Cool Remove” a hidden yet enduring gem in both Colvin’s catalog and folk-pop overall. Featured on the 1994 album “Cover Girl “.
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4 . Shanice – Saving Forever For YouacShanice’s “Saving Forever for You” emerges as a quintessential moment of early ’90s pop balladry, fueled by the television juggernaut that was *Beverly Hills, 90210.* Crafted by Diane Warren and produced by David Foster—two giants of melodramatic anthems—the song brims with themes of eternal love and unwavering commitment, tailor-made for both fleeting TV montages and wedding playlists alike. Its chart performance didn’t disappoint, landing at No. 4 on the Billboard Hot 100 and claiming the No. 1 spot on the Adult Contemporary chart, proving its staying power among romantically inclined audiences. For those who indulged in teen drama and aching sentiment, the music video served up a double dose of nostalgia, interspersing Shanice’s earnest performance with syrupy clips of the *90210* cast gazing longingly into the abyss of youthful romance. The production, predictably lush given Foster’s involvement, leans heavily on piano-driven arrangements, soaring vocals, and the occasional flourish of schmaltz that ’90s ballads couldn’t quite resist. Despite its polished veneer, the track captured a genuine tenderness that resonated with listeners, even as its association with a primetime soap opera flirted with overexposure. Historians of pop might quibble about its formulaic structure, but there’s undeniable charm in its ability to evoke an era when love songs unabashedly embraced their sincerity and gloss. Featured on the 1992 album “Beverly Hills 90210 soundtrack “.
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5 . Cliff Richard – We Should Be TogetherCliff Richard’s “We Should Be Together” is a quintessential slice of early ’90s holiday pop, wrapped tightly in festive sentiment and a polished production sheen. Anchored in his 1991 album *Together with Cliff Richard*, the track sidesteps overt yuletide clichés, instead leaning heavily into themes of romantic longing and emotional connection, which somehow feel equally at home beside a crackling fire and a lit-up Christmas tree. Produced by Alan Tarney, the song balances Richard’s smooth, comforting vocals with an arrangement that feels like it’s enshrined in the decade it was born, offering gentle melodies and soft percussive beats reminiscent of pop balladry’s less-is-more approach. Chart-wise, the album peaked respectably at No. 10 on the UK Albums Chart, with platinum certification affirming its popularity, yet “We Should Be Together” itself remained in the shadow of the larger collection’s success. Its appeal lies not in originality but in the way Richard skillfully blends his trademark warmth with an accessible, if predictable, structure, landing somewhere between a sentimental toast and a cozy, pre-holiday nostalgia trip. Serving as both a musical comfort blanket and a reminder of Richard’s enduring presence in the festive genre, the song fits like a well-worn pair of mittens—neither revolutionary nor disappointing, but unmistakably familiar. Featured on the 1991 album “Together with Cliff Richard”.
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6 . Wet Wet Wet – Cold Cold HeartReleased in the halcyon days of 1997, Wet Wet Wet’s “Cold Cold Heart” arrives as a wistful pop ballad seemingly tailor-made for rain-soaked commutes or introspective evening listens. With Elliot Scheiner at the production helm under Mercury Records’ banner, the track is a swirl of vulnerability and regret, draped in the lingering ache of romantic disillusionment. Its inclusion in the “Notting Hill” soundtrack feels like kismet, amplifying its bittersweet tone with the film’s caricature of love’s unpredictable intersections. Melodically, it’s all lush instrumentation and restrained crescendos, a style that leans safe but effective—no sharp edges, just smoothed-out sorrow for mass appeal. The lyrics unfold like a confessional, alternating between tortured nostalgia and whispered self-recrimination, yet occasional glimmers of redemption sneak into the cracks. It peaked at #20 on the UK charts, a respectable position reflecting its accessibility without the sparkling inventiveness often demanded of chart supremacy. There’s a certain irony in a band so buoyant in their earlier hits articulating such palpable yearning and melancholy. Perhaps, therein lies its charm: a track that doesn’t shout, but speaks its truths quietly, letting listeners project their own longings into its gaps. Featured on the 1993 album “End of Part One: Their Greatest Hits”.
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7 . Alliage & Boyzone – Te Garder Près De MoiReleased in 1997, “Te Garder Près De Moi” was an ambitious cross-cultural venture bridging the French and Irish boy-band phenomena of the late 1990s. By partnering Alliage’s Francophone sensibilities with Boyzone’s polished UK pop demeanor, this bilingual track aimed to blend two fanbases with varying tastes in one swoop. Built on shimmering production courtesy of Steve Mac, the song oscillates between lush harmonies and syrupy verses sung in French, letting each group take turns in the spotlight. The lyrics stick to the well-worn themes of longing, devotion, and sentimentality, delivered with a glossy finish that is both earnest and predictable. Chart performance in France was respectable, breaking into the top 20, while its pan-European airplay hinted at its potential to transcend borders without fully breaking through. The music video mirrored the collaboration’s approach: choreographed group shots and emotive closeups designed to visually represent this melting pot of cultures, though it leaned on the safe side of pop aesthetics. No daring creative risks are taken here, yet the track serves as an intriguing time capsule of the late-90s boy-band boom, where strategic alliances reigned supreme. While it didn’t redefine the genre, it did manage to make a dent in the largely Anglophone pop world, proving that pop’s universal language could, at least momentarily, encompass both English and French.
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8 . ABC – Say ItReleased in 1997 as part of ABC’s album “Alphabet City,” “Say It” carries the gleaming poise of late-’90s pop craftsmanship. The song’s production, helmed by Mark White under the Mercury Records banner, exudes a glossy finish that nods to the band’s earlier refinement without succumbing to overindulgence. Its themes—self-assurance, ambition, and the raw intersections of love and longing—are presented with a touch of earnest theatricality, yet never overstay their welcome. The track, which peaked modestly at #27 on the UK charts, feels like a quiet reclamation of ABC’s polished ethos, returning to their signature style with a subtler hand. Yet, beneath the shimmering veneer, there’s a curious contradiction at work. While the melody smooths over its emotional edges, the lyrics hint at an undercurrent of vulnerability, like a polished suit that cloaks a restless heart. The production feels both timeless and of its moment, tethering its sound to broader ‘90s pop while whispering of earlier decades’ sophistication. Whether this balance was intentional or accidental remains an enigma, but it lends the song a duality that doesn’t try too hard to impress yet manages to linger in the mind. “Say It” is a study in restraint and flourish, confidently walking the tightrope between radio-friendly allure and introspective sincerity. Featured on the 1991 album “Abracadabra”.
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9 . Lush – For Love“For Love,” nestled within Lush’s debut album *Spooky*, feels like wandering into a hazy dreamscape curated by the shoegaze gods themselves, circa 1992. Produced by Robin Guthrie of Cocteau Twins, the track is saturated with shimmering guitars and ghostly vocals that practically beg for a rain-drenched British skyline as their backdrop. Miki Berenyi’s voice floats like an echo in the ether, delivering lines coated in unplaceable yearning against an instrumental that balances delicacy with dense layers of reverb. This isn’t a song that rushes to any kind of resolution; it’s more about unfolding a mood, one lodged between melancholy and quiet defiance. Charting at #28 on the UK Singles Chart, its moderate success is less a testament to its potential and more a reminder of how radio-friendly singles weren’t really Lush’s game at the time. The accompanying music video, directed by Martin Bisi, is more an artifact of its moment than an essential viewing experience, but it’s there if you’re in the mood for some early-’90s visual clichés. Fast forward to 2001, “For Love” earned its place on the *Ciao! Best of Lush* compilation, lending credibility to its role as a cornerstone of their catalog despite missing the awards circuit altogether. In live settings, the track took on grittier dimensions, cutting through festival air—see the Reading Festival ’92 if you need proof this wasn’t just a studio darling. By the time they hit their *Lovelife* era in ’96, you’d have thought the band had moved past this kind of gauzy, introspective haze, but it remains a snapshot of a period when Lush captured the essence of shoegaze’s tender, shimmering identity. Featured on the 1992 album “Spooky”.
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10 . Kavana – I Can Make You Feel GoodKavana’s rendition of “I Can Make You Feel Good” reimagines Shalamar’s 1982 hit through a ’90s pop lens, blending polished production with a confident vocal delivery. Released in 1997 as part of his debut album, this single climbed to #8 on the UK Singles Chart, marking a high point in his early career and securing its place as a reliable crowd-pleaser of the era. Produced by Mike Percy and Tim Lever, who had roots in Dead or Alive, the track bears a glossiness that aligns with the pop formulas dominating the late ‘90s music scene, emphasizing upbeat rhythms and flirtatious charm. The accompanying music video leans into the era’s visual trends, featuring choreographed sequences and Kavana’s magnetism, all packaged in a slick, MTV-ready format. While not groundbreaking, the song offered an accessible slice of feel-good pop, tapping into a nostalgic groove while catering to the teen-pop wave sweeping the UK charts at the time. Featured on the 1997 album “Kavana”.
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11 . Rapination & Kym Mazelle – Love Me The Right Way“Love Me The Right Way” manages to encapsulate the early 1990s house music boom without losing sight of its emotional core. The collaboration between British act Rapination and American vocalist Kym Mazelle feels like a transatlantic handshake, blending crisp production with Mazelle’s commanding delivery. Released in ‘92, the track positions itself as a quintessential nod to the era’s club culture, landing at a respectable No. 22 on the UK charts—a modest achievement reflecting both its mainstream appeal and underground roots. Kym Mazelle’s vocals sit at the intersection of yearning and power, channeling the song’s themes of romantic sincerity without veering too far into sentimentality. On the production front, Dancin’ Danny D’s remix injects just enough dancefloor magnetism to keep things buoyant without overshadowing the song’s pleading heart. The music video, a montage of exuberant club scenes and close-ups of Mazelle, leans into the aesthetic shorthand of the period—glitzy, kinetic, and unapologetically repetitive. What stays with you is the push-and-pull between its pulsing house beats and the unapologetically emotive vocal line, a contrast that captures the essence of early ‘90s dance tracks teetering between euphoria and melancholy. While it didn’t smash records or disrupt paradigms, the track’s enduring charm lies in its ability to serve as both a time capsule and a vibrant jukebox memory for anyone who’s ever cared about house music’s golden years.
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12 . Vanessa Mae – I Feel LoveVanessa-Mae’s take on “I Feel Love” raises eyebrows as much as it stirs the senses—a disco relic spun into an electro-violin experiment. Originally a 1977 Donna Summer-Giorgio Moroder classic, this rendition swaps pulsating synths for the bold, kinetic energy of an electric violin, injecting a new sense of urgency into familiar territory. The track, part of her 2001 album *Subject to Change*, lands within her brand of classical-meets-electronica but doesn’t quite find its footing in that liminal space. Where Summer’s version was seductive in its repetition, Vanessa-Mae’s approach adds layers that occasionally teeter between innovative and excessive, with the violin battling against the track’s electronic backdrop for dominance. Her exploratory instincts are evident, but whether they build on the original anthem or obscure its essence depends on your openness to cross-genre boldness. The music video complements the track with a blend of ultramodern and baroque visuals, paralleling the ambitious fusion attempted musically. Commercially, the project flew below the radar, demonstrating that pushing artistic boundaries doesn’t always translate to chart success. Still, the track holds value as an emblem of Vanessa-Mae’s willingness to stretch the confines of genre, even when the results are far from seamless. Featured on the 1997 album “Storm “.
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