‘L’Amour Toujours’ N°481 – Vintage 90s Music Videos

Hothouse Flowers, Adam Ant, OTT, Meat Loaf, Harry Connick Jr., Melanie Williams & Joe Roberts, Mavericks, Jaki Graham, Teenage Fanclub, Tom Petty, Amy Grant, Claudia Brucken

They are the performers of twelve vintage love songs that were ranked in various charts, this week (07/52) BUT … in the Nineties 90s.

Here, they are reunited in one glorious playlist. Enjoy!

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For TWENTY FOUR more ‘L’Amour Toujours’ – Vintage 90s Music Videos – week 07/52 – click here and here

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Tracklist

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1 . Hothouse Flowers – An Emotional Time

“An Emotional Time” is a work by the Irish rock band Hothouse Flowers, drawn from their fourth studio album of the same name, released on January 1, 1993.

While the album as a whole escaped significant chart positions in the UK—bypassing the No.1 or Top 10 ranks—the band’s credentials remain unshaken, having secured four UK Top 40 singles and three albums in the UK Top 10 during their career.

What distinguishes Hothouse Flowers is their trademark mix of rock, folk, and soul—a fusion that, on this track, balances urgency with restraint.

Liam Ó Maonlaí and Fiachna Ó Braonáin, the band’s chief songwriters and vocalists, lean into their characteristic emotional sincerity, navigating the song through a blend of introspective longing and understated gravitas.

The title promises high stakes, and while “An Emotional Time” doesn’t quite combust with raw catharsis, it wades steadily through its well-crafted instrumentation and heartfelt delivery.

It’s reflective of a band that thrives not on breakthrough moments but on the quiet consistency of their craft.

Still, the track’s placement in the larger scheme of their discography suggests it doesn’t aim to shock or stun; it reinforces rather than revolutionizes their sound.

In context, “An Emotional Time” reads like a journal entry more than a manifesto, its appeal lying in its rootsy authenticity and craft over grandeur or ambition.


Featured on the 1993 album “Songs from the Rain”.

Lyrics >> Review >> More by the same : Facebook

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2 . Adam Ant – Wonderful

“Wonderful” by Adam Ant adopts a quieter, more reflective posture than his earlier, flamboyant offerings, signaling a tonal shift that aligns with its 1995 release date. Co-written with Marco Pirroni and Bonnie Hayes, the track trades the brashness of Ant’s new wave beginnings for restrained acoustics, a hallmark of mid-’90s adult contemporary trends.

The song features a memorable interplay of acoustic rhythms and a subdued electric guitar riff, a sonic framework that feels carefully calibrated but somewhat predictable. It’s an intimate yet safe departure from the exuberance of “Goody Two Shoes” or the irreverence of Adam and the Ants. One might appreciate its maturity while noting a lack of the urgency or risk that previously defined Ant’s career.

Commercially, “Wonderful” peaked modestly at number 32 on the UK Singles Chart, its three-week tenure there reflecting both the song’s appeal and its limitations. While it may resonate with long-time fans, it doesn’t fully transcend its period, remaining tethered to the softer contours of mid-’90s radio sensibilities.

Adam Ant’s brief tour in support of the “Wonderful” album is marked by an unfortunate alignment of circumstances—glandular fever sidelined both Ant and his co-writer Pirroni, curtailing their US dates. Nonetheless, Ant’s performances at London’s Shepherd’s Bush Empire and select Virgin Record Shops stand as testament to his aptitude for intimate settings.

“Wonderful” doesn’t aim to shock or provoke. Instead, it marks a phase where Ant prioritizes craft over spectacle. It’s polished and introspective, but whether it captures the full extent of his creative potential remains debatable.


Featured on the 1995 album “Wonderful “.

Lyrics >> More by the same : Official Site

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3 . OTT – Let Me In

OTT’s 1996 cover of The Osmonds’ “Let Me In” is less a daring reinvention and more a polished homage tailored for 1990s teen pop sensibilities.

The track, which reached No. 2 on the Irish Singles Chart and later climbed to No. 12 on the UK Singles Chart in its 1997 reissue, is a testament to OTT’s knack for repackaging nostalgia for a younger audience.

Gone are the raw, sibling-harmony-driven edges of The Osmonds’ original, replaced by OTT’s tightly coordinated vocal arrangements and radio-friendly sheen.

The song’s melody remains undeniably catchy—credit for which belongs to its 1970s roots—while OTT’s interpretation focuses on smooth harmonies and a clean, pop-oriented sound.

As a standalone single unmoored by any album, “Let Me In” feels like a conscious effort to capitalize on the mid-’90s boy band wave rather than an attempt to artistically push boundaries.

Its success, particularly in Ireland, underscores the band’s ability to connect with their core demographic, yet the cover itself is a largely risk-averse affair, doing little to elevate the source material beyond its era-specific refitting.

While the band’s energetic performance certainly resonates, it leaves one wondering if the charm stems from OTT themselves or the nostalgic pull of the 1970s hit they borrowed.


Featured on the 1997 album “This One’s for You”.

Lyrics >> More by the same : Wikipedia

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4 . Meat Loaf – Rock And Roll Dreams Come Through

“Rock and Roll Dreams Come Through,” penned by Jim Steinman, offers a fervent ode to the enduring power of rock music, but its sentimental core risks teetering into overstatement.

Originally appearing on Steinman’s 1981 album *Bad for Good* with Rory Dodd’s understated vocals, the track was reshaped by Meat Loaf in 1994 for *Bat Out of Hell II: Back into Hell*. Meat Loaf’s version, riding on his theatrical delivery, climbed to number 13 on the *Billboard* Hot 100 and hit number four on Canada’s *RPM* Top Singles chart, making it a commercial success with some geographical variability—hitting number 11 in the UK but only number six in New Zealand for Steinman’s version.

The lyrics are clear in their worship of rock as salvation. Lines like “let the drummer tell your heart what to do” flirt with profundity, yet risk alienating those less inclined toward unabashed idealism. Musically, the track leans on a trusty I-V-vi-IV progression (E-B-C#m-A in E major), a familiar formula that, while infectious, hardly breaks new ground. It’s mass appeal by design, appealing but perhaps too refined by rock’s well-worn playbook.

Meat Loaf’s rendition thrives on his vocal intensity, but Steinman’s original arguably benefits from a subtler delivery. Where Steinman threads intimacy through grandeur, Meat Loaf barrels ahead, prioritizing drama over nuance. While successful in capturing the spirit of the genre it extols, “Rock and Roll Dreams Come Through” occasionally drowns in its own earnestness—a tribute destined to polarize as much as it inspires.


Featured on the 1993 album “Bat Out of Hell II: Back into Hell”.

Lyrics >> Review >> More by the same : Wikipedia

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5 . Harry Connick Jr. – We Are In Love

“We Are in Love,” the titular track from Harry Connick Jr.’s 1990 album, announces itself with a jazzy exuberance that feels as immaculately tailored as the musician’s signature suits.

Connick, commandeering both piano and vocal duties, weaves a buoyant tapestry of sound alongside a Big Band ensemble that includes Branford Marsalis on saxophone, Russell Malone on guitar, Benjamin Jonah Wolfe on bass, and Shannon Powell on drums. The array of talent, while formidable, avoids overshadowing the song’s innate charm and rhythmic clarity.

The live performance of this piece during the 1991 Grammy telecast underscores its celebratory essence, yet it’s the studio rendition that arguably captures a more polished dynamism. Connick delivers his vocal lines with the kind of sly confidence that feels like it belongs to a bygone Manhattan jazz lounge, toeing the line between genuine warmth and a rehearsed insouciance.

But the song’s sheen does have its limits. The precise arrangements can veer into predictability, leaving little room for spontaneous moments or a sense of danger that often electrifies true jazz classics. Even Marsalis’s saxophone contributions, while undeniably skilled, are more embellishment than revelation.

Still, “We Are in Love” succeeds in its mission: a showcase of Connick’s facility for blending timeless swing influences with contemporary gloss. If it lacks the bite of its stylistic ancestors, it compensates with an accessible allure that justifies its place at the front of the album’s lineup.


Featured on the 1990 album “We Are in Love”.

Lyrics >> Review >> More by the same : Official Site

6 . Melanie Williams & Joe Roberts – You Are Everything

Melanie Williams and Joe Roberts’ 1995 cover of The Stylistics’ “You Are Everything” positions itself as a careful homage rather than a radical reinvention, albeit one that leans heavily on the duo’s polished vocal chemistry.

On paper, their collaborative history promises depth—Williams’ trajectory through bands like Adventure and Temper Temper meets Roberts’ soul-inflected dance credentials forged in tracks like “Lover” and “Adore.” Yet, the execution here feels more like a studio exercise than an emotionally urgent reinterpretation.

Their version, unanchored by any notable album context, floats in the mid-’90s UK charts with a modest peak at number 28. While respectable, it raises questions about the single’s staying power versus The Stylistics’ timeless original, which remains part of their definitive 1971 debut album. Where the original’s strings shimmer and falsettos ache, Williams and Roberts opt for a sparer, production-focused approach. The intention is clear but risks dimming the raw vulnerability that gave the source its distinct sway.

Roberts’ background—from teenage band endeavors in The Risk to his commune-influenced artistry—suggests rootsy ambition, which sometimes contrasts with the glossy, perhaps overly calculated aesthetics of this one-off single. Similarly, Williams’ Diana Ross-inspired artistry and US touring experience bring polish but little grit to the table. Though the pair’s personal partnership lends a bittersweet relevance to their delivery, the recording ultimately feels competent rather than imperative.

Absent significant live performances or accolades tied to this track, it occupies a niche space in their respective discographies—a respectable, if unremarkable, footnote in the mid-’90s soul-pop landscape.


Featured on the 1994 album “Human Cradle”.

Lyrics >> More by the same : Instagram

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7 . Mavericks – Here Comes The Rain

“Here Comes the Rain,” penned by Raul Malo and Kostas, showcases The Mavericks’ penchant for crafting songs that blend heartache with an understated grandeur.

Released on August 14, 1995, as the lead single from the album “Music for All Occasions,” it’s a track that straddles the delicate line between neotraditional country and the band’s broader sonic palette of Tex-Mex, Latin, and rockabilly influences.

Peaking at a modest number 22 on the *Billboard* Hot Country Singles & Tracks chart, its reception in the U.S. seems almost restrained compared to its climb to number 4 on Canada’s *RPM* Country Tracks chart, suggesting that the song’s moodier, emotive tone resonated more deeply with audiences north of the border.

The Grammy win in 1996 for Best Country Performance by a Duo or Group with Vocal underscores the band’s ability to elevate relatively unassuming material with their collective artistry, even as the song’s chart performance might not have signaled overwhelming commercial success.

The music video, directed by Gerry Wenner, adds a visual complement to the track, premiering in 1995 during The Mavericks’ mid-’90s ascendancy, a period cemented by an Academy of Country Music award for Top Vocal Group in the same year.

The understated elegance of “Here Comes the Rain” lies in its restraint—a stylistic choice that allows the melancholic tug of the lyrics to linger. Yet, for all its strengths, listeners looking for a standout hook or striking departure from the group’s established sound may find it veers too close to comfort territory.

While The Mavericks remain celebrated for their genre-blurring approach and emotive performances, this single, while poignant, renders itself as a quietly beautiful entry rather than an unforgettable benchmark in their catalog.


Featured on the 1995 album “Music for All Occasions”.

Lyrics >> Review >> More by the same : Official Site

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8 . Jaki Graham – You Can Count On Me [For Love]

Jaki Graham’s “You Can Count On Me (For Love)” occupies an intriguing yet unassuming corner of her 1994 album “Real Life,” a record that balanced Graham’s knack for pop accessibility with a touch of rhythmic finesse.

Peaking modestly at number 62 on the UK Singles Chart and a distant 129 in Australia, the song wasn’t destined to rewrite commercial history, but it hints at an artist tightly holding onto her melodic strengths amid a mid-’90s landscape increasingly defined by more genre-fluid experimentation.

Set against the broader backdrop of a career anchored by hits like “Could It Be I’m Falling in Love” and her collaboration-heavy heyday, “You Can Count On Me” feels both polished and formulaic—a solid product of its time but safe to the point of serenity, unwilling to push its boundaries.

Unlike “Ain’t Nobody,” the album’s crowning achievement in nabbing five weeks atop the US Billboard Dance Club Songs chart, this track lacks the same kinetic pull or immediacy.

What it does offer, however, is a snapshot of Graham’s reliable vocal warmth, carefully layered over a production that’s well-executed but hardly unforgettable.

Released during her tenure with Japan’s AVEX International, the song serves as a competent, if subdued, reminder of Graham’s enduring presence rather than a revelation of untapped artistic heights.


Featured on the 1994 album “Real Life”.

Lyrics >> More by the same : Official Site

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9 . Teenage Fanclub – What You Do To Me

“What You Do to Me” finds Teenage Fanclub stripping their sound down to its melodic core, offering a concentrated shot of jangly, unpretentious guitar pop.

Written by Norman Blake and featured on their 1991 album “Bandwagonesque,” the song feels less like an anchor for the critically praised LP and more like a quick suggestion of the band’s sentimental ethos—simple, open-hearted, and resolutely tuneful.

Clocking in at just over two minutes, its brevity underscores its straightforwardness, a quality that either charms or leaves one wanting more depth, depending on your appetite for minimalist lyrical refrains and crisp guitar hooks.

As the third single from “Bandwagonesque,” “What You Do to Me” charted modestly, peaking at number 31 on the UK Singles Chart for a brief two-week stint, a fair performance but one that feels slightly underwhelming given the ongoing critical ascension of Teenage Fanclub at the time.

Still, the song is emblematic of a band that held their own in the crowded early-’90s music scene, releasing an album that managed to eclipse heavyweights like Nirvana’s “Nevermind” and R.E.M.’s “Out of Time” in *Spin* magazine’s year-end poll.

Yet, “What You Do to Me” isn’t trying to compete with grunge behemoths or the weighty introspection of their contemporaries; it’s a breezy, unaffected moment that slips in and out of your consciousness, much like a pleasant fragment of a memory.

Though it doesn’t boast major collaborations or flashy production, its unpolished sincerity mirrors the band’s enduring appeal—both a strength and, at times, a limiting factor for broader impact.

As a standalone piece, it’s a pleasant enough listen, but its true value lies in contextualizing the charm of “Bandwagonesque” as an album that thrives on cohesion rather than isolated breakthroughs.


Featured on the 1991 album “Bandwagonesque“.

Lyrics >> Review >> More by the same : Official Site

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10 . Tom Petty – You Wreck Me

“You Wreck Me,” the second single from Tom Petty’s *Wildflowers* (1995), is as straightforward as its title’s shift from “You Rock Me” suggests—but not without its charm.

Written by Petty’s reliably sharp collaborator Mike Campbell, the track thrives on lean rock dynamics that avoid excess. Produced by Rick Rubin, its sound manages a polished, live-wire immediacy. The instrumentation is tightly wound: Petty’s rhythm guitar and Campbell’s electric leads weave together with Steve Ferrone’s propulsive drumming, while Howie Epstein’s bass and harmony vocals provide grounding. Benmont Tench’s piano and Hammond organ add texture that feels organic rather than ornamental.

Lyrically, the song’s shift from “rock” to “wreck” injects just enough edge to avoid sentimentality. It’s not poetry, but it captures a feeling of reckless devotion without overreaching. Petty’s casually plaintive delivery fits the material—a voice just rough enough to belie its smoothness.

The song’s modest success on the charts—number two on the US *Billboard* Mainstream Rock Tracks and a tepid showing at 88 on the UK Singles Chart—reflects its place in Petty’s catalog: a strong runner-up rather than a front-runner. In Australia, its peak at 72 on the ARIA chart underscores its somewhat niche appeal.

Where “You Wreck Me” truly resonates is in performance. Played nearly 500 times in concert, its inclusion at every tour from 1995 to Petty’s final 2017 show at the Hollywood Bowl demonstrates its endurance. It never sought to reinvent the wheel, but its steady presence shows how songs can earn their legacy through consistent reliability rather than grand gestures. That’s its quiet charm—and its limitation.


Featured on the 1994 album “Wildflowers“.

Lyrics >> Review >> More by the same : Twitter

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11 . Amy Grant – Good For Me

“Good For Me” embodies Amy Grant’s balanced foray into mainstream pop, lifted from her mega-successful *Heart in Motion* album, released in 1991 and still orbiting the outer reaches of its popularity when this single dropped on January 13, 1992.

The song merges Grant’s warm vocal delivery with a polished early-’90s production courtesy of Keith Thomas, who layers pulsating synthesizers and precision drum programming alongside Jerry McPherson’s clean guitar lines.

Sonically, it’s a slice of upbeat, radio-friendly pop aimed squarely at its Adult Contemporary target yet versatile enough to peak at a respectable number eight on the US Billboard Hot 100 while climbing to four on the AC chart.

In contrast, its UK showing at number 60 is emblematic of the regional barriers that midtempo tracks like this often faced in a more electronically experimental European market at the time.

The songwriting team—Grant herself alongside Tom Snow, Jay Gruska, and Wayne Kirkpatrick—craft lyrics that feel almost gleefully lightweight, devoid of pretension yet catchy enough to stick.

If the reference to Mario Andretti seems oddly specific, its payoff was Grant scoring prime Indianapolis 500 skybox seats in 1992, a bit of trivia more notable than the song’s cultural impact abroad.

The accompanying music video(s)—yes, there are two—reflect the early MTV-era tendency for reimagination.

The final cut, directed by D.J. Webster and co-starring Jme Stein, adds just enough visual drama to bolster the song’s premise, though it falls short of memorable storytelling.

*Heart in Motion* remains certified 5× platinum by the RIAA, and it’s easy to see why tracks like this propelled it there, even if “Good For Me” is more functional than transcendent.

Amy Grant’s pop versatility here doesn’t attempt to reinvent the wheel, but with its meticulous polish and chart-friendly hooks, it hardly needs to.


Featured on the 1991 album “Heart in Motion”.

Lyrics >> Review >> More by the same : Official Site

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12 . Claudia Brucken – Kiss Like Ether

A spectral synthesis of Brücken’s post-Propaganda ethos, “Kiss Like Ether” hovers in the liminal space between synth-pop precision and introspective abstraction.

As a standout track from her 1991 solo venture, “Love: And a Million Other Things,” it bridges the fragmented glamour of her Propaganda tenure with a more subdued, personal sonic identity.

Brücken’s vocals, unmistakably her own, are at once detached and intimate, like a narrator who has opted to mask vulnerability with riddles rather than confessions.

The production retains the electronic polish expected of her ZTT Records roots, though it trades the bombast of tracks like Propaganda’s “Duel” for something more subtle. The song’s electronic foundation feels less like a pulsating circuit board and more like vapor dissipating in moonlight—elegant but fleeting.

Lyrically, “Kiss Like Ether” feels elliptical, resisting direct interpretation. It does not spoon-feed poignancy but leaves room for the listener to speculate on its shrouded intentions.

This abstraction works as both a strength and a challenge; for those seeking narrative clarity, the song may seem obscure, yet its refusal to conform imbues it with a certain understated power.

The single’s release alongside “Absolut(e)” exemplifies the album’s dual nature: an artist emerging from her past yet consciously resisting genre rigidity.

While “Kiss Like Ether” lacks the immediate hooks that define pop anthems, its appeal lies in its atmospheric depth—a quiet testament to Brücken’s navigation of artistic independence.


Featured on the 1991 album “Love: And A Million Other Things”.

Lyrics >> Review >> More by the same : Official Site

For THE FULL ‘L’AMOUR TOUJOURS’ COLLECTION click here

This week Top 20 New Music on RVM *

(*) According to our own statistics, upadted on February 2, 2025

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