‘L’Amour Toujours’ N°94 – Vintage 90s Music Videos

1 . Go West – What You Won’t Do for Love

Go West’s version of “What You Won’t Do for Love” carries with it a peculiar charm: it’s neither a bold reinvention nor a pale imitation but exists somewhere in the middle, like a cover that politely tips its hat to the original without overstaying its welcome.

Borrowing from Bobby Caldwell’s 1978 classic, the British duo composed of Peter Cox and Richard Drummie injects their signature smooth pop sheen into the track, dialing up the polished production while keeping the core sentiment intact—a kind of reverent karaoke, maybe, more than a reimagining.

Originally featured on their 1992 album *Indian Summer,* the cover nestles comfortably among its contemporaries but lacks the punch to stand out as anything more compelling than a well-intentioned B-side.

The original song’s foundation—its lush instrumentation and jazzy undertones—is streamlined here, flattening the dynamic in favor of a radio-friendly gloss, leaving Cox’s undeniably velvety vocals to do most of the heavy lifting.

Culturally, Caldwell’s song has taken on a curious life of its own over decades, aided by sampling and an afterlife on TikTok, but Go West’s rendition feels disconnected from that peculiar legacy, as though it exists in a vacuum where the band’s synth-heavy sound operates on autopilot.

And yet, there’s something almost absurdly earnest about their effort, a sincerity that keeps it from veering into parody territory even if it doesn’t quite elevate the song into anything resembling an essential listen in their catalog.

Perhaps the most fascinating thing about the track is what it doesn’t do—chiefly, carve out any sense of personality beyond its architects’ reluctance to tamper too much with the DNA of a classic.

In the end, Go West’s attempt at “What You Won’t Do for Love” feels like a well-pressed blazer: sharp, appropriate, and undoubtedly respectable, yet ultimately lacking the emotional wear and tear that gives such heartfelt tunes their staying power.

Featured on the 1992 album “Indian Summer”.

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

2 . Samantha Fox – Touch Me [I Want Your Body]

Released in March 1986, “Touch Me (I Want Your Body)” marked Samantha Fox’s provocative entry into the pop stage, a neon-lit blend of playful synth and sultry vocals crammed with unapologetic allure.

Crafted by Mark Shreeve, Jon Astrop, and Pete Q. Harris, and produced by the latter pair, the track didn’t just perch comfortably on the charts—it shot straight to the pulse of the 80s, peaking at No. 3 in the UK and a respectable No. 4 on the US Billboard Hot 100.

This was not the fleeting fame of a one-hit wonder—it obliterated radio waves across Australia, Canada, and a buffet of European countries, reaching platinum in Canada and silver in both the UK and France, no small feat for a debut single.

The music video? Pure MTV gold, cranking up Fox’s denim-clad charisma, teasing a dazed fan from behind ripped jeans and a nightclub haze.

The song straddles the line between seductive and kitschy, weaponizing its repetitive, earwormy chorus with precision, fully leaning into its pop DNA and 80s penchant for unabashed theatricality.

Fox herself wasn’t just performing a hit; she was executing a carefully curated package—post-audition Jive Records’ contract in hand—to build her as the dance-pop answer to a growing legion of male-dominated charts.

The lyrics weren’t subtle—nor were they meant to be. They toyed with taboos, laying out a bubblegum provocation wrapped in radio-friendly beats, designed to titillate but not alienate.

It isn’t without its quirks: while topping major charts, it found only modest airtime in places like South Africa, maxing out at No. 24. As if in response, covers like Swedish artist Günther’s later interpretation found fresh irony, dominating Scandinavian charts despite its overt lampooning of the original.

Critics might sneer at its lack of depth, but its influence is undeniable, carving out a niche in 80s bombast and selling the fantasy with conviction.

Featured on the 1986 album “Touch Me”.

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

3 . Boyzone – Love Me For A Reason

“Love Me for a Reason” takes an inherited pop torch and applies a 90s sheen without losing the essence of its ’70s roots.

The track, originally a soulful hit for The Osmonds, slides easily into Boyzone’s wheelhouse, seamlessly packaged within their harmonized formula.

This cover, released as their second single, steers clear of reinvention, instead doubling down on polished production and boyish charm, courtesy of producer Ray Hedges under Polydor Records.

The accompanying video stages the group in candlelit intimacy, a monochrome palette implying earnestness, with just enough smolder to woo a generation glued to music television.

Charting at No. 2 in the UK and reigning at No. 1 in Ireland, it capitalizes on familiarity rather than pushing new boundaries—nostalgia served with fresh faces.

For better or worse, the song mirrors Boyzone’s trajectory: safe, unthreatening, and strategically aimed at undiscerning hearts craving a soundtrack between Dawson’s Creek episodes.

The cover does little to challenge or elevate its source material; instead, it’s a cleverly calculated dip into a pseudo-mini Osmonds revival of the era.

While its cultural output lacks sharp edges, it undeniably solidifies Boyzone’s foothold amid the boy-band stampede of the 1990s, more spreadsheet smash than artistic leap.

Featured on the 1995 album “Said and Done”.

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

4 . Tears For Fears – Head Over Heels

“Head Over Heels” by Tears for Fears stands as one of those ’80s tracks that manages to feel both profound and playful, wrapped in layers of glossy production and emotional yearning.

Released in 1985 as the fourth single from *Songs from the Big Chair*, the song finds its footing in the intersection of new wave and progressive pop, delivering a romantic confession that’s as earnest as it is grandiose.

The piano-driven intro sets the tone, hearkening back to the track “Broken” from the same album before swelling into one of the most memorable hooks of the decade.

Lyrically, it doubles as both a declaration of love and a meditation on vulnerability, a balance that’s amplified by Roland Orzabal’s impassioned delivery.

The accompanying music video, directed by Nigel Dick and set in a library, leans into the absurd, featuring band members, quirky characters, and, of course, a chimpanzee sporting a Red Sox jersey—because the ’80s never missed an opportunity for surreal comedy.

The visual chaos contrasts with the song’s poignant heart, crafting a dichotomy that mirrors the uncertainty of diving headfirst into an emotional connection.

Chart-wise, the track peaked at No. 3 on the US *Billboard* Hot 100 and reached No. 12 in the UK, proving its cross-Atlantic appeal without veering into over-saturation.

Its appearance in cult classic films like *Donnie Darko* and more modern TV fare like *Stranger Things* has cemented its place not just as a hit but as a mood—a nostalgic encapsulation of longing and unspoken intensity.

Though undeniably polished, it doesn’t feel overly sanitized, which is perhaps why it continues to resonate with new generations who stumble upon its shimmering layers of synths and confessional undercurrent.

“Head Over Heels” endures not by chasing after profundity but by owning its theatricality, delivering an anthem for those precarious moments when emotions are too large to contain yet too fragile to fully understand.

Featured on the 1985 album “Songs From The Big Chair“.

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

5 . The Associates – Just Can’t Say Goodbye

“Just Can’t Say Goodbye” by The Associates lands somewhere in the late ’80s or early ’90s, a peculiar crossroads where post-punk ambivalence brushed shoulders with synth-pop optimism.

Released as a single in 1991 and reaching a modest #81 on the UK Singles Chart, the track reveals the band’s knack for experimental forays while still holding onto accessible melodies like a weathered jacket.

The production—stuck in limbo with no official credit—hums in a familiar synth-driven haze, likely tied to WEA International, though it’s as uncertain as the existence of a video clip for this one-off attempt at mainstream traction.

The song pulsates with airy synth layers and meticulously arranged beats, while Billy Mackenzie’s distinctively theatrical vocals tiptoe between soulful earnestness and avant-garde detachment.

The lyrics, wrapped in yearning, mirror the post-punk tendency to stay emotionally elusive but still manage to brush against a sense of longing.

The Associates always toy with contradictions—artistic edge clashing with a latent desire for commercial success—and this track is no exception.

“Just Can’t Say Goodbye” may not have the iconic status of their earlier work, but its charm lies in its commitment to their self-made ethos of unpredictability and eclecticism.

Featured on the 1990 album “Wild and Lonely”.

Lyrics >> More by the same : Wikipedia

6 . Enigma – Sadeness

On the surface, *Sadeness (Part I)* feels like a straightforward attempt to fuse Gregorian chants with 90s electronica, yet its layers reveal a more complex narrative.

Its title cheekily nods to the Marquis de Sade, setting the stage for a meditation on the interplay of desire, power, and spirituality—a cocktail that’s both alluring and faintly disturbing.

Michael Cretu’s production leans heavily on contrasts, intertwining liturgical solemnity with whispered French–courtesy of Sandra Cretu–to craft an atmosphere of restrained eroticism.

The juxtaposition of stoic male chants and sultry feminine murmurs cleverly destabilizes the listener, walking a fine line between the sacred and forbidden.

Commercially, it’s a phenomenon: a track so left-field that it sneaked into dance floors and onto charts in 24 countries, dominating the UK with a brief but memorable reign at #1 and cracking the U.S. top five.

Historically marketed as new-age, it feels more like a pastiche, flirting with pop accessibility while maintaining an air of clandestine mystique.

The music video doubles down on lofty aspirations, borrowing visual cues from Rodin’s iconic *La Porte de l’Enfer*, though its brooding religiosity borders on self-parody.

For all its calculated ambiguity, there’s no denying its audacity: a song that brought priestly chants and leather-clad thoughts into the same nightclub, quietly reshaping mainstream appetites for the odd and the eclectic.

Featured on the 1990 album “MCMXC a.D.”.

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7 . David Essex – A Winter’s Tale

David Essex’s “A Winter’s Tale” melts into the airwaves like a snowflake that knows its 15 minutes are limited. Written by the unlikely duo Tim Rice and Mike Batt, the song feels like a calculated pairing of Rice’s theatrical lyricism and Batt’s tendency toward sentimental bombast. Yet, there’s no denying it hits a soft spot for anyone predisposed to melancholy during the colder months.

Released as a single in 1982 before finding a home on Essex’s 1983 album *The Whisper*, the track peaked at No. 2 on the UK Singles Chart, cementing its status as a seasonal earworm. Musically, it walks the fine line between pop rock and wistful balladry, as Essex croons about a love gone cold with a delivery that’s alternately evocative and almost indifferent. It’s the kind of song that probably sells well on “Now That’s What I Call Christmas” compilations but doesn’t exactly scream innovation.

The music video—available on YouTube for nostalgia buffs—leans into wintery aesthetics but struggles to elevate the track’s inherent schmaltz. And let’s not ignore its critical reliance on timing; would this song have garnered as much attention if released in summer? Doubtful. Nonetheless, Essex’s ability to surf pop culture waves, coupled with his theatrical flair, ensures that this track joins his catalog of UK-friendly hits, even if it doesn’t quite cross global borders.

If you peel back the layers of tinsel, you’re left with a melody that lingers but doesn’t haunt. This isn’t innovation—it’s cozy nostalgia that chills your bones just enough to remind you that winter is, unfortunately, eternal.

Featured on the 1983 album “The Whisper”.

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

8 . Céline Dion – I’m Your Angel (w/ R. Kelly)

Released in late 1998, “I’m Your Angel” pairs two colossal voices of the ’90s, Céline Dion and R. Kelly, in a glossy ballad that drips sentimentality and feigned celestial sincerity.

An unabashedly commercial move, this duet aimed straight for mass appeal with its syrupy gospel undertones, packaged neatly for holiday sales under Epic Records.

R. Kelly, who both wrote and produced the track, layers the arrangement with a predictably saccharine gloss, leaning heavily into feel-good themes of hope and protection.

While its lyrics aim for uplifting grandeur, their relentless earnestness feels more functional than inspired, designed to tug just hard enough at heartstrings to shift units.

The song debuted at the top of the Billboard Hot 100, camped there for six weeks, and further dominated Adult Contemporary charts, becoming an inescapable anthem of its time.

The accompanying music video, directed by Bille Woodruff, embodies ’90s music-video excess—a dream-alike visual oddity that reflects the song’s over-polished sentimentality.

It earned impressive certifications—platinum in the U.S., gold in Australia, and silver in the U.K.—but hindsight complicates its legacy, with Dion’s management burying it post-2019 amid R. Kelly’s renewed controversies.

What lingers is an undeniable tension: its commercial juggernaut status and melodies won’t be forgotten, yet the track feels shackled to a cultural moment that hasn’t aged gracefully.

Featured on the 1998 album “These Are Special Times”.

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

9 . Whitney Houston – All The Man That I Need

Released in 1990 as part of Whitney Houston’s album *I’m Your Baby Tonight*, “All The Man That I Need” is a ballad of potent romantic devotion, delivered with commanding emotion.

The track shifts from F minor to F# minor, with a measured tempo of 76 bpm, creating an introspective atmosphere before opening up in the final chorus with the soaring power of a gospel choir.

Originally penned by Dean Pitchford and Michael Gore, it was first recorded by Linda Clifford in 1982, though Houston’s version elevates its dramatic undertones through her impeccable vocal phrasing and Narada Michael Walden’s polished production.

The song secured the number one spot across multiple charts, including the US Billboard Hot 100, underscoring its resonance with listeners.

Lyrically, it is a tapestry of longing and fulfillment, embodying themes of personal transformation and unwavering love.

The music video, released via Sony Music Entertainment, juxtaposes intimate performances with grander, emotionally reflective visuals.

Critics praised its dynamic arrangement, commending its ability to balance sentimentality with technical precision, cementing it as one of Houston’s signature hits.

Though translations of love ballads often flirt with excess, Houston’s execution here sidesteps that pitfall, delivering something at once restrained and deeply felt.

Featured on the 1990 album “I m Your Baby Tonight “.

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

10 . Richard Marx – Now And Forever

“Now and Forever” by Richard Marx stands as a quintessential pop ballad that emerged in 1994 from his album “Paid Vacation,” marrying sentimentality with understated acoustic elegance.

The track ascended to No. 7 on the Billboard Hot 100, marking Marx’s final appearance in the chart’s top ten, a bittersweet milestone in a career filled with arena-sized moments.

Written as a heartfelt tribute to his then-wife Cynthia Rhodes, the song leans into a narrative of unwavering support with lyrics like “You make sense of madness,” striking a chord with romantics everywhere.

The arrangement is sparse but effective, letting Marx’s tender vocal delivery glide atop acoustic instrumentation, steering clear of overproduction and indulging in emotional sincerity instead.

The music video, available on YouTube, intersperses introspective studio shots with evocative images, reinforcing the song’s themes of comfort and understanding without veering into saccharine territory.

Though it didn’t broach any avant-garde boundaries, its resonance on the Billboard Adult Contemporary chart—where it held the No. 1 spot for 11 weeks—cements its status as a ‘90s love song staple.

Perhaps its most culturally distinct moment arrived when Marx performed it live at Wimbledon during Martina Navratilova’s farewell singles match in 1994, an odd yet endearing meeting of pop and sports worlds.

Its inclusion on Marx’s 1997 “Greatest Hits” compilation offers a fitting nod to its legacy, encapsulating an era when earnest ballads were more cornerstone than cliché.

Featured on the 1994 album “Paid Vacation”.

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

11 . Belinda Carlisle – Half the World

Released in 1991 as part of her fourth studio venture *Live Your Life Be Free*, Belinda Carlisle’s “Half the World” is a wistful ballad that feels like a postcard from a bygone era of overproduced sentimentality.

Penned by Richard Feldman, Eric Pressly, and Ellen Shipley, the track wraps itself in a 1960s-inspired orchestration, aiming for timelessness but landing somewhere closer to a “Time After Time” knockoff with a shinier finish.

Commercially, the song skimmed the European charts with modest returns—#35 in the UK, #15 in Italy, and a forgettable #78 in Australia—evoking tepid claps instead of standing ovations.

Producer Richard Feldman polished this piece for mass appeal, and while its melody flirts with heartbreak, the production’s sugary heft drowns any raw emotion under layers of synthetic gloss.

Sheryl Crow sneaks in on backing vocals in the accompanying music video, which itself treads lightly on artistic ambition as Carlisle sings earnestly against picturesque outdoor backdrops.

Promoted through TV appearances like *Top of the Pops*, Carlisle’s delivery demonstrates competence without surprise, a polished professionalism that lacks sparks of spontaneity or risk.

What “Half the World” ultimately achieves is less a reinvention of Carlisle’s pop persona and more a safe stopgap—a padded reminder that she’s still around without pushing her artistry forward.

Featured on the 1991 album “Live Your Life Be Free”.

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12 . Frankie Goes To Hollywood – The Power Of Love

“The Power of Love” by Frankie Goes to Hollywood stands as a surprising departure from the band’s provocative beginnings.

Released as the third track from their 1984 debut album, *”Welcome to the Pleasuredome,”* it pairs solemn themes of spirituality and universal love with a dramatic ballad structure, sidestepping the explicit energy of their previous hits.

The song clinches a weeklong hold at the No. 1 spot on the UK Singles Chart and performs solidly on international rankings, with its stirring arrangement partly owed to Anne Dudley of Art of Noise.

The Trevor Horn-produced track blends sophisticated strings and restrained vocals, asserting the band’s artistic range over sheer flamboyance.

Its nativity-inspired video, directed by Godley and Creme, leans heavily into religious iconography, creating an enduring link to Christmas despite no explicit holiday mentions.

While often appropriated for festive playlists, its lyrical weight transcends seasonal boundaries.

Covers, such as Gabrielle Aplin’s for a John Lewis advert, reaffirm the track’s elasticity.

A ballad laden with gravitas, its success anchors Frankie Goes to Hollywood in a cultural sphere wider than their era-defining abandon.

Featured on the 1984 album “Welcome To The Pleasuredome“.

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