‘Look Ma, No Mike!’ N°11 – Vintage 90s Music Videos

1 . Lisa Stansfield – Live Together

Released at the dawn of 1990, “Live Together” taps into a zeitgeist yearning for collective unity, wrapped in the unmistakable polish of late ’80s British pop.

Lisa Stansfield’s unmistakable voice—equal parts smoky and declarative—guides the track, a slinky amalgam of house-inflected rhythms and R&B undertones, clearly indebted to the burgeoning dance culture of the time.

Co-written with Ian Devaney and Andy Morris, the song’s arrangement pulses with urbane slickness, its shimmering synths and elastic bassline neatly paired with percussive punctuation.

Sitting snugly in her debut album *Affection*, “Live Together” extends the album’s lush aesthetic while sidestepping outright melodrama for a message of measured optimism.

For a track championing communal harmony, the remixes are where individuality takes hold: Massive Attack inject a murkier, trip-hop sensibility, while Steve Anderson tweaks it for peak-time euphoria.

Commercially, the song’s trajectory reflects its broad appeal, slotting into top 10 charts across Europe, with notable reach beyond, hinting at global resonance without tipping into overexposure.

Philip Richardson’s accompanying music video, staged in a bustling train station, captures an air of motion—both literal and metaphorical—yet never quite transcends its bid for universality.

In retrospect, while it doesn’t eschew the slick conventions of its era, the track’s steady rhythm and rhythmic vocal phrasing avoid the saccharine excesses often lurking behind such themes.

Thirty-three years on, it still resonates sporadically, like an archived love letter from a decade aching to both hold hands and dance itself dizzy.

Featured on the 1989 album “Affection“.

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2 . The Real People – Open Up Your Mind [Let Me In]

“Open Up Your Mind (Let Me In)” by The Real People arrives steeped in the spirit of early ‘90s britpop, blending baggy acid-house beats with shoegaze-adjacent guitar reverb.

Released in May 1991 as part of their self-titled debut album, the track captures a nuanced tug-of-war between earnest lyrics and atmospheric instrumental layers.

Though it peaked modestly at No. 70 on the UK Singles Chart, its ambitions felt larger than its chart positioning.

The Griffiths brothers, Chris and Tony, inject a sense of wistful longing into the song, paired with a jangly, upbeat exterior that mirrors the cultural push for optimism and connection during the period.

The collaboration between Manchester-style rhythm structures and stripped-down shoegaze guitars results in a track that feels cohesive yet layered, a sonic contradiction of restraint and excess.

As part of their college and US tours around its release, “Open Up Your Mind” reflected The Real People’s attempt to thread experimental britpop aesthetics with transatlantic accessibility.

Though the band’s role as early collaborators with Oasis sometimes overshadows their own catalog, this single holds up as an artifact of a time when genre lines were tested and occasionally blurred altogether.

Featured on the 1991 album “The Real People”.

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3 . Milltown Brothers – Which Way Should I Jump

Back in the jangly haze of late ’80s indie rock, “Which Way Should I Jump” from the Milltown Brothers feels like a distillation of its era, riddled with charm and indecision.

Originally emerging as their second independent single in 1989, the track later got a spit-and-polish treatment in 1990, post their signing with A&M Records.

This revamped version broke into the UK Singles Chart at number 38, while it unexpectedly carved a foothold on the U.S. Billboard Modern Rock chart, peaking at number 10.

Its inclusion on the album *Slinky* only propelled its reach further, with the record itself landing on the UK Albums Chart at number 27 in 1991—a moment buoyed by a five-star nod from *Q Magazine* and a mid-table spot on *NME*’s best albums list of that year.

The song embodies the peculiar knack of indie rock to teeter between breezy melodies and underlying existential unease, capturing themes of decision-making without veering into cliché.

While there aren’t any definitive iconic performances or standout music videos tied to it, “Which Way Should I Jump” has seen revival light via curated playlists and events, like Tim Burgess’s social media-driven listening parties.

Tinged with optimism but shadowed by uncertainty, it’s the kind of track that quietly sticks around—not with bombast, but with modest insistence.

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4 . Midnight Oil – Blue Sky Mine

Released in 1990, “Blue Sky Mine” by Midnight Oil embodies the band’s knack for marrying rock with a potent sense of activism.

The track draws from the grim realities faced by workers at Wittenoom, a remote Australian asbestos mine infamous for its deadly blue asbestos.

With lyrics that cut like a scalpel, the song takes aim at the Colonial Sugar Refining Company, whose negligence underscored the larger systemic exploitation of laborers.

The irony in the catchy, almost upbeat melody juxtaposes the bleak subject matter, making the song as unsettling as it is memorable.

Chart success came as no surprise—claiming No. 1 on the US Billboard Alternative and Mainstream Rock charts, while holding its own with a respectable No. 8 spot back home in Australia.

The accompanying music video, sharp in both its direction and imagery, clinched an ARIA Award, solidifying its impact beyond the airwaves.

Still, for all its accolades, there’s a raw humanity embedded in the song—a call to confront greed that transcends the constraints of genre or era.

Featured on the 1990 album “Blue Sky Mining”.

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5 . Jah Wobble – Visions Of You (w/ Sinéad O’Connor)

“Visions of You” situates itself in the rich tapestry of ’90s worldbeat, emerging as a melding of Jah Wobble’s dub-heavy basslines and Sinéad O’Connor’s ethereal voice.

The track’s production is both expansive and grounded, pulling in global influences while maintaining a distinctly introspective mood.

With lyrics that hover between personal yearning and abstract spiritual reflection, the song doesn’t scream for attention but rather operates in a simmering, hypnotic state.

Jah Wobble, once a post-punk trailblazer with Public Image Ltd., steps out here as a curator of eclecticism, layering Middle Eastern melodies with a rhythmic foundation that leans heavily into reggae’s pulse.

O’Connor’s contribution is striking but understated, her delivery more about atmosphere than dominance, creating a balance that refuses to overpower the song’s intricate instrumentation.

“Visions of You” also represents a period when the boundaries of pop were loosening, allowing for cross-cultural flirtations that wouldn’t pander but would instead challenge mainstream tastes.

Though it’s anchored in a specific moment—the early ’90s—it doesn’t feel dated, largely due to its minimal reliance on production trends or radio-friendly hooks.

There’s a confidence in its refusal to conform, even if that means it flirts with the risk of being too subtle for its own good.

The album “Rising Above Bedlam,” from which this track originates, extends this ethos, diving deeper into global sounds without losing the anchoring influence of Jah Wobble’s bass-driven sensibilities.

If there’s a critique to offer, it’s that the song might lean a bit too heavily on atmosphere at the cost of immediacy, but perhaps that’s the point—it unfolds on its own terms, revealing layers the casual listener might miss on first encounter.

Featured on the 1991 album “Rising Above Bedlam”.

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

6 . The Charlatans – Can’t Get Out Of Bed

“Can’t Get Out of Bed” by The Charlatans packs the paradox of lethargy wrapped in jangling urgency, lifted from their 1994 album “Up to Our Hips.”

The song gestures towards a Small Faces-like ethos, its playful 1960s-inspired chord progression locking hands with a Stranglers-esque keyboard undercurrent.

Mark Collins’ guitar work emerges sharper here, a signpost for the band’s sonic pivot towards punchier, tougher arrangements.

Lyrically, it bottles the odd mundanity of early morning creativity, chronicling moments when the band was penning tracks before the rest of the group even stirred.

The rooftop-shot music video, while not revolutionary, offers pleasing visual shorthand for the song’s grounded irreverence and communal warmth.

Charting at #6 on the MRT, it managed to resonate without begging for mainstream adoration, bolstered further by B-sides “Withdrawn” and “Out.”

John Robb rightly points out its transitional nature—part reflection, part rebellion—balancing charm and grit with a wink at the band’s formative inspirations.

Featured on the 1994 album “Up to Our Hips”.

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7 . Delakota – 555

“555” by Delakota hums with a mellow groove, blending alternative rock with psychedelic overtones that were unmistakably tinted by late ‘90s britpop fatigue.

Released in 1998 and slipping under most commercial radars, this is less a shout of innovation and more a hazy sigh from a band aware of their limited shelf life.

The track has an odd charm, its laid-back vibe almost daring you to ignore it, with sprawling rhythms that hint at ambition but mostly bask in the comfort of their own inertia.

The accompanying album of the same name offers a similar aesthetic of suburban escapism—an atmospheric journey through sounds that don’t quite commit to being poignant or punchy.

“555” feels like an artifact of its time, caught in the waning tail of a trend, with no pretense of chart dominance or cultural staying power.

Without any major collaborations or commercial accolades to speak of, the song exists in a space where introspection overrides visibility.

Delakota’s reliance on texture over substance is both their strength and their Achilles’ heel.

It’s a track for drifting, not destination—a reminder of the era when psychedelia was repackaged for bedroom daydreams rather than festival triumphs.

Featured on the 1998 album “One Love”.

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8 . Elastica – Waking Up

“Waking Up” by Elastica sprints into view with brisk guitar riffs and a taut energy that epitomizes mid-’90s Britpop.

The track’s brevity mirrors its no-nonsense attitude, clocking in just under three minutes but packing enough punch to etch itself into the era’s collective memory.

Lyrically sharp and instrumentally succinct, it operates like a joyride through life’s mundane frustrations, reimagined with biting wit and a snarl of charisma.

Of course, the song isn’t without its baggage, as the shadow of the Stranglers looms large due to its undeniable resemblance to their “No More Heroes.”

Rather than shy away from controversy, Elastica opted for a co-credit and split royalties, a pragmatic decision that has since become part of the song’s lore.

Damon Albarn’s subtle contribution on keyboards adds a splash of texture, though the band’s tightly wound delivery remains front and center.

The accompanying music video cheekily juxtaposes the group’s aloof presence with playful absurdity, including naked bodies as chaotic set dressing.

Despite—or perhaps because of—the scandal and the perpetual side-eye from purists, the track distills pop and punk attitudes into something effortlessly magnetic.

“Waking Up” thrives as both a time capsule and a wink at the ongoing dialogue between homage and originality.

Featured on the 1995 album “Elastica”.

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9 . Eve’s Plum – I Want It All

“I Want It All” by Eve’s Plum emerges from the ’90s alt-rock cacophony with a candid attitude and gritty texture that feels like a snapshot of its era.

Holding the distinction of being the band’s only charting single, it peaked modestly at number 30 on the Modern Rock Chart, yet it carries a curious charm.

The song’s inclusion in *The Next Karate Kid* smacks of mid-’90s cinematic synergy, a time when even martial arts flicks sought angst-driven rock for credibility.

Its production by Roger Greenawalt and Steve Boyer gives it a polished edge, though it doesn’t quite mask the raw ambition stitched into its DNA.

Thematically, the track orbits around longing and ambition, neatly aligning with the grunge-dappled instincts of the band’s debut album, *Envy*.

Despite the effort, both the album and the single struggled to penetrate the wider musical consciousness, though the attempt itself feels oddly admirable.

There’s a certain DIY charm to the accompanying music video, which embodies the band’s unpolished aesthetic, a hallmark of the grunge-adjacent landscape they inhabited.

While MTV airplay offered a brief pulse of relevance, the single’s absence from the Billboard Hot 100 underscored the volatile nature of ’90s alt-rock’s constant churn of bands seeking breakout recognition.

Eve’s Plum, with their modest discography spanning two albums—*Envy* and *Cherry Alive*—remains a fascinating artifact of a time when ambition met creative freedom, though rarely with lasting results.

Featured on the 1993 album “Envy “.

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10 . Simply Red – For Your Babies

Released as part of Simply Red’s 1991 album “Stars,” “For Your Babies” offers a heartfelt ballad built around Mick Hucknall’s tender songwriting and emotive delivery.

The song balances understated production with lush instrumental layering, creating a track that feels personal yet universal, a hallmark of its parent album’s introspective vibe.

Produced by Stewart Levine, it benefits from meticulous studio work stretched across Venice and Los Angeles, ensuring immaculate sound quality befitting its emotional core.

Lyrically, the track walks a fine line between sentimentality and sincerity, addressing themes of unconditional care without slipping into cliché—a feat not all ballads achieve successfully.

The composition’s strength lies in its restraint, allowing Hucknall’s falsetto moments to soar while maintaining an overall groundedness.

Its performance on the charts—top 10 in the UK and notable placements across Europe—is a reflection of the song’s broad resonance rather than industry push.

While the single spurred remix attention, including the “Perfecto Mix” and others, the original’s essence remains its strongest selling point.

The accompanying video, directed by Andrew Morahan, adds visual warmth, matching the song’s theme without overpowering its subtler emotional tones.

Its inclusion in multiple Simply Red compilations reinforces its significance within the band’s catalog, while a reimagined version on their acoustic “Simplified” album speaks to its enduring relevance.

If “Stars” is the crown jewel of Simply Red’s career, “For Your Babies” sits comfortably as one of its most polished facets, less flashy but undeniably rich in its emotional weight and craftsmanship.

Featured on the 1991 album “Stars“.

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11 . Deana Carter – Angel Without A Prayer

Deana Carter’s “Angel Without A Prayer” captures a delicate mix of resilience and vulnerability, wrapped in a country melody that feels tethered to the quiet struggles of ordinary life.

First featured on the UK release of *Did I Shave My Legs for This?* in 1995, the song’s inclusion hints at Carter’s early ability to craft narratives that resonate beyond borders, even if its chart performance lingered on the fringes at number 100 in the UK Singles Chart.

Musically, the track is unapologetically of its genre—a wistful blend of steel guitars and tender, unfussy vocals that place the emotional weights of its lyrics front and center.

Thematically, “Angel Without A Prayer” leans into the perennial country preoccupation with faith and fragility, its core sentiment etched into lyrics that navigate the space between personal doubt and quiet strength.

The production, though modest, avoids unnecessary embellishments, a deliberate choice that keeps Carter’s vocal delivery as the primary focal point.

The re-release of the track as a bonus in the remastered 2021 digital edition feels less like a revival and more like a quiet nod to its enduring charm, though its understated nature remains compatible with a time when country was less preoccupied with crossover appeal.

As part of a catalog that later leaned into broader commercial success, “Angel Without A Prayer” registers as a time capsule of Carter’s unvarnished beginnings, tethered to a sonic simplicity that’s more heartfelt than hip.

Featured on the 1995 album “Did I Shave My Legs for This?”.

Lyrics >> More by the same : Official Site

12 . Jimmy Nail & Mark Knopfler – Big River

“Big River” lands as both a eulogy and a rallying cry, channeling the grit of Newcastle’s industrial past into a folk-rock narrative that feels grounded but not stagnant.

Jimmy Nail’s voice carries a certain lived-in authenticity, delivering lines steeped in nostalgia for the shipyards that once defined the city’s lifeblood.

Mark Knopfler’s understated yet definitive guitar work adds a layer of melodic depth, complementing the track’s reflective tone without ever overshadowing the central narrative.

The River Tyne, referenced not just lyrically but as a metaphorical anchor, becomes a symbol of resilience amidst decline, an idea echoed in the hopeful final chorus proclaiming, “the river will rise again.”

The song never succumbs to cheap sentimentality; its power lies in its ability to juxtapose melancholy with quiet optimism.

The 1995 release, clocking in at nearly six minutes, might feel indulgent to some, though the radio edit shaves off just enough to keep it accessible.

The unexpected adoption of the song by locked-out female workers in Liverpool injects it with additional social resonance, expanding its reach beyond Newcastle’s borders.

A live rendition of “Bitter and Twisted” on the B-side leans more visceral, offering a contrast to the polished production of the A-side.

Even now, “Big River” endures as more than a track; it’s a time-stamped reflection on identity, community, and the uneasy balance between loss and hope.

Featured on the 1995 album “Big River”.

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