‘Look Ma, No Mike!’ N°2 – Vintage 90s Videos

1 . The Stranglers – Always The Sun

Released on October 6, 1986, as part of their ninth studio album *Dreamtime*, “Always The Sun” finds The Stranglers stepping into the late ’80s with a polished yet reflective new wave anthem.

Penned by the band’s core members—Hugh Cornwell, Jean-Jacques Burnel, Dave Greenfield, and Jet Black—the track melds wistful, socially-conscious lyrics with an upbeat melodic framework, creating a juxtaposition that works inexplicably well.

The line “Who has the fun? Is it always a man with a gun?” punctuates the song with dark humor and subtle critique, while the accompanying music video visually amplifies its ambiguity with Cornwell dramatically firing at an Aztec Sun Calendar Wheel, shattering it in slow motion.

Though the single underperformed in the UK, peaking at number 30, it resonated more abroad, climbing to number 15 in Australia and finding a comfortable spot on French airwaves.

As the second single pulled from *Dreamtime*, “Always The Sun” carried a thematic weight reflective of its era, where anxieties around global and environmental futures lingered just beneath the glossy production of the time.

The Aztec Sun design featured prominently in the song’s marketing feels less like a quirky aesthetic choice and more like a deliberate nod to the cyclical nature of light and darkness within society itself.

In 1990, a remixed version titled the “Sunny Side Up Mix” reintroduced the song to audiences alongside a greatest hits compilation, though its reappearance in the charts at number 56 was lackluster at best.

Despite this, the track remains a fan favorite and often finds its way into setlists and retrospectives, encapsulating The Stranglers’ knack for weaving pop touches into more brooding, layered concepts.

While Cornwell later pointed fingers at CBS Records for a lack of marketing effort, the song’s enduring charm lies in its balance between melancholy and resilience, encapsulating the band’s late-career identity with a thoughtful ambiguity that lingers long after the final chord fades.

Featured on the 1986 album “Dreamtime”.

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

2 . Northside – My Rising Star

“My Rising Star” by Northside serves as a quintessential slice of the Madchester music movement, threading jangly guitars with rhythmic bounce under the banner of Factory Records.

Released as part of their 1991 debut album “Chicken Rhythms,” the track embodies the era’s fusion of indie-rock swagger and danceable grooves, a hallmark of their producer Ian Broudie.

Though it never emerged as a standalone single and therefore sidestepped the charts, the song anchors the album with its breezy optimism and understated charm.

The fact that “My Rising Star” remains overshadowed by Northside’s modest hit “Take 5” speaks to the band’s fleeting tenure in a crowded genre teeming with heavyweights like The Stone Roses and Happy Mondays.

Still, the determination to stitch pop accessibility into club-ready beats situates this track as emblematic of a city in creative overdrive, never over-polished but undeniably infectious.

“Chicken Rhythms” wasn’t a game-changer, but it remains a time capsule for listeners yearning for that brief cultural bloom where indie guitars flirted shamelessly with four-on-the-floor rhythms.

Featured on the 1990 album “Chicken Rhythms”.

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3 . Morrissey – Certain People I Know

“Certain People I Know” by Morrissey stands as a peculiar snapshot from his divisive third solo outing, “Your Arsenal,” released in 1992 with Mick Ronson at the production helm.

The track leans into rockabilly influences, a stylistic detour that feels as much homage as it does pastiche, with Alain Whyte’s contributions on guitar dialing up a galloping, retro flair.

While the song captures a sense of defiant individuality in Morrissey’s signature barbed croon, it struggles to escape the heavier baggage of its era, including its post-Madstock release amid swirling controversies that derailed public goodwill.

Charting at a modest number 35 in the UK, the single arrived packaged with B-sides like “You’ve Had Her” and a live rendition of “Jack the Ripper,” the latter earning notable acclaim that arguably eclipsed the A-side itself.

The decision to nix the Union Jack-themed cover art for the single in favor of something more subdued highlights the tightrope Morrissey walked during this embattled period of his career.

Yet for all the aesthetic tension embodied in “Certain People I Know,” the track is perhaps most intriguing for showcasing moments of subtle sarcasm and biting wit that typify Morrissey’s lyrical identity, even as his public image teetered on the brink of alienation.

Whether an anthem of sly critique or a curious nod to bygone musical styles, the song ultimately reflects the tumult of an artist crafting a sound that’s both unapologetically anachronistic and bristling with contradiction.

Featured on the 1992 album “Your Arsenal“.

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

4 . Oasis – Supersonic

“Supersonic,” Oasis’s inaugural single, bursts forth with the raw confidence that defined the band’s early days.

Written by Noel Gallagher in a single session during a recording for another track, the song encapsulates the unfiltered, almost accidental brilliance that catapulted them into the spotlight.

Its nonsensical lyrics, peppered with quirky lines about Elsa and Alka-Seltzer, are partly rooted in studio banter, making them oddly compelling rather than meaningless.

Gallagher’s guitar riff, which some have likened to shades of Clapton’s “Layla,” anchors the song with an energetic thrust that teeters between swagger and clarity.

Liam Gallagher’s snarling vocals add an unpredictable edge, his delivery teeming with menace yet somehow inviting.

The rhythm section, helmed by Tony McCarroll’s no-frills drumming, keeps the track grounded amid its swirling guitars.

The decision to record in one day and release it as their debut single was a gamble, one that saw the track peak at a modest #31 on the UK charts but carve out a lasting identity for the band.

The accompanying music video, with its rooftop setting, feels both casual and iconic, perfectly reflecting the band’s persona at the time.

Critically, “Supersonic” attracted an early cult following, cementing its place as an Oasis staple despite its lack of mainstream accolades.

Its place in rock history, solidified by frequent inclusion in greatest-hits collections, underscores its magnetic appeal—even three decades later, it remains a quintessential snapshot of Britpop’s ascent.

Featured on the 1994 album “Definitely Maybe“.

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

5 . Cher – Walking In Memphis

When Cher reimagined Marc Cohn’s “Walking in Memphis” for her 1995 album *It’s a Man’s World*, it wasn’t just a cover—it was a pop-rock restyling that walked the fine line between homage and reinvention.

Produced by Trevor Horn, the track was polished to a luminous sheen, weaving Cher’s unmistakable contralto into a song steeped in reverence for Memphis’s musical and cultural fabric.

The single secured a respectable spot on the UK Singles Chart, peaking at number 11, but Stateside, its performance was more subdued, landing at number 25 on the Billboard Adult Contemporary Chart.

The music video—laden with urban landscapes and hints of symbolism—added a cinematic layer to the track, even if it occasionally flirted with visual clichés.

Meanwhile, the song became a staple in Cher’s live performances, proving that, while it wasn’t a critical darling, it held its own with fans, bolstered by Horn’s masterful production background.

On the other hand, Marc Cohn’s original 1991 version stands as an autobiographical mosaic, capturing his poignant journey to Memphis in search of creative renewal.

Infused with reverence, his lyrics recount moments like witnessing Reverend Al Green’s gospel service and hearing piano riffs at the Hollywood Café—events that shaped his artistic compass.

Though thematically introspective, the song found mainstream success, soaring to number 13 on the Billboard Hot 100 and earning Cohn a Grammy nomination for Song of the Year.

The track’s ability to blend soft rock and pop elements with heartfelt storytelling cements its place as both a cultural love letter and a personal compass for an artist reconnecting with purpose.

Cher’s rendition elevates the drama, while Cohn’s original conveys a quieter, reflective power, making the two versions mirror images of admiration and interpretation.

Featured on the 1995 album “It’s a Man’s World”.

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6 . Smokie – Boulevard Of Broken Dreams

Smokie’s “Boulevard of Broken Dreams” occupies an intriguing space within their 1989 album of the same name, signaling a deliberate pivot into sleeker late-’80s pop-rock territory.

As the band navigated their post-Chris Norman identity, Alan Barton’s vocals offered a suitable, albeit less distinctive, replacement, positioning the group to cater to audiences that had embraced their fractured-romance anthems of yesteryear.

The song reflects themes of heartbreak, nostalgia, and self-reflection, resonating more with European listeners, particularly in Germany, where the band’s loyalists ensured its continued relevance.

Its polished production by Simon Humphrey hinted at attempts to mainstream their sound while maintaining the melodic sentimentality that defined their origins.

The track itself balances emotive lyrics with a relatively restrained arrangement, avoiding overindulgence while still capturing the melancholy of disillusionment without a heavy-handed approach.

While it didn’t muster significant chart impact in English-speaking countries, the song’s enduring presence in live sets reflects its understated significance in Smokie’s broader discography.

Its modest UK debut at number 77 belies the cultural adaptability Smokie demonstrated by tailoring their releases to cater to specific markets.

The dual-label distribution strategy—Wag Records in the UK and Polydor in Germany—underscores this strategic approach, even though the track’s success was geographically uneven.

Paired with B-sides like “Need Some Good Loving” and “Young Hearts,” “Boulevard of Broken Dreams” feels like a sentimental marker in Smokie’s evolving output rather than a bold reinvention.

Retrospectives on the band often acknowledge the track not for groundbreaking originality but for its role in sustaining Smokie’s relevance during an era of shifting musical preferences.

Smokie never sought to rewrite the pop-rock handbook with this piece, but its delicate balance of nostalgia and contemporary polish keeps it from fading entirely into obscurity.

Featured on the 1989 album “Boulevard of Broken Dreams”.

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

7 . Paul Weller – Wild Wood

Paul Weller’s *Wild Wood* stands as a pivotal moment in the artist’s trajectory—marking his stride away from the energetic mod revival of The Jam and the polished sophistication of The Style Council into a more reflective acoustic terrain.

Released in September 1993, the title track is steeped in pastoral imagery and crisp guitar arrangements, blending folk, rock, and hints of soul with remarkable fluidity. The song’s restrained, introspective mood contrasts with the era’s prevailing Britpop brashness. Its thematic focus on personal growth and connection with nature resonates on multiple levels.

Commercially, the single reached No. 14 on the UK charts, aligning with the album’s strong performance, peaking at No. 2. Critics widely celebrated the album, describing it as a contemplative, full-circle moment for Weller, with some even hailing it as the work his solo debut should have been. Notable tracks like “Hung Up” helped solidify its appeal, though some reviews pointed out the gaps between its best moments and the universally lauded masterpiece fans hoped for.

Across its carefully arranged tracks, *Wild Wood* navigates themes of reflection and patience, retaining enough warmth to avoid veering into austerity. It serves as both a career crossroads and a nod to Weller’s evolving artistry, with accolades that extend beyond fanbase nostalgia into broader relevance. For an album rooted in the contemplative landscapes of its lyrics, it holds a dynamic charm that stands the test of decades, encapsulating Weller’s realignment with his creative identity.

Featured on the 1993 album “Wild Wood“.

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

8 . Cyndi Lauper – Who Let In The Rain

Cyndi Lauper’s “Who Let In The Rain” occupies a quiet corner of her discography, standing apart from her kaleidoscopic pop hits with its subdued introspection.

Released in 1993 as part of the “Hat Full of Stars” album, the song trades bombast for subtlety, offering a pensive soft rock ballad co-written with Allee Willis, the pen behind everlasting tracks like “September” by Earth, Wind & Fire.

Thematically, it delves into heartbreak, loss, and nostalgia, a departure from Lauper’s earlier vibrant persona seen in “Girls Just Want to Have Fun.”

Critically, the track didn’t make a significant splash on the charts; it tapped out at No. 33 on the Billboard Adult Contemporary list and struggled to cement its place internationally, though it saw respectable traction in New Zealand at No. 26.

The music video, directed by Lauper herself, accentuates the emotional weight with a narrative rich in longing and artistry, reflective of her evolving focus on meaningful storytelling by this era.

Despite its lukewarm commercial response, the song embodies a distinct point in Lauper’s career—a shift away from her flamboyant pop foundation into shadowed emotional terrains that valued lyrical depth over instant hooks.

For fans and diehards, “Who Let In The Rain” symbolizes resilience, a sonic embodiment of the struggles and reflections that punctuate life’s quieter, heavier moments.

Though not a mainstream darling, it resonates as a cherished deep cut, cementing Lauper’s ability to challenge expectations while forging compositions that prioritize substance over transient chart success.

Its weather-related title—a subtle, poetic touch—only underscores its melancholic tone, adding another layer of allure to an already compelling narrative shared between Lauper and Willis.

Featured on the 1993 album “Hat Full of Stars”.

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

9 . The Lighthouse Family – Postcard From Heaven

“Postcard From Heaven” by Lighthouse Family is the kind of track that slips seamlessly into a late-’90s playlist built for Sunday afternoons, yet it demands more attention than just background noise.

Released as part of their 1997 album “Postcards From Heaven,” the song showcases the duo’s signature mix of easy listening and mellow pop, wrapped in layers of polished instrumentation.

Written by Paul Tucker and Tunde Baiyewu, the track leans on warm, understated melodies and introspective lyrics, delivered with Baiyewu’s silky, emotive voice that acts as the cornerstone of their sound.

The accompanying album flirted with massive commercial appeal, peaking at number two on the UK Albums Chart and achieving 6× Platinum certification—proof that the duo tapped into something universal without needing overt bombast.

While “High” captured the spotlight and stormed charts internationally, “Postcard From Heaven” remains a quieter triumph, never released as an official single in most territories but resonating thanks to its inclusion on multiple compilations.

The production, with contributions from session pros like Tim Laws and strings by The London Session Orchestra, embraces a lush, almost cinematic texture, making the track an enduring piece for fans of reflective storytelling in music.

Critics might fuss over its subdued pace, but its charm lies precisely in its restraint—it’s music that doesn’t beg for applause but earns quiet appreciation instead.

In a time when trends leaned toward energetic pop and edgy experimentation, Lighthouse Family stayed defiantly true to a formula built on hope, warmth, and introspection—a decision that evidently paid off.

Whether or not you consider it groundbreaking, “Postcard From Heaven” provides a snapshot of a moment when music could comfort gently rather than overwhelm, marking its place as a reliable mainstay of the group’s discography.

Featured on the 1997 album “Postcards from Heaven”.

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

10 . Mark Owen – Child

Mark Owen’s “Child” emerged as a bittersweet artifact from the post-Take That landscape, offering a glimpse of introspective pop tinged with theatrical melancholy.

The track, lifted from his debut solo effort *Green Man*, saw Owen stepping out of the shadow of boyband superstardom, leaning into his more reflective inclinations as a songwriter.

With its orchestral swells and muted yet heartfelt delivery, critics were quick to liken the song’s mood to early-1970s Lennon, a comparison that speaks as much to the arrangement’s sincerity as it does to its earnest melodrama.

Despite the risk of being typecast as “the sensitive one” post-split, Owen crafted a piece that resonated with audiences across Europe, charting boldly in countries as diverse as Spain and Lithuania.

Commercially, the single’s achievements were significant, clinching number three in the UK while crossing borders with ease, reflecting its universal themes of innocence and nostalgia.

The music video, all wintry landscapes and quiet symbolism, played into these motifs while marking Owen’s visual aesthetic—a world-parted whisper from his past pop stardom.

Yet for all its success, “Child” never felt like it was reaching for mass appeal; instead, it found its footing by embracing a quieter, more personal resonance that contrasted sharply with the bombast often associated with his boyband history.

Stylistically understated yet steeped in palpable emotion, “Child” set the tone for Owen’s solo reputation while leaving just enough edges unpolished to remind listeners this was uncharted territory, both for him and his audience.

Featured on the 1996 album “Green Man”.

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

11 . Jamiroquai – Half The Man

Jamiroquai’s “Half the Man” straddles the fertile soundscape of 90s acid jazz with an arrangement as smooth as it is introspective.

Unveiled as the second single off *The Return of the Space Cowboy*, the track captures the band’s early knack for blending jazz-funk grooves with thematic vulnerability.

Co-written by Jay Kay and Toby Smith, the single landed at a respectable number 15 on the UK Singles Chart, a testament to their growing appeal within the British music scene.

The accompanying music video, directed by Vaughan Arnell and Anthea Benton, is perhaps as understated as the song itself, with its monochromatic aesthetic and minimalist storytelling—though alternate versions exist to keep fans guessing.

The track never made its way to the US as a standalone single, yet it found minor notoriety across European airwaves.

Not included on their *High Times* greatest hits collection outside Japan, it’s a track collectors might label a hidden gem.

Critical takes were as diverse as the band’s sonic influences.

While *Music Week* described it as “a real grower,” others, like James Masterton, dismissed it as formulaic, suggesting that the band’s formula could do with some tweaking.

*NME* leaned into its blend of warmth and eccentricity, likening its influences to a Stevie Wonder B-side of sorts.

The song’s subdued chart success didn’t hinder its live appeal, where its groove sensibilities thrived during Jamiroquai’s mid-90s touring heyday.

Its backstory adds an intriguing layer, rumored to have been inspired by a woman named Gabriella, giving fans a rare glimpse into the group’s personal muses.

A notable footnote to its multifaceted history is its appearance in the British surf film *Blue Juice,* introducing it to an entirely different subculture.

While not the band’s most iconic single, “Half the Man” endures as a layered reminder of a time when Jamiroquai balanced groove and introspection with disarming ease.

Featured on the 1994 album “The Return of the Space Cowboy“.

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

12 . Julio Iglesias – Fragile

Julio Iglesias’s take on “Fragile,” originally penned by Sting, delivers a melancholic yet romantic energy that feels like sipping wine under a cloudy sky—pensive but undeniably smooth.

Part of his 1994 album “Crazy,” the track manifests as a bilingual pivot in Iglesias’s career, where Spanish romance intertwined with English lyrics to broaden his appeal.

The project itself leaned on heavyweight collaborations, including Dolly Parton and Frank Sinatra, suggesting Iglesias’s knack for aligning himself with musical dynasties while bringing his own velvet-glove touch.

“Fragile” in particular trades Sting’s sharp edges of quiet despair for a warmer emotional blanket, anchored by Iglesias’s signature croon and timeless approach to longing.

Yet, as much as it blends two worlds—pop balladry and Latin elegance—the track doesn’t scream for attention, remaining modestly tucked within “Crazy’s” lineup.

The album’s commercial success, peaking strongly in both mainstream and Latin charts, contrasts with the subdued reception of “Fragile” as a standalone song, though its performances during Iglesias’s mid-90s global tours slightly nudged its profile.

One could argue that by placing his signature stamp on a reflective classic, Iglesias reaffirmed his ability to transform even delicate narratives into lush yet accessible moments for his expansive audience.

Featured on the 1994 album “Crazy”.

Lyrics >> More by the same : Official Site