‘Music For The Dancers’ N°100 – Vintage 2000s Music Videos

1 . Eiffel 65 – Blue [Da Ba Dee]

“Blue (Da Ba Dee)” operates as a time capsule of late ’90s Eurodance, blending auto-tuned melancholia with floor-shaking beats.

The song narrates a surreal existence in a monochromatic “blue world,” pairing oddly poignant storytelling with a melody that’s almost infuriatingly catchy.

Eiffel 65’s debut single is anchored by Maurizio Lobina’s iconic synth hook, which echoes endlessly like a ringtone you can’t escape.

Its harmonized, pitch-corrected vocals may divide listeners, but the intentional artificiality feels fitting for an era enamored with the digital frontier.

The track’s global chart dominance—from Australia to Finland—is less surprising than its cultural stamina, its infectious na-na-na cadence etched into collective memory.

The accompanying music video, a fever dream of clunky CGI aliens, seems gloriously out of step even by late ’90s standards, yet it perfectly encapsulates the song’s oddball charm.

While its Grammy nomination in 2001 was overshadowed by the novelty of “Who Let the Dogs Out?,” “Blue” has unexpectedly outlived its contemporaries.

Beyond nostalgia circuits, the track has been resampled and reimagined, infiltrating everything from Flo Rida’s radio-ready “Sugar” to “Just Dance 2018.”

It may not offer lyrical depth, but the endearing absurdity of “Blue (Da Ba Dee)” ensures it’s more than just a relic; it’s a cultural adhesive from a wilder, weirder pop terrain.

Featured on the 1999 album “Europop”.

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

2 . Madison Avenue – Don’t Call Me Baby

Released in 1999, “Don’t Call Me Baby” by Madison Avenue captures the defiant energy of late-’90s house music with a cheeky persona to match.

Built on a funky bassline borrowed from Pino D’Angiò’s “Ma Quale Idea,” itself a riff on McFadden & Whitehead’s “Ain’t No Stoppin’ Us Now,” the track feels like the musical equivalent of a smirk.

Cheyne Coates asserts her independence with a vocal delivery that balances sass and sultriness, backed by Andy Van’s crisp production under Vicious Recordings.

The music video, directed by Mark Hartley, places Coates center stage, embodying the empowered attitude of a woman who’s done explaining herself, dressed in sharp, chic fashion that practically screams “don’t waste my time.”

Topping charts in Australia, the UK, and New Zealand, the song wasn’t just a hit—it became a cultural moment, blaring out of club speakers and car radios with equal fervor.

Awarded ARIA’s Single of the Year and remixed over the decades, its enduring appeal lies in the playful way it flips the script on neediness, offering instead a cool refusal wrapped in infectious grooves.

Ironically, though its lyrics demand others back off, its hook pulls listeners in, proving that sometimes rejection can be irresistible.

It remains a fixture in retrospectives of both ’90s fervor and house music nostalgia, even making lists like MTV Dance’s “100 Biggest ’90s Dance Anthems.”

“Don’t Call Me Baby” is many things—brassy, bold, borderline confrontational—but forgettable isn’t one of them.

Featured on the 2000 album “The Polyester Embassy “.

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3 . Paul van Dyk – For an Angel

Paul van Dyk’s “For an Angel” is both a cornerstone of trance music and an enduring artifact of 90s electronic culture.

Initially released in 1994 as part of his “45 RPM” album, the track embodies the melodic, hypnotic qualities that defined the genre’s rise.

Its 1998 rework, dubbed the “E-Werk Remix,” reflects the pulse of Berlin’s club scene, where van Dyk’s residency at the iconic venue lent the track a sharper, more polished edge.

Despite its origins in an underground scene, the remix became a mainstream success, peaking at #28 on the UK Singles Chart, while later remixes in 2009 secured its crossover legacy with a new generation.

The production showcases van Dyk’s mastery over analog synthesis, utilizing classics like the Roland Juno-60 and the TR-808 to craft a sound that’s lush yet mechanical.

Its presence on compilations such as “Vorsprung Dyk Technik” underscores its influence, offering a snapshot of the era’s creative innovations.

The accompanying visuals, from 1994’s tropical Riviera Maya backdrops to 1998’s footage of the Love Parade, provide a stark cultural context, bridging the personal escapism of clubbing with collective euphoria.

In terms of melody, “For an Angel” skims the thin line between simplicity and grandeur, leaving a minimal but striking imprint.

Even decades later, reinterpretations like the 2022 sampling by Topic, Robin Schulz, and Nico Santos preserve its essence without diminishing its legacy.

Critically, it’s become a frequent flyer on “greatest dance tracks” lists, including *Mixmag* ranking it eighth and DJ Magazine placing it atop their “Top 100 Club Tunes.”

While it leans heavily into harmony and repetition, there’s no pretense—its aim is conviction, not complexity.

More recently, the 2023 double-vinyl anniversary release serves as a reminder of its durability in a genre often driven by ephemerality.

To hear it today, whether in its original form or through revamped remixes, is to time-travel into the heart of a scene both exhilarating and unpolished, where “For an Angel” has unshakably taken residence.

Featured on the 1994 album “45 RPM”.

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

4 . Mr. Vegas – Heads High

Released on October 13, 1998, Mr. Vegas’s “Heads High” is a loud, unapologetic anthem of female confidence, delivered against the backdrop of late-90s dancehall.

The single rides on the once-inescapable Filthy rhythm—gritty, minimalist, and perfectly suited for Mr. Vegas’s singjay delivery.

In a space riddled with explicit lyrics, “Heads High” boldly sidesteps vulgarity without sacrificing its bite, earning praise for its clean yet defiant tone.

It’s no wonder the song clawed its way to #1 on reggae charts across five continents, while also snagging a respectable #69 on the US R&B chart and #16 on the UK Singles Chart.

MTV couldn’t seem to get enough, propelling the music video, drenched in dancehall energy, into heavy rotation—a rare feat for the genre at the time.

Selling over 150,000 copies worldwide, the track cemented Mr. Vegas’s name in the industry, though not without some raised eyebrows on how it straddled the pop-reggae divide to court mainstream appeal.

The MOBO Award for Best Reggae Artist was just the cherry on top for a year that saw dancehall’s underground rhythms flirt shamelessly with global recognition.

More than two decades later, “Heads High” lingers as a staple in dancehall playlists—a polished artifact of 90s club culture that managed to be uplifting without feeling preachy or sanitized.

Featured on the 1998 album “Heads High”.

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

5 . Vengaboys – Kiss [When The Sun Don’t Shine]

Vengaboys’ “Kiss (When the Sun Don’t Shine)” lands squarely in the kaleidoscopic late ’90s Eurodance frenzy, a genre that sometimes felt like a sugar rush in musical form.

The track, released in November 1999, rides on bounce-heavy synths and a repetitive hook, delivering a chirpy ode to carefree love—or perhaps, a pointed evasion of it.

Translated into chart performance, the song struck gold, peaking at the summit in New Zealand and Scotland, and dancing through the top 10 in pivotal markets like the UK, Australia, and Germany.

If the late ’90s were pop music’s cartoon carnival, then the Vengaboys were the house band, and this song embodies their ethos of joy over depth, spectacle over subtlety.

The music video, shot in Tokyo, is a fever dream of futuristic costumes and choreographed “Para Para” moves that scream turn-of-the-millennium chic or possibly kitsch, depending on your threshold for neon overload.

Critics might quibble over whether its success owed more to its bubblegum beats or its borderline-novelty lyrics, but the track’s charm lies precisely in its refusal to take itself seriously.

When performed live—like their energy-filled *Top of the Pops* appearance in December 1999—it’s less a song than a call to throw inhibition to the wind and surrender to unabashed silliness.

This isn’t about nuance or innovation but rather a sonic time capsule of an era when dance floors didn’t care if a chorus repeated until it drilled into your subconscious.

Say what you will about Vengaboys, but they understood the pop economy of earworms—and this track hugs that formula like its life depends on it.

Two decades later, the song remains a guilty (scratch that, unashamed) pleasure for those craving a hit of late-century sunshine in musical form.

Featured on the 2000 album “The Platinum Album”.

Lyrics >> More by the same : Official Site

6 . Ricky Martin – Shake Your Bon-Bon

Ricky Martin’s “Shake Your Bon-Bon” arrives as a burst of y2k delirium, unabashedly leaning into its euphemistic swagger and hyper-kinetic energy.

The track, penned by a trio of pop scientists—Robbie Draco Rosa, Desmond Child, and George Noriega—offers a frivolous slice of Latin-infused pop designed to commandeer feet and stoke winks.

Its relentless percussion, brassy inflections, and Martin’s breathless delivery form an unapologetic cocktail of cheeky fun and calculated charisma.

The lyrics don’t break ground, but their barely-cloaked cheek lends a dose of campy flair that’s either eye-rolling or addictive, depending on your tolerance.

Wayne Isham’s direction in the accompanying video cranks up the absurdity, featuring Martin shimmying atop vehicles like he’s moonlighting as an emergency services choreographer.

Critically, it holds a split profile: a product of its commercial ecosystem, shamelessly pandering but oddly captivating in its commitment to exuberance.

It garnered MTV VMA nominations and infiltrated pop culture with cameos everywhere from *Happy Feet* to Toyota ads, granting it an afterlife that slips between kitsch and nostalgia.

The song’s charm lies in its refusal to be deeper than its relentless groove.

For all its silliness, it fits snugly within the eclectic landscape of turn-of-the-millennium music, when excess mattered more than sense.

Featured on the 1999 album “Ricky Martin”.

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7 . Alice DJ – Back in My Life

Alice DJ’s “Back in My Life” punches through the haze of late-90s Eurodance like a neon ghost from a party that never quite ended.

Released in November 1999 as the second single from *Who Needs Guitars Anyway?*, the track combines yearning lyrics with pulsating synths, crafting a sound designed both for the dance floor and the tortured recesses of your lonely heart.

The song’s success speaks volumes, cracking the UK Singles Chart at #4 and securing top 10 placements across Europe, including Norway, Sweden, Finland, Ireland, and the Netherlands.

Not content with regional dominance, it crossed the Atlantic to land on the US Dance Club Songs chart, though it fell short of full mainstream saturation stateside.

The music video takes an almost ethereal approach, flitting between dramatic funeral vignettes and windswept cliffs, shot in Iceland with an all-female crew—a striking juxtaposition of mourning and celebration.

The theme of longing laced with an upbeat tempo mirrors the bittersweet essence of late-’90s club culture: ecstatic escapism tinged with introspection.

The track’s production credits include Wessel van Diepen and Dennis van den Driesschen, with Judith Pronk’s sharp-edged yet vulnerable vocals rounding out the package.

Its irresistible hook secured its place on countless compilations and playlists of the era, alongside its precursor “Better Off Alone.”

While some may call it formulaic, it’s that very formula, sharpened to perfection, that gives “Back in My Life” a staying power far beyond its release date—whether in sweaty club basements or nostalgic Spotify streams years later.

Featured on the 2000 album “Who Needs Guitars Anyway?”.

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

8 . The Lightning Seeds – Life’s Too Short

“Life’s Too Short” by The Lightning Seeds stands as a quirky yet introspective entry from their 1999 album *Tilt*, an effort that veers toward electronic textures while keeping one foot firmly planted in the band’s pop-rock origins.

The track is a musing on the brevity of existence, blending shimmering melodies with Ian Broudie’s characteristic knack for crafting earworms that dodge sentimentality.

Released under Epic Records, the album as a whole feels like a creative experiment, interspersing dance influences with the band’s tuneful sensibilities.

The BBC seal of approval for “Life’s Too Short” as one of their strongest singles suggests a rare alignment of critical and pop appeal, even if commercial success didn’t necessarily follow suit, with the song peaking at No. 27 on the UK Singles Chart.

A notable collaboration comes via Stephen Jones, whose input arguably adds depth to the record’s sheen, though some might view the pivot to dance beats as a bold diversion from expectations.

While the music video reportedly lacked any standout visuals to etch itself into the zeitgeist, The Lightning Seeds have always thrived on their sound rather than spectacle.

By the time *Tilt* arrived, the band was on the brink of hiatus, making this album a peculiar swan song—part reinvention, part reaffirmation of their melodic core.

Listening now, “Life’s Too Short” feels both of its time and slightly ahead of it, a reminder that even pop experiments can leave a mark beneath the glittering surface.

Featured on the 1999 album “Tilt “.

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

9 . Groove Armada – I See You Baby (w/ Gramma Funk)

“I See You Baby” slinks into the room with a bassline that oozes confidence, wearing its funky electronic heart on its sleeve.

Released by Groove Armada in 1999 and featuring the irrepressible presence of Gramma Funk, the track embodies a cheeky sense of purpose.

The lyrics, most famously iterating “Shakin’ That Ass,” are both provocatively repetitive and irresistibly catchy, straddling the fine line between playful and brazen.

Initially, the song made a respectable climb to number 17 on the UK Singles Chart, but it wasn’t until the infamous Fatboy Slim remix—complete with its bigger, bolder club appeal—that the track cemented its staying power in nightlife culture.

Gramma Funk’s vocals don’t just complement the beat; they set the tone, adding an air of unapologetic swagger to the proceedings.

American audiences were greeted with a sanitized chorus replacing “ass” with “thang,” a tweak that felt equal parts amusing and begrudgingly necessary for wider radio play.

The track’s cultural footprint is undeniable, from soundtracking an early ’00s “MTV Cribs” era to gracing Renault Megane car commercials, making it both a dancefloor staple and a commercial darling.

Despite these accomplishments, it’s not a track riding on technical innovation; instead, its charm lies in its unabashed straightforwardness—big beat textures, hypnotic loops, and a knowing wink to the listener.

Paired with a music video featuring voyeuristic camera angles and awkwardly bold visuals, the song projects an image as self-aware as it is bombastic.

While Groove Armada’s broader catalog speaks to their versatility, “I See You Baby” remains their de facto calling card, a track that refuses to age quietly.

This isn’t a song begging to be dissected—it’s a pre-packaged good time that doesn’t overstay its welcome, even two decades later.

Featured on the 1999 album “Vertigo”.

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

10 . Point Break – Stand Tough

Released in 2000 as part of their “Apocadelic” album, “Stand Tough” by Point Break is undeniably a product of its time.

Its pop sensibilities are laced with faint echoes of Britpop, a genre past its peak but still limping along in the cultural zeitgeist.

Warner Music’s fingerprints are evident across the track’s glossy, commercial production, although the song struggles to tread the line between catching a radio-friendly wave and being forgettable.

Its initial splash on the charts—7th in the UK, 10th in Japan, and, well, a wobbly 49th in Australia—hints at a brief flirtation with success rather than dominance.

The group itself carries an air of disposability; thrown together in the late ‘90s, their shelf life was as fleeting as Y2K hysteria.

Comprised of Brett Adams, David “Ollie” Oliver, Dylan Bennett, Dustin Strong, and later Nicol Lampert, the band suffered an early setback when founding member Jon quit due to illness—a moment more poignant than the music ever manages to be.

Adams and Oliver’s prior careers on TV’s “Byker Grove” grant the group a dubious double threat, their telegenic presence often overshadowing the music itself.

For those who enjoy their pop diluted and neatly packaged, “Stand Tough” might feel like a nostalgic time capsule, but for anyone seeking substance, the track’s resolute mediocrity leaves little to hold onto.

Featured on the 2000 album “Apocadelic”.

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11 . Rank 1 – Airwave

“Airwave” by Rank 1 is a trance cornerstone that radiates an ethereal synthesis of melody and machine, embodying the genre’s late-’90s apex.

The track, constructed by Benno de Goeij and Piet Bervoets, ventures deeply into the hypnotic grooves of electronic dance music while adding the shimmering melodic structures that defined Dutch trance’s formative years.

Achieving a No. 10 spot on the UK Singles Chart in 1999 and re-emerging in its modern remix form at No. 4 in 2014, the song exemplifies a rare longevity in a genre known for its rapid turnover.

Its instrumental core relies heavily on soaring synthesizer layers, emotional chord progressions, and a pulsating bass foundation, creating a sense of connection and expansiveness—aptly reflected by the theme of airwaves as intangible bridges of communication.

Ranked #1 in A State of Trance’s Top 1000 poll in 2011, its affectionate reverberation among fans decades later speaks volumes about its lasting influence on EDM culture.

Cementing itself in festival lineups and remix circles, “Airwave” has transcended mere nostalgia, becoming something of a DNA strand in trance’s global identity.

While some critique its simplicity in structure, this very minimalism might well be its strength; the song remains a clean, unadulterated expression of trance at its euphoric best.

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

12 . Artful Dodger & Craig David – Re~Rewind

“Re-Rewind (The Crowd Say Bo Selecta)” shakes up the UK garage scene with its potent mix of sharp 2-step beats and smooth-as-butter vocals from a then-unknown Craig David.

Laced with the irresistible “re-rewind” hook, this 1999 track catapulted both Artful Dodger and David into mainstream consciousness, hitting number two on the UK charts and setting clubs ablaze.

Originally born from a David demo titled “Last Night,” the song almost vanished mid-session thanks to a technical snag, a near casualty in the name of garage greatness.

The track’s success was certified in numbers—platinum status in the UK for the single and silver for a solo version by David, further boosting his rapid-fire ascent to solo fame.

Culturally, it became more than a club anthem; the title cheekily inspired the name of Leigh Francis’s *Bo’ Selecta!* TV series, cementing its imprint on British pop culture.

Throw in a video drenched in late-’90s club vibes and the collaboration with Artful Dodger’s Mark Hill and Pete Devereux, and you’ve got a track that didn’t just ride the UK garage wave—it helped redirect its course into the charts and living rooms nationwide.

Featured on the 2000 album “It’s All About the Stragglers”.

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