‘Music For The Dancers’ N°101 – Vintage 90s Music Videos

1 . SNAP! – Mary Had A Little Boy

“Mary Had a Little Boy” twists a traditional nursery rhyme into a Eurodance sensation, crafting a catchy ode to love and courage that defined SNAP!’s early-90s identity.

The song emerges as an eclectic blend of Eurodance and hip-house, with Penny Ford’s soulful vocals paired against Turbo B’s rhythmic rapping—a dynamic that keeps the energy relentless.

Lyrically, it’s playful but grown-up, charting a connection rooted in innocence while flaunting an upbeat confidence tuned for dance floors worldwide.

Released in late 1990 from the album *World Power*, it not only secured heavy rotation across MTV Europe but also reached impressive peaks on various European charts, notably climbing to #2 in the Netherlands and breaking into top ten tiers elsewhere.

The track’s stateside performance might not match titans like “The Power,” but it still earned respectable footing in clubs, perfectly positioned within a culture embracing dance-led pop hybrids.

The accompanying music video vibrates with quintessential ‘90s visuals: bold, unapologetic, and teeming with neon enthusiasm, a nod to the era’s unrefined yet infectious aesthetic.

Sparse instrumental layers driven by thumping beats and occasional synth flourishes leave space for Ford’s and Turbo B’s interplay—a testament to the less-is-more ethos of Eurodance production.

Its German Remix CD offered extended versions and alternative edits, undoubtedly tempting fans to keep the pulsating basslines alive at house parties and DJ sets alike.

While the song doesn’t completely escape being a product of its time, it persistently crackles with an earnest charm that makes its rhythm hard to resist, even decades later.

“Mary Had a Little Boy” situates itself between artifice and authenticity, a heady cocktail of nostalgia served with a knowing wink to the era from which it sprang.

Featured on the 1990 album “World Power”.

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

2 . Dimples D. – Sucker DJ

Dimples D.’s “Sucker DJ” is a curious artifact of hip-hop history, a track that took nearly a decade to find its audience, only to skyrocket to unexpected heights in the 1990 remix by Ben Liebrand.

Originally released in 1983 under the stewardship of producer Marley Marl, the song was initially met with widespread indifference—a footnote during hip-hop’s burgeoning years.

Fast forward to 1990, and Liebrand’s remix injects new life into the track, weaving in a sample from “I Dream of Jeannie” that’s as campy as it is addictive, alongside snippets from “Apache,” cementing its breakbeat-heavy charm.

From obscurity to topping Australian charts and breaking into European markets, the song’s arc mirrors that of many hip-hop tracks that find a strange second act overseas.

Its cheeky answer to Run-DMC’s “Sucker MC’s” is bold, though Dimples D herself wasn’t able to replicate this single’s massive success, bowing out as a one-hit wonder with charm intact.

The track’s legacy lies in its nostalgic glimpse into the genre’s formative years and its unplanned ability to become a key reference in discussions about early hip-hop’s global impact.

Featured on the 1990 album “Dimples & Spice”.

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

3 . The Tamperer – If You Buy This Record Your Life Will Be Better (w/ Maya)

It’s 1998, and The Tamperer featuring Maya offers the world a track that is as absurd as its name suggests: “If You Buy This Record Your Life Will Be Better.”

Built around a cheeky sample of Madonna’s “Material Girl,” the song feels like a tongue-in-cheek ode to consumerism wrapped in a glossy, late-90s dance-pop package. This marks the first time Madonna allows her work to be sampled, a curious historical footnote in itself.

Despite—or perhaps because of—its inherent cheesiness, the single ascends the charts, reaching number three in the UK and dancing comfortably into the top 10 in countries like Ireland, Denmark, and Finland.

Why it worked so well is anyone’s guess. Was it the irresistibly campy hook? The sly wink at capitalism? Or maybe the charm of Maya’s soulful delivery, which somehow anchored the whole thing in decency despite lines that might otherwise be too silly to take seriously.

Critics weren’t sure how to feel. Music Week both mocked and praised it, dubbing it “cheesier than a bucket of fondue” while awarding it “Single of the Week.”

Under the surface, the song’s producers—Italian maestros Mario Fargetta and Alex Farolfi—wove intricate layers of Eurodance beats, proving that even a track built on flamboyant absurdity could deliver technical finesse.

The track’s success spilled outside Europe, albeit modestly, peaking at number 15 on the US Billboard Dance chart and cracking the top 5 on Canada’s RPM Dance list.

This is the kind of song you hear once at a retro club and then find yourself Googling at 3 a.m., mostly to confirm that yes, it actually existed. Equal parts ephemeral and unforgettable, it encapsulates a sharply ironic slice of late-90s pop culture without ever taking itself too seriously.

Featured on the 1999 album “Fabulous”.

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

4 . Kym Sims – Too Blind to See It

Kym Sims’s 1991 single “Too Blind to See It” struts into the room with unapologetic confidence, blending early ‘90s house grooves and R&B-inflected hooks.

Written and produced by Steve “Silk” Hurley, it’s no surprise the track is drenched in Chicago house textures: rhythmic piano stabs, crisp drum programming, and an infectious vocal loop that flirts shamelessly with repetition.

The lyrics pivot around romantic betrayal, with Sims delivering lines about infidelity and denial in a manner that’s almost nonchalant—a dichotomy between emotional subject matter and club-ready production that feels oddly satisfying.

In the UK, it found its sweet spot on the dancefloor, sliding into the No. 5 spot on the Singles Chart and securing a silver certification for over 200,000 copies sold.

Across Europe and even in Zimbabwe, where it reached No. 1, the record proved itself a global mover, though its US Billboard Hot 100 peak at No. 38 suggests it wasn’t destined for heavy daytime rotation stateside.

Still, its ascent to No. 1 on the US Billboard Dance Club Songs chart affirms its nightclub dominance—there’s a reason this track was a late-night staple during its heyday.

Less of a “song” in the traditional sense and more of a DJ weapon, “Too Blind to See It” lives and dies by its minimalist, bassy insistence.

The sample lifted from Rochelle Fleming’s “Let No Man Put Asunder” nods knowingly at its Salsoul lineage, holding court with purists while still appealing to the sweat-soaked crowds.

The accompanying music video managed to make its rounds, and Sims even earned herself two appearances on *Top of the Pops,* cementing her as more than just a faceless vocalist in house music’s expansive catalog.

If anything, the track is a case study in how dance hits can harness limited lyrics and a hypnotic loop to pry even the most reluctant feet onto a dancefloor.

Featured on the 1992 album “Too Blind to See It”.

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

5 . U.S.U.R.A. – Open Your Mind

“Open Your Mind” by U.S.U.R.A., released in 1993, is a throbbing slice of early ’90s Eurodance that flaunts its genre-defining brashness.

The track’s most memorable element remains its ingenious sampling of dialogue from *Total Recall*.

The phrase “Open your mind” serves as both a literal and figurative hook, anchoring the song’s insistent beat and its message of cerebral liberation.

Charting in the top 10 across Europe, it successfully bridged the gap between the underground electronic scene and radio-friendly dance, a feat not every act of the time managed to achieve.

The production leans heavily on techno and progressive house influences, blending sharp basslines with an anthemic synth lead that maintains the listener’s attention without overstaying its welcome.

The accompanying music video leans into its heavy-handed messaging with imagery ranging from historical political figures to pulsar-like visuals, conjuring an almost dystopian vibe.

Produced by Giacomo Maiolini, Walter Cremonini, and Alessandro Gilardi, it embodies a mechanical precision that some critics interpret as both a strength and a flaw.

The song is undeniably catchy, though it has been critiqued for riding its simple structure without much risk or variety.

Despite that, its cultural and commercial impact was hard to ignore, becoming a fixture of ’90s club culture across a continent looking to lose itself on neon-lit floors.

Its various remixes, including a forgettable 1997 version by DJ Quicksilver, struggled to capture the energy of the original, perhaps proving that the spark of the early ’90s can’t always be reignited on demand.

Featured on the 1993 album “Open Your Mind”.

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

6 . Paula Abdul – Vibeology

“Vibeology” by Paula Abdul is a bold snapshot of early ’90s pop-dance fusion with just the right amount of electronic funk to keep heads turning on the dance floor.

Released as the fourth single from her *Spellbound* album, the track leans unapologetically into its jazzy house-inspired beat, peppered with bass loops that feel custom-built for smoky clubs and neon strobes.

Charting respectably across the globe—hitting #16 on the US Billboard Hot 100 and climbing into the top 20 in the UK—the song walked the tightrope between commercial success and underground flare.

Lyrically, it’s cheeky and slightly eccentric, with Abdul introducing her self-coined term, “vibeology,” as a manifesto for exploring energy and connection.

And while the concept may seem a little abstract, the production roots it firmly in a physical space—rhythm that’s all sharp turns and attitude.

The accompanying music video, featuring high-energy choreography and dramatic backdrops, doubles down on Abdul’s flair as a dancer and performer, adding a layer of theater to the mix.

It’s not her most famous anthem, but its niche appeal ensures its place as a club classic, and the unique blend of sounds helped keep *Spellbound* in public rotation longer than it might’ve otherwise lingered.

Even decades later, “Vibeology” remains a curious piece of pop archaeology, a time capsule filled with funky beats and borderline experimental choices that, somehow, still work.

Featured on the 1991 album “Spellbound“.

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

7 . The Chimes – Heaven

“Heaven” by The Chimes isn’t just a product of its time—it *is* its time, neatly packaged into four minutes and change.

Released in late 1989 and anchored by Pauline Henry’s crystalline vocals, this house-inflected track isn’t content to merely fill the dancefloor; it commands attention with a piano riff that seems engineered to stick in your brain for days.

The production, courtesy of the band themselves, feels both polished and a little raw, capturing the tension of late-’80s club culture teetering on the edge of the more polished ‘90s dance explosion.

Critics seemed to appreciate the hybrid nature of the song—equal parts gospel fervor and nightclub swagger—with names like *Billboard* giving it a nod while *Melody Maker* added their cheers from the sidelines.

It never became their defining hit (that crown belongs to their cover of U2’s “I Still Haven’t Found What I’m Looking For”), but “Heaven” occupies a curious middle ground in their discography—a moment when they seemed on the cusp of broadening their sound without letting go of the genre’s glassy surfaces.

In New Zealand, it broke into the top five—a geographical surprise for a Scottish trio with such a cosmopolitan sound, while in the US, it gained traction on underground club charts.

By the time the accompanying video rolled out, it was practically a time capsule of late-’80s aesthetics: clipped editing, inexplicable color filters, and the type of joyful emoting that feels more earnest than ironic.

If nothing else, “Heaven” marks a corner of dance music history where pop met underground, touched hands for a second, and decided to play nice—at least for the runtime of the track.

Featured on the 1990 album “The Chimes”.

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

8 . The Human League – Tell Me When

Released in late 1994, “Tell Me When” by The Human League performs an intriguing balancing act between nostalgia and reinvention.

Hailing from their seventh studio album *Octopus*, the single emerges after a significant break, seizing attention with its polished synth-pop style that’s somehow familiar yet updated.

Produced by Ian Stanley, it manages to smooth out analogue edges without losing the band’s characteristic charm.

Charting respectably at No. 6 in the UK and No. 31 on the US Billboard Hot 100, its success is notable but not groundbreaking, though its popularity on dance charts implies broader appeal in club circuits.

Thematically, the track leans heavily into wistful longing and second chances—weaving uncertainty with precision, both lyrically and sonically.

Andy Morahan’s music video, shot in the Czech Republic, aligns the band with industrial visuals, subtly echoing their artistic adaptability.

Though not a seismic shift in their discography, the song stands as a well-executed moment of recalibration within a career often punctuated by reinvention.

Neither a feeble grasp for relevance nor a tired replay of prior hits, “Tell Me When” instead frames The Human League as steady navigators of evolving musical tides.

Featured on the 1995 album “Octopus”.

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

9 . The Prodigy – Charly

The Prodigy’s breakthrough single “Charly” arrives in 1991, carting a mix of rave anthem energy and a peculiar cultural nod to British nostalgia.

The hook is impossible to ignore—a loop of a sampled catchphrase from a 1970s Public Information Film advising kids to “tell your mum” before wandering off, layered over frantic breakbeats and synths that simultaneously thrill and bewilder.

The track’s success is both its triumph and its Achilles’ heel, with some accusing it of spearheading “toytown techno,” a polarizing subgenre marked by its playful, cartoonish elements.

For all the backlash, there’s no denying its impact; it charts big in the UK, pushing rave culture further into the mainstream while inadvertently inviting its fair share of snickering from critics skeptical of its so-called gimmickry.

But its cultural footprint is undeniable, setting up The Prodigy as genre-shaping figures and offering a window into a gloriously chaotic and experimental moment in electronic music history.

Featured on the 1992 album “Experience“.

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

10 . Pop Will Eat Itself – X, Y & Zee

Pop Will Eat Itself’s 1991 track “X, Y & Zee” doesn’t simply fit into a genre; it dissects, blends, and reassembles them into a chaotic, electrified collage.

Penned under the cheeky pseudonym “Vestan Pance,” the song is a hyperactive Frankenstein of industrial rock, alternative hip-hop, and electronic experimentation, held together by the band’s signature sample-heavy production approach.

The title references the 1969 film of the same name, though any expectation of romantic drama is obliterated by the song’s frenetic energy and cryptic lyrics.

Peaking at #15 on the UK Singles Chart, it marked Pop Will Eat Itself’s foray into broader recognition, with its grooves proving equally compelling in clubs and mosh pits alike.

The accompanying music video, released a year prior in 1990, captured the track’s jittery, madcap essence and found a reliable home on MTV Europe’s rotation.

“X, Y & Zee” earned a notable remix treatment in the form of the Intergalactic Mix, housed on the remix album *Two Fingers My Friends!*, cementing its position in early 90s alternative soundscapes.

Performances at major festivals like Reading 1991 demonstrated the track’s live power, making it a mainstay in the band’s setlists amid their declared mission to create “hybrid music for f***ing, fighting, & smoking cigars.”

The song embodies the cultural clash of its era, where punk nihilism, emerging rave culture, and hip-hop innovation collided in a restless, boundary-pushing form.

Even if it didn’t storm every chart, its influence reverberates as a snapshot of Pop Will Eat Itself’s irreverence and unrelenting experimentation at their peak.

Featured on the 1990 album “Cure for Sanity”.

Lyrics >> More by the same : Official Site

11 . Fatboy Slim – Right Here Right Now

Fatboy Slim’s “Right Here, Right Now,” released in 1999 as part of the 1998 album ***You’ve Come a Long Way, Baby***, carries the type of bold swagger you’d expect from Norman Cook’s reign in the late ‘90s electronic scene.

The song thrives on its pulsating tempo and a reversed bassline plucked from James Gang’s 1971 track “Ashes, the Rain & I,” giving it an ever-forward momentum that matches its title’s demand for immediacy.

Adding a cinematic flair, Angela Bassett’s sampled line from the 1995 film *Strange Days* loops throughout, anchoring the track to a cultural moment of apprehension and excitement for the turn of the millennium.

Commercially irresistible, it climbed to number 2 on the UK Singles Chart and built an international presence by charting in countries like Greece and Australia, proving that a good groove doesn’t stop at borders.

The Hammer & Tongs-directed video is an evolutionary fever dream, charting the journey from single-celled organisms to latte-drinking modern humans in just under four minutes, delivering a quirky visual complement to the song’s relentless energy.

For a track so rooted in technological optimism, it’s fitting that its influence extends to brand campaigns, massive events like the 2012 London Olympics, and stadiums where its urgency becomes a rallying cry for collective moments.

It’s not subtle, but subtlety isn’t the point—Cook weaponizes repetition and escalation, crafting a track that demands attention without overstaying its welcome.

The legacy of “Right Here, Right Now” feels almost ironic: a song championing the present has become a nostalgia-laden classic, forever tied to an era when electronic music turbocharged into mainstream cultural consciousness.

Featured on the 1998 album “You’ve Come A Long Way, Baby“.

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

12 . N~Trance – Set You Free

N-Trance’s “Set You Free” is a whirlwind of Euro-NRG euphoria that has managed to remain both a club anthem and an enduring curiosity of the 1990s rave era.

First recorded in 1992 and finding its way to prominence by 1995, this track is the musical embodiment of glowsticks, questionable fashion, and the collective sweat of warehouse parties.

Featuring Kelly Llorenna’s soaring vocals—recorded when she was just 16—the song flirts with themes of love and liberation, though not in an over-serious way.

It’s more about the communal experience, a soundtrack for youth finding themselves (or losing themselves) under flashing lights and fog machines.

The production, handled by N-Trance’s Kevin O’Toole and Dale Longworth, walks a fine line between hypnotic repetition and hands-in-the-air crescendos, serving as a main course for nostalgic ravers and curious newcomers alike.

Commercially, it’s a beast that refused to be pigeonholed into one moment.

The track originally skimmed the UK charts in 1994 before hitting No. 2 in 1995, fueled by its gripping re-release and newcomers lured in by sheer word-of-mouth.

It didn’t stop there—a 2001 remix took it back to No. 4, proving its staying power in a time when dance music was evolving into a new digital playground of flavors.

Internationally, it made waves, reaching various Top 20 positions across Europe and even achieving surprising resonance in Australia.

And yet, critics seemed to regard it with a mix of amusement and exasperation, dismissing it as formulaic while perhaps failing to notice how effectively it captured its time and place.

The music video, frosty aesthetics and moody snowscapes included, provides the track with an imagery that’s both evocative and faintly ridiculous, as if attempting to lend gravitas to its manic energy.

What sells “Set You Free” even now, decades removed, is its utter refusal to age gracefully or politely disappear into the corner of a Spotify playlist.

Its remixes stretch into absurd territory, but the original will forever stand as the unruly cousin you can’t help but invite to the family reunion.

N-Trance might not be a household name for everyone, but this track is like a postcard from a very specific, vividly neon-edged chapter of music history: ridiculous, a bit brash, and all the more endearing because of it.

Featured on the 1995 album “Electronic Pleasure”.

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