‘Music For The Dancers’ N°109 – Vintage 90s Music Videos
New Kids On The Block, Five, FPI Project, DNA & Sharon Redd, Whigfield, Ini Kamoze, Jamiroquai, Nomad, Real McCoy, Mariah Carey, Blue Pearl, D:Ream
They are the performers of twelve vintage dance tunes that were ranked in various charts, this week (05/52)BUT … in the Nineties 90s.
Here, they are reunited in one glorious playlist. Enjoy!
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For TWELVE more ‘Music For The Dancers’ – Vintage 90s Music Videos – week 05/52 – click here
AUDIO ONLY
Tracklist
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![]() 1 . New Kids On The Block – You Got It [The Right Stuff]New Kids on the Block’s “You Got It (The Right Stuff)” arrived in 1988 like a blaring neon sign, ushering in a new phase of boyband hysteria. Propelled by its infectious rhythm and Jordan Knight’s polished falsetto, the track stitched together tightly-packed pop hooks with a mechanical precision that defined much of late-’80s chart music. What begins as an anthemic ode to young crushes transcends into a polished pop juggernaut, bolstered by Donnie Wahlberg’s assertive interjections. The song’s success wasn’t confined to one continent—it topped charts in Australia and the UK while claiming a comfortable space in the upper echelons of the U.S. Billboard Hot 100. Its companion video, practically a time capsule of the era, sees the group embrace synchronized choreography while Knight flashes a Bauhaus T-shirt—a moment of sartorial dissonance that adds a whiff of quirky rebellion to their clean-cut image. The track’s enduring appeal has rendered it a go-to reference point for pop culture reboots, from its placement in “Fuller House” to nods on reality TV performances. Though undeniably catchy, it doesn’t offer much in the way of depth, trading contemplative lyrics for a glossy, radio-ready veneer. In hindsight, “You Got It” embodies everything both charming and confining about the late-’80s pop landscape, straddling the line between irresistible frivolity and formulaic repetition. Featured on the 1988 album “Hangin’ Tough”.
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![]() 2 . Five – Slam Dunk [Da Funk]Five’s “Slam Dunk (Da Funk)” bursts onto the late ’90s pop scene with a swagger that blends boy band charm with a touch of hip-hop bravado. Max Martin and Denniz Pop’s production amplifies its infectious energy, lacing Herbie Crichlow’s “Clap Your Hands” sample with booming beats and slick verses. Released as the debut single from their self-titled album, the track manages to showcase confidence without steering too far from its playful tone. While it lands a respectable number 10 in the UK charts and claims Silver certification, the song struggles to bring the same heat stateside, stalling at number 86 on the Billboard Hot 100. Still, its inclusion in an eclectic mix of pop culture moments—serving as the NBA’s theme song and appearing in “Sabrina, the Teenage Witch” and “Smart House”—cements its ubiquity in its moment. What sets it apart, however, is its malleability; multiple remixes spin the track in fresh directions, although purists might argue the original already captures its essence. On stage in 2013, Five adapt “Slam Dunk” for their updated lineup, proving its enduring appeal despite the industry’s ever-shifting landscape. With its colorful lyrics and unmistakably brash attitude, it embodies everything loud, bold, and unapologetically fun about late-’90s boy band pop. Featured on the 1998 album “Five “.
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![]() 3 . FPI Project – Rich in ParadiseThe 1989 track “Rich in Paradise (Going Back to My Roots)” by FPI Project takes familiar elements and refashions them into a quintessential Italo house anthem. It prominently threads its DNA with Richie Havens’ soulful interpretation of “Going Back to My Roots,” a choice that pays reverence to the past while anchoring it firmly in the club-driven pulse of the late ’80s. The production, crafted in the Garden Studio of Milan, brings a polished yet unpretentious vibe, layering Sharon D. Clarke’s charismatic vocals over bouncy, shimmering beats. The sampling choices, from Honesty 69’s “Rich in Paradise” to T99’s “Too Nice to Be Real,” aren’t arbitrary—they underline the track’s mission of creating something celebratory yet grounded in its lineage. Its trajectory on the European charts wasn’t a fluke; the UK embraced it at No. 9, while Austria and Germany welcomed it into their top 5, cementing its presence as more than just a fleeting blip on the house music radar. What makes this song worth revisiting is its refusal to take itself too seriously—it’s unashamedly upbeat, even when its lyrics allude to a yearning for authenticity and connection. Featuring on compilations like “Deep Heat 5 – Feed the Fever” ensured its lifecycle stretched beyond initial release, while appearances in mainstream media gave it a second wind. The official video doubles down on the track’s exuberance, presenting a visual translation that’s as unrestrained as the beats themselves. Although later remixes in 1994 and 1999 tried to recapture the magic, there’s something about the original that remains singularly engaging, a snapshot of a specific cultural and musical moment that refuses to be eclipsed. Featured on the 1991 album “Rich In Paradise”.
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![]() 4 . DNA & Sharon Redd – Can You Handle ItIn 1980, Sharon Redd’s “Can You Handle It” emerged as a sultry blend of disco and R&B, riding the wave of post-disco energy with layered production by Willie Lester and Rodney Brown. The track made its way into both clubs and the charts, peaking at number 5 on Billboard’s Hot Dance Club Songs while finding a more modest reception on the soul charts. Its companion B-side, “Leaving You Is Easier Said Than Done,” adds context to the single, though it’s the titular track that showcases Redd’s commanding vocals and unmistakable delivery. The song’s initial release coincided with the premiere of “The Empire Strikes Back,” an appropriately bold context for a track that carried a cinematic flair of its own. Fast-forward to 1992, and DNA, a British production duo, resurrects the track with a house-inflected spin that recontextualizes its late-night allure for a neon-soaked dancefloor audience. This remix climbed to number 17 on the UK Singles Chart, propelled by a crisp, pulsating beat framing Redd’s timeless vocal performance. The remix doesn’t merely update the song—it reframes it, stripping down the original’s plush arrangements in favor of something sharper, cooler, and distinctly early-’90s. Though the DNA version lacks the sweeping orchestral touches of the 1980 release, it leans heavily on rhythmic intensity, catering to the house music boom it was born into. The track’s enduring appeal lies in its tension between intimacy and detachment, a perfect storm of vulnerability carried by a poised instrumental foundation. Through two iterations, “Can You Handle It” becomes a time capsule of changing eras, offering disco maximalism in one breath and dancefloor minimalism in the next. It’s both dynamic and rooted in its escapist intentions. Redd’s voice is the constant, a silky reminder that some things don’t need updating—they’re timeless, no matter the context. Featured on the 1992 album “Taste This”.
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![]() 5 . Whigfield – Another DayReleased on 29 August 1994, “Another Day” by Whigfield emerged as a follow-up to the infectious success of “Saturday Night.” This Eurodance anthem channels bright, vibrant energy, pairing playful lyrics with a crisp, catchy production style crafted by producers Larry Pignagnoli and Davide Riva, alongside contributions from Annerley Gordon and Ray Dorset. Pushed by its palpable momentum, the track landed at number seven on the UK Singles Chart and broke into the top 10 across a host of countries, from Denmark to Zimbabwe, while notching a silver record in the UK for its 200,000 shipments. The music video adds a tongue-in-cheek continuity to its predecessor, placing Whigfield in settings like a restaurant and theater, with an air of quiet amusement as she anticipates yet another “no-show.” Critics often viewed it in comparison to “Saturday Night,” with some even favoring its balance of buoyant melodies and understated themes of romantic yearning, transcending its status as just another radio sensation. Featured on the 1995 album “Whigfield”.
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![]() 6 . Ini Kamoze – Here Comes the HotstepperIni Kamoze’s “Here Comes the Hotstepper” pulses with a swaggering confidence that’s hard to ignore. Released in 1994 and crafted by producer Salaam Remi, the track boldly samples Wilson Pickett’s “Land of 1000 Dances,” turning its retro groove into a staple of urban nightlife. It climbed to #1 on the US Billboard Hot 100, with verses that ripple with charismatic bravado, marking Ini Kamoze as the rare reggae artist to top this chart since UB40 a decade earlier. The song also caught traction internationally, hitting #4 in the UK and, not incidentally, landing a prime spot on the soundtrack of Robert Altman’s 1994 film “Prêt-à-Porter.” Its genre-blurred mix of dancehall, hip-hop, and reggae laced with rhythmic flair ensures its longevity, as proven by a 2024 Starbucks commercial’s revival of its infectious hook. The track’s appeal balances striking nostalgia with a universal rhythm, underlining its role as an enduring time capsule of ’90s pop innovation. Featured on the 1995 album “Here Comes the Hotstepper”.
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![]() 7 . Jamiroquai – Cosmic GirlJamiroquai’s “Cosmic Girl” is a precise collision of funk nostalgia and forward-thinking production from their third studio effort, “Travelling Without Moving.” The track is laced with disco-fueled string arrangements and vintage electronic synth textures, giving it a glossy sheen that feels equally suited for a 1970s light-up dance floor or a postmodern runway show. Its rhythmic structure—marked by a somewhat unconventional 10-pulse setup inside a 32-beat rotation—offers just enough quirk to keep both casual listeners and music theorists intrigued. Lyrically, Jay Kay simmers with infatuation as he fixates on a space-age muse, though the song’s words seem like an afterthought to its chrome-plated groove and irresistibly kinetic undercurrent. Let’s not forget Adrian Moat’s accompanying music video, which swaps intergalactic wonder for terrestrial opulence, featuring a purple Lamborghini Diablo SE30 weaving through earthbound terrain that’s almost alien in its own right. High-performance cars and a visceral sense of speed mirror the track’s unstoppable energy, though the fixation on luxury veers dangerously close to pastiche. Released in late 1996, it found immediate commercial favor, climbing charts across Europe and gliding into the cultural archive of mid-’90s dancefloor staples. The reissues and remixes, particularly David Morales’ polished interpretations, confirm that “Cosmic Girl” thrives in constant reinvention, even if its foundation is almost too pristine to improve. If anything, the song reminds listeners that sometimes, all you need is the perfect bassline, a dash of strings, and the audacity to think your crush might as well be extraterrestrial. Featured on the 1996 album “Travelling Without Moving “.
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![]() 8 . Nomad – [I Wanna Give You] Devotion (w/ MC Mikee Freedom)Nomad’s “(I Wanna Give You) Devotion,” paired with MC Mikee Freedom, wields a hypnotic blend of house beats and punchy rap bars that feel as much a product of sweat-drenched dancefloors as they do the studios of early ’90s Britain. The track leans into a pulsating four-on-the-floor rhythm, with an undercurrent of Ten City’s earlier “Devotion” echoing beneath the surface, slyly tipping its hat to its club lineage. Sharon Dee Clarke’s uncredited vocals—for reasons that remain a peculiar footnote in the U.S. release—add a rich, gospel-like texture to the energetic production, an audial juxtaposition to MC Mikee Freedom’s raw flow. Commercially, the song’s performance feels like a time capsule of pre-globalized pop charts: a number two slot in the UK and a tight grip on Greece’s number one spot juxtaposed with its eventual crowning as a Billboard dance chart topper in a U.S. scene still cautiously dabbling in imported European rhythms. It’s a track cemented in the cultural memory, revered enough to break MTV Dance’s “Biggest 90s Anthems” list at a suitably brash number 32, but its music video is a frenetic blur of rave-era exuberance, replete with acid-washed lighting and the obligatory array of oversized bomber jackets. Despite its many versions—from a Soul Mix to a sprightly Italo house iteration—the track never strays too far from its pounding core, an apt metaphor for the unrelenting hedonism of its birth era. The song’s charm isn’t in reinvention but in distillation: a sharp portrait of late-’80s/early-’90s club culture, perfectly bottled for a sweaty night out—or a nostalgic glance back now, headphones firmly in place. Featured on the 1991 album “Changing Cabins”.
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![]() 9 . Real McCoy – Run Away“Run Away” by Real McCoy sits at the crossroads of Eurodance escapism and 90s pop accessibility, delivering a beat-driven plea against the monotony of reality. The track, pulled from the US version of their “Space Invaders” album, benefits from the polished touch of Freshline producers Juergen Wind and Frank Hassas, with The Berman Brothers and O-Jay injecting additional layers to its production. While studio vocalist Karin Kasar’s soaring delivery anchors the song’s emotional core, the faces of Patricia Petersen and Olaf Jeglitza lent the visual and performative identity the group presented to audiences across MTV and concert stages. The song’s commercial achievements speak volumes, landing at number three on the US Billboard Hot 100 and making its way to top-ten placements across multiple countries, from the UK to Finland and Australia, reinforcing its transatlantic appeal. Its themes of escape and emotional turmoil mesh with the period’s booming Eurodance scene, ensuring its longevity on ’90s nostalgia playlists, while also raising questions about the genre’s penchant for contradiction—optimistic beats colored by introspective despair. And then there are the music videos: the European cut, with its shimmering desert landscapes and enigmatic tone, contrasts sharply with the darker, dystopian visuals of the unreleased US version, showcasing how the same song could be reinterpreted for differing markets. “Run Away” rests comfortably within the cultural framework of 90s nostalgia, a track that lets you move to its dancefloor beats while pondering the weight of its existential lyrics—or simply lose yourself in the era’s unapologetically glossy aesthetic. Featured on the 1995 album “Another Night”.
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![]() 10 . Mariah Carey – Someday“Someday” by Mariah Carey stands as a striking concoction of dance-pop, R&B, and new jack swing, embodying the effervescent charm of 1990’s radio mainstays. Penned by Carey alongside Ben Margulies and shaped under Ric Wake’s production, the track shed its demo skin to adopt sharper edges, swapping out horns for a decidedly electric guitar-driven arrangement, ensuring its buoyant energy remained palpable. At its core, the song sews together defiance and optimism, delivering lyrical barbs at a former lover with a melodic sweetness belied by its biting undertone. This balance of sass and polish thrust it to the top of the *Billboard* Hot 100, marking Carey’s third consecutive triumph, while also conquering the Dance Club Songs chart—a testament to its broad appeal and rhythmic adaptability. The accompanying music video straddles nostalgia and playfulness, juxtaposing high school antics with a subtle narrative of self-worth reclaimed, capturing the aesthetic of its time with glossy precision. While some may critique its commercial slickness and reliance on then-trendy production flourishes, “Someday” resonates as an early reminder of Mariah’s knack for blending technical prowess with pop magnetism. Perhaps not the deepest cut in her catalog, but undeniably one of the sharper arrows in her quiver of crossover hits, it’s a spirited glance into what made her early work so potent. Featured on the 1990 album “Mariah Carey“.
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![]() 11 . Blue Pearl – Can You Feel the Passion“Can You Feel the Passion” serves up a pulsating blend of early ’90s house and unabashed sensuality. Blue Pearl’s Durga McBroom delivers smooth, arresting vocals, balanced by the rhythmic precision of Youth’s production. Borrowing the hook from Bizarre Inc’s “Playing with Knives,” the track carves out its identity with layers of dynamic, surging beats. Its success speaks volumes, claiming the summit of the US Billboard Hot Dance Club Play chart while also dominating UK dance floors. Yet, the song’s placement outside any traditional album gives it a renegade charm, operating as a standalone statement in a crowded genre. Notably, McBroom’s connection with Pink Floyd ushers in a curiosity: unexpected intersections between stadium prog rock and underground rave culture. If the lyrics feel sparse, perhaps they’re meant to—leaning into the track’s primal identity rather than overthinking narrative weight. The accompanying video mirrors its sonic urgency, marrying sultry visuals to its infectious pulse. It’s a fleeting, frenetic slice of dance music history, a time capsule pressed into vinyl grooves.
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![]() 12 . D:Ream – Things Can Only Get BetterReleased in January 1993, “Things Can Only Get Better” emerges as an epitome of early ’90s optimism, skillfully blending euphoric dance beats with a hopeful narrative. Initially underappreciated, peaking at a modest 24 on the UK charts, the track demonstrated surprising longevity, catapulting to number one after a strategic re-release tied to D:Ream’s touring stint with Take That. The magic lies in Peter Cunnah’s heartfelt delivery against a sonic backdrop that oscillates between airy synths and relentless beats, evoking both a yearning for progress and a shot of adrenaline for the dance floor. The accompanying music video, directed by James Lebon, juxtaposes the band’s earnest performance with surrealist imagery, including nods to Bosch’s “The Garden of Earthly Delights,” offering a peculiar yet compelling visual contrast to the song’s upbeat message. Its cultural impact would later transcend pop, as it became both a symbol of political optimism and, paradoxically, a jarring soundtrack to ever-changing political fortunes during the Labour campaign of 1997 and beyond. Critically, the track thrives in its simplicity—it’s a slice of pure, unadulterated pop positivity that unapologetically trades on its repetitive yet infectious chorus. Despite its initial lackluster debut, the reworked version found favor globally, landing top-ten slots in eight countries, partially validating its broad appeal to diverse audiences. While undeniably uplifting, the song’s earnestness can slightly veer into saccharine territory, making it a divisive anthem for listeners seeking nuanced storytelling over blatant cheeriness. Beyond the charts and clubs, its transformation into a cultural artifact speaks volumes about music’s capacity to entwine with collective memory, albeit one with mixed emotional terrain depending on one’s political leanings. Ultimately, “Things Can Only Get Better” serves as both a time capsule of ’90s dance-pop and a paradoxical reminder of the unfulfilled promises that often accompany moments of fleeting euphoria. Featured on the 1993 album “D-Ream On Volume 1”.
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