‘Music For The Dancers’ N°309 – Vintage 90s Music Videos

1 . SNAP! – Colour Of Love

“Colour of Love” by SNAP! captures the shifting terrain of early ’90s Eurodance with a polished mix of house beats and emotive vocals by Thea Austin.

The song navigates themes of love and connection through Austin’s vocal clarity, which contrasts seamlessly with the group’s rhythm-driven production under Benito Benites and John “Virgo” Garrett III.

Commercially, it gained strong footholds in multiple European charts, such as Austria and Spain, while its reception was notably lukewarm in the UK.

The music video, shot in Death Valley, skillfully balances surreal choreography and rugged backdrops, punctuating the track’s layered textures.

SNAP! leaned into creative tension by juxtaposing soulful, melodic verses with dance-heavy undercurrents, making this effort stand apart from the over-commercialized trends of the time.

Although never stealing the thunder of their mega-hits like “The Power,” “Colour of Love” remains a reflective entry in their catalog, both bold and restrained in equal measure.

Featured on the 1991 album “The Madman’s Return”.

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2 . The Outhere Brothers – La La La Hey Hey

“La La La Hey Hey” by The Outhere Brothers is a freewheeling slice of late-’90s energy, encapsulating the duo’s penchant for mixing hip-hop swagger with club-friendly rhythms.

The track captures an unabashedly rowdy spirit, perfectly suited for the strobe-lit dancefloors of its time, though it leans heavily into the risqué formula that defined much of their output.

Released as part of their second album, “The Other Side,” the song doesn’t aim for subtlety—its repetitive hooks and boisterous beats serve more as a soundtrack for outlandish good times than any deep artistic aspiration.

While it didn’t achieve the stratospheric success of earlier works like “Boom Boom Boom,” it etched a mark in the European club circuit, thanks to its relentless energy and unapologetic bravado.

Michael Phillips lent his production expertise to the track, ensuring its beats hit hard enough to keep the late-night crowds moving, even if it sometimes lacks nuance.

The accompanying music video doubles down on the duo’s signature provocative aesthetic, offering a visual as unapologetic as the track itself—raucous, playful, and utterly unfiltered.

The single may not have pushed boundaries musically, but it thrives in its hedonistic charm, capturing a snapshot of an era when audacious, party-anthem simplicity ruled supreme.

For fans of indulgent beats and infectious hooks, “La La La Hey Hey” still serves as a cheeky reminder of a time when the Outhere Brothers revelled in unrestrained fun.

Featured on the 1995 album “1 Polish, 2 Biscuits & a Fish Sandwich”.

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3 . Bananarama – Preacher Man

Bananarama’s “Preacher Man,” dropped in 1991 as part of their *Pop Life* album, marks a noticeable pivot from their bubbly Hi-NRG foundations into a funkier, pop-infused territory.

Born from the combined creative minds of Sara Dallin, Keren Woodward, Paul Weller, and producer Youth, the song skips sugary hooks for something murkier, propelled by a subtle groove and a surprisingly bluesy harmonica cameo by Johnny Mars—an odd yet compelling addition to their polished aesthetic.

Though its upbeat rhythm invites dancing, a faint air of melancholy threads through the melody, nodding toward themes of longing and faith.

The song’s music video, directed by Howard Greenhalgh, doubles down on religious and surreal undertones, mixing shadowy imagery with carnival-esque hallucinations, as though the band were caught between a quirky indie film and a dark sermon under strobe lights.

Despite not setting global charts aflame—it peaked at No. 20 in the UK and a modest No. 147 in Australia—it carries weight among fans as a symbol of change, particularly given its release coincided with Jacquie O’Sullivan’s near-farewell from the group.

And in an unexpected twist, former member Siobhan Fahey later dusted off the track for the group’s Original Line Up Tour, proving just how sticky “Preacher Man” is in the group’s layered history.

Its legacy, while not glittering with accolades, lies in its refusal to sit still, threading dance-pop through house influences and a sticky funk underlayer, offering listeners a fresh yet familiar flavor in the band’s evolving recipe.

Featured on the 1991 album “Pop Life”.

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4 . Ace of Base – Cruel Summer

Ace of Base’s rendition of “Cruel Summer,” released in 1998, reimagined Bananarama’s 1983 hit with a Europop sensibility tailored for the late ’90s dance-pop wave.

This track landed on their third studio album, titled *Flowers* internationally and *Cruel Summer* for the U.S. market, a move orchestrated to bridge the tastes of global and North American audiences.

With its polished production, courtesy of Clive Davis’ insistence on tailoring their sound for commercial appeal, the track blends chirpy synth lines with a rhythmic backbone that’s undeniably catchy.

The music video, directed by Nigel Dick, offered a nod to the original’s urban aesthetic while infusing a slick, modernized edge; its repetitive MTV airplay undoubtedly bolstered the single’s prominence.

Chart-wise, it fared splendidly in the U.S., peaking at number 10 on the Billboard Hot 100, while managing respectable showings in Canada and the UK, where nostalgia and summer vibes collided seamlessly.

Beyond the titular track, the album’s dualic identity had its hiccups – differences between versions highlighted ongoing tensions in balancing artistic intent with label-driven expectations.

Despite favorable critical murmurs praising its refined production, the album didn’t achieve blockbuster sales stateside, capped at a modest 101 on the Billboard 200, though its global performance painted a rosier picture.

Not everyone’s hands were on deck—Linn Berggren’s minimal involvement cast a shadow on promotional efforts, raising questions about the group’s long-term dynamics.

If “Cruel Summer” radiated an effortless sheen of summer nostalgia tempered by a Eurodisco foundation, its lesser-followed sibling single, “Whenever You’re Near Me,” faltered, lacking both momentum and sufficient promotion.

For all its effort to ride the season’s euphoric wave, *Cruel Summer* as an album seemed caught in the undertow, a compromise between artistic ambition and market tailoring.

The tension between the band’s identity and industry expectations is palpable across the record—a detail that speaks louder than any single hit could.

Featured on the 1998 album “Cruel Summer”.

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5 . K-Klass – Let Me Show You

K-Klass’s track “Let Me Show You” emerged in 1993, during a transformative era for electronic music in the UK.

Released under Deconstruction Records, it climbed to No. 13 on the UK Singles Chart, marking a notable moment for the group in a period buzzing with rave and house innovation.

The song later anchored the 1994 compilation album “Universal,” which gathered key works from the group without straying into radical new territory.

The absence of featured collaborators kept the focus squarely on K-Klass’s production, while figures like Frankie Knuckles influenced their broader trajectory through remixes of other tracks in their orbit.

“Let Me Show You” found its place in many ‘90s club sets and dance compilations, becoming a staple rather than a revolutionary beacon within the genre’s evolution.

The music video, with its modest airplay on contemporary channels, contributed to its reach but avoided spectacle, staying in line with the song’s steady charm.

Although its impact wasn’t seismic, it’s a track that, much like K-Klass itself, slipped into the scene’s undercurrents and remains lodged in the memories of enthusiasts dissecting the house music tapestry of the time.

Featured on the 1993 album “Universal”.

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6 . Martika – I Feel The Earth Move

Martika’s rendition of “I Feel the Earth Move” pulls Carole King’s iconic track from the 1971 *Tapestry* album into the glossy pop sheen of the late ’80s, aiming it straight at MTV’s target demo.

Originally part of her self-titled debut album, the song took its place among hits like “Toy Soldiers,” though it didn’t hit the same chart-topping highs, landing at a respectable No. 25 on the Billboard Hot 100 in 1989.

The production swaps King’s warm intimacy and piano-driven charm for a late-eighties polish powered by synthesizers and crisp beats, giving it a bubblegum twist that likely thrilled some and left purists feeling lukewarm.

Martika’s bright vocal delivery injects youthful vigor into King’s originally sultry, earth-moving metaphor, adding a layer of playfulness for a generation unfamiliar with the song’s deeper undertones.

The accompanying video, cycling through quick edits and kinetic choreography, fit snugly into the MTV rotation, which was as much a battleground as radio airplay by that point.

In context, the cover didn’t redefine the track, but it solidified Martika’s knack for taking older material and making it accessible to the Aqua Net generation.

Compared to King’s original, which felt rooted in the natural ebb and flow of human emotions, Martika’s version is all about polished energy—less tumble, more bounce.

King’s original, supported by her effortlessly steady piano groove and standout backing band, remains commanding decades later, while Martika’s serves as a timestamp, a flashy tribute to 1989’s pop culture ethos.

Featured on the 1989 album “Martika”.

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7 . EYC – Feelin’ Alright

Few tracks encapsulate the unfiltered rush of positivity quite like EYC’s “Feelin’ Alright.”

Opening with a groove-heavy bassline that practically bounces off the walls, the song drives forward with unapologetic energy, leaning into a vocal delivery that feels equal parts celebratory and infectious.

Its lyrics, though straightforward, hammer home themes of liberation and joy—a manifesto for anyone looking to shed the mundane and step into their own light.

Backing this is a production style deeply rooted in the ’90s pop-R&B synergy, blending funky guitar riffs with layered harmonies that practically beg you to throw caution to the wind and join in the euphoria.

What’s striking is how seamlessly the track forgoes subtlety in favor of sheer propulsion, operating as both a mood-lifter and a throwback to the high-energy anthems of its era.

There’s no denying it: “Feelin’ Alright” sinks its teeth into the universal craving for uplift, unapologetically serving a dopamine-packed anthem for any occasion.

Featured on the 1993 album “Express Yourself Clearly”.

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8 . George Michael – Freedom! ’90

George Michael’s *Freedom! ’90* is a blistering declaration of autonomy wrapped in a pop masterpiece, where he confronts the shiny façade of his past and unapologetically smashes it to bits.

From the first funky plucks of its bassline to its undeniably infectious chorus, the song is a heady mix of sharp self-awareness and undeniable groove, making it equal parts personal manifesto and dance-floor anthem.

Released in October 1990 as part of his *Listen Without Prejudice Vol. 1* album, the track marked a pivotal moment for Michael—a rejection of his Wham! teen-idol image and the glossy MTV-ready persona of his *Faith* era.

True to this thematic overhaul, Michael famously refused to appear in the song’s David Fincher-directed music video, opting instead to let a squad of ‘90s supermodels, including Cindy Crawford and Naomi Campbell, steal the spotlight as they lip-synced the lyrics.

This bold visual choice didn’t just create a pop-culture moment; it underscored Michael’s insistence that his artistry—not his appearance—should take center stage.

The video’s symbolism leaves little to misinterpret: the burning leather jacket and exploding jukebox, relics of his former era, serve as a literal pyre for the suffocating trappings of fame he detested.

The lyrics lay it all bare. Lines like “All we have to do now is take these lies and make them true somehow” pulse with defiance and a longing for reinvention that feels viscerally real.

But let’s not mistake *Freedom! ’90* for mere autobiography cloaked in melody—this anthem resonates far beyond the artist himself, tackling themes of individuality and liberation in ways that strike universal chords.

In pop music, few acts of rebellion have been so irresistibly catchy, and the song continues to enjoy a perennially prominent place in pop culture, cropping up in everything from the *Pitch Perfect 3* soundtrack to Dolce & Gabbana ads.

With its seamless blend of funk-infused production, soaring vocals, and that unmistakable spirit of defiance, *Freedom! ’90* is an enduring ode to breaking free, whether from societal expectations, professional constraints, or your own self-imposed shackles.

As a statement, it’s clear and uncompromising. As a song, it’s an earworm for the ages. And as a cornerstone of George Michael’s legacy, it’s nothing short of iconic.

Featured on the 1990 album “Listen Without Prejudice: Vol 1“.

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9 . PF Project – Choose Life

Released in 1997, PF Project’s “Choose Life” melds the hypnotic pulse of house music with an unapologetic snippet of film dialogue, borrowing Ewan McGregor’s iconic monologue from *Trainspotting* to craft a track that balances rave euphoria with existential confrontation.

The vibrant electronic beats provide a stark rhythm to McGregor’s words, a laundry list of consumerism and modern malaise that cuts deeper than typical club fare.

While there’s no collaboration between McGregor and PF Project, the song’s strength lies in this juxtaposition, turning a moment from cult cinema into an anthem bouncing off warehouse walls and nightclubs alike.

The release under Positiva Records, a defining label of ’90s electronic hedonism, further tethered the track to its time—one marked by a growing connection between cinema and club culture.

Launching to #6 on the UK Singles Chart, its resonance likely had less to do with lyrical clarity than its ability to amplify rebellion over laser-lit dancefloors.

The accompanying music video reinforced its context—spliced clips from *Trainspotting* intersected with frenetic visuals, a marriage of grit and glossy production.

“Choose Life” remains both a time capsule and a mirror, projecting questions of identity and consequence against the backdrop of an unapologetically pulsing beat.

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10 . Cappella – Move It Up

When Cappella’s “Move It Up” landed in 1994, it was less a reinvention and more a continuation of their turbocharged Eurodance formula, slotting neatly into the technicolor chaos of mid-’90s club culture.

Produced by the ever-reliable Gianfranco Bortolotti alongside Pieradis Rossini and Tin Tin Out, the track throbs with an inescapable energy, anchored by its bouncy beat and synth-drenched hooks.

The vocals provided by Jackie Rawe (despite the group’s interchangeable front figures) deliver the kind of buoyancy that typified the movement: upbeat, relentless, and unserious in the most fun way possible.

Marketed as a double A-side with “Big Beat” in Ireland and the UK, the single fared decently in charts, even breaking into the top 20 in Britain and securing a spot in the top 10 across other European territories, including Ireland and Finland.

While “Move It Up” didn’t quite reach the anthemic levels of earlier hits such as “U Got 2 Let the Music,” it lives as a snapshot of Eurodance’s loud, unapologetic heyday when these tracks reigned across both European airwaves and smoke-filled discotheques.

The accompanying music video, predictably performance-heavy, doesn’t veer far from Cappella’s usual aesthetic playbook: pulsing lights, high-octane cuts, and outfits that scream ’90s excess.

If there’s an underlying charm to the song, it’s the way its infectious rhythm insists on movement, staying celebratory without demanding too much gravity.

It might not top the Eurodance hall of fame, but it’s undeniably a piece of that kinetic puzzle, a steady dancefloor staple during a decade when BPM ruled the night.

Featured on the 1994 album “U Got 2 Know”.

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

11 . Sunscreem – Broken English

Sunscreem’s 1992 single “Broken English,” a sharp reinterpretation of Marianne Faithfull’s 1979 track, channels an era when techno and rave were shaking up the music scene.

Taking a track laced with post-punk grit and infusing it with throbbing electronic beats was bold, but Sunscreem didn’t shy away from audacity.

The result? A track that slotted into the UK Singles Chart’s top 40 with a respectable peak at number 13, while simultaneously finding its way into U.S. dance radio rotations.

It’s not just a song but a reinvention—a blend of Faithfull’s angst with Sunscreem’s kinetic urgency.

And those remixes, notably the Slam and CCapella versions, became dancefloor staples, reworking the rawness into something suited for the exuberance of nightclub strobe lights.

Critical success aside, “Broken English” helped carve Sunscreem’s niche as a techno group that thrived live, a rarity at the time, with their Glastonbury 1993 appearance adding serious credibility to their name.

Folded into their debut album “O3,” which itself featured on the UK Albums Chart at number 27 and crept onto the Billboard 200, the song acted as both a statement and a ticket to broader recognition.

The reinterpretation balances reverence for the original with a willingness to transform, walking the tightrope between tribute and innovation seamlessly.

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12 . Gina G – I Belong To You

Gina G’s “I Belong to You,” released in 1996 as part of her debut album *Fresh!*, is a sparkling slice of mid-’90s Eurodance that fits snugly alongside the era’s high-energy pop exports.

The song, written by Steve Rodway and Billy Steinberg, channels pulsating synths and infectious beats into a three-minute burst of cheerfully shameless escapism, striking a balance between chart sensibilities and club energy.

Its genesis marks a transitional moment for Gina G, following the success of her Eurovision smash “Ooh Aah… Just a Little Bit” with another unabashedly upbeat track, neither reinventing the wheel nor attempting to.

The song peaked at No. 6 on the UK Singles Chart and found audiences across Australia, New Zealand, and parts of Europe, suggesting its international appeal extended beyond a one-hit novelty.

The accompanying music video, directed by Cary Grim, threw in a kitschy, genie-lamp fantasy, lightheartedly underscoring the song’s playful tone without challenging its breezy disposability.

Remixes by Metro, Tony De Vit, and Matt Darey ensured its presence in nightclubs, injecting enough fresh variation to keep it spinning in DJ sets long after the single’s initial shelf life.

Gina G herself played the role of the enduring pop performer well, using regular television dance routines and promotional tours to project a sense of joyous commitment to material that was arguably more about vibe than vision.

While critics praised its catchiness and high-octane production, some viewed it as formulaic, suggesting it played safe in comparison to its Eurovision predecessor’s more immediate charm.

Still, the track’s unwavering energy and simple, carefree premise ensured its place on compilation albums celebrating ’90s pop nostalgia.

“I Belong to You” is not an epoch-defining anthem, but as a time capsule of mid-’90s pop, its synthetic hooks and unapologetic sheen hold their own among a landscape of glittery contemporaries.

Featured on the 1996 album “Fresh!”.

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