‘Music For The Dancers’ N°313 – Vintage 90s Music Videos
Genesis, Quad City DJ’s, Robin S, Salt-N-Pepa, Josh Wink, The Chimes, Martika, The Shamen, S.O.U.L. S.Y.S.T.E.M., Jimmy Somerville, Nicki French, Culture Beat
They are the performers of twelve vintage dance tunes that were ranked in various charts, this week (02/52) BUT … in the Nineties 90s.
Here, they are reunited in one glorious playlist. Enjoy!
For TWENTY FOUR more ‘Music For The Dancers’ – Vintage 90s Music Videos – week 02/52 – click here and here
Tracklist
 |
1 . Genesis – I Can’t Dance“I Can’t Dance” stands as one of Genesis’ signature tongue-in-cheek creations, blending a blues-inflected guitar riff with biting humor that pokes fun at commercial culture’s obsession with unattainable masculinity. Bursting onto the airwaves in 1991, the track occupied prime real estate on the charts, hitting No. 7 in the U.S. and No. 5 in the U.K., while capably mocking the very aesthetic tropes that filled magazine spreads and fashion ads of the time. Phil Collins, Mike Rutherford, and Tony Banks deftly balance whimsy and critique, framing their satire with a stripped-back arrangement that underscores the parody without overcomplicating it. Its accompanying music video, drenched in irony, refused to take itself seriously, amplifying its impact—Collins’ exaggerated runway strut and faux-jean-commercial poses became moments of comedic legend. The track’s success carried to their 1992 stage performances, where Collins delighted audiences with exaggerated choreography that magnified the absurdity of the lyrics. Even in their 2007 reunion tour, it found a place in the setlist, a reminder of its staying power. Included in greatest hits compilations and remixed for club play by Ben Liebrand, “I Can’t Dance” proves Genesis’ ability to subvert expectations, contrasting against their more progressive catalog to blur the line between satire and sincerity. Featured on the 1991 album “We Can’t Dance“.
|
|
|
2 . Quad City DJ’s – C’mon N’ Ride ItReleased in 1996, “C’mon N’ Ride It (The Train)” by Quad City DJ’s serves as an electrifying ride through Miami bass’s peak era. Built on a sample of Barry White’s 1974 “Theme from Together Brothers,” the track harnesses nostalgic grooves while injecting unrelenting energy. The song propelled itself to number 3 on the Billboard Hot 100 and number 1 on the Billboard Dance chart, cementing its place as a party anthem for the late ’90s. Its hypnotic choruses and repetitive hooks are wrapped in a beat so infectious, it was bound for arena speakers and sports events alike. Quad City DJ’s, fronted by Jay Ski McGowan and C.C. Lemonhead, leaned on their production prowess, having also crafted 69 Boyz’s “Tootsee Roll.” The music video doubles down on the track’s themes, throwing the duo onboard an exuberant, pulse-thumping party train. Though teetering on the edge of novelty, the song’s lasting appeal lies in its ability to stoke celebration wherever it plays. Stylistically, it’s a mix of hip-hop-driven chants and forceful Miami bass beats, radiating high-octane energy without pretense. It’s exuberant yet simple, a throwback to a time when music aimed squarely at your feet—and hit the mark every time. Featured on the 1996 album “Get On Up and Dance “.
|
|
|
3 . Robin S – Show Me LoveWhen it comes to ’90s house music, few tracks command the same reverence as Robin S’s “Show Me Love.” Initially released in 1990, the song carries an unmistakable bassline built on the Korg M1 synthesizer, a tool that practically defined the genre’s soundscape. Despite its early club presence as an instrumental track, it didn’t fully hit its stride until Robin S’s powerhouse vocals were added—cementing it as a genre staple by 1992, under Champion Records. Produced by StoneBridge and Nick Nice, the track walks a fine line between passionate yearning and raw resilience, with Robin’s commanding voice cutting through the glossy production like a serrated edge in a neon-lit room. Chart success followed, cracking the top 10 in the US, UK, Germany, and Australia—not an easy feat for a track that originated as a club experiment. The accompanying video, drenched in eye-searing hues and unapologetically choreographed energy, only heightened the anthem’s allure. Since its heyday, the track has lived on, thanks to countless remixes—Laidback Luke’s version being perhaps the most prominent—and frequent nods in movie soundtracks and TV shows. This isn’t just a song but an artifact—a pulsating, four-minute chronicle of house music’s ability to freeze emotional intensity in time and space. Featured on the 1993 album “Show Me Love”.
|
|
|
4 . Salt-N-Pepa – You Showed MeSalt-N-Pepa’s “You Showed Me” is a subtle gem tucked within their 1990 album *Black’s Magic*, a project demonstrating just how far the hip-hop trio was willing to stretch their creative boundaries. The track borrows heavily from The Turtles’ 1969 original, a song crafted by Gene Clark and Roger McGuinn of The Byrds, layering its delicate melodies with Salt-N-Pepa’s unmistakable flair for reinvention. Though it didn’t earn the solo spotlight of singles like “Expression” or “Let’s Talk About Sex,” its presence adds depth to a record pulsing with themes of empowerment and connection. The album itself marked a pivotal phase, landing at #15 on Billboard 200 and securing Platinum status—not too shabby for a rap group threading pop accessibility into their beats. Herby “Luv Bug” Azor, their longtime producer, stands tall in shaping the album’s sound, and his signature touch can be felt here in the careful layering of samples and lyrics. Beyond the charts, the track represents another step in Salt-N-Pepa’s broader effort to unearth storytelling potential within hip hop, even in moments when the world wasn’t necessarily watching closely. For fans and newcomers alike, the song delivers a small yet telling slice of the group’s sonic evolution in an album worth its enduring reputation. Featured on the 1990 album “Blacks’ Magic”.
|
|
|
5 . Josh Wink – Higher State Of ConsciousnessJosh Wink’s “Higher State of Consciousness” hit the scene in 1995 like a siren blaring from a strobe-lit warehouse. Released under Nervous Records, the track didn’t whisper its arrival—it screamed acid house into the ears of anyone close enough to hear. It wasn’t tied to an album, and frankly, it didn’t need the baggage. Packed with a symphony of Roland TB-303 chaos, the track created a throbbing, relentless bassline that defined its era. Cracking the UK Singles Chart at #8 and dominating the US dance charts, its commercial success didn’t drag it out of the underground—it simply made the underground louder. Remixes piled up like overdue debts, with DJ Pierre offering a revision that clawed at the original’s frenetic energy and dragged it further into the dark corners of the club. The 2007 Fuzzy Hair treatment gave it new blood, because why let a good thing rest? “Higher State of Consciousness” was both euphoria and adrenaline—a track that demanded movement from its listeners. Whether in gritty back-room raves or sprawling festivals like Glastonbury, it carried an energy that burned like caffeine on an empty stomach. Its music video, an abstract collage of 90s visual chaos, captured the aesthetic of a generation that lived for all things unhinged and neon-lit. What did Wink deliver? Not just a song, but a storm. Featured on the 1995 album “Left Above the Clouds”.
|
|
|
6 . The Chimes – HeavenThe Chimes’ “Heaven,” released in 1990 on their debut album, drips with the lush production that defined the era’s blend of R&B and house music. Pauline Henry’s vocal performance elevates the track with a controlled power that’s as emotive as it is technically impressive. The arrangement leans on electronic beats and warm synths, crafting an uplifting yet reflective tone that feels tethered to the early ’90s dancefloor without being beholden to it. While it falls short of eclipsing their reinterpretation of U2’s “I Still Haven’t Found What I’m Looking For” in mainstream recognition, its appeal lies in its sense of understated transcendence. “Heaven” occupies a unique space in the group’s catalog, balancing universal themes of connection and hope with a groove that’s indebted to late-night club culture. Although the track didn’t scale the commercial heights of some contemporaries, its parent album achieved notable success, hinting at its quiet role in cementing The Chimes’ place in the UK’s dance and R&B conversations. Years later, the song feels like a snapshot of a moment when polished vocals met the experimental edge of house influences, underscoring the eclectic ambitions of The Chimes during their brief yet striking run. Featured on the 1990 album “The Chimes”.
|
|
|
7 . Martika – More Than You KnowMartika’s “More Than You Know” is a pop confection wrought with late-’80s flair, flaunting dance-pop and freestyle elements as polished as a neon-lit roller rink. Debuting in 1988 as the lead single from her self-titled album, the track carried an infectious energy that leaned heavily on synthesizers and punchy beats, a clear nod to the era’s sonic obsessions. The lyrical narrative unfolds with an earnestness—an ode to love’s intensity wrapped in a yearning refrain, delivered with Martika’s textured, emotive vocals. Co-written with Michael Jay and Marvin Morrow, the song strikes a balance between radio-friendly gloss and a kind of hopeful vulnerability. Its production, helmed by Jay, paints it firmly in the vibrant hues of its time, while still leaving enough breathing space for Martika’s voice to take center stage. The song charted respectably, landing at No. 18 on Billboard’s Hot 100 in early 1989, with solid performances in Canada, the UK, and Australia. What’s even more fascinating is the Spanish-language adaptation, “Más Que Sabes,” a strategic move underscoring Martika’s bilingual versatility and broadening the track’s reach to new audiences. The Jim Shea-directed music video is equally emblematic of the times—choreographed dance routines punctuated with kinetic camera angles, offering a visual feast that mirrors the song’s effervescence. Martika’s background in “Kids Incorporated” seems to inform the choreography-heavy presentation, marrying slick professionalism with a touch of playful charm. As a package, “More Than You Know” pulled its weight in establishing the artist as a contender in the crowded pop arena, while offering a glimpse into the transitional period where ‘80s glam was giving way to ‘90s grit. Featured on the 1988 album “Martika”.
|
|
|
8 . The Shamen – Phorever People HDReleased in 1992, The Shamen’s “Phorever People” captures the euphoric pulse of the early ’90s rave culture with its infectious electronic beats and unabashedly optimistic lyrics. A standout from their album “Boss Drum,” this track seamlessly merges house-infused production with a message of camaraderie and collective uplift, anthemic in both its sound and spirit. Peaking at an impressive number 5 on the UK Singles Chart, its popularity was bolstered by several remixes, including Moby’s “Beatmasters Heavenly Remix,” which infused the original with a fresh, driving energy while still honoring its core essence. The accompanying music video bursts with psychedelic visuals, reflecting the era’s fixation on neon-lit abstraction and free-spirited expression. The group’s lineup at the time featured Colin Angus and Mr. C, whose confident delivery and dynamic stage presence became a cornerstone of their identity. Frequently performed live, this track cemented its place not just as a commercial success but as a cultural marker of an electronic music scene finding its mainstream footing in the 1990s. Featured on the 1992 album “Boss Drum”.
|
|
|
9 . S.O.U.L. S.Y.S.T.E.M. – It’s Gonna Be A Lovely DayS.O.U.L. S.Y.S.T.E.M.’s 1992 track, “It’s Gonna Be A Lovely Day,” takes Bill Withers’ signature anthem and catapults it into the sonic terrain of early ’90s club culture. Produced by Robert Clivillés and David Cole of C+C Music Factory, this rework doesn’t just nod to the original but steamrolls it with thumping house beats, sleek R&B melodies, and a smattering of hip-hop flair. Michelle Visage leads the vocal charge, transforming Withers’ sunrise serenity into a pulsing, late-night affirmation. The track clinched the #1 spot on Billboard’s Hot Dance Club Play chart, though its position at #34 on the Hot 100 suggests it was more at home under a disco ball than on mainstream radio. It found a second life on “The Bodyguard” soundtrack, rubbing shoulders with Whitney Houston’s balladry and becoming a footnote in the history of one of the top-selling albums ever. The lyrics lean heavily on themes of resilience and joy, but the relentless rhythm suggests a stylized optimism, designed less for contemplation and more as an antidote to stagnant dance floors. As a cultural moment, it reflects the early ’90s tendency to reinterpret classics, blending nostalgia with high-energy beats to suit a generation that was seeking euphoria in nightclubs over fireplaces. For better or worse, it stands as a time capsule, where house music’s ascendance flirted with mainstream gloss. Featured on the 1992 album “The Bodyguard soundtrack”.
|
|
|
10 . Jimmy Somerville – You Make Me Feel [Mighty Real]Jimmy Somerville’s take on “You Make Me Feel [Mighty Real]” revives Sylvester’s disco classic with a sharp 1980s twist. Here, Somerville’s falsetto takes center stage, weaving through punchy synths and crisp drum machines that bring a distinctly late-80s polish to the table. It’s an homage that doesn’t tiptoe around its influences, instead channeling pure energy and joy into every note. This isn’t some delicate reinterpretation; it’s an open-armed celebration of empowerment, individuality, and unabashed queer pride. Released on the album “Read My Lips” in 1989, the track charged up to No. 5 on the UK Singles Chart and staked its claim on European airwaves. The accompanying visuals embraced a club-centric aesthetic—Somerville performing with flair while neon-soaked imagery highlighted the track’s nightlife roots. Culturally, the song carries more than just a beat—it’s a nod to where disco meets LGBTQ+ resilience, injecting modern production without diluting its origins. As a live staple in Somerville’s performances, it continues to rally crowds decades later, bridging the gap between nostalgia and relevance. Featured on the 1989 album “Read My Lips “.
|
|
|
11 . Nicki French – Total Eclipse Of The HeartNicki French’s interpretation of “Total Eclipse of the Heart” reimagines Bonnie Tyler’s theatrical ‘80s ballad as a pulsating ‘90s dance track. The shift from raw, dramatic rock to shimmering, high-energy pop marked a decisive cultural retooling, angling the song toward the club circuit. Released in 1994 and reaching its zenith on the charts in 1995, French’s cover swept across continents with impressive reach, peaking at No. 2 in the U.S. Billboard Hot 100 and climbing to No. 5 on the UK Singles Chart. Beyond North America and Europe, it resonated just as powerfully in Australia and Canada, where it secured top-three finishes. Mike Stock and Matt Aitken, fixtures of the Stock Aitken Waterman lineage, tailored the production to marry saccharine synths with frenetic beats, crafting an undeniably infectious track. Peacock and Ingo’s additional remixing added depth, making the song a mainstay in 1990s dance compilations. The accompanying video embraced the hedonistic aesthetic of the era, pairing French’s emotive delivery with neon-drenched, strobe-infused visuals, an evident nod to the burgeoning dance-pop scene. If Tyler’s version hinged on stormy yearning, French’s take feels lighter, faster, and unabashedly geared toward an audience ready to trade introspection for the dance floor. The song’s success reflects both its adaptability and its undeniable catchiness, serving as a bridge between two wildly different decades of pop sensibilities. Featured on the 1995 album “Secrets”. |
|
|
12 . Culture Beat – Anything“Anything,” a track by the German Eurodance group Culture Beat, emerges from the high-energy pulse of 1993’s “Serenity” album. Released as the third single, it rides on the coattails of “Mr. Vain” but carves its own identity with an unapologetically infectious rhythm and glossy production. Penned by Nosie Katzmann, Jay Supreme, and producer Torsten Fenslau, the song blends house beats with an earworm of a chorus that’s hard to shrug off. Its chart impact, while not seismic, was certainly respectable—finishing in the top 10 in Finland, top 20 in Germany, and cracking the UK’s Singles Chart at #13. The accompanying video, directed by Matt Broadley, is a nostalgic fever dream of ’90s aesthetics, featuring vibrant backdrops and an interplay between vocalist Tania Evans and rapper Jay Supreme that gives the visuals an undeniable charm. While “Anything” may orbit in the shadow of its predecessor, it bolsters the “Serenity” album’s global presence and captures the essence of a genre thriving on bold, euphoric ambition during the pre-EDM landscape. It’s not groundbreaking, but few tracks of the era are this unapologetically fun. Featured on the 1993 album “Serenity”.
|
Comments are closed.