‘Music For The Dancers’ N°323 – Vintage 90s Music Videos

1 . Ultra Naté – Show Me

Ultra Naté’s “Show Me” from her 1994 album *One Woman’s Insanity* is a pristine slice of early ’90s house that finds its groove on the US Billboard Dance Club Play chart, taking the crown.

The track, shaped by producers Soulshock, Cutfather, and Karlin, feels like a lab experiment in blending sleek production with an emotive vocal centerpiece.

The remix credits could fill a small club roster—Masters at Work, Basement Boys, and others—all reframing its energy for different dancefloors.

Its music video, glossy and styled to the very last strand of hair courtesy of Orlando Pita, captured Ultra Naté’s ascendance in a scene dominated by oversized blazers and filtered spotlights.

Fast-forward to 1998, and another “Show Me” lives within *Situation: Critical*.

This time, Naté leans heavily into house textures shaped by collaborators Mood II Swing, pumping out a version intent on club immersion yet lacking the hooky immediacy of its namesake.

Not an anthem, but a respectable cog in her ‘90s house machine.

Featured on the 1993 album “One Woman’s Insanity”.

More by the same : Official Site

2 . Rio & Mars – Boy I Gotta Have You

Released in 1995, *Boy I Gotta Have You* by Rio & Mars is firmly planted in the fertile era of Euro House, a genre both irresistible and undeniably kitschy.

Clocking in at the intersection of pulsing beats and unapologetic melodrama, this standalone single is like a time capsule for the mid-’90s electronic scene—a moment when the charts embraced tracks that oscillated between the exuberant and the formulaic.

While not a global juggernaut, its modest placement at 183 on the Australian chart of the year suggests it grazed the public’s attention, likely heard in the kind of nightclubs where sweat, lasers, and questionable fashion choices reigned supreme.

The production is indebted to the era’s obsession with synthetic chord progressions and emphatic hooks, but it doesn’t quite leap out with an identity of its own.

Its lack of a music video perhaps deepens the sense of anonymity—this is music that’s more backdrop than centerpiece.

Issued on various regional labels and formats (per Discogs), the track epitomizes the globalized shuffle of dance music, yet remains oddly scattered, without a coherent brand to unify its releases.

Thematically vague and lyrically unremarkable, it forgoes substance for formula, which, to be fair, was often the genre’s modus operandi.

If anything, its trivia value lies more in its serviceable contribution to a fleeting but exhilarating movement rather than as a must-listen piece of history.

Call it a blip in the grand Euro House map—a functional beat for bodies on the floor, but not a memory etched into the annals of electronic music.

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3 . Leila K – Open Sesame

Released in 1992, Leila K’s “Open Sesame” wields the pounding urgency of early-‘90s Eurodance like a neon-lit battering ram.

Produced by Denniz PoP, a Swedish wizard whose pop instincts rivaled his penchant for club anthems, the track knows exactly what it is: a brash, high-energy concoction that marries house beats, rap vocals, and swirling rave synths with unapologetic flamboyance.

The song doesn’t edge politely into the room; it kicks the door down, blaring a sample from Kool & the Gang’s track of the same name, threading it through a hyper-stylized, almost cartoonish hook that sears into memory whether you like it or not.

Its chart success across Europe suggests it hit a nerve—or maybe just the prized part of the brain that can’t resist a sticky refrain.

With its gold certification in the Netherlands and enviable playlist dominance in dance clubs, one might assume “Open Sesame” was simply zeitgeist by numbers.

But there’s something about the track’s fervent self-awareness, its refusal to soften its edges or apologize for its own ridiculousness, that makes it oddly endearing.

The video, awash in kaleidoscopic visuals, is part fever dream, part early-MTV flex, presenting Leila K as a kaleidoscopic provocateur wrapped in audacious styling and charismatic chaos.

It’s a time capsule of early ‘90s ecstasy culture, but it also feels like it peers beyond its era by refusing to take itself too seriously, a trait often absent from the genre’s other contenders.

And then, inevitably, there’s the remix—“Open Sesame ’99”—which, seven years later, attempted to drag the song back into the club relevance spotlight.

While the original radiates a kind of DIY-inspired charm, the remix feels like an upgrade none of us really asked for: shinier production, but missing some of the raw, unpolished quirks that made the first version stand out.

Why tamper with something that already screamed everything it needed to scream?

That said, the track’s longevity remains impressive, particularly as it still sparks nostalgia on specialized retro nights in sweaty European dance halls or among YouTube comment nostalgists.

In the realm of Eurodance, “Open Sesame” is both a product of its era and a defiant middle finger to the idea that disposable club tracks can’t have a shelf life longer than a glow stick’s half-life.

Featured on the 1993 album “Carousel”.

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

4 . Twenty 4 Seven – Are You Dreaming (w/ Captain Hollywood)

“Are You Dreaming?” by Twenty 4 Seven featuring Captain Hollywood lands firmly in the early ’90s Eurodance universe, a pocket of music history both unapologetically exuberant and undeniably divisive.

Released in 1990 as part of the group’s album *Street Moves*, it fuses peppy house beats with hip-hop elements, showcasing Nancy Coolen’s melodic verses contrasted against Captain Hollywood’s crisp rap delivery.

The track was undeniably catchy, earning significant airplay and club prominence across Europe, charting in Denmark and Switzerland while sliding into the UK Top 20.

Musically, it leans into the predictable but effective dance formula of the era—a pulsating rhythm, sparkling synths, and vocal hooks designed to lodge themselves in your head like glitter in a carpet.

Cultural critics of the era had split opinions, with David Quantick from *NME* tagging it as “shamelessly happy Euro pop rap,” while *Smash Hits* dismissed its wide-eyed optimism as irritating yet unstoppable.

The music video, a relic of its time, throws together flashy sets and incredulous energy, a neon-lit time capsule of a pre-grunge, big-hair, blazer-clad rave era.

The song arrived on the coattails of their debut single, “I Can’t Stand It,” further establishing the duo’s knack for hit-making, though its style could feel repetitive to those unsympathetic to Eurodance’s effervescent charm.

Critics might dismiss “Are You Dreaming?” as fluffy and disposable, but it undeniably captures a specific, glitter-coated moment in time when earnest enthusiasm and unabashed commerciality ruled the dance floor.

Viewed through today’s lens, it’s a polarizing artifact—not deep, not edgy, but irresistibly emblematic of an era when all you needed was a booming bassline and a catchy chorus to define a night out.

Featured on the 1990 album “Street Moves “.

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5 . Porn Kings vs DJSupreme – Up Tha Wildstyle

Released in 1996, “Up Tha Wildstyle” by Porn Kings vs. DJ Supreme epitomizes the sonic chaos of late-’90s Euro House.

It’s a volatile mix of house beats, vintage vocal samples, and breakbeats, underscoring the era’s obsession with hybrid genres.

Borrowing heavily from DJ Supreme’s “Supreme Funky Style” and vocal snippets from “Wildstyle” by Time Zone featuring Afrika Bambaataa, the track manages to blend influence without drowning itself in imitation.

On paper, it sounds like a recipe for oversaturation, but in reality, the marriage of electro-hip-hop elements with relentless club energy carries more precision than expected.

Commercially, the track clawed its way to decent chart positions, peaking at 10 in UK Singles and 8 in UK Dance, but never quite ascended to legendary status.

Instead, its true legacy lingers in the underground rave scene, a place where its unapologetic intensity resonated more strongly than mainstream airwaves ever allowed.

What it lacks in subtlety, it makes up for in boldness, with throbbing production courtesy of Porn Kings’ Davy T, Paul Rowland, and Dan Evans, joined by DJ Supreme, all under the All Around The World label.

The music video, a delirious montage of neon rave imagery and frenetic energy, feels both dated and era-defining, a snapshot of its heyday aesthetic.

If anything, “Up Tha Wildstyle” thrives as a cultural artifact, a stubborn reminder of a time when electronic music flagrantly refused to color within the lines.

More by the same : Wikipedia

6 . Boney M – Megamix

The “Boney M – Megamix” operates less as a standalone song and more as a feverish nostalgia montage for disco disciples, effortlessly threading together Boney M’s musical touchstones into a cohesive party soundtrack.

The 1988 version, emerging amidst remix mania, is packed with truncated hits like “Rivers of Babylon,” “Rasputin,” and “Sunny,” all updated with a late-’80s production gloss that trades the original warmth for sharper edges and booming beats.

Frank Farian’s role as puppet master remains prominent, reshaping classics into a pop-disco Frankenstein tailored for radio and dance floors, albeit with mixed results depending on your tolerance for synthesizer embellishments.

The accompanying music video leans heavily on archival footage, which creates a peculiar contrast between the remixed sound and the visuals of the group’s groovier 1970s heyday.

By 1992, another iteration of the mix resurfaces, this time leaning into electronic undertones and embracing the Eurodance resurgence, effectively capitalizing on waves of retro fascination sweeping through Europe.

This version sees the addition of tracks like “Ma Baker” and an unexpected remix of “I Need a Babysitter,” offering a more frantic but commercially viable soundscape tailored to the evolving club culture of the time.

Boney M’s campy exuberance shines through in both versions, though purists may bristle at the glossed-over charm of the originals traded in for mass-market appeal.

The “Megamix” ultimately serves as a danceable love letter to the band’s back catalog, one that thrives on its ability to spin familiarity into compact, high-energy remixes destined to keep disco diehards moving.

Featured on the 1992 album “Gold – 20 Super Hits”.

Lyrics >> More by the same : Wikipedia

7 . Tongue n Cheek – Forget Me Nots

Released in 1982 as part of Patrice Rushen’s *Straight from the Heart* album, “Forget Me Nots” lands squarely in the genre of dance-funk and does so with considerable flair.

The track boasts a tight rhythm section, driven by Freddie Washington’s unmistakable bassline and enhanced by handclaps and fingersnaps that feel tailored for the dance floor.

Rushen’s production turns warmth into a virtue, layering synthesizers with precision while Gerald Albright’s tenor saxophone solo snakes through the arrangement like a punctuation mark—clean but unobtrusive.

Thematically, the song leans on the metaphor of forget-me-not flowers to explore romantic persistence, framing longing not as weakness but as a kind of graceful resilience.

Interestingly, its release met with resistance from the record label, forcing an approach to promotions that relied on grassroots radio play rather than traditional backing.

The gamble paid off, charting respectably both in the United States and overseas, notably achieving a #4 spot on the US Billboard R&B charts and #8 in the UK.

Its afterlife has been equally intriguing—sampled memorably in Will Smith’s “Men in Black” and George Michael’s “Fastlove,” proving its adaptability across decades.

Even TikTok users have stumbled onto its groove, reminding newer audiences that sharp craftsmanship seldom goes out of style.

More by the same : Wikipedia

8 . Emmie – More Than This

Emmie’s 1999 rendition of “More Than This” takes a once-languid Roxy Music classic and slathers it in the glossy polish of late-’90s club culture.

The track trades Bryan Ferry’s smoky croon for a high-energy electronic vibe that flirts unapologetically with Progressive House and Trance motifs.

It’s a cover that seems engineered for warehouse speakers at 2 a.m., stripping subtlety in favor of synthetic euphoria.

Produced by Mark Hadfield and Adam Carter-Ryan, the track leans heavily on the era’s expanding appetite for electronic reimaginings of nostalgia-steeped originals.

If you’ve ever wondered what a wistful sigh sounds like under neon strobes, give this one a listen.

Peaking at No. 5 on the UK Singles Chart, its popularity cemented its right to exist in the pantheon of club-ready covers that don’t beg permission to rewrite history.

The artwork, borrowing from Dante Gabriel Rossetti’s *Veronica Veronese,* adds a curious layer of pre-Raphaelite whimsy to an otherwise thoroughly contemporary production.

While Roxy Music fans might hesitate to embrace its hedonistic tilt, even Brian Ferry himself gave this iteration a pass, which says a lot.

And let’s not forget: a music video exists, which—like most late-’90s visual accompaniments—might walk the line between retro charm and kitschy overload depending on your mood.

Though perhaps not as emotionally steadfast as 10,000 Maniacs’ quieter 1997 interpretation, Emmie’s version clearly wasn’t interested in subtle comparisons.

Instead, it opts to turn the volume up on nostalgia and plant its flag somewhere between the club and the pop charts, unapologetic in its remix DNA.

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9 . Culture Beat – Inside Out

“Inside Out,” the 1995 lead single from Culture Beat’s third studio album, is a quintessential artifact of mid-’90s Eurodance, blending driving techno beats, glossy keyboard riffs, and an amalgamation of soaring female vocals from Tania Evans and rap interjections by Jay Supreme.

Released posthumously after producer Torsten Fenslau’s passing, the song represents a transitional moment for the group, both sonically and culturally, as it attempts to retain the momentum of their earlier global smash “Mr. Vain.”

Chart performance was robust, landing in top-tier positions across Germany, Canada, and pockets of Europe, though U.S. reception leaned niche, with recognition limited primarily to the dance charts.

The accompanying music video leans heavily into Eurodance tropes of its era—dynamic camera work, glossy digital effects, and a contrived sense of futurism.

The track’s polarizing critical reception oscillates between begrudging respect for its hook-laden construction to dismissal as formulaic churn, with little middle ground granted by listeners and reviewers alike.

This duality only underscores Culture Beat’s precarious balance at the time: a band still resonating on dance floors but grappling with the shifting sands of a genre that would soon slip into the retrograde category of cultural memory.

Featured on the 1995 album “Inside Out”.

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

10 . BG The Prince Of Rap – Take Control Of The Party

“Take Control of the Party” by B.G. the Prince of Rap represents a vibrant slice of 1991 eurodance imbued with the swagger of hip-hop.

A standout from his debut album, “The Power of Rhythm,” the track weaves thumping electronic beats with rap verses, creating a pulsating anthem tailored for crowded clubs and neon-lit dancefloors.

Co-written by Rolf Ellmer, better known as Jam El Mar, the song pairs relentless rhythm with an infectious chorus urging listeners to let loose and seize the moment—hardly revolutionary thematically, but undeniably effective.

B.G., or Bernard Greene, channels his American roots and infuses them with Germany’s evolving dance music culture, a synthesis born of his time stationed there with the U.S. Army.

This single propelled him into rotation on radio and club playlists, holding its own on Billboard Dance charts at number 11 and making ripples in the UK, albeit modestly at number 71.

Despite its success, the song never ventures beyond its party-centric mandate, leaning heavily on repetitive hooks and predictable structure.

Yet, its unabashed simplicity is part of its charm, capturing a moment when eurodance thrived through pure, unfiltered energy.

The accompanying music video, a patchwork of early ’90s clichés, amplifies the song’s carefree vibe, with colorful visuals and cliché choreography telegraphing its intention to find a home in collective nostalgia.

Though not groundbreaking, “Take Control of the Party” embodies its era—a time where dance music valued immediacy over intricacy, aiming squarely for the feet rather than the head.

Featured on the 1991 album “The Power of Rhythm”.

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11 . KLF – 3 a m eternal

“3 A.M. Eternal” by The KLF captures the frenetic pulse of early ’90s rave culture, blending acid house, Brit-house, and a dash of hip-hop swagger.

Released as a single in January 1991, it found inclusion in their genre-defying album *The White Room*, but it’s the song’s “Live at the S.S.L.” mix that propelled it to chart-topping heights.

Peaking at number one on the UK Singles Chart and climbing to number five on the U.S. *Billboard* Hot 100, the track’s pounding beat and Ricardo Da Force’s commanding rap vocals make it both hypnotic and undeniably catchy.

This wasn’t just a dancefloor anthem; it was a cultural artifact, a fever dream spun out of The KLF’s concept-heavy, absurdist universe.

And let’s not forget their notorious BRIT Awards performance in 1992, where they took the stage with Extreme Noise Terror to deliver a grindcore-tinged version, firing blanks into the crowd and leaving behind a sheep carcass as a parting gift.

It wasn’t a performance—it was a farewell tantrum before their dramatic exit from the music industry.

Equipped with multiple remixes, from the atmospheric “Pure Trance Original” to rowdier versions crafted for the club scene, “3 A.M. Eternal” is nothing if not adaptable, a chameleon that changes its tone but never its essence.

The surreal music videos mirror this ethos, offering chaotic visuals tailored to distinct audiences, resembling disjointed cinematic fragments rather than cohesive narratives.

Its futuristic, dystopian aesthetic fit the early ‘90s zeitgeist but went further, reflecting The KLF’s ability to simultaneously embrace and mock pop music clichés.

At its core, the track is more than the sum of its parts—where blistering energy meets a wink at the absurdities of fame—and stands as an enduring relic of an era when electronic music refused to play by the rules.

Featured on the 1991 album “The White Room”.

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

12 . Happy Mondays – Wrote For Luck

“Wrote For Luck” by Happy Mondays emerges as a gritty snapshot of the late 1980s, drawing energy from the chaos of Manchester’s burgeoning acid house scene.

Landing on their 1988 album *Bummed*, the track carries the crooked fingerprints of producer Martin Hannett, whose touch amplifies its jittery blend of funk, post-punk, and nascent house sounds.

The lyrics, penned by Shaun Ryder, lean toward the absurd, veering between surreal street parables and deadpan humor, a reflection of a mind stewing in the unpredictability of nightlife fueled by substances and serendipity.

Paul Oakenfold’s 1989 remix (*Think About the Future*) reframes the track for dance floors, thrusting it into the center of the UK’s rave zeitgeist as its hypnotic undercurrents find new purpose in a club setting.

The accompanying video, filmed at the Manchester club Legend, captures a slice of the scene’s raw energy while slyly nodding to the band’s messy reputation—evidently not in a rush even when the cameras were.

What could easily slide into caricature is bolstered by Ryder’s delivery, somehow both lackadaisical and penetrating, backed by instrumentation that teeters between loose grooves and taut rhythms.

Though the band recorded “Wrote For Luck” away from their habitat in Yorkshire’s Slaughterhouse Studios, the track oozes with the character of their ramshackle Mancunian origins, an anthem for dissolving boundaries between genres and inhibitions alike.

Featured on the 1988 album “Bummed“.

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