‘Music For The Dancers’ N°327 – Vintage 90s Music Videos

Inner City, Vanilla, Sugar Ray, ETA, Five, Rozalla, M People, Skunk Anansie, Captain Hollywood Project, Dream Frequency, Deuce, London Boys

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

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Tracklist

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1 . Inner City – Do Ya

“Do Ya” by Inner City belongs to the era where the group’s sound grew more daring, weaving techno beats with influences from jazz and swing.

Released in 1994 through the label SIX6, its two-week stint on the UK Singles Chart peaking at number 44, paired with a solid number 5 spot on the US Dance charts, speaks to its fleeting yet notable commercial impact.

The musical composition, driven by Kevin Saunderson and Paris Grey—Inner City’s creative nucleus—feels like an audacious experiment rather than an outright club hit, blending upbeat yet intricate production with breezy vocal delivery.

A non-album single, it sits awkwardly between Inner City’s earlier groundbreaking hits and their later attempts at reinvention, echoing the tension of chasing trends while staying true to their roots.

The music video likely fits neatly into the aesthetic of its time, though it’s far from iconic in either execution or its cultural footprint.

Despite this, “Do Ya” adds to Inner City’s résumé of genre-defying tracks that embody the ebb and flow of ’90s dance music’s trajectory.


More by the same : Official Site

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2 . Vanilla – No Way No Way

Released in 1997, “Vanilla – No Way No Way” serves as a quirky entry into the late ’90s pop scene.

The track is underpinned by a catchy instrumental riff that borrows heavily from Piero Umiliani’s “Mah Nà Mah Nà,” adding an oddly familiar edge to its playful tonality.

While it climbed to a respectable #14 on the charts, its critical reception was far less favorable, often derided for its clunky production and uninspired vocal delivery.

The accompanying music video, featuring scenes of the group cavorting around a swimming pool, mirrors the song’s lightheartedness but falters with dated styling and awkward execution.

Produced under EMI, the track even received a Xenomania remix, showcasing the era’s fascination with remix culture as a route to broader club appeal.

In true late-’90s fashion, the lyrics rhyme basic sentiments of enduring camaraderie, mimicking the ethos of powerhouse groups like the Spice Girls without capturing their authenticity or charm.

Vanilla’s brief foray into pop feels like an odd experiment, as if the industry wanted to see how far a gimmick could go before imploding altogether.


Lyrics >> More by the same : Wikipedia

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3 . Sugar Ray – Fly

“Fly” by Sugar Ray propels its listeners into an effortless mix of alternative rock, pop, and reggae fusion, capturing the late ’90s ethos of chilled-out optimism.

The track’s breezy rhythm and Mark McGrath’s sultry vocals slide smoothly into the spotlight, while Super Cat’s dancehall-influenced verse on one version infuses a quirky layer of energy.

With a hook that’s almost too catchy for its own good, the song nails its refusal to aim deep, choosing instead to revel in a vibe that screams backyard parties and carefree afternoons.

The production feels clean yet textured, sprinkling ska undertones like seasoning without overstaying their welcome. Lyrically, it doesn’t overcomplicate itself, which only enhances its accessibility and radio-friendliness.

The music video, directed by McG, mirrors this lack of pretension: colorful, sun-kissed, and unapologetically fun.

While its success on airplay charts solidified the track’s ubiquity, Sugar Ray’s pivot to this lighter style from their grungier roots likely raised more than a few eyebrows among loyal fans.

Still, its prominence underscores the peculiar charm of a song that isn’t profound but manages to stick in your brain like gum on a hot sidewalk.


Featured on the 1997 album “Floored”.

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

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4 . ETA – Casual Sub [Burning Spear]

The 1998 release of “Casual Sub (Burning Spear)” is more a playground for remix artists than a Burning Spear centerpiece.

Packaged on EastWestDance, the 12-inch vinyl drips with eclectic interpretations from Stretch ‘n’ Vern to Hixxy, spinning the same initial spark into entirely disparate vibes.

The centerpiece, “Stretch ‘n’ Vern’s Rock ‘n’ Roll Mix,” stretches the track to over ten minutes—an ambitious yet polarizing stretch of rhythmic indulgence and reverb-infused bravado.

The “45 Or 33? Radio Edit,” trims everything into radio-ready brevity, though it feels like a factory-recall version for shorter attention spans.

Meanwhile, the Danmass Remix plays with hypnotic structures, slightly more understated yet layered with precision loops that nod to late ’90s electronica trends.

Then there’s “Hixxy’s Hardcore Mix,” a frenetic sprint of heavy beats designed to leave your pulse racing but potentially sacrificing nuance at the altar of raw energy.

And yet, detached from any major Burning Spear album or noteworthy cultural moment, the track relies less on its original charm and more on its remixers’ ability to reinterpret.

Whether that’s a thrill or a distraction depends mainly on your appetite for disparate takes on a singular concept.


Featured on the 2000 album “No Smoking”.

Lyrics >>

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5 . Five – Slam Dunk [Da Funk]

“Slam Dunk (Da Funk)” by Five shimmies into the late ’90s with a boisterous mix of pop and rap, laced with the unmistakable fingerprints of producers Jake Schulze, Max Martin, and Denniz Pop.

Packed with cheeky braggadocio and infectious hooks, its energetic swagger is heightened by a playful sampling nod to Herbie Crichlow’s “Clap Your Hands.”

While it clinched a modest number 10 spot on the UK Singles Chart and a certified Silver, stateside listeners were decidedly lukewarm, letting it peak at a mere 86.

Undeterred, this track jived its way into cultural relevance as the NBA’s theme song, a marketing coup that lent the group some sporty street cred.

The dual music videos—one aimed at the UK and another slyly tailored for US audiences—lay bare the calculated ambitions of boy bands eager to navigate contrasting pop terrains.

During their 2013 comeback tour, Five playfully tweaked the lyrics to acknowledge their evolving lineup, proving they’re nothing if not self-aware.

High-energy production underpins lyrics that scream youthful confidence, though some might argue the polish overshadows substance.


Featured on the 1998 album “Five “.

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

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6 . Rozalla – I Love Music

Rozalla’s rendition of “I Love Music” reinvents the Gamble and Huff classic with a ‘90s sheen, pairing her exuberant vocals with a robust dance production that pulses with energy.

Originally crafted for her album “Look No Further” and the “Carlito’s Way” soundtrack, the track resonates as a sleekly produced celebration of rhythm and devotion to sound.

Produced by Jellybean, the single trades the original’s lush instrumentation for a leaner, club-ready arrangement tailored to the era’s house music audience.

Its chart performance mirrored its adaptability—hitting number one on the U.S. Billboard Dance Club chart while capturing pockets of European success, notably in Finland and the UK.

What makes this interpretation intriguing is its balance of homage and reinvention; Rozalla doesn’t mimic The O’Jays but inhabits their fervor, draping it in synthetic beats and soaring harmonies.

The production, while crisp, doesn’t always allow the track’s innate jubilance to breathe fully, favoring a uniform intensity that occasionally flattens its highs.

Yet, within its four-minute runtime, it captures the mid-‘90s zeitgeist of dance floors eager for both familiarity and forward momentum.

Ultimately, it’s less a reinvention and more a reflective time capsule, framing Rozalla’s artistry during a period of transition and highlighting her ability to find common ground between nostalgic hooks and electronic aesthetics.


Featured on the 1995 album “Look No Further”.

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

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7 . M People – How Can I Love You More?

“How Can I Love You More?” arrives as a glittering dance-pop track etched with passion and fervor, capturing the early ’90s club music scene through its infectious beats and evocative lyrics.

Released in 1991, this debut effort by M People combines the songwriting acumen of Mike Pickering and Paul Heard with Heather Small’s commanding vocals, delivering a piece that feels both yearning and celebratory.

Initially peaking at a modest number 29 on the UK Singles Chart, its 1993 remixed reincarnation—helmed by Manchester DJ Sasha—catapults it into a Top 10 staple, a transformation indicative of the evolving tastes of a rave-soaked Britain.

The layered harmony defies minimalism, instead favoring pulsating rhythms and lush arrangements that nod to the burgeoning house music scene of its era.

The video, shot in a crumbling Surrey warehouse, pairs grit with glamour, juxtaposing the band’s performance with fluid, hypnotic dance sequences, a visual echo of the track’s electrifying pulse.

It’s a song that refuses to sit still, whether in its transitions into live gigs or its subtly altered grooves over time. A piece consistently tethered to its era yet perpetually ready for reinvention.


Featured on the 1991 album “Northern Soul”.

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

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8 . Skunk Anansie – Twisted [Everyday Hurts]

“Twisted (Everyday Hurts)” is a serrated burst of alternative rock that lands with Skunk Anansie’s signature blend of intensity and introspection.

Released in 1996 as part of their second album “Stoosh,” the track doesn’t aim to please but rather to provoke, merging brooding lyrics with a commanding vocal performance by Skin, whose visceral delivery feels both raw and calculated.

The track’s structure leans on a distinctive drum pattern that anchors layers of sharp-edged guitar work, combining chaos with clarity in a way that’s unmistakably theirs.

Charting modestly in the UK and a smattering of other territories, the song punches above its statistical weight, becoming a steady presence in the band’s live arsenal and proving its merit on stages like the beloved ‘90s cult show “TFI Friday.”

The accompanying video walks the line between bleak and dramatic, honing in on the song’s central themes of pain and resilience without swerving into melodrama.

It’s a track that doesn’t just reflect its era but also stands apart from it, carving out a space where emotional heft meets biting instrumentation.


Featured on the 1996 album “Stoosh”.

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

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9 . Captain Hollywood Project – Impossible

“Impossible” by Captain Hollywood Project represents a vivid snapshot of 1993 Eurodance culture, blending rave-ready synths with rhythmic hip-house undertones.

The track leans heavily on dynamic contrasts, with smooth, yearning vocals from Kim Sanders adding an emotional core to its pulsating energy.

Ironically, the music video opts to feature German singer Petra Spiegl instead, a move emblematic of the era’s carefree approach to authenticity versus aesthetics.

Chart success across Europe underscores its pervasive appeal, snagging top-10 spots in several countries while skirting further down in Germany (12) and the UK (29).

Critics at the time largely embraced its layered production, with Billboard highlighting its rave flavor and Smash Hits hailing it as a “monster” track.

Beneath the glossy surface lies a narrative of determination buried within hooks that dare listeners to move while reflecting on the impossibility of staying still—physically and emotionally.


Featured on the 1993 album “Love Is Not Sex”.

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

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10 . Dream Frequency – Feel So Real (w/ Debbie Sharp)

“Feel So Real” brings a breathless rush of early ’90s euphoria, riding on a wave of breakbeat house beats and the vibrant energy of Debbie Sharp’s crystal-clear vocals.

Released in 1992, this track doesn’t break ground as much as lay out pure rave scene ambition for a dancefloor hungry for galvanizing anthems.

The song finds its home among neon-hued strobes and warehouse walls, unapologetically rooted in the UK’s hardcore movement, yet accessible enough to land mid-chart success in the UK (#23) and Ireland (#26).

The live performance on ITV’s “Hitman and Her” provided a raw snapshot of an era when PAs were just as important as studio polish, with Dream Frequency leaning heavily into their unvarnished, energetic essence.

Its remix lifecycle, like the K69 reboot in 2020, shows this is one of those tracks that refuses to age out of relevancy, still occupying spaces where retro and modern dance collide.

It’s honest rave nostalgia wrapped in the glimmer of a moment when acts like Dream Frequency dared to spin pure joy against backdrop of a subculture still crafting its identity.


Featured on the 1992 album “One Nation”.

More by the same : Official Site

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11 . Deuce – Call It Love

“Call It Love” emerges as a polished piece of mid-’90s Eurodance pop, shimmering with glossy production and infectious hooks.

Deuce’s debut single feels tailor-made for the dance floors of its time, encapsulating the era’s penchant for upbeat melodies layered over punchy synths and rhythmic beats.

The track’s underlying theme—teetering between love and longing—is coated in accessible, radio-friendly charm without venturing into saccharine territory.

Its success spans charts in the UK, Ireland, and Israel, though it doesn’t achieve a global breakout akin to some of its contemporaries.

Critics, while applauding the song’s catchiness, were quick to label it as a quintessential “European pop” confection, delivering energy but staying safely within genre conventions.

The remixes, ranging from the playful JX Kissy Kissy Mix to the Primax One Night Stand Mix, add some bite, though none depart radically from the original’s formulaic allure.

The music video, a colorful medley of choreographed sequences, adds a layer of cheeky charm, bolstered by a Tony Mortimer cameo that feels like a sly nod to the era’s boy band obsession.

Peeling back its sheen reveals a track that excels in delivering a fleeting burst of joy but offers little depth beneath its polished veneer.


Featured on the 1995 album “On the Loose!”.

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

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12 . London Boys – Freedom

“Freedom” by the London Boys steps onto the scene as a 1990 dance-pop track that pairs buoyant beats with optimistic lyrics, radiating an unmistakably carefree energy.

Released as part of their “Sweet Soul Music” album, the song marked a period where the duo’s chart dominance was waning, landing modestly at number 54 in the UK and number 29 in Switzerland.

This wasn’t a track destined to reshape the pop landscape, but its infectious charm secured its place within the duo’s polished catalogue, even if it couldn’t rival earlier hits like “Requiem” and “London Nights.”

As is typical for the London Boys, the accompanying music video is all about movement—an array of choreographed sequences interspersed with snippets of romantic storytelling, staying true to their dance-centric brand.

The song doesn’t scream groundbreaking innovation but instead occupies a space of feel-good escapism, a mood underscored by its title.

The death of the duo in 1996 remains a poignant reminder of their brief yet impactful journey, with “Freedom” standing as a snapshot of their later career strides, even if not a definitive high point.


Featured on the 1991 album “Sweet Soul Music”.

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

For THE FULL ‘MUSIC FOR THE DANCERS’ COLLECTION click here

This week Top 20 New Music on RVM *

(*) According to our own statistics, upadted on February 16, 2025

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