‘Music For The Dancers’ N°331 – Vintage 90s Music Videos

Bass Bumpers, Christopher Just, Peter Andre, Kim Appleby, Yakalelo, New Kids On The Block, MC Sar & The Real McCoy, Double Dee, Chumbawamba, 49ers, Hysteric Ego, Nakatomi

They are the performers of twelve vintage dance tunes that were ranked in various charts, this week (06/52) BR145http://go.radiovideo.music/qt0BUT … in the Nineties 90s.

Here, they are reunited in one glorious playlist. Enjoy!

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Tracklist

1 . Bass Bumpers – The Music’s Got Me

“The Music’s Got Me” by Bass Bumpers is a neon-lit journey through the heart of early ’90s Eurodance.

Released in 1992, it firmly plants itself in an era of thumping beats and euphoric hooks, embodying that unforgettable energy of pre-millennial nightclub culture.

Chart success paints a promising picture: reaching No. 16 in France, No. 36 on *Billboard*’s Hot Dance Club Songs, and No. 25 in the UK—a respectable feat in a time marked by fierce competition on the radio and dance floors.

Musically, it’s all rushing synth stabs, an irrepressible bassline, and repetitive yet endlessly intoxicating vocal loops designed to lodge themselves into your brain like glitter on a festival outfit.

The lyrics aren’t here to provoke deep thought; they’re a rallying cry to let loose, guiding their audience to surrender to the rhythm—a mantra befitting the hedonistic escapism of the rave scene.

In its 2015 remix reincarnations, names like La Chord, North2South, and Taito Tikaro breathe modern textures into the original, but purists may argue none quite replicate its raw, unpolished charm.

Bass Bumpers—the collective talent of Henning Reith, Caba Kroll, CJ Stone, Akira Yamamoto, and others—crafts a sound that refuses to apologize for its sugary simplicity.

It’s both a nostalgic time capsule and a reminder that sometimes, music’s only job is to get you moving.


Featured on the 1992 album “Advance”.

Lyrics >> Review >>

2 . Christopher Just – I’m A Disco Dancer

Released in 1997, “Christopher Just – I’m A Disco Dancer” takes electronic music into uniquely hedonistic territory with its combination of robotic vocals and jittery acid synths.

The track operates as both a tongue-in-cheek homage to disco culture and a bold step towards what would eventually be labeled the electroclash genre.

Its signature vocodered refrain loops with hypnotic insistence, leaving listeners teetering between fascination and discomfort, a hallmark of its audacious charm.

The cacophonous squelch of the synthesizers feels intentionally abrasive, as if daring the audience to disengage, while paradoxically pulling them deeper into its mechanical rhythm.

Released under International DeeJay Gigolo Records, a label renowned for its avant-garde sensibilities, the song sits comfortably among the period’s electronic experimentations without losing its identity.

Though charting modestly at position 72, its cultural impact outlives its commercial performance, often compared to I-F’s “Space Invaders Are Smoking Grass” for shaping the electroclash aesthetic.

The track’s bold irreverence and refusal to conform reflect a broader ethos of late ’90s electronic music: provocative, unpolished, and unapologetically weird.


Lyrics >> More by the same : Facebook

3 . Peter Andre – All Night, All Right (w/ Warren G)

“All Night, All Right” by Peter Andre merges laid-back R&B grooves with a hip-hop touch, featuring contributions from Warren G and, in select versions, Coolio.

The track borrows its backbone from the disco anthem “Boogie Oogie Oogie,” injecting a nostalgic yet smooth vibe into late ’90s pop.

Produced by Montell Jordan and Schappell Crawford, the song retains a polished, radio-friendly sheen while nodding to its danceable disco roots.

Lyrically, it sticks to light romantic themes, pairing them with a mellow, flirtatious delivery that complements its laid-back instrumentation.

The accompanying remixes, such as the Brooklyn Funk R&B mix, add texture and a bit of edge, broadening its appeal across clubs and radio alike.

Chart-wise, it performed moderately, reaching respectable positions in the UK, New Zealand, and Australia, though it failed to make a substantial impact elsewhere.

Andre’s clean-cut image pairs intriguingly with Warren G’s effortless West Coast rap, though the combination feels more experimental than cohesive at times.

The video amplifies the song’s feel-good tone but doesn’t attempt to push creative boundaries, leaning into its casual charm instead.

Ultimately, while not a game-changer, the track is a pleasant, if unremarkable, snapshot of the hybrid R&B-pop sound that defined the era.


Featured on the 1997 album “Time “.

Lyrics >> More by the same : Twitter

4 . Kim Appleby – G.L.A.D. [Good Lovin’ and Devotion]

Released in early 1991, Kim Appleby’s “G.L.A.D. [Good Lovin’ and Devotion]” is a bright slice of dance-pop packed with infectious energy and retro charm.

The title itself is a neat acronym that distills the song’s central message—an earnest celebration of love and loyalty, wrapped in a glossy, upbeat package.

Born from a collaborative effort with her late sister Melanie Appleby and Craig Logan, this track carries an unspoken weight, with the specter of Melanie’s passing in 1990 adding emotional gravitas to what might otherwise be dismissed as just another pop single.

Chart success came swiftly, with the song cracking the UK Top 10 and gaining traction across Europe, proving its cross-channel appeal was more than just a fleeting flirtation.

Musically, it leans on polished production, hallmark piano riffs, and the occasional hip-hop flavor, courtesy of a rap segment by Aswad’s Brinsley Forde, which feels both slightly out of step and oddly endearing.

The music video, helmed by Nick Willing, is the quintessential early ’90s visual feast: bright, cheery, and slightly kitsch, complementing the track’s boppy demeanor without taking itself too seriously.

Sonically speaking, “G.L.A.D.” might not reinvent the wheel, but its undeniable catchiness and sentimental underpinnings resonate more deeply when placed in the context of Appleby’s journey post-Mel & Kim.

Less of a radical departure and more of a continuation of her late sister’s legacy, the track’s appeal lies in its layered contradictions—it’s earnest but cheeky, slick yet surprisingly heartfelt.

From the strategically composed backing harmonies to the playful yet poignant lyrics, “G.L.A.D.” finds its footing as both a nostalgic artifact of its era and a meaningful snapshot of an artist in transition.


Featured on the 1990 album “Kim Appleby “.

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

5 . Yakalelo – Nomads

Released in 1998, “Yakalelo” by the short-lived Franco-Algerian collective Nomads stands out as a quintessential worldbeat artifact of its time.

It rides on a heady cocktail of Arab-Andalusian melodies, African percussive undertones, and electronic flourishes, making it an auditory postcard from that turn-of-the-millennium moment when international pop flirted heavily with global fusion.

Despite the band’s brief existence, the track lit up European charts, climbing to the number two spot in France and cracking the top ten in Belgium and the Netherlands—numbers that are as much a testament to the song’s buoyancy as to TF1’s relentless promotional machine.

The multiple remixes, ranging from House to Gipsy-inspired variants, further underline its commercial ambitions, catering to nightclub goers and radio programmers alike.

The accompanying video feels like a time capsule of mid-’90s aesthetics, doubling down on its cross-cultural aspirations with vibrant imagery and a calculated sense of universality.

It’s accessible, catchy, and unabashedly manufactured for the charts, yet its fusion elements lend it an edge, keeping it from sliding entirely into prefab pop territory.

“Yakalelo” may not carry the lyrical depth or innovation some critics might pine for, but as a glossy, synthetic celebration of cultural intersections, it punches above its weight long after its era has faded.


Featured on the 1998 album “Better World”.

Lyrics >> Review >>

6 . New Kids On The Block – Games

“Games” by New Kids on the Block walks a bold line between reinvention and rebellion, shifting the boy band’s identity with a new jack swing swagger that rattles their squeaky-clean image of the ’80s.

The track’s backbone leans heavily on funk-laden beats and hip-hop samples, with Jordan Knight’s smooth vocal hooks sparring against Donnie Wahlberg’s defiant, half-spoken rhymes.

The group trades bubblegum pop for gritty confidence, throwing a sly nod to Mark Wahlberg and the Marky Mark persona while lifting a chant straight from “The Wizard of Oz,” conjuring a mix of pop culture cheek and rhythmic bravado.

Produced by Maurice Starr, along with David Cole and Robert Clivillés, the song is less polished pop confection and more of a statement piece, its ragged edges signaling the group’s attempt to break free from their manufactured past.

“Games” isn’t aiming for subtlety, nor does it need to, as its experimental energy positions it as both a departure and critique of the fame machine they navigated.

The accompanying music video, drenched in 1990-era MTV aesthetic, finds the group midway through shedding its boyish image, even as they embrace abbreviation, adopting the moniker “NKOTB” alongside their sonic makeover.

Charting in diverse regions from the U.K. to Australia, its global reach reflects the gutsy pivot, though its moderate U.S. airplay suggests the track’s ambition didn’t entirely resonate stateside.

Whether “Games” lands as reinvention or just a detour depends on the listener, but its restless urgency can’t be ignored. The track stakes its place as a curious artifact of a band refusing stasis in the churn of 1990’s pop landscape.


Featured on the 1990 album “No More Games/The Remix Album”.

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

7 . MC Sar & The Real McCoy – Run Away

“Run Away” by MC Sar & The Real McCoy represents Eurodance in its unabashedly infectious form, marrying melancholy lyrical themes with an upbeat, synth-heavy production.

Released in 1994 and produced by Juergen Wind and Frank Hassas under their Freshline alias, the track showcases the distinct vocal blend of Olaf Jeglitza’s brooding rap verses and Karin Kasar’s velvety choruses, mimed in the video by Patricia Petersen.

Thematically, the song leans into ideas of escape and yearning, common to its genre, but it pairs these with an anthemic quality few dance tracks manage to evoke.

Its chart performance cemented its global resonance, climbing to number three on the US Billboard Hot 100 and finding similar success in the UK, Australia, and New Zealand.

Visually, the European video by Matt Broadley sticks to the genre’s playful aesthetic, while Nigel Dick’s unreleased American cut leans unnecessarily into darker motifs, a curious divergence for such a buoyant track.

Over time, “Run Away” has earned its place on numerous nostalgic ’90s lists, serving as both a time capsule and a still-thrilling spin on club playlists.


Featured on the 1995 album “Another Night”.

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

8 . Double Dee – Found Love (w/ Dany)

“Found Love” by Double Dee featuring Dany is a sparkling artifact of early ’90s house music, perched as both a dancefloor magnet and a time capsule of its era.

Italian producers Davide Domenella and Donato “Dany” Losito assemble a buoyant concoction of pulsing beats, exuberant vocals, and unpolished charm.

Released in 1990, it clinched the top position on the U.S. Hot Dance Music/Club Play chart, cementing its place in club culture while dodging mainstream U.S. radio, with only a modest showing at number 64 on the Airplay chart.

The song’s legacy stretches across borders, climbing charts from the UK to France to Italy, and landing a respectable number 33 on the UK Singles Chart during its 1995 resurgence—a feat for a genre often typecast as ephemeral.

Its rhythmic DNA has been repurposed in numerous remixes and covers, including Jazzy Mel’s Spanish rendition, “Fue Amor,” which filled Argentine discos in the early ’90s.

This track is neither groundbreaking nor fussy, and that’s its charm—it thrives on a primal, uncomplicated euphoria that defines house music’s earliest iterations.


Lyrics >> More by the same : Facebook

9 . Chumbawamba – Amnesia

“Amnesia” by Chumbawamba cleverly dissects political disillusionment through a lens that balances wit and incisiveness.

Anchored in the late ’90s rise of New Labour under Tony Blair, the lyrics pull no punches, serving as a scathing critique of broken promises and political dishonesty.

The melody juxtaposes upbeat alternative rock rhythms with the biting edge of its commentary, a hallmark of the band’s ability to disguise pointed critiques under infectious hooks.

Its blend of irony and catchiness catapulted the track into the charts, earning it a place in the UK Top 10 and similar success abroad, including Canada’s RPM chart.

The US reception was more niche but still notable, achieving spots on several Billboard charts, a rare feat for a politically charged track of this nature.

The accompanying video, set in an emptying theatre where societal disengagement is personified, complements the track’s narrative with a quiet cynicism.

The sampled UK public service announcement on mad cow disease at the song’s conclusion adds a surreal twist, blending absurdity with commentary on governmental ineptitude.

This is not merely a song; it is a reflection of its time, where discontent simmered beneath a glossy political rebranding, and “Amnesia” cuts through that veneer with razor-sharp precision.

Its legacy endures as a cultural artifact of pop music’s ability to critique without compromising its accessibility or punch.


Featured on the 1997 album “Tubthumper”.

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

10 . 49ers – Touch me

Released in late 1989, “Touch Me” by the Italo house outfit 49ers stands as a punchy artifact of its era, blending timeless vocal chops and driving beats with unabashed energy.

The production, courtesy of Gianfranco Bortolotti, leans heavily on borrowed brilliance, with samples plucked from Aretha Franklin’s “Rock-A-Lott” and Alisha Warren’s titular “Touch Me.”

It’s a patchwork of bold choices that somehow coagulates into a pulsating club anthem, spinning as much on borrowed nostalgia as original heft.

It earned its keep on global charts, with its UK Singles Chart peak at number three, while similarly infectious momentum carried it into the top tiers across Europe, Australia, and New Zealand.

Its crowning glory lands in the U.S. where it topped Billboard’s Hot Dance Club Play chart for two weeks, offering a clear nod to its dancefloor credentials.

The accompanying visual features vocalist Dawn Mitchell, exuding the kind of performative charisma tailor-made for the high-octane, synth-driven essence of the track.

Beyond its chart numbers, the song is emblematic of the late ’80s/early ’90s Italo house explosion: glossy, brash, and unabashedly straightforward in its delivery.

Despite being presented in myriad remixes and edits, the core track remains refreshingly simple, its looping hook sandwiched between euphoric highs and hypnotic lows.

Today, “Touch Me” resonates as both a sign of the times and a standout in its genre, balancing its borrowed fragments with a rhythmic pulse that screams peak-era house music indulgence.


Featured on the 1990 album “49ers”.

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

11 . Hysteric Ego – Time To Get Back

Released in 1998, “Hysteric Ego – Time To Get Back” serves as a snapshot of British electronic music’s late-90s infatuation with house beats and remix culture.

True to its time, the track indulges in loop-heavy grooves combined with a polished production style that leans heavily on its rhythmic appeal—perfectly aligned with the era’s sweaty, strobe-lit dance floors.

What elevates its release is the assortment of remixes accompanying it, particularly the “Ruff Driverz Mix” and “Spacedust Panorama Mix,” which offer variations ranging from harder-edged beats to atmospheric spins.

While it didn’t ignite a chart frenzy or become entrenched in mainstream pop consciousness, it certainly resonated within niche club circuits, securing its reputation as a functional, if not groundbreaking, house track.

The production doesn’t stretch far beyond the confines of formulaic house, but its straightforward charm arguably works in its favor, sitting comfortably as a product of its era without overstaying its welcome.

Though the song lacks notable accolades or cultural milestones, its availability on platforms like Spotify and vinyl reissues on Discogs nod to its staying power among enthusiasts of late-90s dance music.

It’s less a statement piece and more a time capsule—an artifact of a world where DJs reigned supreme, and tracks like this fueled nights that blurred into mornings.


More by the same : Facebook

12 . Nakatomi – Children of the Night

Released in 1996, “Children of the Night” by Nakatomi encapsulates the euphoric energy of Eurodance with a Dutch happy hardcore twist, courtesy of DJs Wessel van Diepen and Dennis van Driesschen.

The track’s high-tempo beats and soaring synths strike a careful balance between relentless club fervor and melodic accessibility, a sound that clearly found a captivated audience in its native Netherlands, where it reached an impressive number 2 on the charts.

While it only skimmed the surface of international success, peaking at number 47 in the UK Singles Chart in 1998 and enjoying a modest resurgence with a 2002 reissue, its European roots remain its primary stage.

The song’s unexpectedly enduring life includes becoming the unlikely walk-out anthem for Gateshead F.C.’s 2019/20 season, proving that even happy hardcore can find a strangely specific second act far removed from glow sticks and rave floors.

Sandwiched between the group’s earlier hit “Free” and their final single “Sing,” this track symbolizes both their rise and their rapid descent, an ephemeral fixture in the twilight of the hardcore era.

With no major awards or accolades, “Children of the Night” achieves its staying power through sheer nostalgia, its exuberance crafted for a time when unity meant a packed dance floor and freedom was a bass drop away.


Lyrics >> More by the same : Facebook

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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