David Bowie, Placebo, INXS, Leilani, Skunk Anansie, Donna Giles, Alice In Chains, The Offspring, Duran Duran, Meshell Ndegeocello, Eurythmics, Sting
They are the performers of twelve vintage amusing, puzzling and sometimes shocking videos of songs that were ranked in various charts, this week (06/52) BUT… in the Nineties 90s.
Here, they are reunited in one glorious playlist. Enjoy!
For TWENTY FOUR more ‘Vous Avez Dit Bizarre’ – Vintage 90s Music Videos – week 06/52 – click here and here
Tracklist
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1 . David Bowie – Little Wonder“Little Wonder” by David Bowie emerges as a kinetic blend of electronica and rock, pushing the boundaries of sonic experimentation on his 1997 album *Earthling*. Crafted alongside Reeves Gabrels in a frenzied, stream-of-consciousness method, the track feels fragmented yet cohesive, like a kaleidoscope spinning out of control but never tipping over. Driven by a muscular rhythm section courtesy of Gail Ann Dorsey on bass and Zachary Alford on drums, the song charges ahead with industrial intensity, while Mike Garson’s jagged piano punctuates the chaos with moments of unhinged clarity. Lyrically, Bowie offers tantalizing snippets of meaning, suggesting themes of fractured identity and uncertain futures, but the words are more about texture than narrative. Its accompanying music video, a hyper-stylized, dystopian fever dream directed by Floria Sigismondi, features disembodied video sculptures by Tony Oursler and Bowie morphing through the ages—part retrofuturist nightmare, part art installation. The track’s various remixes, including the Ambient Junior Mix and Danny Saber Mix, played with its DNA, offering a smorgasbord of interpretations that either stripped it bare or amplified its restless energy. The song peaked at 14 on the UK Charts, nodding to Bowie’s enduring ability to infiltrate mainstream pop spaces without fully assimilating into them. An exploration as much as a declaration, *Little Wonder* sits defiantly at the intersection of cathartic noise and calculated experimentation, its relentless energy a challenge rather than an invitation. Featured on the 1997 album “Earthling“.
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2 . Placebo – Nancy Boy“Nancy Boy” by Placebo, released in 1996 on their self-titled debut album, is a searing critique of societal norms and personal indulgences. Its infectious alternative rock sound is bolstered by lyrics that confront themes of sexuality, gender ambiguity, and a hedonistic pursuit of pleasure with a mix of defiance and dark humor. The song’s re-recorded single version trims down its raw edges, clocking in at 3:18 compared to the album cut’s 3:48, making it sharper for radio play without losing its bite. Brian Molko’s nasally, sardonic vocals tear into cultural trends, questioning the authenticity of relationships and the commodification of bisexuality as a fleeting fashion statement. Debuting at number four on the UK Singles Chart, it delivered the band their first notable commercial success, an outcome that felt as unnerving as it was inevitable for a track this provocative. The Phil Vinall-produced track is accompanied by the equally brazen B-side “Slackerbitch,” complementing its unapologetic tone. Their January 1997 “Top of the Pops” performance amplified the track’s notoriety, with an on-screen presence that oozed discomforting charisma. Placebo straddles contradictions here: creating a deliberate anthem for misfits while slyly critiquing performances of identity within those very subcultures. Lean, visceral instrumentation sets a fitting backdrop for Molko’s withering observations, while a frenetic pace mirrors the chaos the song critiques. “Nancy Boy” is as much a punchline as it is a punch in the gut, reveling in its role as an irritant to mainstream sensibilities while carving its own unapologetic niche. Featured on the 1996 album “Placebo”.
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3 . INXS – Beautiful GirlINXS’s “Beautiful Girl” shuffles onto the scene as a mid-tempo reflection of admiration, tinged with a quiet introspection that feels uniquely intimate for a rock band frequently associated with stadium-filling bangers. Its roots, planted in Andrew Farriss’s awe at the birth of his daughter, lend the track an earnestness rarely found in the alternative rock sphere of the early ’90s. The arrangement unfolds with a deceptively simple elegance—hushed guitar lines and a steady groove anchor the melody, allowing Michael Hutchence’s vocals to drift effortlessly between tenderness and melancholy. Where the song gets particularly intriguing, though, is in its visual counterpart—the 1993 music video. Instead of clinging to the genre’s predictable aesthetics, the band delivers a subtle critique of beauty culture, pairing haunting text overlays with disarming imagery of women unburdened by artifice. If anything, the video feels gutsier than the track itself, actively stepping into the realm of social commentary often sidestepped by mainstream acts. That said, this isn’t a track rewriting history or charting bold sonic territory. It’s comfortably nested within the broader narrative of INXS’s eighth studio album, “Welcome to Wherever You Are,” which itself leans into understated experimentation compared to the bombast of their earlier work. Released under Atlantic’s watchful eye, “Beautiful Girl” did little to storm the Billboard charts, landing unceremoniously at #46. Nonetheless, it feels more like a quiet nudge toward emotional resonance than a shout for mass appeal. If it stumbles anywhere, it’s perhaps in how neatly it strives to skate along the line between earnestness and radio-friendliness, leaving little room for the jagged surprises that defined INXS in their prime. In a catalog brimming with hooks and swagger, “Beautiful Girl” serves as a measured exhale—neither an indulgence in sentimentality nor a feeble grasp at relevance. Featured on the 1992 album “Welcome to Wherever You Are”.
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4 . Leilani – Madness ThingReleased at the tail end of the nineties, “Madness Thing” by Leilani is more than just a debut single—it’s a peculiar snapshot of pop edging on chaos, both musically and thematically. Clocking in as a top-20 hit on the UK charts, the January 25, 1999, release straddles the line between youthful rebellion and bubblegum pop aesthetics, radiating a sense of eccentric energy that only the late ’90s music scene could manufacture. Produced by Simon Ellis, the track gains its footing with heavily polished, upbeat production under the Mushroom Records umbrella, incorporating enough quirks to suggest playful anarchy while keeping its hooks firmly radio-ready. The music video complements this vibe, spinning a kaleidoscope of bright visuals that border on the absurd, a touchstone of its time and an intentional companion to the song’s scattershot soundscape. “Madness Thing” is a reminder of an era unafraid to flirt with the ludicrous, carving out a space that’s fun, unhinged, and unapologetically pop without leaving much room for subtlety. Tied to her shelved album “Precious Treasure,” which resurfaced decades later in 2023 through ZTT Records’ anniversary lineup, the song feels like a time capsule cracked open too late, now doubling as a celebration of Leilani’s brief but curious days on the pop radar. For all its crafted absurdity, “Madness Thing” never pretends to be groundbreaking but revels in its own uncompromising oddity—a product born neither out of necessity nor pragmatism, but pure flamboyant indulgence.
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5 . Skunk Anansie – Weak“Weak” by Skunk Anansie is a fiery encapsulation of vulnerability, tinged with the raw edge of alternative rock. Released in 1995 from their debut record “Paranoid & Sunburnt,” it captures emotional fragility with an intensity that defies easy categorization. Clocking in as the fourth single, it climbed to number 20 on the UK charts, leaving a significant, if jagged, impression. The song’s production, a collaboration with Sylvia Massy, maintains a taut balance between Skin’s piercing vocals and the band’s gritty instrumentation. The accompanying music video, directed by Hammer & Tongs, places the band in an airport hangar, following the disorienting perspective of a fallen cameraman. There’s a restless energy in every frame, amplified by the chase sequence with a young boy who absconds with the camera—a metaphor, perhaps, for the elusive grasp on strength amidst weakness. The visual chaos underscores the thematic intensity without overshadowing it. The enduring popularity of “Weak” is reflected in its Silver certification by the BPI for over 200,000 UK sales. Rod Stewart’s acoustic rendition on his 1998 album “When We Were the New Boys” is a testament to the track’s versatility and resonance. Skin herself often strips the song to a haunting, ballad-like fragility during solo performances, reframing its intensity in quieter tones without losing its emotional core. Chart performances across Europe further highlight its reach, landing at number two in Iceland and making notable dents in Sweden and the Netherlands. By 1999, Skunk Anansie had ascended to headliner status at Glastonbury, with “Weak” emerging as a cornerstone in their live setlists. Its juxtaposition of emotional defiance and surrender remains a stark, enduring highlight within their catalog. Featured on the 1995 album “Paranoid & Sunburnt”.
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6 . Donna Giles – And I Am Telling YouDonna Giles’ rendition of “And I Am Telling You I’m Not Going” takes the Broadway anthem from *Dreamgirls* and retools it into a mid-’90s dancefloor staple. Produced by Frankie Knuckles under EMI Records in 1994, this house-inflected cover channels raw emotions of heartbreak and resilience, trading theatrical grandeur for club-ready energy. The song’s minor success in the US and UK club scenes paved the way for Giles’ enduring presence on DJ playlists throughout 1995, with Stonebridge’s remix giving it an extra push. Ore Records’ 1996 re-release elevated its profile, briefly sliding it into the 27th spot on the UK Singles Chart in February that year. What sets this version apart is its transformation from a theatrical showstopper to a pulsating anthem for neon-lit dancefloors, a testament to the era’s obsession with blending classic and contemporary sounds. While purists might sniff at the glossy remix treatment, Giles interprets the original’s defiance with a bracing vigor that feels right at home amid ‘90s house beats. The digital release of the Eve Nelson-produced master in 2007 is a reminder of the track’s staying power, quietly reinforcing its niche within the pantheon of club classics for listeners who never left that decade behind.
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7 . Alice In Chains – Heaven Beside You“Heaven Beside You” by Alice in Chains serves up a mix of acoustic introspection and grunge edge, all wrapped in Jerry Cantrell’s mellow yet gritty vocals. The track originates from their 1995 self-titled album, often called “Tripod,” and dives into Cantrell’s reflections on a strained relationship. The acoustic riff carries an understated elegance, contrasting beautifully with the layered electric guitar accents that creep in as the track unfolds. Layne Staley’s harmonized backups on the chorus add emotional weight, creating a haunting contrast to Cantrell’s steady delivery. Lyrically, it dances on the line between resignation and acceptance, expressing the push and pull of inner conflict without succumbing to melodrama. Commercially, it did well—rising to respectable spots on Rock charts worldwide, even making a rare crossover onto Australia’s music radar. The moody, shadow-drenched visuals of the music video, directed by Frank W. Ockenfels III, complement the song’s introspective tone without veering into clichés. The live acoustic version featured on their “MTV Unplugged” session cements its versatility, proving the track maintains its core identity even with stripped-down instrumentation. Though it’s not a full-blown arena anthem, its layered approach offers something richer: a raw meditation on turmoil, conveyed with a balance of tenderness and grit. For fans of Alice in Chains’ deeper cuts, “Heaven Beside You” stands as a quiet powerhouse, perhaps less bombastic but no less affecting than their heavier efforts. Featured on the 1995 album “Alice in Chains “.
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8 . The Offspring – All I Want“All I Want” by The Offspring races through 1:55 minutes of raw punk energy, refusing to linger or elaborate, much like the rebellious spirit it channels. Released in 1997 as the lead single off “Ixnay on the Hombre,” the track is a compressed anthem of independence and frustration, driven by Dexter Holland’s rapid-fire vocals and Noodles’ razor-sharp guitar riffs. Produced by Dave Jerden under Columbia Records, the song fits squarely into the band’s knack for accessibility without sacrificing intensity. The accompanying music video, directed by David Yow, blends frenetic performance footage with an angsty narrative of a boy escaping domestic monotony while intercutting fragmented, surreal imagery—it’s chaotic in a way that mirrors the song’s urgency. The song’s cultural footprint is extensive, earning a permanent spot in the soundtracks of “Crazy Taxi” and MTV’s “Daria,” alongside its Rock Band DLC appearance and a nod in wrestling as the entrance theme for DDT’s Toy Kojima since 2021. Yet amidst its ubiquity, “All I Want” doesn’t aim for depth—it’s a short, fast burst of defiance, meant to electrify rather than linger in contemplation. Featured on the 1997 album “Ixnay on the Hombre”.
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9 . Duran Duran – Electric BarbarellaDuran Duran’s “Electric Barbarella,” hailing from their 1997 album “Medazzaland,” exemplifies synthetic seduction cloaked in glossy electronic production. The track nods to the campy sci-fi of the 1968 cult film *Barbarella*, from which the band originally drew its name, injecting retro-futuristic kitsch with a chorus as sleek as chrome and as hollow as a vacuum tube. Lyrically, it toys with themes of artificiality and obsession, portraying a synthetic muse who’s a digital-age Pinocchio—a figure both alluring and emotionally unavailable. Musically, it’s a polished amalgamation of pulsating drum machines and icy synth layers, underscoring a vision of robotic allure that feels caught between irony and earnestness. The accompanying music video, directed by Ellen von Unwerth, flirts with controversy through its provocative imagery, featuring a mannequin-like android brought to life—equal parts fetish object and art installation. Despite its novelty as the first digitally sold single, the track charted modestly at No. 52 on the Billboard Hot 100, reflecting its polarizing reception. “Electric Barbarella” serves as a curious timestamp of late ’90s digital experimentation, both awkward and ambitious in its attempt to merge pop culture nostalgia with a burgeoning technological zeitgeist. Featured on the 1997 album “Medazzaland”.
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10 . Meshell Ndegeocello – If That’s Your Boyfriend [He Wasn’t Last Night]Meshell Ndegeocello’s “If That’s Your Boyfriend (He Wasn’t Last Night)” slinks in with a bass line as sharp as its wit, opening the door to a lyrical play of confident defiance and biting humor. Released in 1993 on her debut album *Plantation Lullabies*, the track immediately sparks with its fusion of funk grooves and raw vocal delivery, calling out male infidelity with an eyebrow firmly raised. The production, a collaboration between Ndegeocello and David Gamson, plays with texture and space, layering her bass-heavy sound with playful, syncopated rhythms that don’t just accompany the lyrics—they challenge them to dance in step. Charting modestly on Billboard, it nevertheless carved out a space where Ndegeocello’s growling delivery and androgynous presence could unsettle norms, amplifying her themes of empowerment. The accompanying music video, with its stark visuals of her shaved head and unapologetic swagger, matches the song’s energy, reinforcing her defiance of conventional femininity. This is not a genre exercise but a reclamation of funk’s core—the desire to unsettle, provoke, and groove, all at once. With its cheeky remixes sporting titles like *Existential Meditation on the Probability of You Kissing My Mind*, the song’s legacy expands as both a club favorite and a thinker’s groove. While its influence may not scream from the charts, it hums persistently in conversations about authenticity, feminist bravado, and the boundaries of genre in the ’90s. Featured on the 1993 album “Plantation Lullabies“.
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11 . Eurythmics – The King And Queen Of America“The King and Queen of America” by Eurythmics straddles a sardonic critique and a pointed satire of American culture, wrapped in a glossy pop-rock aesthetic. The track, penned by Annie Lennox and David A. Stewart, aligns biting commentary with upbeat instrumentation, creating an intriguing tension between its cynical undertones and radio-friendly polish. Released in early 1990 as part of the “We Too Are One” album, its lyrics lampoon the idealized notions of the American dream, underscoring the pervasive cult of personality and obsession with fame. The music video, a kaleidoscopic spectacle of parody, amplifies this critique with both performers donning absurd, over-the-top caricatures of American stereotypes—ranging from game show hosts to Hollywood icons to political figures. Despite capturing a vivid critique of pop culture, the song didn’t achieve a significant chart breakthrough in the United States but fared modestly in the UK, Ireland, and parts of Europe. Its juxtaposition of vibrant imagery with darker themes ensures the track remains as much a visual experience as it is an aural commentary. Featured on the 1989 album “We Too Are One“. |
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12 . Sting – This Cowboy Song“This Cowboy Song” saunters into Sting’s discography as a curious hybrid of self-reflection and Western theatrics. Emerging from his 1994 compilation album “Fields of Gold: The Best of Sting 1984–1994,” the track feels like an existential musing filtered through a cowboy’s weathered lens. Contrary to its swaggering title, the song is less a spaghetti Western showdown and more a ponderous stroll through mortality and philosophical detours. Recorded at Lake House in Wiltshire, the track avoids melodrama but indulges in subtle melodics that favor restraint over bombast. Upon its release as a single in early 1995, the song nudged its way into top-40 charts in the UK and beyond, its highest peak a respectable number 15 in Sting’s home country. Its reception, however, meandered somewhere between appreciation for its craftsmanship and mild indifference, revealing a love-it-or-leave-it divide among listeners. Howard Greenhalgh’s accompanying music video relocates its contemplative cowboy to a dry, cinematic Spain, replete with Western tropes that feel more pastiche than homage. While the imagery is rich, the narrative mostly coasts, relying on Sting’s charismatic steadiness to do the heavy lifting. The official release added a dash of experimentation by courting the remix crowd, most notably with a version featuring Pato Banton, attempting to inject some levity into its brooding core. Orchestrated under Hugh Padgham’s production and tethered to A&M Records, the track fits snugly within the pop-rock sphere without overstaying its welcome. Yet, for all its thematic weight, it’s not a staple in Sting’s live performances, suggesting its role as an outlier rather than a centerpiece of his oeuvre. More interestingly, the single’s B-sides veered into remix territory, with reimagined versions of “If You Love Somebody Set Them Free” and “Demolition Man” offering fans a glimpse of Sting’s adaptability. In the end, “This Cowboy Song” unearths the contradictions in Sting’s artistry—a pop icon dabbling in the wild frontier while never quite committing to its dust and grit. Featured on the 1994 album “Fields of Gold: The Best of Sting 1984–1994”.
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