‘Vous Avez Dit Bizarre’ N°536 – Vintage 90s Music Videos

1 . The Fall – Telephone Thing

“Telephone Thing” emerges as a curiosity in The Fall’s eclectic catalog, housing a singular blend of post-punk grit and late-80s electronic experimentation.

The track, taken from their 1990 album “Extricate,” carries the unmistakable mark of Mark E. Smith’s oblique lyricism, laced with themes of surveillance and an almost conspiratorial sense of paranoia.

Co-written with Matt Black and Jonathan More of Coldcut, the song signals a rare and somewhat surprising collaboration, where jagged guitar stabs collide with jittery beats and ominous synths, creating a tension-filled soundscape that feels both claustrophobic and hypnotic.

Released under Fontana, it reached a modest number 58 on the UK Singles Chart, reflecting more of a cult following than broad commercial triumph.

The music video, drenched in early-90s visual tropes, leans into a lo-fi, fragmented aesthetic that mirrors the track’s fractured sonic structure.

A live rendition for BBC’s “John Peel Sessions” underscores the band’s enduring relationship with the late DJ, while offering a rawer take on its polished studio counterpart.

The song functions as a weirdly prophetic time capsule, hinting toward the creeping digital anxieties of the modern age, long before such themes became prevalent in popular culture.

“Telephone Thing” doesn’t pander to mainstream sensibilities but rather revels in its angular, off-kilter nature, leaving listeners either slightly unnerved or deeply intrigued.

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2 . Thunder – Don’t Wait Up

Thunder’s 1996 single “Don’t Wait Up” feels like a late-night drive through rock’s sturdier terrain, with patches of hard rock grit and bluesy detours that signal the band’s usual leanings.

Issued under the B Lucky Music and RAW X labels in the UK, it skips any ostentatious bells and whistles, keeping its energy firmly planted in the kind of no-nonsense rock that refuses to kowtow to grandiose trends.

The specifics of album association or production remain elusive, though its lean timeframe in the mid-’90s hints at a group staring down a transitional era for rock—right as britpop squabbled with grunge for cultural oxygen.

The missing puzzle pieces—chart positions, video details, or side trivia—almost feel intentional, as if the song quietly defies the obsessive demand for context and simply says, “Just press play.”

Judging by Thunder’s sonic history, one could wager it doesn’t reinvent any wheels, but maybe that’s the point.

Teasing moments of wistful introspection meshed with strong-armed riffs, “Don’t Wait Up” likely nestles itself in a reliable but unremarkable corner of Thunder’s discography.

With YouTube acting as its modern refuge, the track now mostly glinks in the digital ether, sustained by nostalgic loyalty rather than timeless innovation.

Featured on the 1996 album “The Thrill of It All”.

Lyrics >> More by the same : Official Site

3 . Pavement – Range Life

“Range Life” sits comfortably in the sweet spot of Pavement’s 1994 opus *Crooked Rain, Crooked Rain*, sidling in with a breezy, countryish gait that feels just as at home in a dusty backyard jam as on a mid-’90s mixtape.

The track meanders with a disarming nonchalance, a sonic shrug that doesn’t so much demand attention as invite you to hang out for a while, iced tea in hand.

Sonically, the loose chords and unpolished atmosphere reflect Pavement’s lo-fi ethos without veering into caricature, as Stephen Malkmus’s laconic vocals coast over an arrangement that is deceptively intricate behind its laid-back veneer.

The lyrics, though, are what caused a fuss—the light jab at Smashing Pumpkins and Stone Temple Pilots sparked a minor indie rock soap opera, despite Malkmus insisting it was all in good fun.

For what it’s worth, the name-drops feel more like musings from a bemused bystander than knives from a would-be assassin, yet they carry a punch more potent than the music’s unhurried flow suggests.

The associated drama even had some ripple effects, with Pavement getting turfed from ’94’s Lollapalooza lineup thanks to Billy Corgan’s alleged complaints—ironically solidifying the song’s place in indie folklore.

But controversy aside, what makes “Range Life” stick isn’t the name-calling; it’s the strangely wistful meditation on aimlessness, creating a tableau of suburban lethargy that oscillates between dreaminess and ironic detachment.

S.D. Blen’s understated music video amplifies this vibe with its lack of pretension, as if the visuals themselves are reluctant to make a big deal out of anything.

The track’s lack of a U.S. single release feels oddly fitting, as if its charm lies in shuffling just beneath the surface, quietly claiming its status as one of Pavement’s most endearing works without all the fanfare.

For a song that mocks the trappings of mainstream ambition, its irony lies in becoming one of the band’s most recognizable anthems—a perfect encapsulation of Pavement’s ability to revel in contradictions without losing their cool.

Featured on the 1994 album “Crooked Rain, Crooked Rain“.

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4 . ZZ Top – Pincushion

ZZ Top’s “Pincushion” arrives as a brisk return to their blues-rock roots, shedding the synth-heavy veneer of their 1980s heyday.

Anchored in the guitar-forward grit that first defined them, the track carries a raw, unpolished texture recalling the ghost of sweaty roadhouses and Mexican border radio stations.

Released as the vanguard of their 1994 album *Antenna*, it shoots straight to the apex of the US *Billboard* Mainstream Rock Tracks chart, holding there for four weeks—a victory lap for a band navigating the pressures of a highly publicized $30 million RCA deal.

The lyrics, while repetitive, are arguably incidental; this one’s all about Billy Gibbons’ biting slide guitar work, practically dragging sparks from steel strings.

Critics may bristle at the predictability of its construction, but the band’s slick commitment to their suit-and-tie aesthetic—porkpie hats firmly in place—gives the accompanying surrealist MTV Europe video considerable flair.

Although not as revolutionary as past material, “Pincushion” stomps ahead with a grizzled charm, a stage staple even if it brings pre-recorded vocals to the dance.

The result isn’t a reinvention but a reaffirmation—ZZ Top reminding the mid-90s world that no one does Texan swagger like they do.

Featured on the 1994 album “Antenna”.

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5 . Dinosaur Jr – Start Choppin’

“Start Choppin'” by Dinosaur Jr. lands squarely in the alternative rock narrative of the early ‘90s, capturing that peculiar moment when indie sensibilities collided with mainstream aspirations.

Released in 1993 from the band’s fifth studio album, *Where You Been*, the song retains just enough of their underground grit while leaning into a radio-friendlier sound.

The track’s defining feature is J Mascis’s guitar work, a blend of jangly, infectious riffs and sprawling solos that manage to feel both chaotic and oddly precise.

Lyrically, it mixes vague introspection with a touch of melancholy, though Mascis’s drawled delivery often leaves listeners deciphering more emotion than actual words.

Critics pegged it as one of the more accessible moments in the band’s catalog, with *Select* listing it among the best tracks of 1993 and *Pitchfork* slotting it into their rundown of ‘90s essentials at number 93.

Its climb to number 20 on the UK Singles Chart and number 3 on the US Modern Rock Tracks chart reflects its appeal beyond niche audiences, though it never quite sacrifices the band’s signature nonchalance.

The music video, a standard MTV-era fare, doesn’t venture far into innovation but found its way onto platforms like *120 Minutes* and *Alternative Nation*, which played as much to alternative kids’ sensibilities as the track itself.

Despite its glossy leanings, “Start Choppin'” retains a scrappy undercurrent, with Mascis’s nasally restraint serving as a quiet counterpoint to the song’s larger ambitions.

All told, this track marks Dinosaur Jr.’s subtle pivot toward broader appeal without entirely shedding the slacker ethos that made them cult favorites to begin with.

Featured on the 1993 album “Where You Been”.

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

6 . The Beloved – Hello

Released in January 1990, “Hello” by The Beloved emerges as a spirited mélange of infectious beats and name-dropping finesse.

Slinky and eccentric, the track rattles off a rapid-fire list of cultural icons—from Saint Peter to Desmond Tutu—with unbothered cool, managing to sound both meaningful and absurd at once.

The lyrics, which feel like a cryptic social cocktail party, throw historical figures and fictional characters into the mix, creating a strange, hypnotic collage of pop culture.

This isn’t just a house-inflected synthpop experiment—it’s a sonic catalog of saints rubbing elbows with sinners, sidestepping gravity with a wink and a shuffle.

Though it peaked at number 19 on the UK charts, its punchy energy and clever textural layers suggest it’s aiming more for the mind than the numbers.

The production, courtesy of Martyn Phillips, leans heavily on the acid house zeitgeist, ensuring its heartbeat thumps somewhere between the club and the art-house.

The kaleidoscopic music video, with its nods to *Altered States*, throws visual psychedelia into the mix—a matching counterpart to the earworm chaos of the song.

Critics were charmed by its sly Depeche Mode inflections and kicky irreverence, pointing to it as a key pivot from the band’s earlier post-punk roots to a flirtation with electronic pop sophistication.

Whether you’re dazzled by its cultural laundry list or left bemused by its manic roll call, “Hello” stakes its claim as a piece of early ‘90s pop that refuses to take itself too seriously.

Featured on the 1990 album “Happiness “.

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7 . The Egg – Getting Away With It

The Egg’s “Getting Away with It” is a curious relic from the late nineties, a time when electronic dance music sprinted from underground clubs to mainstream charts with mixed results.

Released in 1999 and making a modest splash at number 58 on the UK Singles Chart, the track carries a pulsating energy typical of its genre, blending steady house beats with live-band dynamics that set The Egg apart from more polished, studio-bound acts of the era.

Co-produced by Rollo Armstrong (of Faithless fame) and Streetlife Originals, the song emanates a distinctly UK-flavored electronic feel, leaning into rhythmic tension while steering clear of outright anthemic aspirations.

Often confused with Electronic’s identically titled 1989 collaboration between Bernard Sumner, Johnny Marr, and Neil Tennant, The Egg’s version shares only a name, lacking any lyrical or sonic parallels—a quirk that adds an unintentional layer of misdirection to its otherwise straightforward EDM identity.

“Getting Away with It” finds itself revived as part of the band’s 2004 album “Forwards,” released under Squarepeg Records.

Straddling the line between niche appeal and widespread accessibility, the song exemplifies The Egg’s broader aesthetic—a kinetic mix of grooves that invites movement without demanding it.

The band, hailing from Oxford, often incorporates live instrumentation into their performances, a distinguishing factor that makes tracks like this one shine brighter on stage than through a pair of headphones.

Live performances during this period, especially at festivals like Glastonbury and The Big Chill, reinforced the track’s adaptability, transforming its relatively straightforward studio production into sprawling, improvisational explorations.

If there’s a critique to be leveled here, it’s that the track doesn’t quite push boundaries, comfortably residing within the soundscape of late ’90s house music without challenging its conventions.

Nonetheless, its persistence in casual club culture and frequent appearances in remix circuits underscore its functionality rather than innovation.

The absence of a standout music video or visual component only deepens its enigmatic presence—it exists almost exclusively within the auditory world of turntables and club decks, an artifact of a transitional era for EDM.

Whether this track lingers in memory or dissolves into the broader canon of late nineties electronica likely depends on how one categorizes music that prefers to occupy space rather than define it.

Featured on the 1998 album “Travelator”.

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8 . Queensryche – I Am I

“I Am I” by Queensrÿche opens their 1994 album *Promised Land* with a dark, brooding intensity that mirrors the record’s overall introspective tone.

The track melds progressive metal with experimental touches, bolstered by an unexpected sitar that cuts through the dense production in striking fashion.

Geoff Tate’s vocals simmer with angst, while Chris DeGarmo’s guitar work oscillates between shadowy textures and sharp, precise leads, anchoring the song’s layered arrangement.

Written by Tate and DeGarmo, this single contrasts its introspective lyrics with a sprawling, almost theatrical instrumental backdrop, maintaining a balance between restraint and impact.

The accompanying music video, directed by Dominic Orlando, leans heavily into the song’s eerie atmosphere, though its early ’90s aesthetic might feel dated to a new viewer today.

Charting respectably, the song peaked at No. 26 on Billboard’s Mainstream Rock Tracks, solidifying its place as a key entry in the band’s discography.

“I Am I” isn’t built for casual listening—it rewards patience and attention, fitting into an era when Queensrÿche leaned heavier on mood than hooks.

It may not inspire the nostalgic sing-alongs of earlier hits, but its craft and ambition make it a rewarding puzzle for fans who lean into its sharp edges.

Featured on the 1994 album “Promised Land”.

Lyrics >> More by the same : Official Site

9 . Shed Seven – Getting Better

“Getting Better,” a track from Shed Seven’s Britpop arsenal, exemplifies the genre’s brash guitar-driven enthusiasm with a touch of horn-laden swagger.

This 1996 single, part of their “A Maximum High” album, climbs its way into the charts, peaking at number 14 in the UK and squeezing into Scotland’s top 10.

The production by Chris Sheldon lends the track a punchy, polished finish while embracing the breezy optimism its title suggests.

Paired with B-sides like “Only Dreaming” and “Song Seven” in its CD release, it captures the mid-’90s sonic palette Shed Seven thrived in.

The group paraded their swanky anthem on the BBC’s “Top of the Pops,” adding to its pop-culture presence during Britpop’s heyday.

A video accompanies the single, and though its “Liquid Gold Version” emerges in 2024 on YouTube, its original promo sets the rhythm for a post-Oasis world.

Despite confusions over its origins—linked with both the “A Maximum High” and “Let It Ride” albums—”Getting Better” reflects Shed Seven’s consistent knack for crafting hook-filled, hopeful rock with a distinct, anthemic flair.

Their evolving storytelling may not stray far from their roots, but it serves as a sturdy pillar of Britpop nostalgia, appreciated by long-time loyalists and playlist diggers alike.

Featured on the 1996 album “A Maximum High”.

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

10 . Jellyfish – The King Is Half-Undressed

In an era dominated by hair metal excess and early grunge rumblings, Jellyfish’s “The King Is Half-Undressed” is a curious anachronism, replete with power pop harmonies and a retro aesthetic that channels the ’60s through a kaleidoscopic ’90s lens.

From their debut album *Bellybutton*, the track is a deliberate homage to the intricate craftsmanship of bands like the Beach Boys and the Beatles, blending lush vocal arrangements with melodies just saccharine enough to stick—but not too sweet to overload.

Written by bandmates Roger Joseph Manning Jr., Andy Sturmer, and Jason Falkner, the song showcases a fascination for ornate production, its layered instrumentation walking the line between calculated polish and breezy spontaneity.

Its music video, a surreal burst of color with a heavy dose of theatrical whimsy, carved out a space on MTV’s rotation, standing out in stark contrast to the brooding aesthetics of Nirvana and their contemporaries.

Critics and alternative radio DJs latched onto its hooks, hailing the track as a minor classic in the burgeoning alternative circuit. Yet commercial success eluded it, as if its painstakingly detailed pop sensibilities were almost too pristine for the grit of the early ’90s.

The song’s narrative remains open to interpretation, reportedly inspired by Manning’s tangles with scenes like The Three O’Clock but shrouded enough in metaphor to remain enticingly elusive.

Though the track fell short of monumental success, its influence lingers as a smart, stylized piece of pop history, one that ignored trends to deliver unabashedly ambitious artistry at a time when the mainstream had no idea how to classify it.

Featured on the 1990 album “Bellybutton”.

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

11 . Therapy? – Nowhere

Therapy?’s “Nowhere” thrashes into 1994 as an alt-rock anthem with a punk-metal edge, its frenetic energy matching the chaotic introspection of its lyrics.

Propelled by Andy Cairns’ raw vocals, the song thrives on churning guitar riffs that lurch between grit and melody, punctuated by Fyfe Ewing’s riotous drumming and a spine of unrelenting bass from Michael McKeegan.

Released ahead of the band’s landmark album *Troublegum*, “Nowhere” captures the commercial peak of Therapy?’s career, landing at the respectable #18 on the UK Singles Chart and cracking the top 10 in Finland and Ireland.

Beyond mainstream success, the track boasts a certain defiance, aided by its exploration of discontent and personal unrest, while wielding feedback-heavy arrangements as if they were another band member.

The accompanying music video was plastered onto MTV rotations, amplifying the band’s reach during the era when music television was a kingmaker for alternative acts.

The single’s B-sides offer curious twists—a biting rendition of Judas Priest’s “Breaking the Law” that retains its menace and an unusual cover of Elvis Presley’s “C C Rider,” proving Therapy? enjoy indulging in contrasts and contradictions.

Adding to the chaos, experimental remixes like the “Therapeutic Distortion mix” and the “Sabres of Paradise mix” deconstruct the song into a different kind of sonic terrain, catering to the era’s appetite for genre-smashing remakes.

The track resonated particularly well during Therapy?’s pivotal 1994 Reading Festival performance, sealing its reputation as a live staple in the band’s repertoire.

Part of the Mercury Prize-nominated *Troublegum*, “Nowhere” rubs shoulders with other standout tracks from the album, including “Screamager,” a testament to the band’s knack for concise, ferocious songwriting.

More than a nod to grunge and alt-metal, “Nowhere” is an encapsulation of Therapy?’s willingness to marry crunching aggression with unexpected texture, winning the devotion of fans who thrive on its intensity.

Featured on the 1994 album “Troublegum”.

Lyrics >> More by the same : Official Site

12 . Queen – Innuendo

Queen’s “Innuendo,” the towering six-and-a-half-minute title track from their 1991 album, is a bold, genre-spanning odyssey that refuses to fit into any neat box.

The song sidesteps conventional rock formulas with dramatic tempo shifts, operatic flourishes, and an audacious flamenco guitar solo courtesy of Steve Howe, better known for his work with Yes.

Released on January 14, 1991, as the album’s lead single, it claimed the number one spot on the UK Singles Chart, marking their last top-tier hit during Freddie Mercury’s lifetime.

Given its complexity, comparisons to their earlier masterpiece “Bohemian Rhapsody” feel inevitable, but insincere; “Innuendo” is less about imitation and more about reflecting their evolved artistic ethos under Mercury’s twilight.

The music video, an animated fever dream incorporating surrealist nods to Salvador Dalí, sidesteps direct appearances by the band, likely to maintain privacy amid Mercury’s battle with illness.

Far from wallowing, the track exudes resilience, defiance, and creative ambition, even as it stares mortality directly in the face.

For a track conceived partly in an unhurried jam session, it’s a polished work of contradictions—grandiose yet intimate, heavy yet reflective.

The album, also titled “Innuendo,” boasts a cover inspired by the 19th-century French illustrator Jean-Jacques Grandville, signaling an embrace of eclecticism that runs through its entire DNA.

Released at a time when musical tastes were rapidly shifting, both the album and its title track stand as a testament to Queen’s refusal to uproot their identity in favor of fleeting trends.

Instead, “Innuendo” offers a final, unfiltered glimpse of Mercury and his bandmates confronting their legacy with both playfulness and gravitas.

Featured on the 1991 album “Innuendo “.

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