‘Vous Avez Dit Bizarre’ N°540 – Vintage 90s Music Videos
Veruca Salt, The The, Spacehog, Whipping Boy, Straw, Subcircus, 60 Ft Dolls, The Rolling Stones, Nirvana, Saint Etienne, The God Machine, Dawn Of The Replicants
They are the performers of twelve vintage amusing, puzzling and sometimes shocking videos of songs that were ranked in various charts, this week (05/52) but in the Nineties 90s.
Here, they are reunited in one glorious playlist. Enjoy!
WATCH IN FULL
For TWENTY FOUR more ‘Vous Avez Dit Bizarre’ – Vintage 90s Music Videos – week 05/52 – click here and here
AUDIO ONLY
Tracklist
HEAR IT |
![]() 1 . Veruca Salt – Number One BlindThe mid-’90s were fertile ground for gritty, female-fronted alternative rock, and Veruca Salt’s “Number One Blind” fits comfortably within that lineage. Part of their debut album “American Thighs,” the song rides a tidal wave of distortion and a sludgy, churning melody that could soundtrack both empowerment and despair in equal measure. The lyrics bounce between cryptic and cutting, with Nina Gordon and Jim Shapiro dropping an eyebrow-raising nod to Levolor, of all things, in the chorus—a quirky touch that makes the song feel both grounded in the banalities of life and defiantly abstract. The accompanying music video, steered by Steve Hanft, allegedly left the band so unimpressed they yanked it out of MTV rotations—an anecdote that adds a touch of band-brand drama to the song’s history. While not a chart monster, peaking at a moderate #68 in the U.K., its placement in a gold-certified album that received high praise in ’90s rock circles solidifies its place in alt-rock lore. “Number One Blind” trades sheen for bite, standing as a raw, messy slice of its era that still hums with underdog charm. Featured on the 1994 album “American Thighs”.
|
HEAR IT |
![]() 2 . The The – I Saw The Light“Todd Rundgren – I Saw The Light” lands with an air of simplicity that belies its meticulously crafted structure. Written, performed, and produced entirely by Rundgren, the track is a cornerstone of his 1972 album “Something/Anything?”. Its minimalistic verse-bridge-heavy composition gives it a deceptively unadorned vibe that masks its calculated appeal. The lack of a dominant chorus doesn’t hinder its accessibility, proving that less can indeed be more when done right. Its cultural footprint speaks louder than any deliberate effort to chase trends—appearances range from the angst of “Six Feet Under” to the slapstick absurdity of “Kingpin.” By offering a glimpse into sudden romantic revelation through lyrics like “‘Cause I saw the light in your eyes,” it feels intimate without sounding cloying. Later, the re-recording with The New Cars adds a layer of nostalgia but not a reinvention—more like a polished frame for an already vivid painting. If anything, the song’s longevity highlights its quiet audacity: it’s not revolutionary, but it doesn’t have to be to endure. Featured on the 1995 album “I Saw The Ligh”.
|
HEAR IT |
![]() 3 . Spacehog – Carry On“Carry On” by Spacehog is an alternative rock track that wears resilience on its sleeve, blending soaring guitar riffs with unapologetically hopeful lyrics. Released in 1998 as part of “The Chinese Album,” the song showcases the band’s attempt to maintain their neo-glam identity in the shadow of their more commercially successful debut. The track charted modestly, securing a spot at number 43 on the UK Singles Chart and performing better in the US, where it peaked at number 19 on the Mainstream Rock Tracks chart. The production leans heavily on a dynamic interplay of guitars and bold vocals, crafting a sound designed to rally rather than brood. While “Carry On” failed to sneak its way into pop culture via TV or film, it found a place in the band’s live performances, solidifying its role as a setlist staple during tours with acts like Pearl Jam and Supergrass. The accompanying music video is uncompromisingly direct in its energy, amplifying the track’s themes of perseverance without veering into melodrama. As one of the album’s standout offerings, it straddles the line between glam-revivalist fervor and alt-rock grit, marking Spacehog’s determined, if uneven, post-hit trajectory. Despite the album’s lukewarm reception compared to their debut, “Carry On” serves as a reminder of Spacehog’s commitment to staying both loud and unapologetically themselves. Featured on the 1998 album “The Chinese Album”.
|
HEAR IT |
![]() 4 . Whipping Boy – When We Were YoungWhipping Boy’s “When We Were Young” is a snapshot of youthful nostalgia framed by Dublin’s gritty backdrop in the early 1980s. It’s a track steeped in anecdotal realism, weaving in local landmarks and courtroom tales, all while evoking the restlessness of adolescence. The song borrows thematic echoes from Thin Lizzy’s “Shades Of A Blue Orphanage,” nodding to shared Irish musical lineage, while threading allusions to The Hollies and The Smiths in its lyrical fabric. Driven by a brooding melody, the track juxtaposes biting introspection with a distinctly conversational tone that feels personal yet universal. Released as a single in 1996, it landed modest chart positions but persisted as a fan favorite. Its live renditions, amplified by Fearghal McKee’s theatricality, heightened the song’s visceral punch, cementing its place in the band’s celebrated yet short-lived arc. “When We Were Young” captures the ache of reflection without idealizing its subject, a balancing act few manage with such raw elegance. Featured on the 1995 album “Heartworm “.
|
HEAR IT |
![]() 5 . Straw – The Aeroplane Song“The Aeroplane Song” by Straw hails from the late 1990s, an era when Britpop’s golden age was already waning, leaving this Bristol quartet straddling the line between reverie and redundancy. The track is a playful nod to indie rock, weaving jangly guitars with lyrics seemingly plucked from a cloud-laden daydream. It captures an earnest charm, albeit one that may feel lost without the nostalgia-tinted glasses of the period. Released in 1998 as the band’s second single, it served as a precursor to their debut album. The song didn’t storm any charts, a truth that mirrors Britpop’s own diminishing dominance at the time. Its accompanying video leans into vibrant colors and buoyant visuals, matching the song’s upbeat approach without venturing into the avant-garde territory so many contemporaries sought. “The Aeroplane Song” remains a small footnote in late ’90s UK indie, existing more as a memory of a genre’s twilight years than a defining moment. For some, that’s its appeal. Featured on the 1999 album “Shoplifting “.
|
HEAR IT |
![]() 6 . Subcircus – 86’d“86’d” by Subcircus slips into the alternative rock scene of 1997 with a blend of emotive resonance and rugged instrumentation. Peaking at No. 88 during its first release and later climbing to No. 56 upon re-issue, the song’s chart performance mirrors a band eager but not quite cracking through the mainstream haze. The title track from the “86’d Mixes” vinyl rolls out various remixes, layering fresh tweaks onto the original’s melancholy edges. Lyrically dense yet emotionally raw, the song captures fragments of heartbreak rooted in frustration, its tone sharpened by a restless vocal delivery. Subcircus operates in a space of ambition that suggests brooding intent rather than breakout stardom. The music video, now an artifact housed on YouTube, leans into the era’s predictable moodiness without leaving much of a lasting impression. No seismic cultural ripples trace back to “86’d,” but it remains one of the band’s better-documented efforts from a fleeting era in British rock. Featured on the 1996 album “Carousel”.
|
HEAR IT |
![]() 7 . 60 Ft Dolls – Stay“Stay” by 60 Ft. Dolls cuts through the mid-’90s alternative rock scene with a gritty charm that’s impossible to miss. Released in 1996 under the Indolent label, it sits comfortably amidst Britpop’s waning years, straddling heartfelt lyricism and a melody that bites without overstaying its welcome. Peaking modestly at number 48 on the UK Singles Chart, it’s far from a chart-buster but delivers an impact that lingers in the shadows of mainstream success. Its home on the band’s debut album, *The Big 3*, produced by Al Clay, offers a snapshot of a group both self-assured and underappreciated. Critics at *NME* and *Melody Maker* gave nods of approval, and the song earned a place on mixtapes like *The Best Album in The World Ever Vol. 3* and *The Magnificent Seven*, silently solidifying its spot in alt-rock’s scrapbook. From BBC Radio 1’s Steve Lamacq to KROQ’s Rodney Bingenheimer, tastemakers took notice, making it a minor anthem among fans of jagged riffs and raucous emotion. With lyrics that pull at the complexities of devotion, the track balances brash energy with just enough melodic vulnerability to keep it compelling. The video amplifies its raw edge, presenting a band that fits seamlessly into their era’s love for both bombast and authenticity. Whether blasting through UK stages alongside Oasis and Elastica or tearing it up on the inaugural ‘BratBus’ tour, 60 Ft. Dolls’ live energy mirrored the track’s restless pulse. Though it never broke into superstardom, “Stay” basks in its role as a sturdy relic of a decade drowning in electric defiance. Featured on the 1996 album ” The Big 3″.
|
HEAR IT |
![]() 8 . The Rolling Stones – Saint Of Me“Saint of Me” by The Rolling Stones spins a tale of redemption and defiance, cloaked in the band’s signature rock sound. Mick Jagger’s vocal delivery balances a mix of introspection and sardonic wit, giving weight to lyrics that reference figures like St. Paul and St. Augustine while questioning the nature of sainthood. The production, helmed by a trio that includes Don Was and The Dust Brothers, injects a polished yet raw energy, with acoustic strums counterpointing electric riffs by Ronnie Wood and Waddy Wachtel. Bass contributions by Me’Shell Ndegéocello add a modern groove to the track, while Billy Preston’s organ laces it with gospel undertones, amplifying its spiritual musings. The song charted modestly—peaking at #26 in the UK and scraping the Billboard Hot 100 at #94—marking the band’s final original entry on that list. Its inclusion on the Bridges to Babylon Tour further cemented its role in the band’s late-’90s setlists, with a live rendition preserved on “No Security.” Visually, Samuel Bayer’s directed music video skillfully complements the track’s themes, blending shadowy imagery with flashes of rebellion. Curiously, “Saint of Me” was tangled in a legal dispute over alleged similarities to an obscure composition, rendering its message of resistance against appropriation somewhat ironic even as the case concluded in the band’s favor. Despite its historical nods, the song isn’t burdened by nostalgia; instead, it walks the line between the timeless and the timely, offering listeners a hook-laden meditation on morality and imperfection. Featured on the 1997 album “Bridges to Babylon “.
|
HEAR IT |
![]() 9 . Nirvana – Sliver“Sliver” operates with a functional rawness that mirrors the simplicity of its narrative—a child impatiently waiting for his mother to return while enduring the humdrum of his grandparents’ house. The track sheds the thicker sludge of Nirvana’s “Bleach” era and paves the way for the sharper, more accessible hooks of “Nevermind.” Dan Peters’ drumming fits the song’s no-frills aesthetic like an old pair of canvas sneakers, a temporary placeholder before Dave Grohl’s ferocity redefined the band’s rhythm dynamics. Jack Endino’s production feels as though it holds the track together with duct tape, enhancing its DIY charm and emphasizing what would become a hallmark of Cobain’s songwriting—mundane scenarios rendered oddly poignant. The video takes its unpolished aesthetic further, with Frances Bean Cobain’s cameo lending an almost familial intimacy as Grohl pretends to drum along, a sideshow nod to Nirvana’s lineup evolution. Chart performance aside, it stands as a pivot point, bridging their abrasive origins with their anthemic-future aspirations without completely discarding the grime of their roots. “Sliver” feels less like a song and more like a fleeting, awkward snapshot—a moment where rock nostalgia blends uneasily with everyday ordinariness, deliberate in its imperfection.
|
HEAR IT |
![]() 10 . Saint Etienne – SylvieReleased in January 1998 as the lead single from their fourth album *Good Humor*, “Sylvie” by Saint Etienne pairs wistful storytelling with a bright indie-pop veneer. The song thrives on its juxtaposition of sorrowful lyrics against an upbeat, almost sprightly melody—an intriguing contradiction that makes it linger in listeners’ minds. Tore Johansson’s production lends the track a sleek, polished sound, showcasing the group’s shift towards a more refined Scandinavian aesthetic, recorded at Tambourine Studios in Malmö, Sweden. Chart performance speaks to its appeal: number 12 in the UK Singles Chart and a striking number two on the UK Indie Singles Chart, though its international reach did vary, barely making a dent in Australia at number 143. The music video, filmed in Havana by Björn Lindgren, adds a cinematic flair, contrasting the song’s bittersweet vibe with Cuba’s vibrant imagery, reflecting yet another layer of contrast. Critics celebrated “Sylvie” as a near-perfect slice of pop craftsmanship, with outlets like *Billboard* acknowledging the emotional depth beneath its shimmering surface. This is indie pop that understands its function: to resonate emotionally while keeping its listeners moving, a delicate balance the group handles expertly. Featured on the 1998 album “Good Humor”.
|
HEAR IT |
![]() 11 . The God Machine – Home“Home” by The God Machine strikes a peculiar balance between emotional intensity and atmospheric brooding, pulling listeners into a sonic narrative of pain and longing. It opens subtly with a subdued intro before erupting at the 4.5-minute mark into a cascade of roaring guitar riffs and thunderous drums that drown the silence like waves crashing against a forgotten shore. The backbone of the track lies in its inclusion of a Bulgarian folk choir sample, an unconventional touch that lends a haunting beauty to its dark undercurrent and sets it apart from the standard alternative rock fare of the early ’90s. The lyrics, raw and probing, cut through the cacophony with existential musings: “If I show you the truth, will you show me the beauty? If I show you the pain, will you show me the purity?”—lines as piercing as they are desperate. Robin’s tortured scream of “It’s the same all over” in the song’s climax rips through any remaining restraint, a visceral punctuation to the chaos preceding it. Released on the posthumous album “Last Laugh in a Place of Dying,” the song remains unpolished in its original form, an artistic decision that magnifies its raw authenticity while paying tribute to the band’s late bassist, Jimmy. The accompanying video mirrors the track’s desolate energy with stark visual poetry, granting the song longevity beyond its niche audience in a decade oversaturated with radio-friendly hooks and polished sensationalism. Featured on the 1993 album “Scenes from the Second Storey”. |
HEAR IT |
![]() 12 . Dawn Of The Replicants – CandlefireReleased in 1998, “Candlefire” by Dawn Of The Replicants carves out a peculiar niche in the alternative rock scene of the late ’90s. The band stands out not just for their name but for their unapologetically experimental approach to soundscapes. The titular track, “Candlefire,” buzzes with unpredictable energy, blending quirky lyrics with a melody that strays far from conventional rock staples. The arrangement shifts between moments of chaotic dissonance and oddly satisfying harmony, as though the song itself is daring you not to look away. True to the era’s fixation on pushing boundaries, the video indulges in surreal, almost whimsical imagery—embracing an aesthetic that feels half-formed yet strangely deliberate. Stripped of mainstream aspirations, the song thrives in its esoteric bubble, presenting an experience that lands somewhere between curiosity and creative rebellion. Thematically, it lightly toys with ideas of discovery and transformation, eschewing commercial polish in favor of raw playful experimentation. For fans of the offbeat and those nostalgic for the late ’90s alt era, “Candlefire” offers a brief flicker of charm hidden in the archives of musical oddities. Featured on the 1998 album “One Head, Two Arms, Two Legs”.
|
Comments are closed.