‘Vous Avez Dit Bizarre’ N°78 – Vintage 90s Videos
The Chemical Brothers, Manic Street Preachers, Space, Faithless, Nirvana, Green Day, Pulp, The Stone Roses, Michael Jackson, Stakka Bo, The Presidents of the United States of America, Dubstar
They are the performers of twelve vintage amusing, puzzling and sometimes shocking videos of songs that were ranked in various charts, this week (01/52) BUT … in the Eighties 80s.
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 01/52 – click here and here
AUDIO ONLY
Tracklist
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![]() 1 . The Chemical Brothers – Setting Sun“Setting Sun” by The Chemical Brothers hurls listeners into a maelstrom of sound that feels less like a song and more like a controlled explosion. With Noel Gallagher lending his famously sneering vocals, the track layers infectious loops, jagged beats, and relentless distortion to craft an uneasy but enthralling atmosphere. The Beatles’ “Tomorrow Never Knows” serves as a clear spiritual touchstone, though this isn’t homage—it feels like a sonic mutiny. The result is a piece that’s somehow both cohesive and chaotically fragmented, perfectly mirroring the ethos of the UK’s ’90s rave scene teetering on the edge of collapse. Where Gallagher’s presence might suggest an Oasis-tinged accessibility, the song veers hard in the opposite direction, embracing dissonance and unpredictability over melody. Its chart-topping success might seem ironic given its abrasive character, but it underscores the cultural appetite for experimentalism in the mid-’90s. The accompanying music video, with its fast-paced, claustrophobic aesthetic, further distills the track’s paranoid energy. More than just a single, “Setting Sun” acts as a timestamp—capturing a moment in music that thrived on chaos, pushing boundaries while hinting at the inevitable cracks forming within the scene. Featured on the 1996 album “Dig Your Own Hole”.
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![]() 2 . Manic Street Preachers – If You Tolerate This Your Children Will Be NextHeavily influenced by the Spanish Civil War, “If You Tolerate This Your Children Will Be Next” intertwines political commentary with a chilling sense of urgency. The title, drawn from an anti-fascist slogan, offers a stark warning about apathy and its generational consequences. The song’s brooding composition combines contemplative guitar melodies with James Dean Bradfield’s emotive vocals, creating a plaintive atmosphere. A lyrical nod to George Orwell’s *Homage to Catalonia* elevates the work beyond a mere protest song, embedding it in a rich historical context. Initially considered a potential B-side, the track became a sleeper success, marking the Manic Street Preachers’ first UK No. 1 single. The W.I.Z.-directed music video amplifies its dystopian aesthetic, contrasting stark visuals with subdued hues evocative of future anxieties. Despite its somber tone, the track found mainstream appeal, shifting over 156,000 copies in its debut week and holding a lasting cultural footprint. Bassist Nicky Wire later reflected on the shock of the song’s impact, describing its ascent to global recognition as wholly unexpected. Part of the band’s fifth studio album, *This Is My Truth Tell Me Yours*, the track helped push the record into gold status within a week of release. Its legacy persists, not just as an anthem of resistance, but as a reminder of how art can transform moments of doubt into calls for accountability. Featured on the 1998 album “This Is My Truth Tell Me Yours”.
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![]() 3 . Space – Avenging AngelsReleased on December 29, 1997, *Avenging Angels* cemented British band Space’s unique blend of alternative rock and pop infused with electronic audacity. The track opens “Tin Planet,” their sophomore album, with a quirky optimism that disguises surprisingly intense lyrical undertones. While it climbed to number 6 on the UK Singles Chart—marking a commercial peak—it pinged across Europe with varying success, reaching number 20 in Iceland and number 33 on the Eurochart Hot 100. Australia, though, barely noticed it, as evidenced by its uncharitable rank of 146. That said, Space’s trademark eccentricity wasn’t lost on loyal listeners who devoured the B-sides, titled with typical irreverence—*I’m Unlike Any Lifeform You’ve Ever Met* and *Bastard Me, Bastard You.* The *John ‘OO’ Fleming theramin mix* and *Brainbasher’s ‘Kick Ass Angel’ mix* might have added sonic variety, but they hurl the song down rabbit holes only the adventurous dare follow. Its music video, directed by 90s stalwart Howard Greenhalgh, reflects the era’s love for surreal imagery, aligning perfectly with the band’s offbeat ethos. While the song found fleeting mainstream favor, it’s a microcosm of Space’s catalog: a little weird, a little brilliant, and undeniably theirs. Featured on the 1997 album “0”.
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![]() 4 . Faithless – Take The Long Way HomeFaithless’ “Take The Long Way Home,” tucked within their 1996 debut album “Reverence,” strikes a balance between introspection and rhythmic propulsion. This band, composed of the trio Maxi Jazz, Rollo, and Sister Bliss, crafted a trademark blend of house, trip-hop, and trance elements that defined the era without relying on clichés. The album itself gained critical acclaim, landing on the UK Albums Chart at No. 26 and securing platinum certification, but this track wasn’t released as a standalone single—perhaps intentionally left to lurk in the shadows of more dominant hits like “Insomnia” and “Salva Mea.” That’s not to say “Take The Long Way Home” wasn’t impactful; its haunting undertones and textured layers made it a recurring feature in their live performances, cemented further in their 2005 live video release. The song captures a late-night introspection that feels both solitary and communal, a reflection of Faithless’ ability to weave personal narratives into universal themes. While often overlooked in favor of chart-toppers, the track’s understated presence reflects a quiet resilience, emblematic of the 90s electronic wave where experimentation thrived amid a booming dancefloor culture. This ode to taking the less-trodden path underscores the group’s ethos during this period, a reminder that the journey matters as much as the destination—perhaps more, if you’re paying attention to the subtle textures of sound Faithless often layered into their tracks. Featured on the 1998 album “Sunday 8pm”.
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![]() 5 . Nirvana – In Bloom“In Bloom” by Nirvana encapsulates the duality of the grunge scene—abrasive yet melodic, self-aware yet subversive. Emerging as the fourth track on *Nevermind*, the song’s pop-structured hooks, crafted by Kurt Cobain, masked its biting critique of superficial fandom. The juxtaposition of Cobain’s softer verse delivery against the chorus’s ferocious outburst exemplifies the band’s dynamic range, heightened by Butch Vig’s meticulous production. Grohl’s pounding precision as Nirvana’s new drummer injected the track with a fresh rhythmic aggression that contrasted with its indie-era roots. The lyrics take aim at those misinterpreting the band’s purpose, further fueled by the irony of its MTV-friendly reception. The accompanying video, a tongue-in-cheek homage to 1960s television, absurdly portrayed the band in clean-cut suits, a visual jab at sanitized commercialism. It’s a track that thrived both as a stadium anthem and an anti-establishment commentary, a rare balance few bands have struck as successfully. Featured on the 1991 album “Nevermind“.
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![]() 6 . Green Day – Boulevard Of Broken DreamsGreen Day’s “Boulevard of Broken Dreams” is a melancholic anthem rooted in themes of isolation and resilience, woven into the framework of their concept album *American Idiot*. The song operates as a sharp emotional pivot, following the rebellious energy of “Holiday” with a sobering introspection that captures the protagonist’s feelings of alienation. Billie Joe Armstrong’s plaintive vocals, paired with the haunting interplay of acoustic and electric guitars, add a raw texture to the mid-tempo arrangement, creating a soundscape both intimate and expansive. A commercial standout, the track reached #2 on the Billboard Hot 100 and dominated multiple airplay charts, crossing genre boundaries with ease. Its Grammy win for Record of the Year in 2006 further cemented its cultural impact, as did its accompanying music video, which visually extended the narrative journey of the album with desolate landscapes and subdued tones. The production, guided by Rob Cavallo and the band, emphasizes emotional weight over bombast, showcasing Green Day’s ability to craft songs that resonate universally while maintaining a personal edge. Lyrically, the piece dwells on stark solitude, but there’s a thread of perseverance woven into its DNA, reflecting the duality of despair and hope. Its cultural resonance extended beyond charts and sales, becoming a touchstone for fans navigating their own introspective moments and earning accolades like Rolling Stone’s Reader’s Choice for Single of the Decade in 2009. Over time, “Boulevard of Broken Dreams” has endured not because it breaks new ground, but because it captures something essential about the human experience—an understanding that moments of loneliness coexist alongside the drive to keep moving forward. Featured on the 2004 album “American Idiot“.
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![]() 7 . Pulp – Disco 2000Pulp’s “Disco 2000” offers a cheeky rewind to childhood friendships and the longing for paths that never converge. Anchored by a melodic guitar riff and a tempo dragged straight off a Saturday night dancefloor, the track leans unapologetically into its Britpop groove while flirting with disco’s playful swagger. Jarvis Cocker’s lyrics, part nostalgic diary entry and part playful fabrication, narrate a one-sided romance with a girl named Deborah. The real Deborah, later revealed as Deborah Bone, serves as both muse and memory, grounding the whimsical yearning in reality while adding layers of poignancy to this tale of unfulfilled teenage infatuation. The song dances on an effervescent edge between sentimentality and irony, cheekily toying with the ticking clock of time. The idea of meeting up at the proverbial “fountain” by a nebulous year 2000 is both a wink to generational optimism and a knowing glance at its inevitable letdowns. For Sheffielders in the know, the Goodwin Fountain is yet another relic of the song’s wistful backdrop—by the time the millennium dawned, it was demolished. How’s that for a wink from fate? Commercially, the track’s uptempo charm resonated, securing a No. 7 slot on the UK Singles Chart. The music itself, borrowing a sly nod from Anita Ward’s “Ring My Bell,” struts with familiar echoes while remaining distinctly Pulp. Fans of wry wit tied up in exuberant beats, take note: “Disco 2000” still manages to sound alive in the here and now, a feat less tied to its production and more entrenched in its humanity. As with many Britpop artifacts, the song’s afterglow outlived its instant chart success. Its inclusion in shows like *Life on Mars* and various films reintroduced it to younger audiences, keeping Deborah and Jarvis’ imagined reunion alive in cultural memory. Even its creator maintained the song’s personal touch—Jarvis Cocker sang it at Deborah Bone’s 50th birthday, a far more intimate stage than Glastonbury’s towering spotlight. Somewhere in its upbeat rhythm and layers of yearning hides a subtle irony: the dancefloor anthem about unmet ideals clings tightly to universality. “Disco 2000” is at once personal and public, intimate and grand—a rare feat for a three-minute ode to misaligned timing and what-ifs. Featured on the 1995 album “Different Class“.
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![]() 8 . The Stone Roses – Love Spreads“Love Spreads” by The Stone Roses showcases a striking shift from their earlier style, plunging headlong into the gritty realm of blues rock. With Ian Brown’s cryptic vocals and John Squire’s masterful slide guitar leading the charge, the track exudes a raw energy that some likened to echoes of Hendrix and Zeppelin. The song’s ambitious premise—a reimagining of Jesus as a crucified black woman—sparked a whirlwind of debate, both challenging traditional imagery and delighting fans with its audacity. Released after a tumultuous five-year hiatus that saw the band embroiled in legal battles, it arrived as a long-awaited revelation, shooting to number two on the UK Singles Chart and achieving prominence in the U.S. as their most commercially successful effort. Adding to the intrigue, the single’s artwork—a cherub crafted by Squire—was rumored to have been chiseled away by eager fans, further cementing its mythos. The music video, crafted with Michel Gondry’s distinct visual playfulness, meshed surreal themes with band footage, though opinions on its effectiveness were as polarized as the song’s narrative. Critics praised the band’s risk-taking while some listeners tussled with its heavier sound, a stark departure from the ethereal jangle pop that defined their debut album. The song gained inclusion in live sets and compilations, making the cut for Glastonbury 1995, where the band, despite a fractured lineup, proved that they still had a pulse in the fractured Britpop landscape. There’s an alternate, rougher rendition featured on the charity compilation *Help*, punctuated by reversed guitar parts, adding yet another layer to its enigmatic legacy. While “Love Spreads” doesn’t hover in the pantheon of universally adored singles, it stands as a testament to a band willing to evolve, provoke, and divide. Featured on the 1994 album “Second Coming“.
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![]() 9 . Michael Jackson – Stranger In MoscowMichael Jackson’s “Stranger in Moscow” stands as a haunting reflection of personal and public turmoil, born from the artist’s struggles during his 1993 Dangerous World Tour. The track, written in isolation, captures Jackson’s feelings of alienation amid an unrelenting media circus, resulting in a deeply introspective piece with layers of sorrow and longing. An elegant production blends atmospheric soundscapes with Jackson’s ethereal vocals, underscoring the emotionally charged narrative while maintaining his signature sonic intricacy. The accompanying black-and-white music video, stark yet poignant, visually mirrors the song’s themes, juxtaposing urban desolation with intimate glimpses of disconnected individuals, all moving in poignant slow motion. Despite its melancholic beauty, the song’s U.S. release strategy lacked fervor, peaking at a modest 91 on the Billboard Hot 100, a rarity for a Jackson single, though it found warmer reception internationally. “Stranger in Moscow” succeeded more as an emotional statement than a commercial juggernaut, resonating with those familiar with loneliness in the face of external pressures. Instead of chasing chart-topping glory, this track revealed Jackson’s capacity to turn personal pain into a universally relatable anthem of vulnerability and introspection. It may not scream arena-sized hits, but “Stranger in Moscow” whispers truths that linger far longer than most pop songs dare attempt. Featured on the 1996 album “HIStory: Past, Present and Future, Book I”.
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![]() 10 . Stakka Bo – Down The DrainStakka Bo’s “Down The Drain” sits comfortably in the quirky, genre-blurring ethos of early ’90s Scandinavian pop. The track slides into the listener’s consciousness on a bed of synths and rhythm that lean just enough into alternative pop to distinguish it from the era’s saccharine mainstream. Featuring vocals from Åsa Sahlin, the song’s laid-back delivery plays counterpoint to its title, which hints at disillusionment or perhaps resignation. There’s a decent level of polish, though it never feels overproduced—a hallmark of Johan Renck’s (the eponymous Stakka Bo) keen understanding of aesthetic balance. The accompanying video, while not groundbreaking, reinforces the track’s identity with visuals that could only come from the ’90s, replete with abstract staging and artsy edits. That said, “Down The Drain” didn’t ride the wave of popularity like its album sibling “Here We Go.” Still, it’s a snapshot of an artist finding and defining their voice before pivoting to a successful career behind the camera. Featured on the 1993 album “Supermarket”.
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![]() 11 . The Presidents of the United States of America – LumpReleased in 1995, “Lump” is an absurd yet infectious anthem by The Presidents of the United States of America that subverts the grunge gloominess of its era with irreverent humor and sheer weirdness. Crafted by Chris Ballew, the track pairs the distorted stomps of alternative rock with a pop sensibility that makes its 2-minute runtime feel like a burst of chaotic energy, relentlessly catchy but unmistakably unconventional. The lyrics center on an enigmatic woman—“Lump”—lounging in a swamp, though Ballew himself admitted the name and imagery were inspired by personal experiences and random obsessions with the word. If the song’s sonic texture nods to Nirvana’s crunchy riffs, its lyrical delirium winks at the surrealism of They Might Be Giants. The accompanying music video, portraying the band aimlessly wandering through damp marshes, embraced this bizarre energy, solidifying “Lump’s” funny-yet-distinct identity amid the decade’s more angst-ridden hits. Critics hailed its humor and brevity, commending its departure from the era’s overwrought seriousness, while the melody burrowed into radio playlists, peaking at number one on the Billboard Modern Rock Tracks chart. Its success reached such heights that “Weird Al” Yankovic couldn’t resist parodying it with “Gump,” an ode to Forrest Gump, further cementing the song’s ubiquity in mid-’90s pop culture. Beyond its chart performance, “Lump” stood out for leaning into absurdity, a refreshing anomaly in an era defined by melancholic introspection and grunge’s weighty undertones. Featured on the 1995 album “The Presidents of the United States of America”. |
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![]() 12 . Dubstar – Not So Manic NowDubstar’s “Not So Manic Now” stands as a hallmark of 1990s synth-pop, offering a plaintive yet catchy encapsulation of urban alienation. Originally penned by Brick Supply, the band’s cover reshapes the track through their own stylistic lens, pairing Sarah Blackwood’s haunting vocals with Steve Hillier’s deft production. The song reached number 18 on the UK Singles Chart, reaffirming Dubstar’s growing allure in the mid-’90s music scene. A David Mould-directed video added a cinematic edge to the song, complementing its themes of melancholy and isolation while enjoying rotation on music channels of the time. Physical releases across CD, cassette, and vinyl formats catered to the era’s dedicated collectors, featuring remixes and B-sides like “Not Once, Not Ever” to satisfy genre enthusiasts. Part of the “Disgraceful” album, the track balanced bittersweet introspection with polished electronic textures, resonating beyond its initial chart success. While never burdened with commercial overexposure, the single’s evocative nature ensured it left an indelible impression on its audience. Years later, its nostalgic themes and yearning melodies remain emblematic of a decade preoccupied by blurred lines between hope and solitude. Featured on the 1995 album “Disgraceful”.
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