‘Vous Avez Dit Bizarre’ N°88 – Vintage 90s Music Videos

1 . New Order – 1963

“1963” by New Order wears its quirks on its sleeve, beginning life in 1987 as an unassuming B-side to “True Faith” before finding new purpose as a standalone single in 1995.

The track’s tongue-in-cheek narrative, penned by Bernard Sumner, pivots on an audacious reimagining of JFK’s assassination, mixing Lee Harvey Oswald, Marilyn Monroe, and a darkly absurd plot, all set to a beat you can move to.

Producer Stephen Hague summed it up as “the only song about domestic violence you can dance to,” a description at once uncomfortable and accurate given the contrast between its buoyant rhythm and grim lyrics.

The original version lingers on the line “I will always feel free,” fading out like a half-remembered dream, but the 1995 remixes take liberties with this structure, incorporating orchestration, altering outros, and introducing a cold, abrupt ending.

Arthur Baker’s remix hits with more punch, while other versions by Lionrock and Joe T. Vanelli meander through varying tempos and arrangements, each offering a different lens to view the track’s layered personality.

Despite its thematic oddity, “1963” nestles comfortably within New Order’s cannon of English rock staples and finds resonance, even decades later, through its syncopated rhythm and carefree, almost defiant production style.

The official music video adds an exclamation mark to its character with surreal, stylized visuals, tying it all together like a cryptic, tightly woven riddle meant to both intrigue and amuse.

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

2 . Ace of Base – Living in Danger

“Living in Danger” by Ace of Base presents a curious mixture of breezy pop effervescence and sobering cautionary undertones.

Released in late 1994, the track arrives as the seventh single from the *Happy Nation (U.S. Version)* saga and fourth off *The Sign*—a moment when some albums still squeezed every drop of chart potential from each release.

Chart-wise, it comfortably settled into a respectable top-20 position in the U.S., reached number 10 on the US Cash Box Top 100, and grabbed a foothold in similar slots across Europe, with outliers like Canada bumping it higher.

For a song built on approachable hooks and reggae-infused sensibilities, it holds a subtle undercurrent, urging listeners toward a life of vigilance and self-reliance, though nothing about its sonic landscape screams “impending doom.”

The video, filmed in Stockholm’s Kungsträdgårdens metro station, contrasts its plain, gritty location with a narrative poking at the choreography of human interaction, though how much of its intended depth translates is debatable.

Jenny’s reading of the lyrics points to resisting social pressures, while Jonas’s take leans more toward guiding caution, an intriguing little dissonance that speaks to the song’s dual-purpose flexibility.

Produced by Jonas Berggren and Ulf Ekberg, there’s a lightness to its rhythm—affectingly simple, and yet rhythmic enough to lodge itself in the head without overstaying its welcome.

By 2003, the song found recognition in *Q Magazine’s* “1001 Best Songs Ever,” an acknowledgment that perhaps reflects nostalgia as much as merit.

It’s not the loudest or most intricate moment in Ace of Base’s catalog, but it walks the line between accessibility and universal instincts—an ode to the quiet balancing act of pop success.

Featured on the 1992 album “Happy Nation”.

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

3 . Nightcrawlers – Push The Feeling On

Released in 1992 as “Let’s Push It” by Nightcrawlers, “Push The Feeling On” undergoes a genre transformation that reshaped its trajectory. Initially rooted in Acid Jazz and funk, the song pivots sharply into Garage House after Marc Kinchen’s famous “Dub Of Doom Mix” in 1995, catapulting it onto the UK Singles Chart at #3 and keeping it simmering on the Billboard Hot 100 for 15 weeks.

The remix adeptly carves out fragmented vocal samples, turning John Reid’s original melody into a hypnotic mantra. The resulting track thrives on its minimalist yet infectious build, carried by deep grooves and staccato rhythm, though Reid’s chopped delivery occasionally leaves the lyrics dangling in ambiguity.

The music video, which survives as a relic of MTV’s mid-’90s hegemony, blends Reid’s static presence with erratic, surreal imagery, a visual nod to the era’s experimental aesthetic. Despite polarizing opinions on its clarity, the song’s themes of resilience and unity resonate across cultural divides.

Now celebrated as a cornerstone of ‘90s club culture, its DNA weaves into innumerable remixes and contemporary tracks. Pitbull’s sampling of it in the 2010s underscores its staying power, serving as a reminder that the song’s infectious energy transcends time and reinvention.

Featured on the 1995 album “Lets Push It”.

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

4 . Spice Girls – Spice Up Your Life

“Spice Up Your Life” struts out as a cultural cocktail from 1997, blending Latin-inspired rhythms like salsa and samba with an unabashedly globalist agenda.

The Spice Girls, co-writing alongside Matt Rowe and Richard Stannard, inject infectious energy into this track, wrapped in layers of percussion and an unmistakable “la la la” chant that dares listeners to sit still.

A standout lyric—“Slam it to the left, if you’re having a good time”—comes across as a commandment for collective joy, even if its cultural borrowings veer toward the caricatured rather than the nuanced.

The release, tied to its “Spice World” film, carries a cinematic flamboyance that feels more spectacle than substance, but perhaps that’s the point in their glitter-soaked universe.

A controversial music video, orbiting somewhere between dystopian futurism and technicolor camp, adds another layer of chaos that’s as jarring as it is fascinating.

With 887,000 UK sales and 4.5 million streams decades later, one wonders if its staying power lies in nostalgia or its unfailing knack for being divisively unforgettable.

Featured on the 1987 album “Spiceworld”.

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

5 . The Rembrandts – This House Is Not a Home

“This House Is Not a Home” by The Rembrandts sits quietly in the mid-’90s pop rock landscape, nestled within their 1995 album “L.P.,” a record that flirted with commercial success before going platinum and securing a respectable spot at No. 23 on the Billboard 200 chart.

The production by Don Smith serves as a reliable backbone, though it never quite takes flight, leaning on competent engineering from names like Greg Goldman and Gavin MacKillop. The track finds itself somewhere between accessible and overly restrained, bearing faint echoes of emotional furniture-moving drama akin to “A House Is Not a Home” but without the soul-shifting heft of Dionne Warwick’s or Luther Vandross’ renditions.

The lyrical content hints at emotional estrangement yet avoids diving headfirst into the visceral. The absence of a distinctive video clip leaves the song floating in a haze of ’90s music fodder, relying heavily on its polished but predictable instrumentation to carry it forward.

Released under East West Records and Atlantic Records, its connection to pop culture feels peripheral yet oddly persistent. It’s the kind of song that doesn’t demand your attention but becomes a benign earworm, a background player hoping not to offend and mostly succeeding.

Lyrics >> More by the same : Twitter

6 . The Beautiful South – Old Red Eyes Is Back

“Old Red Eyes Is Back” by The Beautiful South pairs sharp wit with sobering undertones, channeling themes of regret and alcohol-soused melancholy through the titular character’s world-weary gaze.

Released in late 1991 as a lead-up to their 1992 album *0898 Beautiful South*, the track, though modest in chart success at number 22 in the UK, stands taller in the band’s catalog for its deft lyrical layering.

Whether it’s the sardonic parallel to Frank Sinatra in the title or the raw truths embedded in the verses, the song balances humor and bitterness with the finesse of a barfly waxing poetic at closing time.

Sonically, it sways within the pop rock/alternative rock realm, understated but effective, relying more on storytelling than sonic bombast.

Though the accompanying pub-set music video offers a cheeky nod to duality, with Paul Heaton portraying both sides of the coin, the real crux lies in its disarming earnestness, reflecting Heaton’s knack for blending the light and dark of human frailty.

Featured on the 1992 album “0898 Beautiful South”.

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

7 . Robbie Williams – No Regrets

“No Regrets” by Robbie Williams embodies an evocative cocktail of bitterness and catharsis, wrapped in a shimmering pop-rock and synth-pop blend.

Released in 1998 as part of the double A-side with “Antmusic,” it carves out a stark niche with its dark, almost combustible energy—quite literally, given the fire-streaked visuals of the Pedro Romhanyi-directed video.

The song stands out for its palpable edginess, a moody testament to unresolved tensions from Williams’ past, most notably his struggles with his departure from Take That and grappling with fame.

Vocally bolstered by Neil Tennant of Pet Shop Boys and Neil Hannon of The Divine Comedy, the track reaches for emotional depths while retaining a sharp melodic punch that avoids veering into sentimentality.

Chart performances paint a complex picture: it reached No. 4 in the UK but languished further down in countries like France (No. 67) and Germany (No. 60), suggesting its cultural resonance varies significantly across borders.

It’s a song of fractured relationships and bruised optimism, delivered with Williams’ signature theatrical flair and a bruising self-awareness that pushes it beyond mere pop confection.

Featured on the 1998 album “I’ve Been Expecting You“.

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

8 . The Cardigans – My Favourite Game

Released in 1998, *My Favourite Game* serves as a snapshot of late-’90s alternative rock with a Nordic twist, cemented by The Cardigans’ signature melodic grit.

The track, conceived by Peter Svensson and Nina Persson, pulls listeners into the throes of a crumbling relationship, underscored by a relentless two-note guitar riff that infuses urgency into its otherwise brooding bassline-heavy chorus.

Its production, crafted alongside Tore Johansson at Country Hell studio in Skurup, Sweden, gives the track a polished, almost mechanical sheen that aligns with the sleek, edgy aesthetic of its parent album, *Gran Turismo*.

Visually, the song’s Jonas Åkerlund-directed music video doubles as both a cult classic and a conversation starter, with Nina Persson playing the reckless antihero in a desert joyride that teeters on the edge of chaos.

While edited versions of the video toned down its controversial crash imagery for wider consumption, the unrelenting energy remained intact, amplifying the song’s appeal across music channels.

Commercially, the single performed admirably, punching its way to No. 3 on the Swedish charts, hitting No. 14 in the UK, and peaking at No. 16 on Billboard’s Modern Rock Tracks in the US—marking one of the band’s milestones on the global stage.

The track’s inclusion in the 1999 video game *Gran Turismo 2* further immortalizes it within gaming culture, making it an unforgettable auditory marker for those speeding through pixelated race tracks.

While it never exploded into superstardom, the song’s ability to resonate with fans since its release speaks volumes about its role in anchoring The Cardigans’ place as alternative pop heavyweights of their era.

Featured on the 1998 album “Gran Turismo”.

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

9 . The Prodigy – Firestarter

“Firestarter” by The Prodigy smashes through conventional genre barriers with unapologetic ferocity, a testament to 1996’s big beat explosion.

Liam Howlett’s abrasive production fuses breakbeat techno, punk, and electronic rock, crafting a defiant anthem that doesn’t just demand attention but sears itself into your brain.

Keith Flint steps into the vocal spotlight for the first time, delivering snarling lyrics soaked in rebellion and brash confidence, solidifying his transformation into an iconic frontman of the ‘90s.

The track borrows from The Breeders’ “S.O.S.” and Art of Noise’s “Close (to the Edit),” layering these influences without losing its raw, gritty originality.

Directed by Walter Stern, the jittery, black-and-white music video—shot in an eerie abandoned London Underground tunnel—channels manic energy and urban decay in perfect harmony with the track’s restless rhythm.

Topping the UK Singles Chart for three weeks while igniting international acclaim, it bridges the underground rave scene with commercial viability without compromising its edge.

From Czech Republic to Norway, its aggressive sound conquered charts globally, securing its place as a cultural juggernaut of its era.

Decades later, its legacy still roars, reappearing in the “Call of Duty: Black Ops 6” trailer, proving its enduring role as a soundtrack for unapologetic chaos.

Featured on the 1997 album “The Fat of the Land“.

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

10 . Alice Cooper – House of Fire

Alice Cooper’s “House of Fire” stomps onto the glam metal stage like a pyrotechnic spectacle in tight leather pants.

Released in 1989 as part of the *Trash* album, it thrives on Desmond Child’s slick production, ensuring every note glimmers under studio polish.

The track’s metaphorical theme is as unsubtle as the genre it inhabits: building a “house of fire,” passionately ablaze with love, albeit on a foundation that’s likely not up to safety code.

Co-written with Joan Jett, there’s an undeniable punk-tinted edge beneath the bombast, though it’s buried under the sheen of an ‘80s arena-rock aesthetic that tries hard to seduce mainstream rock radio.

Chart-wise, it flirts with success, grazing #65 in the UK and finding modest footing on the US Billboard Hot 100 at #56—no small feat, but no thunderous victory lap either.

The accompanying music video, with Cooper crooning in front of flashy flames, is peak theatrical absurdity, blending his horror roots with MTV-ready melodrama.

Interestingly, a Bon Jovi demo of the song surfaced decades later, suggesting its pop-metal DNA had been ripe for a stadium-rock makeover all along.

“House of Fire” isn’t revolutionary, but as a slice of glam metal excess, it burns just brightly enough to keep things entertaining.

Featured on the 1989 album “Trash”.

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

11 . Portishead – Glory Box

“Glory Box” by Portishead evokes a sultry, smoky intimacy that feels both hypnotic and unsettling.

Released in 1994 as part of their *Dummy* album, the track blends trip-hop textures with a melancholic groove, courtesy of Geoff Barrow and Adrian Utley’s artful production and Beth Gibbons’ haunting vocal delivery.

The song’s foundation is built on a looped sample of Isaac Hayes’ “Ike’s Rap II,” tethering the tune to classic soul while subverting it with a shadowy undercurrent.

The lyrics are undeniably magnetic, expressing a wearied plea for emotional authenticity, wrapped in Gibbons’ aching vulnerability and simmering frustration.

The title itself hints at a certain resignation, playing on outdated societal expectations of women, yet the fierceness of its delivery flips the subtext into a critique of such constructs.

The music video, with its rich chiaroscuro aesthetic, amplifies the song’s tension between longing and defiance, making its themes all the more visceral.

No stranger to covers, the track has inspired reinterpretations from the likes of St. Vincent and The Roots, cementing its status as a fixture in contemporary music’s darker corners.

Its resurgence in recent years underpins its enduring relevance in dissecting the intersections of gender, love, and discontent.

Portishead’s “Glory Box” is less a song and more a lingering question mark, challenging listeners to sit in its discomfort, yet offering no easy resolutions.

Featured on the 1994 album “Dummy “.

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

12 . Paul McCartney – Beautiful Night

Paul McCartney’s *”Beautiful Night”* lands as both a nostalgic and bittersweet entry in his sprawling discography, rooted in the late ‘90s but glancing over its shoulder at earlier eras.

Anchored on *Flaming Pie* (1997), its orchestral flourishes and lush production courtesy of Jeff Lynne suggest a certain grandiosity, yet the song carries an intimacy that feels oddly personal.

The romantic yearning of lines like “I won’t need a castle, they’ve got castles in Versailles” walks the tightrope between whimsy and profound isolation—less fairy tale, more unfulfilled daydream.

Ringo Starr’s drumming, paired with harmony contributions from Linda McCartney, adds a dash of Beatle DNA, while George Martin’s orchestral arrangement lends heft without tipping into melodrama.

The accompanying music video, directed by Julien Temple, almost veers into self-parody but redeems itself with charm, capturing McCartney’s playful vulnerability with aging stardom.

For a song that spent a fleeting four weeks on the UK charts, peaking at No. 25, it feels less concerned with commercial validation and more like a personal catharsis, released just months before Linda’s heartbreaking passing.

Digging back to its 1986 demo origins, one feels the tug-of-war between layered studio perfection and the rawer emotional immediacy of its earlier incarnation.

Neither revolutionary nor forgettable, *”Beautiful Night”* nestles into McCartney’s catalog as a late-night reflection—part longing, part eulogy for a world half-imagined and half-lost.

Featured on the 1997 album “Flaming Pie“.

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