‘Vous Avez Dit Bizarre’ N°96 – Vintage 90s Music Videos
White Town, Tori Amos, Jimmy Somerville, Catatonia, Garbage, Reef, Culture Beat, The Lightning Seeds, Dub War, Björk, Carter The Unstoppable Sex Machine, Angelo Badalamenti
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!
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For TWENTY FOUR more ‘Vous Avez Dit Bizarre’ – Vintage 90s Music Videos – week 05/52 – click here and here
AUDIO ONLY
Tracklist
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![]() 1 . White Town – Your Woman“Your Woman” by White Town emerges as a deeply intriguing ’90s alternative single, weaving sharp irony into a beguiling musical package. The track flips gender norms, offering male vocals narrating from a female perspective, a move that challenges traditional pop conventions while keeping listeners guessing about its unreliable narrator’s intent. Set against a backdrop of a sampled 1932 muted trumpet line from Lew Stone’s “My Woman,” it juxtaposes vintage nostalgia with mid-’90s production sensibilities, creating a tension between past and present. The melody carries a melancholic undercurrent, offset by its deceptively upbeat groove, echoing themes of betrayal and disillusionment embedded in the lyrics. Its minimalist black-and-white video leans into silent-film aesthetics and expressionist imagery, mirroring both its lyrical ambiguity and postmodern sensibilities. “Your Woman” is, at its core, a paradox—a pop hit that questions its own pop identity while inviting endless interpretations of its cryptic storytelling. Featured on the 1997 album “Women in Technology “.
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![]() 2 . Tori Amos – Professional WidowTori Amos’s “Professional Widow” lands like a thunderclap on her 1996 album “Boys for Pele,” bringing a snarling edge to the album’s eclectic mix of sounds. The track is built around the angular punch of a harpsichord, lending an old-world sharpness to a song that otherwise vibrates with rock energy. The lyrics, steeped in cryptic confrontation, have fueled endless speculation, with whispers of inspiration tied to Courtney Love—a connection Amos remains coy about confirming. The song’s transformation into a club anthem came courtesy of Armand van Helden’s remix, with his version morphing the raw angst into a pulsing house track. His remix, aptly retitled “Professional Widow (It’s Got to Be Big),” hijacked dance floors worldwide, hitting number one in the UK and earning a spot in *Rolling Stone’s* dance canon. Meanwhile, the original track retained its thorny defiance, a counterbalance to the smooth-edged remixes that propelled Amos’s most unexpected commercial success. It stands as a curious paradox in her career: a jagged rock anthem by day, a sweaty club staple by night, somehow pulling both off without losing its blistering intent. Featured on the 1996 album “Boys for Pele“.
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![]() 3 . Jimmy Somerville – Heartbeat“Heartbeat” by Jimmy Somerville encapsulates the vibrant energy of ’90s dance music while wrapping itself in a sleek synth-pop veneer. Released in January 1995, this track weaves Somerville’s signature falsetto with spirited backing vocals by Shawn Christopher and Yvonne Gage, forging an anthem for the club scene that briefly ruled the Billboard Hot Dance Club Play chart. Its lyrics skate between themes of longing and connection, yet the music’s effervescent tempo keeps it firmly in the realm of celebration. The production leans heavily on polished electronic beats, striking a balance between infectious grooves and layered harmonies. Chart-wise, the song experienced modest success in the UK, peaking at number 24, but found its true calling stateside, proving indisputably that Somerville knew his way around a dance floor. Accompanied by a stark black-and-white video—perhaps intended as a subdued counterbalance to the track’s bold sonics—the visual provides an aesthetic simplicity that contrasts the music’s radiant character. The song, though underwhelming by chart dominance in some regions, stands as a snapshot of its era, where heartfelt lyrics met buoyant, club-ready production with a wink and a shimmy. Featured on the 1995 album “Dare to Love”.
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![]() 4 . Catatonia – Mulder and Scully“Mulder and Scully” by Catatonia is a playful nod to the paranormal detectives of “The X-Files,” spun into an indie rock track with an infectious hook. Released on January 19, 1998, as part of their album “International Velvet,” the song nestles itself within the Britpop zeitgeist while tipping its hat to pop culture obsessions of the late ’90s. Lyrically, it dances between romantic intrigue and existential questioning, aligning with the mysterious charm that surrounds its namesakes. The track’s commercial success is undeniable, climbing to number 3 on the UK Singles Chart, a career high for Catatonia, while also making a splash on international charts in Ireland and Australia. The music video alternates between a cozy living room performance and comedic reenactments of FBI sleuthing, leaning heavily into its quirky, self-aware aesthetic. Critics met the song with a mix of admiration for its concept and reservations about its substance, though its airplay on BBC Radio 1 and addition to ’90s nostalgia compilations ensured its place in the era’s musical landscape. While the song may not redefine indie rock, it thrives as a testament to Britpop’s ability to weave cultural satire with singalong-ready melodies. Featured on the 1998 album “International Velvet”.
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![]() 5 . Garbage – Milk“Milk” by Garbage stands out as a brooding ballad, weaving trip-hop influences into a tapestry of alternative rock melancholy. The song’s origins draw from a curious inspiration—a line from Michael Ondaatje’s literary work—which informs its cryptically sensual lyrics. Shirley Manson’s vocal performance here teeters on the edge of fragility, her delivery imbued with a haunting intimacy that pairs perfectly with the song’s understated production. The tension surrounding the reported (but later dismissed) studio dynamics with Tricky adds an intriguing layer of mystery to its creation, though his involvement only lightly seasons the track. “Milk” didn’t scale massive commercial heights but earned its moment on the UK Singles Chart at a respectable number 10, lingering in the public ear for weeks with its understated charm. Its subdued success in Germany, peaking at 84, and broader European airplay rankings speak to its niche appeal rather than mass dominance. Visually, Stéphane Sednaoui’s music video masterfully mirrors the track’s aching mood, earning critical recognition and considerable MTV Europe airplay before the song’s live debut during the MTV Europe Music Awards. Both the video and the performance underscore the quiet yet potent emotional resonance that defines this singular moment in Garbage’s career. Featured on the 1995 album “Garbage“.
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![]() 6 . Reef – Come Back BrighterReleased in January 1997, “Come Back Brighter” by Reef channels an infectious energy that breathes life into its straightforward rock framework. The track’s driving guitar riffs pair seamlessly with lyrics that hint at perseverance without straying into overt sentimentality, making it both approachable and emotionally resonant. Produced by George Drakoulias alongside the band, the song carries a polished yet raw quality, retaining the grit expected of late ’90s alternative rock while benefitting from tight production. Reef’s evolution is evident in this single, which landed at number 10 on the UK Singles Chart—no small feat for a band navigating the crowded post-grunge landscape. Its music video adds a playful visual edge, capturing the upbeat pulse of the track through over-saturated hints of irreverence, fitting the period’s aesthetic. While the lyrics lean on optimism, the musical arrangement keeps things grounded, bolstered by a memorable execution that contrasts their other tracks like “Place Your Hands” or “Yer Old.” Reef’s second album, *Glow*, where this track resides, reached number one in the UK, serving as a testament to their growing influence despite broader changes in rock’s hierarchy during the era. If the late ’90s rock scene often veered toward self-seriousness, “Come Back Brighter” sidesteps the trap, delivering a crowd-pleaser with just enough edge to endure beyond its immediate commercial success. Featured on the 1997 album “Glow”.
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![]() 7 . Culture Beat – Cherry Lips“Cherry Lips” by Culture Beat is a curious artifact of late ’80s pop, where the spoken word mingles with synthesizers like two strangers locked in awkward conversation. This English rendition of “Der Erdbeermund,” anchored by Jo van Nelsen’s theatrical delivery, flirts between quirky and pretentious. It lifts its text from François Villon’s poem, walking the fine line between literary homage and marketing gimmick. The song’s charm lies less in its melodic elements—it barely has any—and more in its atmosphere, a moody swirl of Euro sophistication shot through with unintentional kitsch. Its cultural imprint notably thrived in gay clubs, where the audience embraced its eccentricity and recontextualized its serious tone into campy celebration. The track’s structure feels like a study in contrasts: poetic solemnity set to pulsating beats, which lands it somewhere between art piece and late-night radio oddity. As a 12″ remix, it stretched into club-friendly terrain, finding a heartbeat behind its cerebral facade. Measured by chart success, it did modestly, peaking at number 11 in Germany, but that feels almost irrelevant—it thrives at the intersection of niche appeal and cultural curiosities. For today’s listener, it’s a snapshot of a time when pop wasn’t afraid to be weird, literary, and strangely self-assured.
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![]() 8 . The Lightning Seeds – What You Say“What You Say” by The Lightning Seeds occupies a curious spot in the band’s discography, sitting between their shimmering alt-pop heyday and the waning moments of their chart domination in the late ’90s. Released in December 1997, this indie pop track is one of the fresh offerings from their greatest hits collection, “Like You Do… Best of The Lightning Seeds,” a compilation that otherwise chronicles nearly a decade of polished optimism in musical form. The song leans into Ian Broudie’s knack for crafting melodies that feel both breezy and introspective, with lyrics co-written by Terry Hall adding a reflective texture to the mix. It doesn’t stray far from the band’s signature aesthetic, which sharply contrasts British melancholy with buoyant pop hooks, though its position in the UK Singles Chart at number 41 suggests that it didn’t quite land with the same resonance as earlier hits like “Pure” or the rousing football anthem “Three Lions.” Musically, it pairs jangly guitars with a lush production, a hallmark of Broudie’s pop sensibilities, yet it’s less insistent on making a statement than some of the anthems nestled within the same collection. The accompanying video further emphasizes the track’s reflective nature, offering a tender visual counterpart to themes of love and self-examination, though it steers clear of cynicism or overt sentimentality. “Like You Do…” itself fared far better than its newer contributions, earning 2× Platinum certification in the UK, a testament to the band’s ability to bottle fleeting moments of euphoria across an impressive catalog. Yet, “What You Say” invokes a quieter charm—a footnote to their legacy rather than a bold exclamation, offering just enough shimmer to remind listeners why The Lightning Seeds were, if briefly, masters of blending wit with wistfulness. Featured on the 1997 album “Like You Do… Best of The Lightning Seeds”.
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![]() 9 . Dub War – Enemy MakerReleased in 1995, “Enemy Maker” by Dub War strikes a fiery chord with its aggressive fusion of metal, punk, and reggae, epitomizing the genre-mashing ethos of its time. The track sits comfortably within the band’s 1996 album *Wrong Side of Beautiful*, though its earlier release as a single earned it notable chart traction, grazing number 41 on the UK Singles Chart. At its core, this song reflects a volatile interplay of influences, where metallic riffs and dub-heavy grooves collide, producing a sonic battlefield that echoes themes of adversity and resistance. Benji Webbe’s vocals oscillate between a visceral growl and melodic reassurance, driving home the song’s impassioned rhetoric—one of conflict tempered by defiance. The accompanying video amplifies this intensity, visualizing rebellion with raw, unpolished charm, exuding the band’s relentless energy. Dated yet unrelenting, “Enemy Maker” encapsulates the mid-’90s genre experimentation while nodding to the eventual evolution of Webbe’s career as he transitioned into Skindred’s groundbreaking hybrid sound in later years. Featured on the 1996 album “Wrong Side of Beautiful”.
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![]() 10 . Björk – It’s Oh So QuietBjörk’s rendition of “It’s Oh So Quiet” takes an eccentric approach to a mid-century classic, mirroring the artist’s penchant for subverting expectations. Borrowing from Betty Hutton’s 1951 cover and its earlier German origins, the track thrives on an unpredictable structure, oscillating between hushed stillness and explosive brass-powered outbursts. These dramatic shifts mirror the emotional highs and lows of infatuation, giving the piece a theatrical edge that feels both nostalgic and contemporary. Spike Jonze’s accompanying visual masterpiece amplifies the song’s playfulness, trading Icelandic landscapes for California streets transformed into a musical fever dream. The video’s homage to Hollywood’s golden age contrasts sharply with Björk’s avant-garde image, showcasing her ability to merge opposites, from big-band arrangements to postmodern individuality. While it flirts with camp, the execution never feels contrived, making it an offbeat yet undeniably memorable entry in her discography. Featured on the 1995 album “Post“.
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![]() 11 . Carter The Unstoppable Sex Machine – The Young Offender’s Mum“The Young Offender’s Mum” by Carter the Unstoppable Sex Machine captures a moment where biting social commentary aligns with the band’s signature blend of sharp lyrics and punk-infused energy. Released at the midpoint of the ‘90s, this track embraces the group’s knack for tackling societal issues, narrating the grim realities surrounding urban youth and dysfunctional relationships, all delivered with their characteristic dark humor. The song’s production exemplifies their brash yet melodic approach, layering driving guitar riffs with electronic beats and a vocal delivery that oscillates between urgency and sardonic detachment. Included in their compilation album “Straw Donkey… The Singles,” the track feels interconnected with their broader discography—a collection teeming with wit and critique aimed squarely at British culture during its transitional years. Its accompanying music video adds an extra layer of cheeky irreverence, visually reinforcing themes of disillusionment and rebellion without losing the band’s playfulness. The band members, Jim Bob and Fruitbat, were no strangers to working controversy into their art, a reputation cemented not just by their lyrical content but off-stage antics. With “The Young Offender’s Mum,” they neither shy away from tough topics nor devolve into preachy clichés, balancing pointed observation with enough levity to keep it compelling. Their ability to juxtapose bleak subjects with anthemic choruses speaks to their unique approach, carving out a niche that felt fresh in the otherwise polarized Britpop-vs.-grunge landscape of the time. Featured on the 1995 album “Worry Bomb”. |
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![]() 12 . Angelo Badalamenti – Mysteries of LoveIn the shadowy recesses of the 1986 neo-noir masterpiece *Blue Velvet*, “Mysteries of Love” emerges as a sonic anomaly, bridging haunting atmospherics with a fragile, celestial melancholy. Crafted by Angelo Badalamenti with lyrics by David Lynch, this ambient ballad marks an eerie union of two creative forces whose shared lexicon thrives on the strange and sublime. The song was born from Lynch’s unaltered abstract poetry—married to a soundscape drenched in whispery synthesizers and the ethereal sighs of Julee Cruise, whose vocals float somewhere between a hymn and a lament. Initially conceived as a substitute for *Song to the Siren*, this track stakes its claim not in grand theatricality but in its ghostly minimalism, encapsulating the uneasy romance and foreboding tension threaded through the film’s narrative. Its most arresting moment occurs not in isolation but when paired with the sweet awkwardness of Jeffrey and Sandy’s slow dance—a scene that distills budding intimacy through flickering uncertainty. “Mysteries of Love” doesn’t just exist in a film; it lingers—reverberating in various incarnations, from Kid Moxie’s synth-inflected rework to live performances echoing through tributes to Lynch’s surrealist soundscape. Still, its original form remains untouched, steadfast in its quiet chaos, a YouTube dreamscape navigating modern playlists as an unlikely artifact of intimacy and unease. Even as the pop landscape bends toward louder, faster, brighter, “Mysteries of Love” thrives on its contradictions—a pastoral hymn of love whispered into a world that prefers to shout. Featured on the 1986 album “Blue Velvet – Original Motion Picture Soundtrack”.
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