Hip-Hop & Soul N°229 – Vintage 90s Music Videos

1 . Arrested Development – Mr. Wendal

“Mr. Wendal” by Arrested Development stands as a sharply reflective piece wrapped in a rhythmic groove that feels both grounded and timeless.

Its narrative, penned by Speech, uses an empathetic lens to highlight homelessness, weaving storytelling with broader critiques of societal neglect.

The track, lifted from their debut “3 Years, 5 Months & 2 Days in the Life Of…,” commands attention not through volume but through meaning, with its steady beat amplified by a sample from Sly & The Family Stone’s “Sing A Simple Song.”

While the synth of early-’90s hip-hop often risked falling into hollow repetition, Arrested Development injected theirs with purpose, layering their sound without losing the clarity of their message.

The generosity behind the song—half of its profits were donated to homeless charities—may risk sentimentality, but the effort to turn art into action feels as rare now as it did then.

Visually, the accompanying music video enjoys a restrained simplicity that eschews gloss for authenticity, following through on the song’s message.

Chart success aside, its real triumph lies in the understated yet resonant portrayal of its titular character, who becomes less a singular figure and more a mirror for collective failure and potential resilience.

Nostalgia for this track may lean on its MTV ubiquity, but its relevance has aged better than many of its contemporaries.

At its core, “Mr. Wendal” challenges the listener—critiquing social myopia while threading in a counter-melody of compassion.

Featured on the 1992 album “3 Years, 5 Months & 2 Days in the Life Of…“.

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2 . Michael Jackson – Black Or White

Michael Jackson’s “Black or White,” released in 1991, is a genre-blending anthem from his “Dangerous” album, merging pop rock, rap, and dance rhythms to deliver its message of unity through diversity.

The track stormed the charts, rocketing to number one on the Billboard Hot 100 within weeks, holding its position for seven, and topping lists in over 20 countries—a testament to its wide-reaching appeal amid global audiences.

Its accompanying music video, directed by John Landis, broke ground with cutting-edge morphing effects, showcasing people of varying ethnicities seamlessly transforming, though it wasn’t without its share of controversy in its chaotic and defiant closing moments.

From a young Macaulay Culkin lip-syncing to George Wendt’s booming voiceover, the video’s casting choices laced pop culture cameos with Jackson’s characteristic flair for the dramatic.

While often miscredited to Slash, who did play for another Jackson track, the track’s guitar intro instead belongs to co-producer Bill Bottrell, embodying the unpredictability that characterized much of the “Dangerous” era.

The song’s infectious rhythm also bore the indelible mark of Teddy Riley’s production, layering in percussion signatures that cut across conventional pop templates and drew from the sensibilities of New Jack Swing.

Still, “Black or White’s” sharp critique of racial prejudice wasn’t universally embraced, earning backlash for its raw, iconoclastic visuals—a rebellion against injustice that Jackson would later defend as a deliberate, conscience-driven choice.

Even its promotional push refused subtlety, requiring networks to brand him as the “King of Pop,” an audacious move that singers half his stature could scarcely attempt.

For all its polish and forward-thinking edge, “Black or White” carried a universal message through hypnotic hooks, proving that pop could be both biting in its commentary and infectious on the radio.

Featured on the 1991 album “Dangerous“.

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3 . MC Hammer – Have You Seen Her

MC Hammer’s 1990 rendition of “Have You Seen Her” takes a beloved classic and injects it with just enough hip-hop swagger to make it his own without overshadowing the original’s emotional gravitas.

Borrowing the 1971 Chi-Lites hit—a yearning anthem that practically drips with heartbreak—Hammer updates the tear-streaked ballad by layering in his signature rap verses and a slicker production style that screams early ’90s commercial appeal.

The original, co-penned by Eugene Record and Barbara Acklin, is practically a monument to melancholy, with spoken-word sections that underline the sting of loneliness and a melody that could wring tears out of a stone.

Hammer’s reworking keeps those elements intact while translating the sentimentality into a format that fit neatly alongside his other hits, like “U Can’t Touch This,” on the mega-selling *Please Hammer, Don’t Hurt ’Em* album.

The cover found its audience, climbing to No. 4 on the US Billboard Hot 100, though purists might balk at the added verses, which veer into a more brash interpretation of longing than the original’s restrained despair.

Musically, Hammer’s version smooths over the soulful grit of the Chi-Lites’ arrangement with a poppier gloss, relying on groovy beats and radio-friendly flair to push it further into the mainstream.

And while the Chi-Lites’ narrator pines in isolation, Hammer’s interpolations bring an energy that feels less like quiet rumination and more like a public declaration of his quest for lost love.

The accompanying music video was pure Hammer theatrics—oversized pants, slick choreography, and a charisma that made the yearning feel less raw but undeniably marketable.

If anything, Hammer’s take on “Have You Seen Her” showcases his knack for bridging eras without entirely abandoning the core of what made the original resonate, even if his take leans more on spectacle than tragedy.

In the end, it’s a polished, commercialized tribute that proves that even heartbreak can chart—and sometimes even dance—its way into the pop-cultural canon.

Featured on the 1990 album “Please Hammer, Don’t Hurt ‘Em”.

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4 . MC Lyte – It’s All Yours (w/ Gina Thompson)

MC Lyte’s “It’s All Yours,” featuring Gina Thompson, is a polished gem from her 1998 album, “Seven & Seven.”

Produced by The Neptunes in their earlier days, the track is marked by their signature knack for sparse-yet-infectious beats, laying a dynamic foundation for Lyte’s laser-sharp lyricism.

The collaboration with Gina Thompson adds a velvety R&B polish to the hook, bridging the worlds of hip-hop and R&B without veering into clichés.

Released as the lead single, its performance on the charts—a modest peak at number 36 on the Billboard Hot R&B/Hip-Hop Songs—doesn’t quite match its creative ambition but cements Lyte’s adaptability in an era of shifting sonic trends.

The accompanying video, directed by Tim Story, leans into late-90s visual flair with clean aesthetics that mirror the track’s slick production.

Though the parent album failed to leave a mark commercially, “It’s All Yours” offered a momentary reminder of MC Lyte’s staying power in an industry often dismissive of longevity.

Featured on the 1997 album “Seven & Seven”.

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5 . MC Tunes – Primary Rhyming

MC Tunes’ “Primary Rhyming” occupies a curious spot in early ’90s British music—part hip-hop experiment, part electronic collaboration, and wholly a product of its era.

The track resides within *The North at Its Heights*, an album that merged MC Tunes’ sharp vocal delivery with the pulsating, futurist beats of 808 State.

Though the song never enjoyed standalone release status, its parent project achieved a respectable No. 26 on the UK Albums Chart, a reflection of its boundary-pushing ambition more than mass appeal.

“Primary Rhyming” emerges as a confident exercise in self-expression, with MC Tunes’ brash lyricism leaning heavily on rhythmic precision over complex productions that bristle with then-novel electronica textures.

This is not a track that screams heroism or timelessness, but rather strides forward boldly, wearing its hybrid DNA unapologetically as it contributes a slice of cultural daring to Britain’s rap history.

Much like its era’s urban graffiti, the track’s swagger is not about perfection—it’s about marking territory.

Featured on the 1990 album “The North at Its Heights”.

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6 . 2Pac – I Wonder If Heaven Got A Ghetto

Released posthumously on November 25, 1997, 2Pac’s “I Wonder If Heaven Got a Ghetto” is a poignant reflection wrapped in a powerful melody, lifted from the rapper’s “R U Still Down? (Remember Me)” album.

The track’s production, helmed by Soulshock & Karlin, leans heavily on a sample of Arthur Prysock’s “Do Housing Projects Have Harps?,” embedding a nostalgic warmth beneath the grittier narrative.

This wasn’t merely another posthumous release—it was a rallying cry wrapped in Tupac Shakur’s characteristic exploration of struggle, inequality, and redemption.

Its pointed lyrics, infused with potent social and political commentary, continued the thematic conversations Shakur initiated in tracks like “Me Against the World.”

The single resonated across charts, climbing to number 11 on the Billboard Hot 100 and breaking into the Top 10 on the Hot R&B/Hip-Hop Songs chart, further underscoring its cultural reach.

The accompanying video, directed by Lionel C. Martin, crafted a visual narrative around a fictional town named Rukahs, a sly reordering of Shakur’s name.

Rich with symbolism, including subtle nods to 2Pac’s life, death, and legacy, the video also featured cultural icons like Jimi Hendrix and Martin Luther King Jr., cementing its place as a bold artistic statement.

The song’s legacy endures, with its lyrics and instrumentals often revisited and reimagined by artists like Nas in “Black President” and The Game in “I Didn’t Wanna Write This Song.”

Despite its origins in loss, the track threads hope and resilience into its fabric, standing as a testament to Shakur’s ability to channel personal struggles into universal themes.

Charting internationally, including number 11 in New Zealand, the song’s resonance proved boundaryless, while its roots in reflection and redemption kept it tethered to Tupac’s artistic core.

Featured on the 1997 album “R U Still Down? (Remember Me)”.

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7 . Busta Rhymes – Dangerous

Busta Rhymes’ track “Dangerous” blurs the line between ominous bravado and tongue-in-cheek swagger, crafting something as irreverent as it is sharp-edged.

Released in late 1997, this single stands out for its unusual sonic fabric, repurposing not one but two disparate cultural artifacts: Kishore Kumar’s “Eena Mina Dika” and the atmospheric melodies from a Christmas-themed movie no one remembers.

The result is a beat that somehow feels playful and menacing, layering deliberately absurd vocal chops over Rashad Smith’s crisp production.

But that’s just the beginning.

Charting at #9 on the Billboard Hot 100, the song’s success wasn’t solely tied to radio-friendly credentials—it carried a chaotic charm that felt particularly Busta-esque, an alchemy of confidence and unpredictability.

The accompanying music video, helmed by the ubiquitous Hype Williams, goes full throttle into movie references, riffing on “Kung Fu Hustle” and “Lethal Weapon” with such ironic exuberance it borders on parody.

Rhymes shimmies between caricatured martial arts sequences and wild standoffs, resulting in a visual buffet that feels like it’s running on pure adrenaline and caffeine.

There’s something oddly meticulous about the madness—every exaggerated pose and camera angle is hyper-calculated yet deeply unhinged.

More trivia for hip-hop obsessives: its chorus, borrowing from that public service announcement about loose prescription meds, injects a distinct nostalgia, subverting it as equal parts warning and wink.

Moments like these elevate “Dangerous” beyond a mere pop-rap artifact into a collage of niche influences, chart maneuvering, and the relentless charisma Rhymes brought to the late ’90s.

Was it an artistic flex or a commercial chess move? Maybe both, but it didn’t hurt that it even nabbed a Grammy nomination for its bold theatrics.

Featured on the 1997 album “When Disaster Strikes”.

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8 . Dru Hill – How Deep Is Your Love

Dru Hill’s “How Deep Is Your Love” slotted itself into 1998’s pop landscape as an intoxicating blend of R&B and hip-hop, smoothed over by Sisqó’s signature vocal theatrics and Nokio the N-Tity’s polished production.

Released as the lead single from *Enter the Dru* and doubling as a key component of the *Rush Hour* soundtrack, it was a track built for spotlight moments — complete with cinematic tie-ins and Redman’s cameo, which mysteriously vanished from the album version and music video, courtesy of some scheduling quirks.

The song’s lyrical narrative isn’t exactly groundbreaking, tracing themes of unwavering love and devotion familiar to R&B ballads of the era, but the conviction in the delivery, paired with a seductive rhythm, gave listeners a reason to stay hooked.

Chart performance reflected this gravitational pull, with the track peaking at number three on the Billboard Hot 100 and securing Dru Hill’s status as a commercial heavyweight while scaling international territories like the UK, Canada, and Sweden.

Its accompanying music video, under the flashy direction of Brett Ratner and shot atop Hong Kong’s Hopewell Centre, interspersed slick choreography with *Rush Hour* action scenes — a visual overload that felt as oversized as the song’s ambitions.

Looking back, “How Deep Is Your Love” remains a paradox: an earnest plea wrapped in meticulous commercial strategy, carrying just enough edge to hint at future solo stardom for Sisqó but tethered to the formulaic glossiness that defined late ‘90s R&B.

Featured on the 1998 album “Enter the Dru”.

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9 . Puff Daddy – Been Around The World (w/ Mase & The Notorious B.I.G.)

Released in 1997, “Been Around The World” by Puff Daddy, featuring Mase and The Notorious B.I.G., is a slick, globe-trotting anthem of braggadocio wrapped in polished production and undeniable charisma.

The track opens with a glossy sample of David Bowie’s “Let’s Dance” while weaving in the familiar refrain from Lisa Stansfield’s “All Around the World,” repurposing both into a luxurious, hip-hop framework.

Beyond its indulgent sonic palette, The Notorious B.I.G.’s interpolation of Stansfield’s chorus lends a bittersweet weight, given his tragic passing earlier that year.

Commercially, the song soared, peaking at No. 2 on the Billboard Hot 100 and conquering multiple charts before becoming a quintessential late ’90s radio staple.

The Paul Hunter-directed music video mirrors the song’s extravagance, featuring high-stakes espionage aesthetics, private jets, and a star-studded cast, including Jennifer Lopez and Wyclef Jean, adding a sense of cinematic grandeur.

This was more than just a hit; it became emblematic of Puff Daddy’s knack for blending hip-hop with mainstream flair, balancing homage and swagger in equal measure.

Despite its polished exterior, there’s an unshakable tension between its celebratory veneer and the shadow of loss, giving the track a poignant complexity within its jubilant bravado.

Featured on the 1997 album “No Way Out“.

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10 . Warren G & Sissel – Prince Igor

Warren G’s “Prince Igor” is an audacious blend of hip-hop swagger and classical gravitas, built around Alexander Borodin’s “Polovtsian Dances” from the opera *Prince Igor*.

The track pairs Warren G’s smooth yet assertive West Coast rap delivery with the ethereal voice of Norwegian soprano Sissel Kyrkjebø, creating a collision of genres that shouldn’t work but somehow does.

The song borrows Warren G’s verses from his earlier track “Reality,” repackaging them in an entirely new sonic context, which feels both resourceful and slightly self-referential.

Produced as part of the concept album *The Rapsody Overture: Hip Hop Meets Classic*, it reflects the late ’90s obsession with hybrid experiments—some bold, some borderline odd.

The accompanying cinematic music video, heavy on dramatic flair, adds a layer of opulence fitting its operatic roots.

Unsurprisingly, the song’s reception was mixed. Critics admired its inventive structure but questioned whether it was groundbreaking or merely gimmicky.

Its success, however, was undeniable in Europe, topping charts in Norway and Iceland and soaring into the Top 10 across nations such as Belgium and Germany, while the U.S. audience largely shrugged it off.

With its unusual lineage and cross-genre ambition, “Prince Igor” stands as a curious relic of an era that dared to experiment, thrilling some while perplexing others.

Featured on the 1997 album “The Rapsody Overture”.

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11 . Eazy-E – Just tah Let U Know

There’s an unmistakable swagger in Eazy-E’s “Just Tah Let U Know,” a gangsta rap anthem released posthumously on his 1996 EP, *Str8 Off Tha Streetz of Muthaphukkin Compton.*

The track, recorded at Audio Achievements in California just months before his death, carries the sonic weight of G-funk’s golden age, with DJ Yella delivering polished production that nods to the streets while staying radio-friendly enough for broader appeal.

The lyrics exude both defiance and self-assured pride, showcasing Eazy-E’s unapologetic persona, laced with the ambition and grit that defined his career as a West Coast pioneer.

Charting at No. 45 on the Billboard Hot 100 and climbing into the top five on the Hot Rap Singles list, the song held its own commercially while offering a poignant reminder of Eazy-E’s role in shaping rap’s gritty narrative.

Its accompanying music video, a bittersweet montage of archival footage, spins nostalgia into a tribute, featuring cameos by artists like MC Ren and Bone Thugs-n-Harmony, who epitomized the Ruthless Records family.

What sets this track apart isn’t its lyrical complexity but its raw confidence and grit, serving as a sonic headstone inscribed with the essence of Compton’s rap legacy.

Featured on the 1995 album “Str8 off tha Streetz of Muthaphukkin Compton”.

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12 . Whitney Houston, Mariah Carey – When You Believe

“When You Believe,” a duet featuring Whitney Houston and Mariah Carey, transcends mere collaboration, landing as a monumental moment in late ’90s pop balladry.

Released in 1998, this theme song for *The Prince of Egypt* paired two powerhouse vocalists with a glossy production by Kenneth “Babyface” Edmonds and lyrics from Broadway heavyweight Stephen Schwartz.

The song occupies a peculiar middle ground: spiritual yet non-denominational, aiming for universality but still steeped in the soaring theatricality of the biblical tale that inspired it.

The backstory of this collaboration brims with intrigue—Carey and Houston reportedly recorded their parts separately, reflecting mutual skepticism of one another’s production teams. Ah, divas—what’s not to love?

It’s worth noting that the film version, performed by Michelle Pfeiffer and Sally Dworsky, is markedly understated in comparison to the Houston-Carey dramatics, with Babyface turning the duet into a vocal firework display in its reimagined form.

Commercially, the track made respectable waves, peaking at 15 on the Billboard Hot 100 and charting solidly across Europe.

And yes, it snagged an Academy Award, beating juggernaut contenders like Aerosmith’s entry from *Armageddon*—a satisfying upset in retrospect.

For all its gravitas and Oscar-gilded appeal, it sometimes feels like the song strains under the weight of its ambition, showcasing vocal theatrics over genuine emotional resonance.

Still, the video—interweaving studio footage with clips from the film—spotlights two icons at the height of their fame, a visual reminder of how the music industry once wielded star power like a club.

It’s a tug-of-war between accessible pop and high-concept epics, and for better or worse, it remains a polarizing piece of late-’90s nostalgia that only these two could pull off.

Featured on the 1998 album “The Prince of Egypt : Soundtrack”.

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