Hip-Hop & Soul N°234 – Vintage 90s Music Videos

1 . Snoop Dogg – Doggfather (w/ Charlie Wilson)

Snoop Dogg’s “Doggfather,” featuring Charlie Wilson, marks a notable shift in tone for the rapper, moving away from the grittier beats of his debut and settling into a smoother, more relaxed G-Funk vibe.

The track, part of his 1996 sophomore album *Tha Doggfather*, emerges during a turbulent period in Snoop’s life—following his high-profile murder trial and the loss of Tupac Shakur, events that inevitably weigh on the record’s mood and themes.

On the surface, “Doggfather” carries a swaggering confidence, blending lyrics about loyalty and street ethics with a touch of self-reflection, as Snoop tests the waters of life and artistry post-Dr. Dre.

Charlie Wilson’s distinct voice injects a silky layer into the song, adding depth to what may have otherwise been a more straightforward effort.

The production steers away from Death Row’s earlier, harder edge, crafting a sound that feels transitional—perhaps less daring, but undeniably polished.

Critics often highlight the album’s struggle to balance Snoop’s charisma against the absence of Dre’s influence, but “Doggfather” stands as a clear declaration of Snoop’s determination to carry on, albeit with a shifting musical identity.

Its accompanying music video, packed with jungle-themed imagery, feels somewhat detached from the track’s aesthetics, yet showcases Snoop’s ability to create a visual spectacle that keeps him squarely in the cultural spotlight.

*Tha Doggfather* itself topped the charts upon release, but its softer approach left its legacy more subdued compared to Snoop’s explosive debut.

“Doggfather” might not have become an anthem, but it captures a moment of recalibration—one where Snoop attempts to redefine himself amidst personal and professional upheaval.

Featured on the 1997 album “Tha Doggfather“.

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

2 . CeCe Peniston – I’m In The Mood

CeCe Peniston’s “I’m In The Mood” encapsulates a quintessential moment in the early 90s club scene, fusing house rhythms with R&B sophistication.

Released in January 1994 as part of her second album, *Thought ‘Ya Knew*, the track marks her fourth ascent to the top of the US Billboard Hot Dance Music/Club Play chart, making it clear Peniston was no fleeting dancefloor phenomenon.

Produced by the Danish duo Soulshock and Karlin, and co-written with Peniston and Rodney K. Jackson, this song bubbles with an energy that balances buoyant pop overtones and jazzy undertones, making it feel light without being insubstantial.

The track boasts a breezy, bouncy chorus that lingers long after the beats fade, delivered with Peniston’s signature vocal warmth that’s expressive without tipping into the overwrought.

Critically, the song’s infectiousness hooked dance enthusiasts, even as its relative underperformance on the Billboard Hot 100 (#32 peak) hinted it might not translate as well to casual radio listeners.

The accompanying music video, directed by Antoine Fuqua, matches the track’s effervescence with its crisp energy—though watching it now, a bit of 90s kitsch charm sneaks through.

Multiple remixes—including the “Bad Yard Club” and “Classic Vocal Mix” versions—helped expand its appeal across clubland, offering DJs tools to tailor its vibe for varied settings.

Internationally, it found moderate success, charting in the UK and several European countries, though nowhere did it become as dominant as in the U.S. club circuit.

Looking back, “I’m In The Mood” feels like an emblem of its era: sleek, rhythmic, and unapologetically designed to get bodies in motion, even if its broader cultural impact remains solidly niche.

Featured on the 1994 album “Thought ‘Ya Knew”.

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

3 . The KLF – 3AM Eternal

The KLF’s “3 A.M. Eternal” defies tidy classification, merging acid house, techno, and a dose of anarchic pop eccentricity.

Emerging from their 1991 album *The White Room*, it is arguably their most audacious stab at commercial success, peaking at number one in the UK and infiltrating the US top five—quite a feat for a track that both embraces and subverts the rave zeitgeist.

Ricardo da Force’s rap verses layer the song with a swagger that offsets its pulsating electronic beats, while Maxine Harvey’s backing vocals inject a cool intensity.

This isn’t just a club anthem—it’s a cryptic manifesto wrapped in rave-friendly packaging, its repeated chant of “Ancients of Mu Mu” nodding to The KLF’s penchant for turning obscure mythology into mass-market art.

Live performances push the song into the realm of absurd spectacle, none more infamous than their 1992 BRIT Awards appearance, which pivoted into chaos with grindcore band Extreme Noise Terror shredding the song’s danceable veneer into something unrecognizable.

Even its accompanying music video feels calculatedly chaotic, with its kaleidoscopic visuals oscillating between rave culture aesthetics and dystopian futurism.

If the song has a flaw, it’s in its almost aggressive lack of sincerity, deliberately keeping listeners at arm’s length while simultaneously baiting them to sing along.

“3 A.M. Eternal” isn’t just a track you listen to; it’s a playfully antagonistic cultural artifact, as maddening as it is unforgettable.

Featured on the 1991 album “The White Room”.

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4 . Joe – I’m In Luv

Joe’s “I’m In Luv” from his 1993 debut album, “Everything,” is a slice of early ’90s R&B that leans into themes of romance with unwavering sincerity.

The track, produced by Darren “J. Dibbs” Jenkins, is the kind of groove-heavy, slow-jam number that feels purpose-built for dimly lit rooms and heartfelt dedications.

Charting at an unremarkable #64 on the US Billboard Hot 100 yet faring better on the Hot R&B/Hip-Hop Songs chart at #10, it flirted with mainstream visibility without fully committing to it.

The UK Singles Chart placement at #22 suggests British listeners were perhaps a bit more willing to indulge in its sentimental pull.

But let’s be clear: the lyrics and instrumentation don’t exactly scream innovation—they aim for comfort, not revolution.

The accompanying music video, steeped in early ’90s aesthetics, mirrors the dreamy romanticism of the track but stops short of making a compelling visual statement.

Its multiple remixes, like the E-Smoove version, highlight the era’s tendency to squeeze every drop of potential from a single song release.

What “I’m In Luv” does accomplish, though, is mark Joe’s entry into a crowded R&B field, laying the groundwork for what would become a long, steady career.

If nothing else, it serves as an audio snapshot of a time when silky falsettos and earnest crooning ruled the airwaves.

Featured on the 1993 album “Everything”.

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

5 . Mikki Bleu – I Promise

Mikki Bleu’s “I Promise” steps onto the R&B stage in 1989, only to find itself stranded in the shadows of a genre that demanded either innovation or impeccable timing—neither of which, frankly, show up here.

The album’s sonic palette, tethered loosely to Urban Contemporary, leans on tracks like “Lock-N-Key” and “Something Real,” which, while competently delivered, lack the punch to leave a lasting imprint.

Then there’s “Every Little Thing,” a Stevie Wonder-penned piece that ends up as more of a polite handshake than the soul-stirring achievement you’d expect.

“Knocks Me Off My Feet” tries to live up to its name but seems content hovering at ankle height instead.

Even under EMI’s banner, the album barely registers a blip on any chart radar—probably because it sidesteps the very hooks or standout production choices that could’ve propelled it forward.

Remarkably, no serious effort appears to have been made to immortalize its existence with a music video, leaving it to fade quietly into footnote territory.

In a year when R&B was pushing boundaries or doubling down on infectious grooves, “I Promise” feels like an RSVP to a party that ended two hours ago.

It’s a collection that, while not offensive, stays so firmly within the lines that it comes off as forgettable—no risks, no swagger, no spark.

Featured on the 1989 album “I Promise”.

6 . Dr. Dre – Nuthin’ But A ‘G’ Thang (w/ Snoop Dogg)

Dr. Dre’s “Nuthin’ But A ‘G’ Thang,” featuring Snoop Dogg, is arguably the track that redefined hip-hop’s trajectory in the early ’90s, with its smooth yet assertive West Coast groove.

A product of *The Chronic*, Dre’s debut solo album, the track emerges as an antidote to the rigidity that had typified some East Coast rap, trading brashness for a laid-back charisma that flirts with danger but never forces the issue.

Snoop’s effortless delivery glides over Dre’s production, which lifts Leon Haywood’s “I Want’a Do Something Freaky to You” and morphs it into an infectious loop steeped in funk and swagger.

The track’s success is staggering—No. 2 on the Billboard Hot 100, ubiquitous radio play, and one of the first hip-hop videos to feel at home on MTV, thanks in part to its barbecue-block-party set piece directed by Dre himself.

Yet it’s not just the numbers; it’s the cultural ubiquity. Whether booming out of lowriders or soundtracking scenes from *GTA: San Andreas*, this song etched itself into pop culture’s collective memory.

The accolades stack higher than Dre’s trademark mixer: its inclusion in the Rock and Roll Hall of Fame’s list of songs that shaped rock, its steady climb in Rolling Stone’s greatest songs rankings, and its ubiquity in ’90s nostalgia playlists.

And yet, despite its breezy cool, there’s an undercurrent of sharpness in its execution—it’s polished without feeling sterile and relaxed without sliding into complacency.

In retrospect, “Nuthin’ But A ‘G’ Thang” didn’t merely introduce the world to Snoop Dogg or assert the dominance of G-funk; it became a manifesto for California’s enduring hip-hop ethos—unrushed, unbothered, unmistakable.

Featured on the 1992 album “The Chronic“.

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

7 . Public Enemy – Welcome To The Terrordrome

Public Enemy’s “Welcome to the Terrordome” arrives as a defiant roar of frustration and fury, blending razor-sharp lyricism with an intricate sonic landscape crafted by The Bomb Squad, whose production feels like a feverish collage of chaos and rhythm.

Released in 1990 as part of the album *Fear of a Black Planet*, the track doubles as a personal response to public backlash and a broader commentary on systemic injustices, tackling race, media hypocrisy, and societal tension with unrelenting intensity.

The song’s dense layering of samples, including nods to James Brown and Kool & the Gang, creates a sonic environment where each sound competes for dominance, echoing the track’s themes of conflict and disruption.

Chuck D’s booming delivery drives the message home, with his voice slicing through the cacophony, offering neither apology nor compromise.

Critics have described the production as brooding and uncomfortably visceral, a fitting backdrop for lyrics rooted in resistance and reflection.

The track’s release was marked by controversy, following anti-Semitic remarks by group member Professor Griff, an incident that cast a shadow on the group without diffusing their message of rebellion.

Its opening line, “I got so much trouble on my mind,” functions as both a mantra and a warning, setting the tone for a song that thrives on confrontation and defiance.

In live performances, such as their infamous 1990 Apollo Theater show, the track transforms into a blistering anthem of collective rage, cementing its urgency as an enduring statement of protest.

While contemporary listeners might hear echoes of its influence in modern hip-hop’s political strains, “Welcome to the Terrordome” remains defiantly unique, a jagged shard of 1990s agitation that refuses to dull with time.

Featured on the 1990 album “Fear Of A Black Planet“.

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

8 . Coolio – Too Hot

Coolio’s “Too Hot” takes an already funky groove from Kool & the Gang’s 1979 original and rolls it into a 1995 rap package that doesn’t just bop; it lectures, too.

Back in the disco-fueled haze of “Ladies’ Night,” Kool & the Gang dropped buttery vocals and breezy horns, spinning the track into a top-5 Billboard anthem.

Fast-forward to the ’90s, where Coolio swaps out Kool’s carefree vibe for a grim reminder about HIV/AIDS—narrative rap doubling as cautionary tale.

The production by Bryan Dobbs introduces a grittier edge, slapping the original’s silky funk with Coolio’s signature gangsta rap realism.

The hook remains sticky sweet, like a memory of a time when parties didn’t clock their risks, but the verses drag listeners into the reality check of the era.

Chart-wise, Coolio’s take didn’t hit quite the same cultural moment as the original, peaking at #9 on the UK Official Singles Chart, but those bars carried weight that Kool’s elegant funk didn’t.

Watching the music video, directed by Jhoan Camitz, feels like a time capsule: ‘90s urban visuals juxtapose consequences against the escapism Kool’s crowd danced to a decade earlier.

Where Kool & the Gang gave you a night out, Coolio hands you a mirror—and maybe a pamphlet from the local clinic.

Despite its preachy undertones, “Too Hot” smolders enough musically to keep it listenable, fusioning funk and rap in a way that feels more purposeful than most covers dare to attempt.

Not content to stop there, Kool & the Gang couldn’t resist revisiting their own hit in 2004 with Lisa Stansfield sliding in to syrup the track anew—proof that “Too Hot” has lungs, whether wrapped in polyester or baggy jeans.

This is a track that evolves along with its era, each rendition asking whether we’re partying, or just ignoring the house burning down around us.

Featured on the 1995 album “Gangsta’s Paradise”.

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

9 . Shaggy – Why You Treat Me So Bad (w/ Grand Puba)

“Why You Treat Me So Bad” is a genre-blending track that fuses Shaggy’s reggae stylings with the laid-back rap delivery of Grand Puba.

Tagged onto Shaggy’s less commercially successful 1997 album, “Midnite Lover,” it leans heavily on the recognizable riff from Club Nouveau’s 1987 song of the same name, as if trying to coast on someone else’s fumes.

The collaboration seems designed to tap into mid-’90s trends of reworking familiar tracks, though one could argue it’s more homage than innovation.

Peak ’90s production frames the duo’s playful interplay, but the song’s charm is occasionally undercut by the lyrical content, which walks a fine line between cheeky abrasiveness and outright cringeworthiness.

The accompanying video, mildly endearing and straightforward, perfectly encapsulates the era: low-budget swagger mixed with an almost unintentional sincerity.

Critically, this track has found itself lashed to a mixed reputation, with many praising its rhythmic catchiness, while others stumble over its lyrical tone, which hasn’t aged gracefully among today’s sensibilities.

Although “Midnite Lover” floundered on the charts, living in the long shadow of “Boombastic,” this song feels like a curious relic of its time rather than a timeless standout.

Featured on the 1995 album “Boombastic”.

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

10 . Domino – Ghetto Jam

Released in 1993, “Ghetto Jam” is a smooth mix of G-funk and hip-hop that effortlessly straddles the line between streetwise swagger and radio-friendly accessibility.

The track is a standout from Domino’s self-titled debut album, which later earned Gold certification from the RIAA.

The production, overseen by DJ Battlecat, leans on slow-burning funk grooves, drawing from the S.O.S. Band and other R&B staples—a sonic blueprint that set the tone for West Coast rap’s smoother side.

Charting at #7 on the Billboard Hot 100 and claiming the top spot on the Hot Rap Singles chart, “Ghetto Jam” resonated with audiences across genres without ever trying too hard.

Lyrically, it’s a relaxed ode to neighborhood life—nostalgic yet refreshingly unpretentious, avoiding the heavy-handed storytelling often found in contemporaneous tracks.

The music video, directed by William Boyd, mirrors this approach, portraying a casual day hanging out in the hood, further reinforcing the track’s chilled-out vibe.

Despite lacking groundbreaking innovation, its charm lies in its simplicity—domestic, relatable, and cleverly layered with melodies that sound deceptively effortless.

Though the track didn’t sweep major awards or headlining accolades, “Ghetto Jam” became an enduring staple of mid-‘90s West Coast hip-hop, balancing style and substance without veering into excess or gimmick.

Featured on the 1993 album “Domino”.

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

11 . Toni Braxton – Breathe Again

Toni Braxton’s “Breathe Again” manages to encapsulate heartbreak with the kind of vocal depth that defined early ’90s R&B, written and crafted by Kenneth “Babyface” Edmonds alongside Daryl Simmons and L.A. Reid.

Released as the second single from her eponymous debut album in 1993, the track became an instant hit, climbing to No. 3 on the US Billboard Hot 100 and spending an impressive 17 weeks nestled in the top ten.

Its international appeal saw it secure positions like No. 2 on the UK Singles Chart and steady top-tier placements across Australia, Canada, and New Zealand, proving its cross-continental resonance.

The black-and-white video, directed by Randee St. Nicholas, lends an air of solemnity, with Braxton navigating a hedge maze at the stately Longleat House, imagery now synonymous with the song’s melancholic tone.

The lyrics revolve around longing and regret, perfectly paired with Braxton’s hauntingly melodic delivery that explores her lower register with precision.

Its success culminated in Braxton receiving a Grammy for Best Female R&B Vocal Performance in 1995, cementing Babyface’s partnership with her as a pivotal moment in both careers.

While undeniably steeped in its era, “Breathe Again” continues to revisit listeners thanks to multiple greatest-hit compilations and Braxton’s consistent inclusion of it in her live performances.

The track showcases not only her ability to command raw emotion but also the meticulous production that made ’90s R&B a genre for the ages.

Featured on the 1993 album “Toni Braxton”.

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

12 . Surface – The First Time

“The First Time” by Surface is a sonic snapshot of late 1990s R&B/pop, aligning syrupy sentiment with a radio-friendly polish that the Columbia Records machine specialized in.

Produced by the band, it’s a slow-rolling ode to first love, complete with Bernard Jackson’s earnest, if occasionally overwrought, vocal delivery that ensures the sentiment lands like an open-heart Hallmark card.

The chorus is a centerpiece, awkwardly predictable yet maddeningly effective, its simplicity sticking in the ear long after the final note—a reminder that sometimes, less is more.

Ironically, it’s the track from their 1990 album *3 Deep* that rocks the Billboard throne with surprising swagger, topping not only the pop charts but giving a brief flex across R&B and adult contemporary playlists too.

Still, for a group whose pen was more focused on commercial viability, “The First Time” feels like the quintessential Surface moment: sticky-sweet, mildly cloying, and utterly bulletproof in its sincerity.

The accompanying music video—highlighting moments that tread dangerously close to soft-focus cheese—adds little to their legacy but underscores their knack for leaning unapologetically into pop melodrama.

Digging deeper into the Surface catalog, there’s another “The First Time” lurking in their self-titled debut album from 1986, though it couldn’t hold a candle to its blockbuster namesake from four years later.

Here, the trio of Jackson, Townsend, and Conley emerge still feeling their way around the genre, fusing R&B staples with modest pop instincts while lacking the arena-ready ballast their later work shamelessly embraced.

To their credit, they didn’t arrive in a vacuum; partnerships with contemporaries like Regina Belle lent them credibility in the genre, even as they navigated the maelstrom of late ’80s adult R&B trends.

This version of “The First Time,” while compositionally serviceable, was never destined for the same accolades, existing more as a footnote in a career oscillating between the sublime and the commercially streamlined.

Say what you will about Surface, but their unabashed embrace of melodicism in the face of critical cynicism defines that elusive intersection of accessibility and inoffensive hit-making—a space where their “first time” was really their biggest time all along.

Featured on the 1990 album “3 Deep”.

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