Hip-Hop & Soul N°238 – Vintage 90s Music Videos

1 . Luther Vandross – The Rush

“The Rush” swings into the early ’90s with the kind of refined flair that defined everything Luther Vandross touched during his near-peerless reign over R&B.

Tucked into his ninth studio effort, *Power of Love,* released on April 26, 1991, this track is smooth, sensual, and elaborately crafted—exactly the kind of stately emotive vehicle that Vandross and Marcus Miller excelled at driving across Billboard charts.

The song flirts with romantic yearning, draping Vandross’s unmistakably honeyed tenor over lush instrumentation that perfectly balances funk-laced grooves and a cinematic R&B backbone.

Commercially, it performed solidly, peaking at #6 on the Hot R&B Singles chart, a respectable spot for a crooning confessional in a shifting musical era overlooking hip-hop’s meteoric rise.

It’s a performance steeped in seductive urgency, delivered as if each syllable might tilt the axis of one’s heart.

*Power of Love* as a whole stood as a career monument, notching Grammys and extending Vandross’s iron grip on the genre during the period, yet “The Rush” deserves individual credit for carrying precision and vulnerability in equal measure.

While the single doesn’t quite broaden the artist’s palette, its excellence resides in the nearly obsessive craftsmanship that turns simplicity into something bordering on high art.

Vandross’s live renditions in his 1991–1992 tour hinted at the dramatic intimacy and charisma he commanded, transforming a studio-heavy composition into a spellbinding audience experience.

The song also arrived with a video that amplifies its subdued drama, offering a visual counterpart emblematic of the MTV-stoked era.

This is Luther in fine form—not redefining anything, simply delivering another jewel in a catalog that casts shadows over countless R&B contemporaries.

Featured on the 1991 album “Power of Love“.

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

2 . Karyn White – The Way I Feel About You

Karyn White’s “The Way I Feel About You” captures the quintessential early ‘90s vibe, marrying polished production with an infectious pop-dance framework.

Embedded in her 1991 album “Ritual of Love,” the track flexes the talents of Jimmy Jam and Terry Lewis, whose fingerprints are unmistakable in the New Jack Swing beats and slick arrangements.

The single charted respectably, peaking at #12 on the Billboard Hot 100 and hitting higher notes with R&B listeners, clinching the #5 spot on the Hot R&B/Hip-Hop Songs chart.

Its music video, helmed by Matthew Rolston, threads a narrative featuring White in the role of a hotel maid, but true to the MTV era, the storyline takes a back seat to bold visuals and rhythmic choreography.

Melodically, the song leans heavily on synthesizers and a layered vocal style, a hallmark of the period, while lyrically keeping its themes rooted in romantic devotion without venturing into groundbreaking territory.

“The Way I Feel About You” marked a bittersweet moment in White’s career—it was her second-biggest pop hit (after “Romantic”) but signaled the crest of her commercial success.

Though her trajectory waned in subsequent years, the track stands out as a timestamp of the slick, highly stylized optimism that typifies early 1990s R&B-pop fusion.

For listeners reminiscing on an era when radio-friendly tracks like this bridged club-ready beats and heartfelt themes, it’s a track that embodies its moment, even if it doesn’t break new ground.

Featured on the 1991 album “Ritual of Love”.

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

3 . Monifah – Touch It

Released in 1998, Monifah’s “Touch It” is anything but subtle, merging R&B and hip-hop with a backbone built off the electrifying sample of Laid Back’s 1983 hit, “White Horse.”

Produced by Jack Knight and Screwface, the track balances sultriness with unrelenting confidence, wrapping its swagger in sleek, club-ready production that defined late-’90s nightlife soundtracks.

The song, lifted from her second studio album *Mo’hogany*, became a cross-genre staple, hitting No. 9 on the Billboard Hot 100 and dominating R&B charts in the US while making waves in countries like Canada, Australia, and Belgium.

Its music video, directed by Bille Woodruff, juxtaposes sultry visuals of Monifah with cuts of her performing for US Armed Forces, creating an oddly compelling mix of pop culture escapism and patriotic nods.

While this was Monifah’s final hurrah on the global charts, her embrace of house-inflected remixes expanded its reach, making it a beloved artifact of ’90s club culture.

Critically, “Touch It” straddles a fine line—celebrated for its unapologetic brashness and slick production yet sometimes dismissed as more style than substance.

That said, its cultural afterlife has been fascinating; sampled and referenced by artists like Dannii Minogue and Nena Buddemeier, it consistently reappears, proving its grooves etched themselves into the DNA of turn-of-the-millennium pop.

Even as Monifah faded from the music charts post-1998, this track remains a time capsule of bold beats, unapologetic sex appeal, and a reminder of an era when sampling was both homage and reinvention.

Featured on the 1998 album “Mo’hogany”.

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

4 . Tricky – Overcome

“Overcome” by Tricky featuring Martina Topley-Bird carries the weight of its era, a throbbing testament to the mid-’90s trip-hop surge.

Emerging from the shadow of Massive Attack, Tricky reworks fragments of “Karmacoma” into a hypnotic, moody anthem that reflects his distinctive voice as an artist stepping into his own.

The song, an opener on “Maxinquaye,” weaves Topley-Bird’s spectral vocals with brooding beats and murky textures, producing a sonic world that feels both intimate and disorienting.

The lyrics unpack themes of strained relationships, self-awareness, and a search for resolution, all enveloped in an acoustic haze designed to unsettle as much as seduce.

While not a standalone single, the accompanying video matches the ambiance—disquieting, fragmented imagery that mirrors the song’s inherent unease.

As much as “Overcome” belongs to the canon of trip-hop, its refusal to conform wholly to genre tropes—a blend of dub’s echoing spaces and hip hop’s confessional tendencies—elevates it to something uniquely its own.

It’s a track that mirrors its creator’s discomfort with convention, turning friction into something profoundly atmospheric, even decades later.

Featured on the 1995 album “ Maxinquaye “.

Lyrics >> More by the same : Official Site

5 . MC Lyte & Missy Elliott – Cold Rock a Party

“Cold Rock a Party” by MC Lyte, featuring Missy Elliott, captures the audacious energy of 1996 hip-hop, blending sharp lyrics with an irresistible groove.

Originally appearing on MC Lyte’s album “Bad As I Wanna B,” the track finds its true momentum in Sean Combs’ “Bad Boy Remix,” which amplifies its party-ready vibe with Missy Elliott’s playful contributions.

The single ascends the charts with swagger, hitting No. 11 on the US Billboard Hot 100 and dominating the Hot Rap Singles at No. 1, marking MC Lyte’s fifth and final #1 on that chart.

Internationally, it resonates strongly, claiming the top spot in New Zealand for two weeks and receiving platinum certification, while also making waves in the UK and Canada.

The track’s use of Diana Ross’s “Upside Down” and elements from Taste of Honey’s “Rescue Me” infuses it with a chic, retro appeal, anchoring it firmly in the lineage of sampled hip-hop classics.

A dynamo in production, Rashad Smith led the original with finesse, but it’s Combs’ remix that transforms the track into a club and media staple.

The accompanying music video, colored by ’90s excess, showcases vibrant party scenes featuring both artists, visually reinforcing the song’s carefree, dance-driven ethos.

Critics celebrate it as a quintessential “party rocker,” with major outlets predicting its longevity in clubs and airwaves, and it delivered on those expectations.

Culturally, the track holds a unique space as an early high-profile collaboration between female rappers, signaling genre-shaping potential for future partnerships in hip-hop.

While its chart success immortalizes it in ’90s rap history, the track also symbolizes the tail-end of MC Lyte’s mainstream chart presence, closing one era even as it nods toward the dawn of Missy Elliott’s ascent.

Featured on the 1996 album “Bad as I Wanna B”.

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

6 . Destiny’s Child – No, No, No Part 2 (w/ Wyclef Jean)

Destiny’s Child’s “No, No, No Part 2,” featuring Wyclef Jean, captures the late ’90s moment when R&B was shapeshifting, blending classic grooves with hip-hop’s grit.

Reworked from the slower “Part 1,” the remix wastes no time, speeding things up and letting Wyclef sprinkle his signature fusion of Caribbean flair and urban edge.

Jerry Duplessis, Che Greene, Robert Fusari, and Vincent Herbert lay down a production that marries staccato rhythms with syrupy harmonies.

It drips with a confident attitude, thanks in no small part to Beyoncé’s lead—a rapid-fire vocal improvisation that practically demands attention.

The track, sitting pretty at #3 on the US Billboard Hot 100 and dominating the US R&B chart, managed to break borders, landing in international top 10s like Canada and New Zealand.

The music video, directed by Darren Grant, feels like a visual metaphor for their trajectory—transitioning from a golden room to an open meadow, hinting at boundless potential.

Marques Houston and Immature’s cameos may not steal focus, but they underline the era’s interconnected network of young stars.

What keeps the song from merely being a chart-centric artifact is its patchwork of cultural reference points, from 1970s soul to the urgency of contemporary R&B.

“No, No, No Part 2” not only boosts Destiny’s Child’s visibility with solid MTV and BET rotation but plants their flag as a group unafraid of hybrid sounds.

This isn’t just a remix; it’s a recalibration of how R&B could roll into the millennium.

Wyclef’s rap verse, while bordering on formulaic, serves as a foil to the group’s nuanced vocals, giving the track a conversational rhythm.

By 1998 standards, the song’s success isn’t shocking, but its staying power lies in its ability to define a moment without feeling trapped by it.

Featured on the 1998 album “Destiny’s Child”.

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

7 . Whitehead Bros – Your Love Is A 187

“Your Love Is A 187” by Whitehead Bros. lands squarely in the lush, drama-filled landscape of 90s R&B, riding a groove drenched in smooth melodies and atmospheric production.

The track borrows its title from the infamous “187” police code, here twisted into a metaphor for love-crime-level heartbreak—a lyrical flair that’s both bold and melodramatic.

Kenny and Johnny Whitehead, sons of John Whitehead of the hit duo McFadden & Whitehead, inject their pedigree into the song with layered harmonies that simmer with emotion.

The production sticks to the era’s formula: hypnotic loops, subdued percussion, and an understated instrumental bed that allows the brothers’ vocal interplay to shine.

Released under Motown Records in 1994, the song became a moderate chart climber, grazing the Billboard R&B charts at #15 and securing a respectable #4 on the UK Hip Hop and R&B Singles Chart.

Its music video, accessible today on platforms such as YouTube, blends brooding visuals with 90s fashion tropes, amplifying its narrative of turmoil and betrayal.

While “Your Love Is A 187” doesn’t reinvent the genre, it comfortably cements itself as a time capsule of angst-laden romance—a staple for R&B nostalgics and playlist curators alike.

The Whitehead Bros. faded from the limelight after their brief stint with commercial success, but this track remains a poignant marker of their contribution to the decade’s musical tapestry, notable for its thematic ambition if not for breaking new ground.

Featured on the 1994 album “Serious”.

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

8 . Chubb Rock – Treat Em Right

Chubb Rock’s “Treat Em Right” emerges from the golden age of hip-hop with a charisma that refuses to fade, even decades later.

Released in 1990 as part of his album *The One*, it showcases the unique blend of lyrical humor and self-awareness that set Chubb Rock apart from his contemporaries.

The track’s production, spearheaded by Howie Tee, exudes energy, laced with funky basslines and infectious samples, including Dee Felice Trio’s “There Was a Time” and First Choice’s “Love Thang.”

This creates a soundscape that sticks—even before Chubb jumps in with his larger-than-life personality and observations aimed at championing respect and positivity.

Charting across genres, it soared to No. 1 on the Billboard Hot Rap Singles chart and found its way onto dancefloors with its crossover appeal, though its brief stint at No. 67 on the UK Singles Chart hints at its niche international reception.

The lyrics mix clever self-references (“heavyweight lover in the house”) with motivational flair, intertwining humor and sincerity without becoming overwrought.

Its upbeat rhythm pairs neatly with its ethos, rooted in early ‘90s optimism—a sharp reflection of the hip-hop landscape before gangster rap’s dominance.

Critics saw the track as a bridge between boom bap and new jack styles—entertaining yet technically grounded—an observation validated by its inclusion in VH1’s ranking of the 100 Greatest Hip-Hop Songs.

It’s a moment in hip-hop history that not only defined Chubb Rock’s career but also left ripples in the genre, influencing later tracks like Mary J. Blige’s “Treat ‘Em Right Remix” and K’naan’s “ABCs.”

The music video radiates the era’s aesthetic, with vivid colors and playful confidence that feels timeless even when filtered through nostalgia.

While it didn’t involve any Grammy statues, the song’s three-week reign atop the rap charts and year-end recognition proved its undeniable impact in 1991.

From its Apollo Theater live performances to its enduring placement on retro playlists, “Treat Em Right” remains a touchstone for fans seeking both joy and technical prowess in their hip-hop fare.

Featured on the 1991 album “The One”.

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

9 . Domino – Ghetto Jam

Released in 1993, Domino’s “Getto Jam” showcases a quirky fusion of G-Funk and breezy melodicism that feels both grounded in its era and oddly timeless. This lead single from his debut album, “Domino,” doesn’t posture as much as it grooves, thanks to DJ Battlecat’s intricate production, which borrows heavily from West Coast funk traditions.

The song landed at No. 7 on the Billboard Hot 100 and stole the top spot on the Hot Rap Songs chart—not a bad run for something that manages to sound both polished and slightly mischievous. Its sing-songy cadence, layered over syrupy basslines and laid-back percussion, lends a certain warmth to Domino’s hood-centric reflections.

What elevates “Getto Jam” is its cannily chosen samples from Sly & the Family Stone and George Benson, which contribute to its nostalgic sheen while grounding it in a specific cultural lineage. The music video, with its sunny depictions of neighborhood camaraderie, complements the song’s easygoing vibe without veering into parody.

This isn’t innovation; rather, it’s a celebration of formula done right—a catchy slice of early ‘90s rap that leans hard into feel-good melodies without sacrificing credibility. It’s been enshrined on numerous Def Jam compilations and even snuck its way into films like *House Party 3*, proving its enduring appeal. A gold certification by the RIAA merely punctuates how this track carved out a space for itself in the crowded ‘90s hip-hop roster.

Featured on the 1993 album “Domino”.

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

10 . Ultimate Kaos – Hoochie Booty

Released in 1995, Ultimate Kaos’s single “Hoochie Booty” is a high-energy concoction of boyband pop and dance-pop, perfectly encapsulating mid-90s British R&B trends.

The track, lifted from their debut album *Ultimate Kaos*, thrives on its infectious hooks and polished production, which still holds up surprisingly well today—though the lyrics tread familiar waters of youthful infatuation and sensual charm.

Simon Cowell’s fingerprints are all over the group’s trajectory, with the boys—most only in their teens at the time—crafted into a polished product primed for the charts. This particular track peaked at No. 17 on the UK Singles Chart and reached an impressive No. 6 on the UK R&B Chart, signaling its foothold among genre enthusiasts even if it didn’t incite mass pop hysteria.

The accompanying music video, available on YouTube, showcases sharp choreography and camera-friendly cheekiness, a nod to their appeal as a live act.

Tracks like “Hoochie Booty,” alongside their bigger hit “Casanova,” reveal a group caught between carefree pop fun and calculated marketability, indicative of the boyband formula that dominated the era.

Though their time was short-lived, there’s something undeniably nostalgic about the glossy beats and unabashed cheek of “Hoochie Booty.” It’s a timestamp of mid-90s pop culture—predictable, yes, but delivered with undeniable charm.

Featured on the 1995 album “Ultimate Kaos”.

Review >> More by the same : Wikipedia

11 . The Brotherhood – One Shot

“One Shot” by The Brotherhood captures the raw energy of early ’90s UK hip-hop with an unapologetic British twist, sidestepping the allure of American gangsta tropes to deliver something fiercely local.

Produced by Lorenzo with contributions from Son of Funk, the track leans heavily on gritty beats and deft sampling that feel like a walk through a rain-soaked London night.

The lyrics exude self-assured pride, laced with cultural nods unique to Britain, a move that set the group apart in an era when many UK acts echoed American styles.

Comparisons to House of Pain or Cypress Hill surface regularly, but The Brotherhood operates in a sphere of their own—a cocktail of inspiration from their transatlantic peers infused with homegrown flavor.

The monochrome, understated video—courtesy of Virgin Records—adds a layer of urban realism, grounding the song in a very specific cultural moment.

Later finding its home on their 1996 album “Elementalz,” the track gains context within the band’s most celebrated project.

The album blended socially conscious narratives with inventive beats, offering a snapshot of UK hip-hop’s creative potential during the decade.

“One Shot” may not have climbed single charts, but it sits firmly as a cog in the machine of “Elementalz,” which resonated within a niche yet passionate audience.

The Brotherhood’s live performances, meticulously crafted visuals, and clever use of sampling all contribute to their enduring reputation as groundbreakers in their genre—modestly distinct, quietly vital, and utterly British in their approach.

While it’s tempting to lament their limited commercial reach, The Brotherhood functions better as a cult favorite, a group whose work rewards those willing to dig into the overlooked corners of hip-hop history.

Featured on the 1996 album “Elementalz”.

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

12 . Honeyz – End Of The Line

Take “End of the Line” by Honeyz, a late-’90s R&B offering that somehow manages to sound both achingly heartfelt and ready-made for a drama-laden breakup montage.

Released in December 1998, the track sits comfortably within the milieu of British nu-soul, with its polished vocal harmonies and a gentle sway of melancholic resolve.

The song leans into themes of relationship closures—not with teary vulnerability but with a sense of poised finality, giving just enough edge to prevent it from veering into maudlin territory.

Honeyz’s harmonies are smooth, even syrupy at times, but they work in tandem with the clean production, courtesy of Steve Levine, to keep the focus sharply on the emotional narrative.

In true late-’90s fashion, the accompanying music video is a fever dream of purple overcoats, overly choreographed body language, and dramatic pouting—the aesthetic equivalent of a whispered “You’ll regret this” note left on someone’s desk.

While the track itself reached a respectable peak at number 5 on the UK Singles Chart, it was the kind of single that stuck around for weeks, quietly asserting its place on every post-heartache playlist of the era.

And let’s not forget the remixes—because no late-’90s single escaped the inevitable transformation into a club-friendly banger, even if it meant dialing down the emotional register.

The real oddity here lies in its rebirth in various guises: a rare promo edit emerging digitally in 2021 and a Malay-language rendition recorded by some of Malaysia’s biggest vocal talents.

This is not just a song; it’s a curious artifact of an R&B moment suspended in a particular cultural and musical time capsule.

Featured on the 1998 album “Wonder No. 8 “.

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