Hip-Hop & Soul N°247 – Vintage 2000s Music Videos

1 . Chingy – Holidae In (w/ Ludacris, Snoop Dogg)

“Holidae In,” released on August 25, 2003, finds Chingy navigating a party-fueled narrative alongside Ludacris and Snoop Dogg, their distinct deliveries stitching together a hazy tapestry of hotel debauchery.

The track, produced by The Trak Starz, loiters between carefree and calculated, with Chingy’s signature nasal flow sounding almost tailor-made for detailing this semi-chaotic scene. Ludacris’s booming voice provides a counterweight, grounding the track with moments of energy that burst like fireworks in an otherwise buzzing nightclub. Then there’s Snoop Dogg, drifting through his verses like a steady current, his laid-back cadence impeccable in its casual precision.

Lyrically, the song doesn’t deviate far from the era’s checklist for a hit: substance use, fleeting hookups, and an unapologetic embrace of hedonism, all anchored by its catchy chorus. Yet it’s this exact formula that propelled “Holidae In” to chart success, peaking at an impressive number 3 on the US *Billboard* Hot 100 and sustaining a presence for 21 weeks. The certified Gold status in both the USA and Australia is less a surprise and more an inevitability.

The music video, directed by Jeremy Rall and recently remastered, captures the track’s essence, albeit without offering much visual innovation. It’s more an accent than an evolution.

“Holidae In” remains an emblem of early 2000s rap escapism, equal parts party anthem and a reflection of the industry’s commercial currents. For Chingy, it may not redefine the genre, but it kept the lights on at his “Jackpot.” The neighbors probably complained about the noise.

Featured on the 2003 album “Jackpot”.

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

2 . Clipse – When The Last Time

“When the Last Time” broadcasts in bold neon, its soundscape courtesy of The Neptunes—a production duo practically alchemists in early-2000s hip-hop and R&B. Pharrell Williams and Chad Hugo infuse the track with their signature off-kilter bounce: rubbery percussion, taut snares, and synth stabs conjuring a scene equal parts nightclub and car window-down cruising. The beat doesn’t breathe so much as it flexes, pulling listeners into its gravitational club orbit.

On vocals, Clipse—brothers Gene “No Malice” Thornton and Terrence “Pusha T” Thornton—are all sharp lines and wry smirks. Their verses pivot on braggadocio and nightlife drama, dissected with scalpel precision rather than blunt-force repetition. Lyrical indulgences in expensive tastes and street narratives feel pared down, honed, and knowing, never veering into overexplanation. Clipse write sparingly, relying on cadence and intonation to embolden their preoccupations. Even when lyrical themes stick close to genre staples, the sheer charisma of delivery elevates them.

Released as the second single from *Lord Willin’* in 2002, the track confirmed Clipse’s commercial appeal, climbing to number 19 on the *Billboard* Hot 100 and staying there for 21 weeks. This wasn’t fleeting success; it was endurance measured in radio spins and chart longevity. It also dominated specific genre charts, hitting number 8 on the Hot R&B/Hip-Hop Songs and peaking at number 7 on the Hot Rap Songs. The duo’s Virginia roots are woven subtly into their voices, connecting global listeners to regional identity without overemphasis.

The music video frames the track with a kind of visual chaos, featuring comedian Shawty freestyling upfront and a brief, uncredited cameo by Kelis. Pharrell predictably shadows the proceedings like a specter with pop sensibilities. There’s a fragment of “Virginia” embedded at the conclusion, nodding towards the duo’s deeper narrative terrains—a fleeting anchor amidst the party frenzy. These touches convey a project steeped in detail, even as it courts mainstream accessibility.

If anything holds the track back, it’s the inherent risk of leaning into now-dated production tropes. The Neptunes’ sonic palette, revolutionary in its day, sometimes risks too much gloss, creeping toward uniformity within early-2000s hip-hop’s commercial framework. Still, “When the Last Time” captures a moment in time that marries precision with swagger, balancing Clipse’s penmanship with a sound engineers’ meticulousness. It’s a hit designed to last—and for 21 weeks on the charts, it did exactly that.

Featured on the 2002 album “Lord Willin'”.

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

3 . Nu Generation – Rescue Me [In Your Arms]

“Rescue Me [In Your Arms]” by Nu Generation is a 1999 single that filters the classic soul of Fontella Bass’s 1965 staple “Rescue Me” through late-90s electronic gloss.

Released under Concept Music and co-produced by Andy Lee, the track trades the organic warmth of the original for a dancefloor-ready sheen, embracing the era’s penchant for sampling nostalgia and reimagining it for club culture.

The result? A song as much about technical polish as musical interpretation, where the raw urgency of Bass’s delivery is muted by looping precision and a meticulously engineered backdrop.

This isn’t an entry on any album—it lives in the liminal space of singles and remixes, including the “Astons Freestyle 12” Mix, a name as clunky as the era’s oversized shoes.

Yet, it would be unfair to dismiss the track entirely. Do the dance elements capture the same immediacy as Bass’s cry for salvation? No, but they weren’t meant to. This rendition steps into an electronic framework where the inherent emotional weight of the sampled source coexists with its more distant, engineered counterpart.

Nu Generation, active during the electronic boom of the late ’90s, crafts a serviceable homage here, though it provokes a nagging question: can homage stand as its own statement?

“Rescue Me [In Your Arms]” may lead you to rediscover the original, as it doesn’t redefine it so much as amplify it, with reverberations that feel eerily processed rather than authentically felt.

Lyrics >> More by the same : Wikipedia

4 . Fatman Scoop – It Takes Scoop

“It Takes Scoop” positions itself as a high-energy anthem that leans heavily on Fatman Scoop’s trademark vocal delivery—booming, relentless, and unapologetically in-your-face.

While the track doesn’t include any marquee collaborations, it’s impossible to ignore the echo of Scoop’s past triumphs alongside heavyweights like Missy Elliott (“Lose Control”) and Mariah Carey (“It’s Like That”).

The song’s peak at number 9 on the UK Singles Chart and its 11-week tenure there suggest broad appeal, yet longevity in playlists depends on an appetite for repetition over nuance.

Fatman Scoop’s approach here feels less like a reinvention and more like a timestamp of his modus operandi: barked refrains and contagious energy over familiar production tropes.

In the larger snapshot of his career—spanning Grammy-winning collaborations and unforgettable chart-toppers like “Be Faithful”—this track is neither a peak nor a letdown.

However, it illuminates his ability to sustain momentum in a crowded genre landscape, even without the assist of star collaborators or groundbreaking production.

What stood out in a career punctuated by versatility, from mentoring musicians on “Chancers” to voicing characters in “The Boondocks,” seems dialed down here, relying instead on sheer vocal charisma.

Ultimately, “It Takes Scoop” captures a specific slice of Fatman Scoop’s presence in the hip-hop ecosystem: raw, loud, and always aiming for the crowd’s adrenaline over their contemplation.

Lyrics >> More by the same : Official Site

5 . Daniel Merriweather – Change (w/ Wale)

“Change,” a collaboration between Australian singer-songwriter Daniel Merriweather and American rapper Wale, attempts a bold synthesis of blue-eyed soul and socially conscious rap but lands unevenly.

Written by Merriweather and Andrew Wyatt and produced by the ubiquitous Mark Ronson, the song is included in Merriweather’s 2009 debut solo effort, “Love & War.” Clocking in as a mid-tempo groove, it showcases Merriweather’s rich, yearning vocals, which feel like they’re perpetually perched on the edge of catharsis, layered over one of Ronson’s signature horn-inflected arrangements. Yet, while the production is polished, it leans dangerously into the realm of predictability, a retro aesthetic that risks becoming rote.

Thematically, “Change” gestures at weighty topics—inequality, frustration, the desire for progress—but the lyrics often fail to dig deeper, relying instead on generalized sentiments. Wale’s verse injects some dynamism but feels almost shoehorned in, a contrast that never quite finds harmony with Merriweather’s emotional delivery. The juxtaposition of styles could have been the track’s strength, but instead feels like two artists operating in parallel rather than unison.

Commercially, “Change” enjoyed moderate success, peaking at number 8 on the UK Singles Chart and charting respectably across Europe, with standout results in Switzerland (number 6) and Austria (number 11). Its underperformance in Merriweather’s native Australia, where it stalled at number 41, hints at the track’s uneven reception across different markets.

The music video, directed by Elliot Jokelson, fashions a minimalist backdrop for the song’s introspection but offers little in terms of lasting visual impact. Merriweather later performed the track on the Seven Network’s “Sunrise” in June 2009, an appearance remembered more for its timing—just before news of Michael Jackson’s death broke—than for the performance itself.

Merriweather’s earlier success with Mark Ronson’s 2007 cover of “Stop Me” seemed to promise a more incisive approach. While “Change” demonstrates his vocal prowess, it struggles under the weight of its ambition, leaving the listener with little more than fleeting impressions of what could have been. B-

Featured on the 2009 album “Love & War “.

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6 . Raghav – Angel Eyes (w/ Jucxi, Frankey Maxx)

“Angel Eyes” by Raghav, featuring Jucxi and Frankey Maxx, walks a tightrope between homage and reinvention, borrowing heavily from the soundscape of Chaka Demus & Pliers while injecting a dose of mid-2000s pop sensibilities. Released as part of his 2004 debut album “Storyteller,” this track’s reliance on the melody of “Bam Bam” and “Murder She Wrote” tethers it to a reggae tradition but never quite allows it to break free into its own unique identity.

The English-language lyrics, replacing the original Hindi ones from “Teri Baaton Mein Aisa Uljha Jiya,” add accessibility but lack the emotional pull of the original. The brief Hindi excerpt nods to its roots without lingering long enough to leave a lasting impression. Produced by Sly and Robbie, the arrangement feels slick but derivative, leaning on the tried-and-true rather than venturing toward anything audacious.

Chart success was inevitable; it peaked at number seven on the UK Singles Chart and topped the UK Indie Chart, with six and seven-week stays respectively. Yet, one wonders if commercial triumph comes at the expense of artistic depth. The track’s live performance on “Top of the Pops” and its accompanying music video bolstered its mainstream appeal, but neither added dimensions that the song itself lacks.

The remixes—ranging from the Jamindian mix to the Hip Hop Twist—offer variety but underscore the song’s dependency on external scaffolding for longevity. Raghav, a Canadian artist known for blurring genre lines, had other UK hits like “So Confused” and “Can’t Get Enough,” but “Angel Eyes” teeters uneasily between tribute act and chart formula. It’s competent, sure, but never transcendent.

Featured on the 2004 album “Storyteller “.

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

7 . D12 – Shit On You

“Shit on You,” released as D12’s debut single in 2000, encapsulates the abrasive humor and audacious wordplay that define the group’s early forays into mainstream hip hop.

Unlike most of their album *Devil’s Night*, the song operates as an offbeat anomaly, missing from the U.S. versions but surfacing as a bonus track on cassette editions and select international releases, as well as on Eminem’s deluxe *Curtain Call: The Hits.*

The production setup contributes to its gritty texture, with recording at 54 Sound and The Lodge and mixing handled by Dr. Dre, whose signature polish doesn’t fully obscure the chaos beneath.

The name-dropping in the lyrics—ranging from Richard Pryor to JonBenét Ramsey—walks the line between pop culture commentary and outright provocation, a hallmark of the D12 aesthetic.

Eminem’s self-referential nod to his debut album *Infinite* adds layers for longtime fans, but for casual listeners, the zany insults and over-the-top delivery may feel like a whirlwind more than a composed narrative.

The black-and-white music video, shot in Detroit landmarks like Fox Theatre and Comerica Park, emphasizes the group’s connection to their hometown while adopting a visual style that enhances the song’s raw energy.

Proof’s later “Shoot At You” remix adapts the track but doesn’t necessarily add much outside individual interpretation.

Chart-wise, the song’s UK success, peaking at number 10 for 15 weeks, suggests a broader appeal despite its polarizing content.

The feud-inciting beat, which Royce Da 5’9” repurposed for his diss track, mirrors the combative edge of D12’s overall career during this period.

Featured on the 2001 album “Devil’s Night”.

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

8 . Three 6 Mafia – Stay Fly

“Stay Fly” by Three 6 Mafia, featuring 8Ball & MJG and Young Buck, captures the unapologetic ethos of Southern hip-hop in the mid-2000s without overcomplicating its formula.

Built on the backbone of Willie Hutch’s “Tell Me Why Has Our Love Turned Cold,” DJ Paul and Juicy J craft a production that’s less homage and more alchemy, turning melancholic soul into a slow-rolling anthem for luxury and bravado.

The hook, stretched to its falsetto breaking point with the chant “I gotta stay fly-y-y-y, y-y, y-y, y ‘Til I die-ie-ie-ie, ie-ie, ie-ie, ie,” is hypnotic—obsessively so, to the point of feeling larger than the song itself. It’s a mantra as much as it is a flex, albeit one that risks monotony by amplifying simplicity to the extreme.

8Ball & MJG, veterans of the Memphis rap scene, bring a polished chemistry that offsets the looming crunk bombast of DJ Paul’s and Juicy J’s production. Meanwhile, Young Buck’s G-Unit affiliation feels like a flex of its own—a cross-regional nod that widens the song’s appeal without shifting its Memphis roots too far out of focus. Yet his presence feels more ornamental than foundational, skimming the surface of gravitas where the beat does the heavy lifting.

“Stay Fly” peaked at No. 13 on the Billboard Hot 100, proving its pop instincts without betraying its Southern hip-hop ethos. The success of this 2005 single propelled *Most Known Unknown* to platinum status, its influence extending beyond the charts via remixes like the Bay Area variant with E-40 and a chilled, chopped-down take by Michael 5000 Watts.

What “Stay Fly” gains in swagger and technical craftsmanship, it lacks in nuance. The themes—luxury, status, and loyalty to a gilded lifestyle—are unflinching but limited, dragging under the weight of their repetition. Still, as a slice of Memphis crunk entering the mainstream bloodstream, it’s both a time capsule and a stepping stone. Its RIAA 2x multi-platinum certification is less a surprise and more a reminder that simplicity, when looped correctly, can be gold—or at least fly.

Featured on the 2005 album “Most Known Unknown”.

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

9 . Tina Turner – Whatever You Need

“Whatever You Need,” from Tina Turner’s 1999 album “Twenty Four Seven,” is a polished hybrid of pop-soul and gospel, carrying a sheen of late-’90s production that feels both earnest and unsurprising.

Written by Harriet Roberts and Russell Courtenay, the song swings melodically between a conventional love ballad and an ornate spiritual offering, courtesy of its gospel choir backup. The lyrics flirt with reincarnational romance—two souls eternally entwined—but the sentiment, while sweet, borders on predictably saccharine. It’s as if Turner’s fiery persona is layered over emotions that never quite catch flame.

Turner’s recognizable grit and thunderous vocal command are certainly present, though they feel somewhat reined in, perhaps a deliberate nod to the smoother, radio-friendly palette of “Twenty Four Seven.” The music video’s jeans-and-leather-jacket styling adds an appealingly down-to-earth demeanor to her iconic aura, turning the song into a snapshot of Turner blending legendary status with street-level intimacy. The party atmosphere created in the video extends her theme of connection but struggles to overcome the track’s occasionally formulaic structure.

The live performances, including appearances on “Top Of The Pops,” the San Remo Festival, and the Nobel Peace Concert, prove that Turner’s magnetism thrives more robustly in a live setting. Yet on record, the track’s polish risks overshadowing the rawness that defines her signature sound. Peaking at number 27 on the UK Singles Chart and holding for five weeks, its respectable but modest chart journey reflects its middling resonance with a world that has seen decades of Turner’s career greatness.

Featured on the 1999 album “Twenty Four Seven”.

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

10 . Sean Kingston – Take You There

“Take You There,” the third single from Sean Kingston’s self-titled debut album released on October 23, 2007, offers a catchy but dichotomous portrayal of Kingston’s Jamaican roots. Produced by J.R. Rotem and co-written with an ensemble including Evan “Kidd” Bogart, Rock City, and Eric Bluebaum, the track leans heavily on its dancehall-infused beats yet struggles to reconcile its tonal inconsistencies.

The lyrics oscillate between idyllic courtship and gritty realism, as Kingston ambitiously invites his girlfriend to experience both the paradise and the poverty of Jamaica. While this juxtaposition might aim for depth, it comes off as oddly mismatched against the bubblegum brightness of Rotem’s production, which feels more suited for escapist pop than for explorations of socioeconomic contrasts.

The song’s commercial trajectory is undeniable, debuting at number 81 on the *Billboard* Hot 100 before peaking at number 7. Internationally, its appeal landed it in the top 10 in New Zealand and Canada, though its more subdued performance in markets like the UK suggests its resonance wasn’t as universal as the tropical fantasy it conjures.

Originally slated as Kingston’s debut single, it was swapped for the smash hit “Beautiful Girls,” a decision that speaks to the latter’s more cohesive identity. Nevertheless, “Take You There” enjoyed a respectable 143-week run across 11 charts, cementing Kingston’s early foothold.

Kingston’s vocal delivery remains distinct, yet its syrupy Auto-Tuned tone risks muting any emotional weight the lyrics might carry. The attempt to straddle carefree romanticism and urban grit ultimately leaves the track toeing an awkward middle line, unable to fully commit to either side.

Featured on the 2007 album “Sean Kingston”.

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

11 . David Banner – Play

“Play,” a 2005 single from David Banner’s fourth studio album “Certified,” teeters on the fine edge between hypnotic and heavy-handed.

Produced by Mr. Collipark, the track leans into the Southern hip hop and dirty rap genres, utilizing sparse, aggressive beats that seem purpose-built to command attention in a packed club.

Despite its minimalism, the production choices ensure the soundscape retains a simmering intensity, though it occasionally stumbles into repetition.

The song’s ascent to No. 7 on the US Billboard Hot 100—Banner’s only top ten hit—speaks to its undeniable mainstream appeal, further supported by positions like No. 5 on the US Hot R&B/Hip-Hop Songs and No. 3 on the US Hot Rap Songs.

“Play” also spawned a “Canadian Mix,” featuring Kardinal Offishall and Solitair, a move that diversifies its reach without necessarily altering its core identity.

Certified Gold by the RIAA, the track’s success reflects Banner’s ability to tap into a commercial formula, though whether the song transcends its era is up for debate.

The accompanying BET version video follows suit, leaning into the track’s overtly physical themes with visuals that emphasize its brash sensibilities.

Lyrically, Banner sticks to themes typical of dirty rap, and while they achieve their intended provocation, they leave little room for nuance or surprise.

Contextually, “Play” fits snugly within mid-2000s Southern hip hop, a period when snap music and explicit club anthems were in high demand.

Yet, compared to tracks like “Like a Pimp,” it trades in raw energy for a more mechanical allure, making it feel somewhat calculated in its execution.

David Banner’s career, spanning music, production, and acting, remains impressive, though the reliance on the formulaic elements of “Play” arguably undermines the creative risks he has taken elsewhere in his discography.

Featured on the 2005 album “Certified”.

Lyrics >> More by the same : Official Site

12 . Pharoahe Monch – Simon Says

“Simon Says” by Pharoahe Monch is less a song and more an auditory blitzkrieg—a forceful declaration from the rapper’s debut studio album, “Internal Affairs,” released in 1999.

Constructed around an ominous sample pulled directly from Akira Ifukube’s “Gojira Tai Mosura”—itself part of the 1964 film *Mothra vs. Godzilla*—the track weaponizes cinematic grandeur for the dancefloor. This powerful, swelling theme announces itself like a kaiju stomping through a cityscape, punctuated by Monch’s staccato commands that veer between playful charisma and pure bombast.

The production, co-handled by Monch and Lee Stone, thrives on minimalism, relying on the muscularity of the beat and the dramatic heft of the lifted sample. Unfortunately, that same sample also led to a legal tussle with Toho in 2001, stifling the album’s distribution—a fate that underscores the often-precarious legality of unlicensed sampling in hip-hop’s creative DNA.

Commercially, “Simon Says” carved out modest success, reaching #97 on the Billboard Hot 100 while climbing higher on genre-specific charts: #29 on the US Hot R&B/Hip-Hop Songs and peaking at #3 on the US Hot Rap Songs chart. The music video set in a post-apocalyptic world, shot at the New York Hall of Science’s Great Hall, mirrors the song’s thunderous atmosphere—a visual complement to the seismic impact of the track.

Beyond its original run, “Simon Says” entrenched itself in pop culture, appearing in the 2000 films *Charlie’s Angels* and *Boiler Room*. The official remix ups the ante by enlisting heavyweights like Method Man, Redman, and Busta Rhymes, reflecting Monch’s knack for allying with equally magnetic voices.

As the entry point into Monch’s “Internal Affairs,” the track exemplifies his arresting lyricism and commanding vocal intensity. Yet, its reliance on such an iconic sample raises questions about originality versus recontextualization—a debate as old as the genre itself. Still, for a song that weaponizes nostalgia while reshaping it into something undeniably modern, “Simon Says” endures as a contentious but indelible moment in late-’90s hip-hop.

Featured on the 1999 album “Internal Affairs “.

Lyrics >> More by the same : Official Site