Hip-Hop & Soul N°355 – Vintage 90s Music Videos

1 . She Rockers – Jam It Jam

Released in 1988, She Rockers’ “Jam It Jam” is a relentless swirl of sharp rhymes and break-heavy beats, embodying the raw energy of the late ’80s UK hip-hop scene.

With a crew hailing from London, this single captures the confidence of women staking their claim in a male-dominated genre, delivering lyrics with a swagger that feels both playful and commanding.

The production laces infectious rhythm with sparse, funk-laden loops—a nod to the streets where UK hip-hop was just beginning to find its footing outside the shadows of its American counterpart.

Though mainstream success eluded it, this track thrived in underground circles, bolstered by the group’s fiery live performances, including opening slots for the visceral force that was Public Enemy.

The group’s alignment with Simon Harris, a prominent name in UK beatmaking, and their inclusion in his “Beats, Breaks & Scratches Vol. 3” ensured they were tied to the DJ culture of crate diggers and turntablists.

The themes of self-empowerment and independence underpin its verses, making it not only a head-nodder but also an anthem of unapologetic fun and personal agency.

Although its polished hooks and adrenaline-packed delivery resonated with hip-hop enthusiasts, its visibility on commercial charts plateaued—remaining more cult classic than household staple.

The track garnered fresh attention when it found a home on the group’s 1990 album, bumping into UK chart territory at the modest but respectable #12, a momentary recognition for a group breaking boundaries on their own terms.

Accompanied by an energetic, if straightforward music video, the visual underscored the time-stamped aesthetic of late ‘80s street fashion and urban grit.

She Rockers didn’t need elaborate narratives; their performance style spoke volumes, balancing brash chemistry with an infectious sense of camaraderie.

Even now, “Jam It Jam” offers listeners a snapshot of an era where UK hip-hop was bustling to carve out its voice—fiery, fearless, and undeniably its own.

More by the same : Wikipedia

2 . The Gap Band – All Of My Love

The Gap Band’s “All of My Love” steps forward with a polished blend of late-’80s R&B and funk that mirrors the era’s commercial sheen without entirely losing the group’s gritty origins. From their 1989 album *Round Trip*, it showcases Charlie Wilson’s commanding vocals, lending emotive depth to a track otherwise laser-focused on smooth production and radio appeal.

Chart-wise, it nabbed the top spot on Billboard’s Hot Black Singles, though it feels more like a skillful execution of the formula rather than an inspired departure from their earlier work. Lonnie Simmons, Wilson, and Oliver Scott, who helmed production, accentuate the groove-heavy bassline, but something about it feels calculated, reaching just far enough to stay afloat amidst shifting trends.

This project marked their venture with Capitol Records, following their Total Experience tenure, and while the parent album lacked the bite of their late-’70s and early-’80s peaks, “All of My Love” clung tightly to their reputation for reliable hooks. The music video, with its clean, slick aesthetic, reflects the visual vocabulary of an era hungry for soft-focus representations of romance.

Even with its strengths, the track doesn’t quite replicate the intense charisma of early Gap Band hits like “Outstanding” or “Burn Rubber.” It’s as if “All of My Love” exists in a liminal space, bridging the carefree funk of their earlier years with the more nuanced, mature stylings of Charlie Wilson’s eventual solo career. Which is to say—it works, but perhaps lacks that ineffable spark only time and hindsight can bestow.

Featured on the 1997 album “Round Trip”.

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

3 . Caron Wheeler – UK Blak

Caron Wheeler’s “UK Blak” isn’t just a song; it’s a multi-layered commentary on identity, rooted deeply in the intersection of heritage and resilience.

Released in 1990, it carried the weighty ambition of showcasing Wheeler’s artistry post-Soul II Soul success, framed within a production team that included Jazzie B and Nellee Hooper.

The track intertwines the pulse of British R&B with reggae undercurrents, creating a sound that feels both grounded in tradition and eager to assert its own space.

Wheeler’s vocals soar, refusing to merely embellish the music but rather anchoring it with conviction—the kind that makes you listen harder, even when you’re not sure what exactly to expect.

While its radio play and chart performance couldn’t rival some of her earlier collaborations, “UK Blak” resonated thanks to its confidence in addressing Black pride without slipping into overt preachiness or heavy-handed declarations.

The music video played its role, spotlighting Wheeler’s Afro-Caribbean influences with a visual elegance that complemented the message rather than overwhelming it.

Touring internationally and appearing on shows like “Top of the Pops,” Wheeler ensured the song had a life beyond just another record on the shelves, though the commercial impact may not have matched that effort.

Critically, “UK Blak” and its eponymous album offered depth—an unapologetic embrace of empowerment narratives, even if not every moment hit home with the casual listener.

Ultimately, Wheeler managed to sidestep the trap of being cast as merely a ‘former Soul II Soul singer,’ carving a lane where her voice acted as both a weapon and a balm, depending on the moment.

If nothing else, “UK Blak” exists as a testament to an era when artists could use a three-and-a-half-minute track to engage with themes that remain relevant decades later.

Featured on the 1999 album “UK Blak”.

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4 . Rakim – Guess Who’s Back

Rakim’s “Guess Who’s Back,” tucked into the 1997 album *The 18th Letter*, marks a comeback with characteristic swagger but none of the ostentation lesser artists might indulge in. After a five-year break, Rakim re-entered the game like an unannounced heavyweight—calm, collected, and dangerous, backed by production heavyweights like DJ Premier and Pete Rock. The track pulses with a hard-edged confidence, its infectious hook borrowing a vocal sample from M.O.P.’s Lil’ Fame, a precise choice that nods to golden-era grit while reaffirming Rakim’s timeless stature.

The lyrics, of course, are Rakim through and through: sharp, intricate, and delivered with his trademark unhurried control. He skirts any overt trend-chasing or self-congratulation, choosing instead to carve a lane of lyrical supremacy that feels like a masterclass in rap precision. The production mirrors this restraint—clean but layered, with Premier’s trademark boom-bap aesthetic offering a balanced canvas for Rakim’s prose.

The track avoids easy categorization as a simple celebration or nostalgic throwback. Its energy feels forward-looking, a declaration not of a past ruler returning but of one who never truly left. The accompanying music video, a staple on BET and MTV, reflected hip-hop’s stylistic evolution of the era while giving Rakim center stage, proving that even visual mediums bowed to his aura. Its rotation wasn’t accidental, nor was its understated premises—showmanship takes a backseat here to Rakim’s overarching message: dominance doesn’t need embellishment.

“Guess Who’s Back” wasn’t cut out to be a single, but its impact transcends such metrics. Fans clung to it like a sacred cipher from a prophet. The entire album, strikingly positioned at #4 on the Billboard 200, only bolstered the legend of Rakim’s comeback, earning Gold status by year’s end. Yet, the song holds its own in the larger conversation about hip-hop’s evolution, standing as an artifact that bridges crackling ’90s aggression with Rakim’s philosophical, measured rhymes.

In hindsight, the title feels dryly self-aware. Rakim never needed to announce his return—hip-hop heads were already paying attention. The real question lingers not about where he’d been but how he made a genre pivot and still sounded untouchable. “Guess Who’s Back” is both a study in mastery and a pointed reminder: the throne was never vacant.

Featured on the 1996 album “The 18th Letter”.

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5 . Fierce – Right Here Right Now

Released in 1999, “Right Here Right Now” by Fierce occupies a distinctive place in late-’90s R&B, scoring a modest #25 on the UK charts while embodying an aesthetic of sleek emotional urgency.

The production, helmed by Danish duo Cutfather & Joe, channels the polished, radio-friendly sensibilities that Wildstar Records had begun to champion at the time, resulting in a track that feels both calculated and irresistibly smooth.

At its core, the song revolves around themes of love and the need for immediacy, capturing moments of longing and devotion with a sultry edge that seems tailor-made for late-night playlists.

Its glossy arrangement plays off this intensity well, though it doesn’t necessarily push against any stylistic boundaries, leaning instead on familiarity for charm.

While its restrained passion and polished vocals do enough to imprint on listeners, the track stops short of delivering anything more than a fleeting spark in its genre’s crowded landscape.

Still, for those who appreciate a tightly produced ode to connection and emotional intensity, the song offers moments of resonance, even if it never quite breaks through to something more profound.

Featured on the 1989 album “Right Here Right Now”.

More by the same : Wikipedia

6 . Tricky – Tricky Kid

“Tricky Kid” by Tricky stands as a bold experiment within the gritty landscape of his 1996 album, “Pre-Millennium Tension.”

The track revels in its chaotic layering of trip-hop and electronic textures, a sonic rebellion that mirrors the artist’s constant push against conformist structures.

Martina Topley-Bird’s ethereal yet assertive voice weaves through Tricky’s hushed, cryptic delivery, creating an intense and fragmented dialogue that refuses to settle.

The production leans heavily into darkness, with suffocating basslines and dissonant beats that feel more clandestine than inviting.

It’s difficult to untangle where the boundaries lie—between genre, between identity, between aggressor and observer—as the song surges with raw, uncompromising energy.

Recorded primarily in Jamaica, the track pulls you into an edgy, unstable world where sound itself becomes a battleground for individuality.

A microcosm of the album’s larger themes, “Tricky Kid” thrives on tension, delivering an unpolished intensity that distances it from conventional trip-hop fare.

Its refusal to pander, both lyrically and musically, ensures it remains an emblem of defiance, even if not a chart-topping one.

The visuals accompanying the track underline this sense of dissonance, serving as an avant-garde snapshot of Tricky’s boundary-pushing ethos at the time.

While it doesn’t aim for mass appeal, this piece remains a testament to the restless creativity that defined much of his early career.

Featured on the 1989 album “Pre-Millennium Tension”.

Lyrics >> More by the same : Official Site

7 . De La Soul – Eye Know

Released in 1989 as part of De La Soul’s debut album “3 Feet High and Rising,” “Eye Know” brings together an eclectic mix of samples, weaving fragments of Steely Dan’s “Peg,” Otis Redding’s whistle from “(Sittin’ On) The Dock of the Bay,” and The Mad Lads’ “Make This Young Lady Mine” into a breezy love anthem.

The production, a collaboration between the group’s members (Posdnuos, Trugoy, and Maseo) and their trusted producer Prince Paul, exhibits a light-hearted optimism, standing in refreshing contrast to the often hard-edged tone of late-1980s hip-hop.

Its playful layering of sounds and rhythms, paired with sincere romantic lyrics, paints a picture of devotion and carefree joy that feels as colorful as their music video for the track, which mirrored the group’s unique aesthetic during the era.

Though “Eye Know” may not carry the weight of revolutionizing the genre, it undeniably underscores De La Soul’s creativity and laid-back approach to rap, which redefined expectations of what hip-hop could sound like at the time.

Featured on the 1994 album “3 Feet High and Rising”.

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

8 . Lil’ Louis & The World – I Called U [But You Weren’t There]

Lil’ Louis & The World’s 1989 track “I Called U [But You Weren’t There]” straddles the line between intimate confession and cold detachment.

Built on the skeletal brilliance of Chicago house, its stripped-down production gives it a raw, mechanical pulse that’s oddly hypnotic.

The spoken-word delivery feels like eavesdropping on a one-sided conversation, layering emotional vulnerability over an almost clinical beat.

The track rests on tension—between longing and frustration, connection and disconnection.

Commercially, it tapped into a moment when house music was breaking into mainstream consciousness, reaching #16 on the UK Singles Chart.

This wasn’t just another dance track; it felt like an encounter, fleeting yet oddly poignant.

Whether it’s the minimalist production or its unorthodox structure, the song still stands out as a defiant statement, refusing to conform to easy categorization within the genre.

Even decades later, its disarming honesty and sparing use of sonic elements continue to feel fresh.

Featured on the 1990 album “From The Mind Of Lil Louis”.

More by the same : Wikipedia

9 . Dream Frequency – Love Peace And Harmony

Dream Frequency’s “Love Peace and Harmony” serves as a neon-lit snapshot of the early 1990s rave scene, pulsating with the unrestrained energy that defined that era’s dance floors.

Fronted by Ian Bland, the project carved a niche in UK club culture, blending breakbeats and house rhythms into a euphoric concoction that thrived in packed warehouses and hazy festivals.

The track encapsulates the utopian ethos of rave culture, championing unity and unfiltered joy through its titular themes—like a sonic manifesto in fluorescent lettering.

Released in 1994 under Citybeat Records, this particular offering didn’t smash mainstream charts but earned a rightful place as an underground anthem, reaching #18 on the UK dance charts.

The production doesn’t shout complexity but leans heavily into infectious repetition, ensuring its longevity in sweaty, strobe-filled late-night sets.

Its hallmark lies in an unwavering optimism, an intentional antidote to the grungier, angst-filled tones dominating elsewhere in the ’90s.

Debbie Sharp’s vocal collaborations often peppered Dream Frequency’s work, though whether she lent her voice to this specific track remains a lingering ambiguity.

What cannot be disputed is its enduring emotional pull for those nostalgic for the golden haze of oversized pants, whistles, and glowstick euphoria.

If dance culture held an altar for devotion, “Love Peace and Harmony” would occupy a glowing corner—not spotless, but unmistakably memorable.

Featured on the 1994 album “One Nation”.

More by the same : Wikipedia

10 . Ruby Turner – It’s Gonna Be Alright

Ruby Turner’s “It’s Gonna Be Alright” is a powerful showcase of her ability to merge gospel, R&B, and pop into a single, polished package.

Co-written with Motown titans Brian Holland and Lamont Dozier, the track blends a smooth yet dynamic production with an uplifting message of optimism and perseverance.

This collaboration brought a sharp, classic sensibility to the song, grounded in a lineage of soul-infused craftsmanship.

Originally released in 1989 as the centerpiece of her album of the same name, it carried the weight of becoming a signature anthem for Turner.

Despite not breaking the top of the UK Albums Chart, the song itself soared to prove its reach elsewhere, hitting No. 1 on the US Billboard Hot Dance Club Play Chart in 1990.

The song’s success lies not just in its production value but in Turner’s vocal performance, striking a balance between raw emotional depth and technical precision.

Performances on influential music platforms and festival stages helped to further underscore its cultural resonance at the time.

The accompanying music video, easily accessible today on platforms like YouTube, reflects the era’s penchant for bold visuals, carefully complementing the track’s positive energy without overshadowing it.

While some might argue the song leans into familiarity, there’s no denying its ability to endure as a feel-good anthem cemented in British soul’s transition to the international stage.

Featured on the 1996 album “Paradise”.

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

11 . Freddie Jackson – Make Love Easy

Freddie Jackson’s “Make Love Easy,” released in 1989 as part of the album “Don’t Let Love Slip Away,” captures a moment when romantic R&B ballads reigned supreme.

Produced by Paul Laurence and distributed through Capitol Records, the track is a deliberate exercise in smoothness, leaning heavily on Jackson’s velvety vocals and his ability to express tenderness without veering into sap.

The song’s themes of sensuality and emotional connection are cloaked in an unpretentious simplicity, eschewing grandiose declarations for an understated intimacy that fits snugly within the late-’80s R&B framework.

Its production is textbook quiet storm: silky synths, a featherweight rhythm section, and an air of unhurried sophistication that pairs well with its lyrical insistence on love’s ease and reciprocity.

Culturally, it reflects an era when Black romantic music prioritized refinement over ostentation, emphasizing emotional authenticity over spectacle.

Peaking at #5 on the US R&B charts, the track cemented Jackson’s status as a pillar of the genre, though its deliberate polish sometimes risks blurring the line between profound and predictable.

Still, “Make Love Easy” demonstrates Jackson’s mastery in navigating the nuances of intimacy within an accessible and mainstream-friendly package, reinforcing his position as a purveyor of emotive restraint at a time when the genre’s landscape was rapidly shifting.

Featured on the 2003 album “Here It Is”.

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12 . R. Kelly – I Believe I Can Fly

Released in late 1996, “I Believe I Can Fly” emerged as R. Kelly’s grandiose moment of self-belief, tailor-made for the era’s cinematic spectacle, “Space Jam.”

Plastered across charts like motivational wallpaper, it climbed to No. 2 on the Billboard Hot 100 and ruled over the R&B Singles chart for six weeks, cementing its ubiquity in car radios and middle school assemblies alike.

With its soaring orchestral backdrop and piano chords soaked in sentimentality, the song walks that thin line between inspiration and melodrama, resembling a Disney anthem dressed for Sunday church.

But what makes this track undeniably sticky is its earnestness—“fly” isn’t just a metaphor here, it’s the whole sermon, delivered as if Kelly really thought the wings might sprout mid-recording.

While the tune became a medal ceremony staple across the globe—peaking in top-five positions from Canada to New Zealand—it never shook its tie to its cartoon basketball origins.

Falling short of a Grammy win, the track curiously nabbed awards elsewhere, including NAACP’s nod in 1997, proving that mass appeal can override critical consensus.

Its appearances are just as plentiful as its clichés, spanning performances at high-profile gigs like the Grammy stage to cringeworthy covers that have reimagined or outright butchered its message.

Love it or cringe at it, there’s no denying this track’s unparalleled ability to turn even the most mundane moment into an aspirational sports montage.

Featured on the 2009 album “R.“.

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