Hip-Hop & Soul N°93 – Vintage 90s Videos

1 . Usher – You Make Me Wanna…

Usher’s “You Make Me Wanna…” dropped in 1997, becoming the blueprint for late-’90s R&B confessionals about love triangles and mixed signals.

Crafted by Jermaine Dupri and Manuel Seal, the track takes a minimalistic approach: gentle guitar plucks and a beat so sparse it feels like it’s respecting Usher’s emotional moment.

At just 18, Usher turned a personal saga of romantic conflict into a glossy yet relatable hit, taking listeners on a guilt-laden, heartstring-pulling journey.

The song’s commercial success was massive, holding its own at No. 2 on the Billboard Hot 100 for weeks and dominating R&B charts through sheer staying power.

Its UK reception wasn’t too shabby either, bagging a No. 1 spot while the music video, directed by Bille Woodruff, avoided over-complications, favoring sleek visuals and choreography that matched the simmering tension of the lyrics.

This was R&B flirting with pop’s accessibility but refusing to dilute its emotional heft, a formula Usher would later master.

Does the track skirt predictability with its themes of betrayal and longing? Sure, but its execution makes it resonate instead of recycle.

The collaboration between Usher and Dupri would become a cornerstone of his career, but “You Make Me Wanna…” is where they seemed to bottle the lightning for the first time.

Whether it’s the lush harmonies, the bittersweet hook, or the vulnerability packed into every line, the track doesn’t just whisper heartbreak—it kind of croons it on loop.

Featured on the 1997 album “My Way”.

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2 . Ultimate Kaos – Some Girls

In the haze of ’90s Brit-pop and R&B fusions, Ultimate Kaos’s “Some Girls” strides in as a snapshot of youthful exuberance wrapped in a three-minute tune.

Released in 1994 under Joe Jefferson’s production, the track combines bouncy rhythms and smooth harmonies that toe the line between bubblegum charm and slickly polished pop ambition.

It’s playful without being saccharine and flirts with the flush of teenage infatuation while keeping it light enough to land on daytime television sets across the UK.

The accompanying video, brimming with synchronized choreography and boyish charm, feels like unfiltered ’90s nostalgia at its peak, capturing that era’s penchant for bright visuals and unrelenting energy.

Charting at No. 9 on the UK Singles Chart, the song’s steady climb underscores its catchy hook rather than any profound lyrical depth—”Some Girls” aims to entertain, not provoke thought.

While Ultimate Kaos never dominated the pop landscape, they unquestionably carved out moments of joy for a generation navigating its Walkman soundtracks and after-school TV obsessions.

Under Simon Cowell’s management, the group might not have been built to last, but songs like “Some Girls” secure their place as purveyors of carefree anthems of their time.

Featured on the 1994 album “Ultimate Kaos”.

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3 . Warren G – Regulate (w/ Nate Dogg)

“Regulate” by Warren G and Nate Dogg offers a snapshot of ‘90s West Coast hip-hop culture with its smooth G-Funk production and vivid storytelling.

Set against a backdrop of Long Beach streets, the track unfolds a night of close calls, camaraderie, and slick resolution.

Built on a deft sampling of Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near),” the song transforms a yacht rock classic into a laid-back yet edgy soundscape for urban drama.

The opening line, ripped straight from *Young Guns*, sets the tone: a cinematic blend of swagger and streetwise philosophy.

Warren’s narrative of a carjacking gone sideways is punctuated by Nate’s velvety melodies, which glide in to lend the track its undeniable hook.

Spontaneously recorded in Warren G’s apartment closet, Nate’s vocals carry the charm of impromptu genius, embodying the improvisational grit of G-Funk.

Even the whistle-like flourish sampled from Bob James’ “Sign of the Times” feels intentional, layering texture over the already iconic beat.

The track’s massive commercial success was no accident; it peaked at No. 2 on the Billboard Hot 100 and captured the zeitgeist of a golden era in West Coast rap.

Its inclusion on the *Above the Rim* movie soundtrack cemented its crossover appeal, resonating beyond the neighborhood it portrayed.

Though deeply rooted in personal anecdotes, the song’s themes of loyalty and survival resonate universally, and the witty interplay between Warren and Nate lends the storytelling an infectious energy.

Riding on its distinctive blend of smoothness and grit, “Regulate” didn’t just mesmerize fans but also became an enduring emblem of the genre.

Even years later, the song remains a cultural touchstone, remembered for its craftsmanship, charisma, and cinematic storytelling that blurred the lines between music and film.

Featured on the 1994 album “Regulate…G Funk Era”.

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4 . The Notorious B.I.G. – One More Chance

“One More Chance” by The Notorious B.I.G. cleverly straddles the line between gritty street tales and smooth R&B sensibilities.

The remix, often viewed as the definitive version, serves up a lush backdrop sampled from DeBarge’s “Stay With Me,” giving the track a sultry, melodic core.

With additional vocals from Faith Evans and uncredited contributions by Mary J. Blige, there’s a layered interplay of silky hooks and Biggie’s gruff charisma.

It’s a track that ostensibly addresses second chances in love but carries Biggie’s brash confidence and knack for slick wordplay.

The song’s cultural weight is crystallized in its music video, a house party montage directed by Hype Williams, peppered with a parade of hip-hop royalty like Heavy D and Queen Latifah.

Musically, it showcases Sean “Puffy” Combs and Rashad Smith’s penchant for sampling that breathes new life into nostalgic R&B elements.

Commercially, the track performed impressively, peaking at No. 2 on the Billboard Hot 100 and cementing its place as a cornerstone of Biggie’s career.

Beneath the chart-topping polish lies Biggie’s knack for bridging genres, embedding a party anthem within a framework that’s as much about swagger as it is about grooves.

Featured on the 1994 album “Ready To Die“.

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5 . Snoop Dogg – Who Am I [What’s My Name]?

Released on November 11, 1993, “Who Am I [What’s My Name]?” serves as Snoop Doggy Dogg’s swagger-filled declaration of identity, amplified by the hallmarks of West Coast hip-hop’s G-funk era.

Produced by Dr. Dre and Daz Dillinger, the track cheekily layers samples from George Clinton’s “Atomic Dog” and Parliament’s “Give Up the Funk” and “P. Funk (Wants to Get Funked Up),” drenching itself in infectious, bass-heavy grooves and unfiltered funk energy.

The hook, “Bow wow wow yippy yo yippy yay,” is both absurd and iconic, perfectly tethered to Snoop’s laid-back delivery and sly charisma, giving the track a playfulness that masks its razor-sharp confidence.

Its commercial success was undeniable, peaking at No. 8 on the Billboard Hot 100 and dominating the Hot Rap Songs chart, while sparks of its influence extended internationally with high rankings in the UK, New Zealand, and Canada.

The video, directed by Fab 5 Freddy, tips into the surreal with early 90s CGI that transforms Snoop into a Doberman, aligning tongue-in-cheek visual energy with lyrics steeped in dog-centric metaphors.

Critics at the time hailed the track’s seamless blending of funk samples with Snoop’s effortless vocal flow, with *Spin* acknowledging the reliance on homage while praising its effectiveness in constructing his larger-than-life persona.

Music Week’s appraisal highlighted its retro-funk infectiousness, while *NME* slyly labeled it a “party record fit for every occasion.”

Beyond the music, the track reflected the cultural dominance of West Coast rap during the early 90s, offering both a statement of style and substance that has weathered decades without losing its swagger.

Seen through the lens of Snoop’s debut, *Doggystyle*, the song doubled as both an introduction and a coronation, aligning him firmly under Dr. Dre’s wing and cementing his status as an emerging hip-hop heavyweight.

Featured on the 1993 album “Doggystyle”.

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6 . Shabba Ranks – Family Affair (w/ Patra)

Shabba Ranks’ “Family Affair,” featuring Patra, finds itself lodged within the crossroads of 1990s dancehall and a strained attempt to fuse reggae with Swingbeat. Released on the Grammy-winning album “X-tra Naked,” the track rode the coattails of Shabba’s acclaim, though its own merit sparked sharp debates.

With its bassline drawing an uncanny resemblance to Vaughan Mason & Crew’s “Bounce, Rock, Skate, Roll,” the song borrows freely while offering little fresh charm. Audiences, on reflection, might smirk at Salaam Remi’s early production efforts here—an apprentice stroke compared to his later defining work.

Critical listeners found Shabba’s delivery uninspired—a style stripped of the energy and vibrancy that made him a celebrated figure. Patra’s presence, while promising, failed to counterbalance the track’s repetitive formula. This perceived cover of Sly and the Family Stone’s classic triggered accusations of laziness rather than homage.

The music video, with its budget constraints as glaring as a dated action flick, embraced clichés while reducing Shabba’s trademark charisma to a caricature. The Staten Island-esque backdrop? More of an accidental comedy than intentional aesthetic. Critics noted little chemistry between the featured artists, with Terri and Monica’s contributions leaving no lasting impression.

In the broader dancehall narrative, “Family Affair” plays out as a misstep—a footnote in Shabba’s storied career when ambition stumbled over execution. While its inclusion in “X-tra Naked” buoyed its visibility, on its own, it remains a polarizing moment, emblematic of what happens when genre blends lack conviction and spark.

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7 . Boyz II Men – End Of The Road

Boyz II Men’s “End of the Road” emerged in 1992 as an anthem of heartbreak, created by the powerhouse trio Kenneth “Babyface” Edmonds, Antonio “L.A.” Reid, and Daryl Simmons. Releasing within the *Boomerang* film soundtrack and later joining the international edition of “Cooleyhighharmony,” it skyrocketed up the Billboard Hot 100 to dominate for 13 weeks, shattering Elvis Presley’s longstanding record. Its soulful lament also ruled the R&B charts for a staggering 20 weeks, cementing its widespread international appeal. The track brought home two Grammy Awards and several other honors, its success bolstered by Michael McCary’s smooth spoken-word section and the group’s powerful harmonies. Accompanied by a Lionel C. Martin-directed music video, “End of the Road” encapsulates emotional turbulence while channeling a nostalgic nod to classic vocal group traditions. Surpassing studio tensions and last-minute production refinements, it crystallized Boyz II Men as a ’90s chart juggernaut.

Des’ree’s “Feel So High,” initially a sleeper hit, became her breakthrough after being revamped in 1992. The song’s lush yet understated blend of folk influences and mid-tempo instrumentation garnered comparisons to celebrated vocalists like Anita Baker. Producer Ashley Ingram identified Des’ree’s unique style early, leading to one of Sony’s fastest sign-to-release turnarounds. Though its original release sputtered, the reissued mix found a receptive audience in the UK and across Europe, peaking within the Swedish top 10. Three music videos spanning different aesthetics reflected its value in shaping her career. Critics highlighted Des’ree’s vocal warmth and introspective tone, with *Melody Maker* touting it as “Fine Art” and *AllMusic* commending its jazzy contours. While its U.S. reception proved more muted, “Feel So High” endures as evidence of Des’ree’s grounding in emotive songwriting, offering a nuanced moment in early ’90s music that avoided overproduction and instead leaned on lyrical sincerity.

Featured on the 1992 album “Cooleyhighharmony“.

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8 . Kris Kross – It’s A Shame

Kris Kross’s “It’s a Shame” is a tale of two eras, embodying both the youthful exuberance of their debut album, *Totally Krossed Out*, and the weightier ambitions of their sophomore record, *Da Bomb*.

The version tied to *Totally Krossed Out* leans into early-’90s radio sensibilities with scratch-heavy beats and shiny synths. It mirrors the duo’s knack for balancing teenage playfulness with sharper lyrical undertones, examining violence and poverty through a still-developing worldview. Though not the commercial juggernaut some of their other singles were, it earned a foothold on the Billboard Hot Rap Singles chart and secured a brief presence on the U.K. Singles Chart, hinting at their appeal beyond American borders.

By the time *Da Bomb* dropped, Kris Kross aimed for a grittier streetwise aesthetic. The track, repurposed within this harder-hitting context, captured an act in transition, striving to shed their “novelty” label and signal artistic maturity. Jermaine Dupri’s influence remains paramount, infusing the song with polished production and thematic depth to harmonize with the group’s evolving image. Critics offered divergent takes, with some lauding its articulations of urban struggle and others questioning its cultural resonance overseas.

In both iterations, “It’s a Shame” emphasizes reflection and frustration, yet is tinged with resilience. It’s a snapshot of a group navigating shifting industry tides, attempting to remain relevant while confronting their own growing pains.

Featured on the 1992 album “Totally Krossed Out”.

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9 . Bone Thugs~N~Harmony – 1st of Tha Month

Bone Thugs-N-Harmony’s “1st of Tha Month” is a vivid snapshot of the cyclical routines tied to welfare checks dropping at the start of each month, set against the textured backdrop of mid-90s hip-hop.

It’s less a celebration of handouts and more a portrayal of survival, community, and fleeting relief within a system that demands resilience.

The track’s melodic flow ties tightly to Bone Thugs’ signature sound—melancholy yet buoyant harmonies cradling fast-paced, tightly packed verses that carry an intimate conversational energy.

DJ U-Neek’s production juxtaposes smooth G-Funk beats with a palpable undercurrent of anxiety, underscoring the tension between brief reprieve and persistent struggles.

The song’s music video adds layers of storytelling, turning mundane errands like grocery shopping into cultural markers of shared experience within urban communities.

Commercially, “1st of Tha Month” thrived—it was a top 20 Billboard hit, went Gold with over 500,000 sales, and even snagged a Grammy nod, though ultimately overshadowed by “Gangsta’s Paradise.”

Yet, beyond its chart success, the track embodies a lived reality that hip-hop rarely romanticized so effectively, cementing it as one of the defining anthems of—not for—the working-class grind of its era.

Featured on the 1995 album “E. 1999 Eternal”.

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10 . Des’ree – Feel so High

Des’ree’s “Feel So High” emerges as a contemplative piece that quietly sidestepped the bombast of early ’90s pop trends, opting for a stripped-down arrangement that acted as its secret weapon.

Rooted in a minimalistic production by Michael Graves and Ashley Ingram, the track thrives on an interplay between soft piano accents and Des’ree’s unmistakably deep vocal register, a quality that prompted critics to liken her to pioneers such as Anita Baker and Tracy Chapman.

Initially overlooked during its 1991 release, ranking at No. 51 on the UK Singles Chart, the track underwent a phoenix-like revival a year later, climbing to No. 13 and catching the ears of international listeners.

The restrained production feels almost like a pushback against the lavish, larger-than-life productions saturating charts at the time, instead letting the clarity of its lyrical hopefulness shine through.

Thematically, “Feel So High” threads optimism with nuanced vulnerability, creating something equal parts meditative and aspirational—even its title breathes a quiet confidence rather than any chest-thumping declaration.

By the time it crossed into U.S. territory in 1995, featured on Des’ree’s then-second album “I Ain’t Movin’,” the song had matured into a track emblematic of her knack for mid-tempo grooves, even as it charted modestly at No. 67 on the Billboard Hot 100.

Its multiple music video iterations capitalized on visual simplicity, offering a subdued backdrop that complemented the song’s bare-boned elegance rather than attempting to plaster it with unnecessary gloss.

What lingers most about “Feel So High” decades later is not its commercial ascent or critical parallels; it’s the quiet assurance of an artist charting her course with restraint in an industry often demanding flamboyance.

Featured on the 1991 album “Mind Adventures”.

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11 . M~Beat – Sweet Love (w/ Nazlyn)

M-Beat’s “Sweet Love,” a 1994 collaboration with vocalist Nazlyn, threads the frenetic pulse of jungle with an R&B vocal anchor, crafting a tune both urgent and tender. Its breakbeats hit like a caffeine rush, underscored by a melodic backdrop that feels like it’s been airlifted from an after-hours jazz club. Nazlyn’s vocal performance doesn’t overpower but glides, giving the track a certain elasticity that juxtaposes the relentless percussion.

While it peaked at No. 18 on the UK Singles Chart—a respectable showing—it’s perhaps most notable for dragging jungle’s raw energy out of sweaty basements and into wider visibility. The track sits at an intersection, acting as both a love letter to the underground and a deliberate nod toward the mainstream. Chart longevity aside, it became a kind of cultural mile marker, part of a broader movement that outlined jungle as more than just disjointed beats for insomniacs.

The absence of awards or grand accolades for “Sweet Love” doesn’t diminish its role in the genre’s story. If anything, its airy, vocal-driven structure lands like a preview of jungle’s potential future—below the radar yet unexpectedly influential in soundtracking mid-’90s cultural cross-pollination.

Featured on the 1994 album “Wicked”.

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12 . Oleta Adams – Get Here

There’s something achingly timeless about Oleta Adams’s “Get Here,” a ballad that somehow manages to feel both deeply personal and universally resonant.

Plucked from her 1990 album *Circle of One*, Adams’s take on Brenda Russell’s composition transformed an otherwise understated track into a pop standard for aching hearts and wistful goodbyes.

The song’s appeal wasn’t just in its yearning lyrics, which detail creative, almost fantastical ways to reunite with a loved one (“You can reach me by caravan, cross the desert like an Arab man”), but in Adams’s velvety delivery that balanced intimacy with grandeur.

Released at the height of the Gulf War, listeners quickly gravitated to its themes of separation, granting it an unintentional political edge—though its emotional core always transcended specific contexts, remaining nestled primarily in personal longing.

While the production leans slightly into ‘90s schmaltz—making full use of sweeping piano lines and measured crescendos—it’s Adams’s piano-rooted gospel roots and nuanced phrasing that crack the veneer of sentimentality, grounding the lofty premise in something piercingly human.

Then there’s the backstory: Brenda Russell herself, initially dismissive of the song as bordering on cliché, stumbled upon its magic while gazing out at Stockholm’s wintery cityscape. Little did she know her self-described “corny” creation would find its true champion years later in Adams, who discovered the track in none other than Stockholm, completing a curious full-circle moment.

Oleta’s rendition brought her into the spotlight, following her early career spent performing in Kansas City hotel bars before catching the attention of Tears for Fears, who lent their production clout to her breakout album.

Her success, however, never veered into overexposure—the visuals accompanying “Get Here” were elegant yet restrained, a quiet antidote to the bombast of early-‘90s pop videos circulating on MTV.

If the song occasionally teeters towards the overwrought, its lasting emotional resonance keeps it steady. Long after Adams’s Grammy nods faded into memory, “Get Here” lingers as a reminder of the connective tissue uniting distances both literal and emotional.

Still, the song’s simplicity is its greatest strength: a stripped, open-hearted plea sung with unrelenting conviction. A moment in time? Certainly. But some moments, once captured, refuse to fade.

Featured on the 1990 album “Circle of One”.

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