Hip-Hop & Soul N°96 – Vintage 90s Music Videos

1 . Mark Morrison – Horny

Released in 1996, Mark Morrison’s “Horny” blends sleek R&B production with a charged sense of emotional intensity, standing as a companion piece to its more famous sibling, “Return of the Mack.”

The track explores the well-tread theme of attraction, but Morrison brings a swaggering confidence to the table that keeps it from feeling overly familiar.

Backed by a polished Warner Bros. production, the beat pulses with an understated energy, letting Morrison’s vocal charisma take center stage.

There’s a deliberate tension in the song’s restrained groove, a slow burn that mirrors the desire and aching it seeks to convey.

It’s more suggestive than explicit, which gives it a certain timelessness, sidestepping the dated pitfalls that can haunt ’90s R&B tracks with similar aspirations.

In terms of its broader impact, the song stands as an example of Morrison’s knack for crafting tracks that balance slick commercial appeal with a sense of personal authenticity.

While not as culturally omnipresent as “Return of the Mack,” it’s a minor gem within his catalog that fans still revisit for its sultry charm and tonal finesse.

Its chart success may have been moderate, but its confidence radiates like a quiet anthem for late-night introspection and self-assured cool.

Featured on the 2005 album “Almost Famous”.

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2 . M People – Don’t Look Any Further

M People’s take on “Don’t Look Any Further” doesn’t just nudge a classic; it shakes it up and serves it with their signature ’90s-infused gusto. Originally a Dennis Edwards and Siedah Garrett duet from 1984, this cover slips neatly into their debut album, *Northern Soul*, released in late 1992—arguably a gentle testing ground for their future chart-conquering hits.

Heather Small’s vocals steal the spotlight, as always, blending elegantly with the band’s evolving mix of house and pop influences. The track’s smooth groove gets a modernized polish, but let’s not over-romanticize it—this wasn’t the show-stopper of the album. It wasn’t even a single, for heaven’s sake. Instead, it acted like a quiet supporting act in an ensemble cast of originals and reimagined gems that helped *Northern Soul* wobble its way to a modest #53 on the UK Albums Chart.

Critically speaking, the song wasn’t shaping a movement, yet its live renditions gave it staying power. The band’s early ‘90s tours frequently dusted it off, giving audiences a taste of their knack for revitalizing older material. Think of it as the hearty side dish you didn’t ask for but still appreciate by the end of the meal. The music video—with its kaleidoscope of ’90s-era visual pizzazz—leans into nostalgia today, often resurrecting itself via YouTube algorithms for those chasing retro rabbit holes.

M People’s effort, in all its polished earnestness, underscores the transformative energy they brought to the ’90s music landscape. It isn’t their most striking moment, but it serves as a fitting marker of a group warming up for their prime. If nothing else, it reminds us how malleable music can be when filtered through a distinctly different creative lens.

Featured on the 2004 album “Chasing Lights”.

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3 . Haddaway – I Miss You

Haddaway’s “I Miss You” departs from the pulsating tempos of his better-known tracks and steps into a sentimental sphere.

Featured on his 1993 debut *The Album*, the song adopts a swooning balladic quality, sidestepping the Eurodance beats that marked his breakout hit “What Is Love.”

Layered with a tender melody and accompanied by heartfelt lyrics, it paints an audio canvas of longing, vulnerability, and romantic regret.

Produced by Tony Hendrik and Karin Hartmann, the track balances Haddaway’s signature smooth vocals with a wistful backdrop that feels authentically melancholic.

Released in November 1993, its moderate impact on charts—landing as high as #9 in Switzerland—speaks to its softer commercial pull compared to his dance-floor anthems.

The accompanying music video mirrors the song’s lyrical themes through a romantically tinged narrative, bundling vivid imagery of heartbreak with the track’s reflective mood.

Although it lacks the fiery punch of Haddaway’s Eurodance staples, “I Miss You” reveals a layer of his artistry often overshadowed by the genre’s frenetic pace.

Featured on the 1998 album “Monkey Business”.

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4 . Alexander O’Neal – All True Man

Alexander O’Neal’s “All True Man” is a swaggering declaration of confidence wrapped in lush ’90s R&B polish.

Born from the alchemy of producers Jimmy Jam and Terry Lewis, the track pulsates with synthesizer-driven grooves that ooze ambition.

Its commanding bassline rides beneath O’Neal’s polished baritone, a perfect vehicle for its themes of strength and vulnerability.

Released in 1991 under Tabu Records, the song flirted with the mainstream, landing at No. 45 on the US Billboard Hot 100 but resonated more assertively within the R&B sphere, climbing to No. 3.

Across the Atlantic, its UK Singles Chart peak of No. 18 marked O’Neal’s international appeal, even in a climate where American R&B wasn’t always an easy sell.

The accompanying music video, featuring O’Neal in his charismatic stride, did its part to extend the track’s reach, earning spots in rotation during the golden age of music television.

Lyrically, it cuts between authenticity and assuredness, a conversation between personal pride and emotional availability that elevated O’Neal beyond mere silky crooner status.

And if the production gleams with Jam and Lewis’s signature penchant for precision, it’s O’Neal’s vocal elasticity that imbues the track with an undeniable human pulse.

By attaching his name—and notable vocal prowess—to an unapologetic anthem, O’Neal staked a bold claim to his era’s R&B pantheon without breaking stride.

A live staple throughout the decade, “All True Man” doubled as a manifestation of O’Neal’s peak run, solidified by his presence on major tours alongside labelmates who knew just how to blend spectacle and rhythm.

Featured on the 2002 album “The Name of the Jam”.

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5 . L.V. – Throw Your Hands Up

Emerging from the mid-90s crucible of G-funk and R&B, L.V.’s “Throw Your Hands Up” carries the kinetic charge of a party track without pretense.

First unveiled on his 1994 album of the same name, the song finds its footing in a throbbing bassline, layered with synth flourishes that align perfectly with the genre’s aesthetic.

Produced under the Tommy Boy Records banner, the track dances on the edge of celebration and confidence, its hook adhering like velcro to the auditory senses, making it a staple of mid-decade house parties and DJ sets alike.

Contributions from Doug Rasheed, already known for his work on “Gangsta’s Paradise,” lend a certain gravitas to the production, infusing it with slick professionalism while maintaining an accessible joie de vivre.

The accompanying music video brims with 90s flair, offering a vivid palette of choreography and urban backdrops, shouting its era without apology.

Though never a chart-conqueror compared to other G-funk diamonds, “Throw Your Hands Up” slots comfortably into the annals of West Coast hip-hop history, a celebratory beat-driven marker of L.V.’s solo aspirations and era-specific charm.

Featured on the 2004 album “Beware”.

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6 . Brandy – I Wanna Be Down

When “I Wanna Be Down” hit the airwaves in 1994, it was more than just a debut single; it felt like the opening statement of an artist eager to bridge R&B’s cozy warmth with hip-hop’s rhythmic edge.

Crafted by Keith Crouch, Kipper Jones, and Rahsaan Patterson, the track leaned on a smooth yet understated groove, letting Brandy’s distinct contralto voice do most of the talking—a breathy, controlled performance tinged with both innocence and quiet confidence.

It wasn’t a showy introduction, but its understated charm resonated with audiences, pushing the song to No. 6 on the Billboard Hot 100 and crowning it for four weeks on the R&B/Hip-Hop charts.

The accompanying remix, pulling in the heavyweight trio of MC Lyte, Yo-Yo, and Queen Latifah, added layers of credibility, proving the track could hold its weight in rap circles while keeping its laid-back vibe intact.

Its visual counterpart, directed by Keith Ward, was as unpretentious as the song itself, featuring Brandy hanging out in a series of relatable, everyday settings—no unnecessary glitz, just youthful ease.

At its core, “I Wanna Be Down” is a story of admiration and longing, but it’s less about melodrama and more about subtle connection, which is perhaps why it still slots comfortably into any retrospective of 90s R&B.

While her debut album would later go quadruple Platinum, this single remains a cornerstone moment, showcasing a burgeoning star finding her voice, no fireworks required.

Featured on the 2004 album “PartyTime”.

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7 . Ralph Tresvant – Sensitivity

Ralph Tresvant’s “Sensitivity” glided into 1990 with the kind of polished finesse only Jimmy Jam and Terry Lewis could craft, melding new jack swing with a generous helping of R&B cool.

The track doesn’t rush—neither does Tresvant’s falsetto, which lands like a soft nudge rather than a plea for attention; it’s tender, measured, and clearly at home with its theme of emotional clarity in relationships.

Chart-wise, it cruised to a No. 1 spot on the Billboard Hot R&B Singles and perched comfortably at No. 4 on the Hot 100, proving that vulnerability could sell just as well as bravado in the glossy, buttoned-up era of early ’90s pop.

The lyrics, a subtle plea for treating relationships like a partnership rather than a possession, struck a nerve without sounding pedantic or preachy—just sincere enough to feel fresh but not cloying.

Its accompanying video, with its urban-chic sensibilities and stylized aesthetic, is now a digital relic that quietly screams “1990” on platforms such as YouTube.

But what really made this track stick was its balance—it didn’t try to out-funk its contemporaries nor out-emote ballads, instead marking its territory by exuding confidence without overexertion.

“Sensitivity” may not pull immediate mentions in conversations about decade-defining hits, but its hook has quietly endured, popping up in samples like Kamaal Williams’ work and soundtrack placements, a nod to its understated but persistent legacy.

Featured on the 2001 album “Greatest Hits: My Prerogative”.

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8 . Warren G – What’s Love Got To Do With It

Warren G’s “What’s Love Got To Do With It” manages to bridge nostalgic pop and G-funk cool without ever feeling forced, a balancing act few would dare attempt in 1996.

Featuring Adina Howard’s sultry vocals, this reimagining of Tina Turner’s iconic hit leans heavily into R&B grooves while Warren’s laid-back delivery peppers the track with commentary that skews more 90s urban grit than 80s earnestness.

The production, smooth as a freshly waxed Impala, deftly integrates a funky bassline and interpolates the original melody, turning what could’ve been a cheesy homage into something genuinely worthwhile.

Its placement on the “Supercop” soundtrack adds an action-packed air to the song’s trajectory, bolstered by a music video that stitches together cinematic martial arts chaos and classic 90s hip-hop swagger.

Peaking at No. 32 on the Billboard Hot 100, the track avoided claiming Tina’s mantle while carving its place alongside Warren’s G-funk catalog staples.

Featured on the 1999 album “Passion”.

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9 . Blackstreet – [Money Can’t] Buy Me Love

Blackstreet’s “[Money Can’t] Buy Me Love” dropped in 1996 as part of their celebrated album *Another Level,* cementing their place in the R&B canon while stopping short of Billboard’s upper echelons at #21.

Produced by Teddy Riley under Interscope Records, the track is a glossy, mid-90s R&B meditation on love’s resistance to financial transaction—a topic that evidently had widespread resonance in the era of pagers and pre-Y2K excess.

While its verses tiptoe between sincerity and earnest conviction, the buttery harmonies courtesy of Blackstreet elevate the song, tethered to Riley’s signature blend of slick production and rhythmic intricacy.

The refrain wrestles with the tension between material wealth and emotional connection, an age-old theme handled here with elegance rather than didacticism, though occasionally veering into straightforward territory.

Does it punch above its weight culturally? Maybe. But it remains a quintessential slice of 1990s R&B: impeccably crafted and just ambiguous enough to hang in everyone’s memory.

Contradictions abound—the lofty sermonizing about love amidst a genre and decade frequently drenched in ostentatious displays of wealth and bling. Still, in its humility, it carves out a moment of reflection even as it gently nudges the listener to sway along.

Featured on the 2002 album “A Funk Odyssey“.

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10 . Tina Turner – Goldeneye

Tina Turner’s “GoldenEye” offers a smoldering entry into the James Bond catalogue, pairing her commanding voice with a sense of cinematic grandeur that feels both dangerous and seductive.

Written by U2’s Bono and The Edge, the track unfolds like a coiled spring, marrying orchestral rock with a vaguely ominous pop sensibility, perfectly suited to the 007 mythos.

Turner’s performance oozes control—measured, deliberate, and strikingly sensual, her voice holding both menace and intrigue, a nod to the film’s themes of revenge and betrayal.

The production leans into drama without tipping into the overwrought, layering lush string arrangements with precise, pulsing rhythms that feel tailor-made for a spy laced with moral ambiguity.

Released in 1995, “GoldenEye” landed at No. 10 on the UK Singles Chart, a respectable showing that underscores its mass appeal without veering into ubiquity.

The music video, directed by Jake Scott, bathes Turner in moody hues, featuring angular sets that echo the franchise’s penchant for sleek danger, creating an aesthetic as sharp-edged as a Bond villain’s smirk.

Marked as one of her last major releases of the decade, it sidesteps the bombast that often accompanies such partnerships, favoring a more simmering and intrigue-laden presence.

Though not a standout in Turner’s storied career, the song’s alignment with the Bond universe gives it an air of cultural permanence, cementing its role more as a piece of cinematic branding than a chart-dominating juggernaut.

Viewed through the lens of Bond history, it slots neatly alongside the franchise’s best and middling efforts alike—enough drama to linger, but careful never to overwhelm the main act.

Turner doesn’t reinvent anything here, but her interpretation adds layers to a formula that sells fantasy, seduction, and just the right touch of menace.

Featured on the 2002 album “Out There and Back”.

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11 . Prince – Betcha By Golly Wow!

“Betcha By Golly Wow!” isn’t just a cover—it’s Prince flexing his creative freedom post-Warner Bros, taking a 1972 Stylistics classic and molding it into his own shimmering vision.

The track, part of his sprawling 1996 “Emancipation” album, finds its groove within a triple-disc ode to independence, as the artist formerly known as the Artist experimented without corporate meddling looming overhead.

The falsetto is in full bloom here, his voice so tender it feels like it might dissolve into the ether at any moment, and The New Power Generation’s backing vocals provide sturdy emotional architecture to prop up the dreamy sentiments.

While the original leaned into lush orchestrations, Prince’s version softens the edges without losing the romantic sincerity—it’s like being wrapped up in a velvet cocoon of pure affection.

“Emancipation” itself never became the juggernaut it might have been—it peaked respectably at #11 on the Billboard 200, but in true Prince fashion, its legacy is tied more to the narrative of artistic reclamation than chart supremacy.

The music video complements the vibe with surreal visuals that oscillate between celestial romance and Prince’s knack for dramatic flair—think love letters written in violet ink, and you’re halfway there.

Despite not charting individually, “Betcha By Golly Wow!” mirrors the overarching theme of “Emancipation” perfectly: personal liberation and the boundless possibilities that creative autonomy affords.

It’s a track that feels like watching a fireworks display through a kaleidoscope—familiar, but with enough eccentricity and color to make you stare a little longer.

Featured on the 2005 album “Hijas del Tomate”.

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12 . Whitney Houston – Exhale [Shoop Shoop]

Released in November 1995, “Exhale [Shoop Shoop]” serves as Whitney Houston’s contemplative foray into smooth R&B, tethered to the “Waiting to Exhale” soundtrack.

Penned and produced by Babyface, the track bypasses grandiose vocal gymnastics, favoring subtlety and restraint, a notable departure from Houston’s usual power ballads.

Its themes revolve around release and introspection, underscored by lyrics that tap into quiet resilience rather than melodrama, mirroring the nuanced emotional scaffolding of the accompanying film.

While it perched atop the Billboard Hot 100 for only a single week, the song’s cushioned longevity came from lingering unperturbed in the top ten for eleven weeks, proving its staying power without overstated fanfare.

Internationally, it echoed similar modest success, charting comfortably within the top ten in markets like Canada and the UK, though it never demanded global dominance.

Houston’s Grammy win for Best R&B Song attached industry validation to a track that eschews the usual theatrics often associated with R&B divas.

The video, helmed by Forest Whitaker, juxtaposes serene performance clips with poignant excerpts from the film, a clever advertising tool that nudged the soundtrack into cultural relevance.

Certain performances, such as her HBO concert “Classic Whitney,” showcased its live potential, though the song’s laid-back dynamics could occasionally feel a tad static in such grander settings.

Contextually, this track reflects a mid-’90s R&B era inching quietly away from the excess of previous years, favoring a more subdued, radio-friendly sound.

Whether by design or default, “Exhale [Shoop Shoop]” feels less like a centerpiece and more like background texture—pleasant, cohesive but never clamoring for undue attention.

Featured on the 2007 album “Sound of the Underground”.

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