90s RB Hop Music Videos mp4 Collection torrent download

This song was her first release in the 90s and she gifts us with a seven-minute slow burn of a tumultuous love affair that cannot be sustained. This timeless song about a hopeless romantic who remains optimistic is an absolute gem.

And thanks to the remix, you get to hear J. She leaves the rapping duties to Jamaican emcee Tony Rebel and blesses us with her vocals. Written by and featuring Missy Elliott, this sexy song about losing your cool over your boo is catchy and bouncy.

The rest is history, along with this 60s-soul-inspired classic. The duo remained something of a one-hit-wonder stateside, but was a constant fixture on the UK charts from and Beyond the head-nodding production, the lyrics impart some sage advice. A New Jack Swing tune about going another round with your jealous significant other never sounded so good. Is she hip-hop? This is exactly why we give you this Promo Code to use on Publish2. Check this out, you get 9 days for free with a day account, and 37 free days with a 1-year account!

Music video was a new trend which appeared on the music scene in the 80s. Recently, almost every outstanding album is accompanied by several music videos, usually made for the main singles. Paul Van Dyk Feat. Delerium Feat. Benny Benassi Pres. Operating Systems. Operating Systems Android. Additional Requirements Requires Android 4. Total Downloads Downloads Last Week 2. Report Software. Related Apps. YouTube Music Free.

Watch and listen to a nearly endless catalog in an app designed for music discovery. Google Play Music Free. Shop music on Android Market and listen instantly using the Google Music app. Spotify: Listen to new music and play podcasts Free. Listen to your favorites or discover new music with a ready-made playlist that suits your mood. And for the most part, they all did.

When Mase became the newest member of the Bad Boy team, his promise to get Puff mad more cream was very apparent. When you want to entertain, you want to effectively communicate. That means you make your flow easy to digest. The album shined brightest, though, when he got back on his gutter shit. It helped that some of the dopest rappers from both NYC and the South came along for the ride.

It's just too bad he couldn't keep shining. When a gangster rapper is doing his job, he'll be accused of both at once: too real, and too unreal. His lyrics on the song caution that there's no negotiating with the trigger. He made murder through music an art form.

Beats by producers like E-A-Ski and Ant Banks reinvented the liberating ideology of '70s and '80s funk to its desolate opposite, a ceaseless soundtrack to armored survival. Spice 1's ragga-washed, stuttering vocals gave a sense of continual, gripping control. Balancing the brutality was melody, which granted a reprieve from the ruthlessness, and also disguised it. Paul, J and Lord Infamous R. The beats are simple s and loops shot through with a horror movie's worth of foreboding keys and villainous cackles.

The bars are lilting, melodic, and triplet-heavy. But this album is more than just a gang of veterans' firsts. It's a masterpiece of grimy New York outer-borough rap. Walt and Evil Dee, whose beats draw on everything from Frank Zappa to Miles Davis, vacuuming out the treble and leaving us with nothing but filthy low end. Pete Rock's affinity for rare jazz samples brought a fresh vibe to rap, which at the time had always used easier-to-find lifts from the likes of Bob James, Grover Washington Jr.

Smooth set a mark by bringing a cerebral rhyme style with very little cursing. Pete's rhymes contributed just enough to show that he could carry a verse. Indeed, Nas, Rae, Meth, and Big Noyd slide through with the cameo knowledge as always, felonious as ever.

The concept was a joke that got fleshed out after the record company took it seriously, as Shock would later tell it. But its sheer sprawl and the group's fearless commitment to following the groove wherever it took them are its redeeming strengths. Puffy's ghosted croon, before we knew him mostly for shouting.

The LOX ripping shit up. Carl Thomas cue swoons. You might say he's an out-sized hypeman whose musical presence is gratuitous, per se. Yet nearly 20 years since Biggie's passing, Puff's held his legacy together. On the strength of duo's success, Tony Draper's label, Suave Records, inked a new distribution deal with the Sony-backed Relativity Records and gave the new venture a more grandiose name: Suave House.

It was one small step for Southern rap, one giant leap for pimp kind. The album presents a deeper exploration inside the teenage tough-talk and gangsta reverie of their earlier records, the result of two men whose success had moved them outside of their bubble and afforded them the opportunity to reflect on their world with clarity. The move away from samples was likely motivated by business concerns as much as creative ones there's a reason the first two albums are not available on Spotify or iTunes , but it produced a fuller, more distinctive sound that stood up against Dr.

Dre's big budget beats from the mid-'90s. They're the rap equivalent to Batman in those Christopher Nolan movies—stars of the show wholly eclipsed by their unstoppable co-star. Lyrically, Dap and Melachi had the best of intentions. Frankly, if it'd been an instrumental release, it would be much higher in this countdown. Hardly as thoughtful as Scarface's ravings, but the menace and energy's all here.

You'd be forgiven for thinking Danze was riding shotgun next to you, ranting as he slapboxes the dash. Black Thought is at his terse, eloquent best, while Dice Raw tosses a couple of the strongest of his many hit-and-run grenades that are strewn across the Roots discography.

Meanwhile, the guest list is a buffet of star-making turns by fellow Philly MCs on the verge of storming the mainstream Eve and Beanie Sigel and rappers who had been pulled into the Roots' orbit to create a new renaissance of conscious rap, like Mos Def and Common. Yeah, he's a brilliant lyricist, and a exceptionally charismatic human. But there have been lots of cool guys who rap great. Why has Jay Z dominated hip-hop for nearly 15 years, while others have come and gone?

He needed to evolve, or risk being left behind. X stripped down New York rap to a new emotive, hardcore sound, while P was instrumental in breaking Southern rap's radically different aesthetic into the mainstream. Probably on the pole. It remains the biggest hit of Jay's career, because it assimilated the hardcore, pan-regional sound of into an easily digestible package right when the masses needed something new.

When so many of his '90s peers were digging their heels in, unable to adapt, Jay showed he was eager to embrace new ideas. Over the years, Jay has been criticized for hopping from trend to trend, and for being insufferably arrogant. But his habit of always chasing the zeitgeist—which is really to admit that the people's whims are more important than your own—is a humble pursuit that has given him his enduring power. Indeed, the album is that dark.

A nimble, chaos-theory-minded street philosopher, Jeru keeps the lyrics A-grade throughout his debut. Still, the package, as a whole, remains timeless. Diamond D's ambition was in beat wizardry, and his ability to make that work was pure insanity. The Diggin' In The Crates crew emerged and grew from the success of this very album. It covers mostly two topics: sex and grisly street scenes pretty much reliably switching back from track to track , and it does so convincingly.

And not just because the LP employed deep bass, funk samples, and a multifarious crew of MCs. It felt like that because it was. It was a direct, extremely unexpected shot across the bow of the entire West Coast courtesy of a then borderline old school rapper. And suggesting that Dr. Dre maybe even heard the record.

They returned to Smif N' Wessun in The result was a sound that complemented Smif 'N Wessun's slow and threatening rhyme flow. Understandable, since the record—right from the Cheap Trick cribbed intro—would have sounded right at home played at CBGBs. Miss the old New York? Here's a slab of it. CNN was making noise on the mixtape scene, dropping shit on DJ Clue tapes, but things went sour when Capone got locked up around the time they got their deal.

Jose Luis Gotcha peaked on this and so did Tragedy Khadafi. Both shined as they told stories only cats from Queens could tell. Each rap included drugs, guns, and Islamic references. The type of shit that'll make you want to flip coke and get into a shootout so you could pull up to heaven's gates in a pearly white Acura. But his boasts do boogie thanks to Eric B. And while Jay, Kanye, and Cam's career restlessness mean that we've hardly forgotten the R.

Lauryn Hill with stubble, a temper, and twin Glocks, loaded. To this day, there may be no rapper who captures the everyday thrill of drinking as accurately and as joyfully as E does here and still does—appropriately, he now has his own line of wine. How many albums from the decade can claim that? But putting aside all the concerns about hip-hop selling out and the fact that, for a brief time, future family-friendly movie stars Common and Ice Cube were engaged in very serious beef because of that song's claim that hip-hop was ruined when it moved West and got more violent, it's worth considering all the other things this album demonstrates.

The jazzy beats that sound like snippets of half-remembered soul songs have basically been Common's go-to template ever since, while his rapping established what's become a Windy City archetype: the everyman who's not involved in the gang shit but is close enough to see and comment on it. Hip-hop isn't hidden in basements, KRS-styled temples, or in any other closed-off secret society. Instead, the genre's aging rather gracefully and embracing its nuances.

Classic topics, essentially, but vibes more consistent among East Coast brethren like the Beatnutz and Diggin' in the Crates. His bars are tighter than on the previous effort, and with a noted maturity in narrative structure. Combined, these three songs are the difference between the '93 Liks and the 'era crew—smartly written and performed songs that transcend that introductory shtick. Nor is it the most quotable.

But, when served in context of the whole record, elicits the appropriate nod of recognition due to one of the decade's most solid offerings. It's an album full of action shots; on B.

There was something frightening about its disregard for rules or history, an unprecedented sound palette that seemed bleak and faceless and discomfortingly real. And running through these concrete-hard sonic hallways were four stars, each with fully-formed styles and a propensity to speak directly to the language of violence as if each word was firsthand documentation. They created music for the sake of being dope and one-upping other producers. The Beatnuts were no different. Juju and Psycho Les added a slapstick, humorous element to their work.

Everything from metal spring sound effects to signify the removal of a bra to Spanish Christmas carols—anything was game for the Queens duo. In fact, it wasn't even the second or third. And while longevity has ultimately become LL Cool J's greatest claim to fame, no single album finds him hitting all of his strong suits so equally. The late, great Guru never had it easy living up to his partnership with one of rap's most revered producers.

Like on top of the world. It just sounded big. Even though it wasn't on the radio, even though I didn't have a record deal. It was just something about that track that moved me. The album wasn't his most elaborate; by , he'd evolved as a producer, using real instruments and incorporating complex arrangements.

But it was, commercially, his most successful, and musically, his most efficient. To get drunk tonight. Like Eazy-E, Quik had a high-pitched vocal style and a street background. But where Eazy's 8ball was cocaine, Quik's was a 40 ounce; his time was as consumed with partying and pussy as anything else. A launched like any other youth revolution before or after—with blasphemies and alleyway percussion. Dre eventually blessed us with instead was one of the most gorgeous sounding albums of the genre—a Hitchcock spiral into the bleak psychopathic glee of three Compton shit-kickers.

In another crew, that might mean being the least commercially accessible act, but in the forward-thinking Native Tongues family, Black Sheep made some of the most straightforward, upbeat and, well, ignorant music that ever came out of the camp. Honda's Hundred Hand Slap. But what else would you expect from Big Pun other than overindulgence? The rhymes seem to zoom past you but they're actually wrapping around you, creating the dark, urban atmosphere depicted on the album cover as tacky as it may be.

Although Bone Thugs would never produce a work this vital again, the lasting influence of the album is a testament to its impact. The Oakland group's debut abandoned the gangster-heavy themes that dominated the West Coast in favor of punchline-heavy flows over jazz loops. Everyone does their thing. The crew's vibe would attract a generation of skaters, underground fans, and anyone who wanted something a little different than what was coming out the radio.

It's not even the greatest thing Ghostface Killah ever produced. They arrive draped in the soul samples of the '60s and '70s and topped off with dialogue from the gnarliest of blaxploitation flicks. Instead, the album is its own chamber in the Wu-Tang canon; a tapestry of Five-Percenter teachings, storytelling raps, and men who live violently.

The album was a sucker punch to naysayers who thought that Brand Nubian would be over without the quick-witted superstar Grand Puba; Jamar and X showed that they were quite capable of putting out a high quality product. This turned out to be a huge no-no in Islam.