Excessive confidence is often seen as arrogance, but when it comes to describing Deion Sanders around 1994, words might fall short. Perhaps the closest description is “feeling himself”—a phenomenon of self-assuredness echoing through figures from ancient myths to modern icons like Kanye West. It’s this very spirit that is perfectly encapsulated in his music video, “Must Be The Money”.
It’s debatable whether the video for “Must Be the Money” represents the ultimate expression of self-confidence, but it certainly sets a high bar. Of course, Sanders, a Hall of Fame defensive back and former major league baseball player, had contemporaries in the realm of confident expression. Consider Oakland rapper Mac Dre, whose “Feelin’ Myself” is a hyphy anthem, a sonic embodiment of self-assurance that surpasses any self-help guru’s advice.
And who could overlook the otherworldly swagger of Nicki Minaj and Beyonce? Their own collaboration, “Feeling Myself,” redefined perceptions of feeling oneself, basketball jerseys, and the dynamic between R&B and rap. Yet, there’s a compelling argument that Neon Deion’s “Must Be the Money” deserves its own prominent place in the hall of fame of self-esteem anthems.
You might assume the title of this piece is inspired by the Nelly song of the same name. However, Prime Time, with his lightning speed both on and off the field, got there first, releasing his track half a decade earlier. There’s a well-known skepticism towards professional athletes venturing into rap. Beyond figures like Shaquille O’Neal, and possibly Allen Iverson, few have garnered genuine respect in the music industry.
This skepticism isn’t entirely unfounded. Shaq’s musical endeavors benefited from the talents of ghostwriters and producers of the highest caliber, including The Notorious B.I.G., Jay Z, and DJ Quik, lending him an undeniable credibility. Both professional sports and music demand complete dedication to achieve greatness. It’s a stretch to expect an athlete, deeply immersed in their sport for most of the year, to simply step into a studio and become the next rap sensation during a brief off-season. However, this doesn’t preclude the possibility of creating a truly exceptional song.
Here’s where the revelation comes: Deion Sanders’ “Must Be the Money” is undeniably a great pop-rap track. Hip-hop purists often equate greatness with seriousness and depth. “Must Be the Money” isn’t trying to be “C.R.E.A.M.”, but music serves diverse purposes. Much like Mase’s “Feel So Good” or Will Smith’s “Getting Jiggy Wit It,” “Must Be the Money” is the quintessential soundtrack for those moments when you want to imagine your everyday water is replaced with the finest champagne, and you’re adorned in custom-tailored silk suits with a thread count exceeding your bank balance. It’s about aspiration and the allure of a high-rolling lifestyle.
Sanders released this track during a pivotal era in rap, amidst the rise of East Coast “Keep It Real” sensibilities and the dominance of West Coast gangsta rap. When he recorded it, Ready to Die was yet to be released, and the prevailing fashion was army fatigues and Timberland boots. In contrast, Deion Sanders emerged in attire so flamboyant it might have even made Puff Daddy pause. It was so ahead of its time that it strangely resonates with modern trends. Unknowingly, it served as a blueprint for the swagger-centric anthems of artists like Migos with “Versace” or Soulja Boy’s “Turn My Swag On.”
If Slick Rick pioneered swag, Deion Sanders amplified it, injecting it with turbo speed and an extra dose of confidence. After transitioning from the Atlanta Falcons to the San Francisco 49ers, Prime Time joined forces with MC Hammer, just before Hammer’s label, The Funky Headhunter, aligned with Death Row Records. In late 1994, Sanders’ debut and only album, Prime Time, was launched under Hammer’s Bust It imprint, a subsidiary of Capitol Records. Despite production from Dallas Austin and songwriting contributions from Too Short, the album peaked at #70 on the Billboard charts.
The lead single, “Must Be the Money,” didn’t climb the charts, but throughout the spring of 1995, it was a constant presence on video request channel “The Box.” It stands as such a robust endorsement of capitalism that it could easily win over a Republican primary. Years before the term “stunting” became commonplace, Deion Sanders essentially wrote the Stunting 101 manual. The music video showcases him signing a lucrative million-dollar contract on draft day, surrounded by admiring women, gazing into a mirror with a vest and a self-satisfied grin that Narcissus could only envy. The video even features cameos from Eric Davis, MC Hammer, and Darryl Strawberry. An in-depth oral history of this video shoot is definitely warranted.
Here’s another key point: Deion Sanders authentically lived the lifestyle he rapped about. He was not just one of the best cornerbacks in NFL history but also a swift-footed major league baseball outfielder with an impressive batting average. Alongside Bo Jackson and Jim Thorpe, he’s a strong contender for the title of greatest multi-sport athlete of all time. Unlike many rappers who boasted about wealth they didn’t possess, Sanders was genuinely wealthy. Shortly after the song’s release, he signed a 7-year, $35 million contract with the Dallas Cowboys, making him the highest-paid defensive player in the NFL at the time. This extravagant luxury was his reality.
Consider the song’s opening lines:
“You know ever since I turned pro in 1989, when I signed the dotted line/People’s strange, cause things change for the better and for the worse/So I called my momma and she said “Baby, must be the money.”
It’s essentially “Mo Money, Mo Problems,” but arriving three years earlier. Throughout the song, he articulates other truths about money. Despite the common saying that money shouldn’t change you, Sanders directly states: “money changed my address, my phone number, my wardrobe, my snakeskin shoes going to change into gators, my library card going to change into credit cards.” He understood the transformative power of wealth.
The man was clearly ahead of his time. While some criticize Sanders’ rapping style, he was blending rapping and singing styles years before Kanye West’s mainstream breakthrough. In a contemporary music landscape that praises artists like Yung Lean for their melodies, Deion Sanders sounds comparatively polished. He sported a pink suit a decade before Killa Cam made it a style statement. In the “Must Be the Money” video, there’s a copy machine churning out $100 bills as he confidently swivels in an office chair wearing a sleeveless vest. He embodied a level of flexing that was unprecedented. It’s time we recognize Deion Sanders for his true role: a pioneer in the intersection of sports, music, and the unapologetic celebration of financial success.
