Top Ten Commercial RnB Albums of the 1990s and beyond
Dec 09 '03
The Bottom Line It's the only commercial RnB albums you need to bother with. Period.
For a genre that has produced so many great singles, there are a shamefully low amount of truly great RnB albums. Like pop, the energy and vitality of commercial RnB can rarely (if ever) carry the weight of an entire album without losing what makes it irresistable. All too often, the only great (or even good) songs are the singles (though there are the bizarre flukes when the only tracks worth listening to are the non-singles- for example Kelly Rowland's solo debut).
Soul, of course, is a different matter. The complex emotions invoked in the cream of soul music can rarely be translated to the three minute rush a single requires. The early 1990s was a barren time for soul music, resulting in the explosion of nu-soul in the mid to late stages of the decade, marking the fruitful careers of such talents as D'Angelo, Jill Scott, Erykah Badu, Maxwell, Meshell Duhblablabla (I'm never going to be able to spell that woman's damn name) and Angie Stone.
However, I'm not including nu-soul on this list, for the simple reason that if I did so, all the RnB records would be pushed out of the top ten. To make a successful modern RnB record is infinitely more difficult than producing a nu-soul one, because the latter genre is much more suited to the medium. The achievement of a modern RnB record that stands the test of time is one that should be celebrated and congratulated, and so I bring you the Ten Best Commercial RnB Albums of the 1990s and beyond.
10) R Kelly- 'R in RnB' (2003)
The only male on the list in this most chick orientated of genres, that arrogant title says it all. Putting a greatest hits on this list may be cheating, but it just shows how difficult it is to make a coherant album in this field. From the summery superficiality of breezy classic "Ignition (Remix), to the heady swoons of the ultimate slow jam "Bump N Grind", to the guilty pleasure that is the irresistably trite anthem "I Believe I Can Fly", this retrospective is solid proof that the Pied Piper of RnB has mastered the form.
9) Aaliyah- 'One In A Million'/'Aaliyah' (1995/2000)
Commerical RnB's fallen soldier, it's tempting to assume the acclaim heaped on the girl with a voice even thinner than her taut figure is due simply to posthumous respect. However, assuming so doesn't do the sci-fi cool of her last two albums justice. Timbaland's masterpiece (his 'Illmatic', if you like) 'One In A Million', is more consistent and intoxicatingly aloof (the tacky 'One I Gave My Heart To' being the only track letting the side down), but the titular third LP reaches much greater heights. 'We Need A Resolution' is THE last word in the constant RnB battle between arrogant players and neck shakin', money makin', terminally man-bashing sistas- the lyrics are uncommonly sophisticated and resigned, and the Arabian beats arguably marked the beginning of commercial urban music's current love affair with all things Eastern. And on numbers like "Rock The Boat" (so sexy it's got to be illegal in some states), "I Care 4 U" (slinky jazz number meets 'The Matrix') and -particularly- the tour de force that is exhilarating ballad "I Refuse", Aaliyah fulfills her considerable promise and then some.
8) Sugababes- 'Angels With Dirty Faces' (2002)
The future musn't have looked too bright for multi-racial teenage act the Sugababes in summer 2001. Their critically acclaimed debut 'One Touch' caught the attention of the music press but was met with a yawn of disinterest by the record buying public, who simply couldn't put the 'Babes into a comfortable genre box. Indeed, the Sugababes must be a marketing nightmare- their music is pop/hip-hop/Rnb/rock/trip-hop/soul/garage, made by teens with unconventionally attractive looks who REFUSE to smile during photoshoots and reportedly fight with each so much they make the hiphop feuds that characterise US hip hop look like girly playground scraps.
Not only that, but white 'Babe and main songwriter Siobhan Donaghy decided she'd had enough of scary Philippino 'Babe Mutya's bullying and being 'pimped' by their record company, and left the band halfway through an interview during a promotional tour of Japan, telling the other girls she was "going to the toilet". Their record company promptly dumped them, and it was assumed that the 15 year olds would never be heard from again....
Six months later, and they blast onto MTV with a new record deal, a new member in pretty Caucasian Heidi (who became the token "smiley" 'Babe) and an audaciously punky remix of Adina Howard's "Freak Like Me". They soared into number one slot and promptly become one of the most sort after bands in Britain. This album discarded the smooth harmonies and teen angst of their debut for a altogether more seductive mix of endearing teen self-satisfaction (the afore mentioned single and the standout of the disc, "Virgin Sexy"), ingenuous hooks (as on the smash hit "Round Round"), and their trademark moody defiance (the trip-hoppy "Stronger"). It's modern RnB at it's most inventive and intelligent, earnest and tongue-in-cheek in equal measures. I strongly advise you to check it out.
7) Mary J Blige- 'My Life' (1994)
Self-proclaimed Queen of Hip Hop Soul (is anyone else bored of hearing her called this every five minutes?), Mary's sophomore effort is her most autobiographical, and thus her most compelling. "Be With You" is worth the price alone, and the constant pained odes to obsessive love are oddly uplifting.
6) Kelis- 'Kaleidoscope' (2000)
Nas' fiancee and fashion designer Matthew Williamson's muse is an interesting comparison to the Sugababes- like them, she's not the prettiest member of modern RnB's current stable, nor the most talented, but she's far and away the most sophisticated and interesting. Her follow up to this ("Wanderland") was such a scarily unsuccessful flop that it's somewhat eerily been completely erased from her official biography, and at present this remains the only LP that matches her potential. Not only did she get the Neptunes to work on a level other than autopilot (on the screamy trip that is "Caught Out There"), but she manages to both make you want to strut yours on slick gems like "Good Stuff" AND be desperately evocative and poignant on dreamy pseudo ballad "Get Along With You". This is ecletic but coherant, poised but honest stuff. She might not be as beautiful as Beyonce, or be able to hit those gospel notes in quite the same way, but honestly- who would you rather have a conversation with?
5) All Saints- 'All Hits' (2001)
In many ways the proto-Sugababes, the perenially squabbling Saints were constantly overshadowed by the only other Brit gal band of the time, the dreaded Spice Girls, something that must have been incredibly frustrating, because these girls can actually sing and write, and made some of the best RnB of the late ninetees.
Again, including a greatest hits is slightly cheating, but their lifespan was so short that this can pretty much be regarded an album in it's own right. They cover and master every aspect of commercial RnB, from heartbroken anthems (the epic "Never Ever"), trip-hop inspired sullenness- the Saints were often produced by none other than the non-Beth half of Portishead- (the inspired interpretation of the Chilli's "Under The Bridge" and the urban twinkle of "Black Coffee"), and rump shaking party joints ("I Know Where It's At" and "Bootie Call").Even sole black member (and key songwriter) Shaznay's woefully inadequate and thankfully infrequent attempts at rap (which earned her the nickname 'Bart'- listen and you'll see why) are endearing rather than annoying. ALmost every song on here got to number one in England, and there is not ONE bad or even mediocre song on this collection. Any fan of Rnb needs this in their collection.
4) TLC- 'Fanmail' (1999)
Five years after they conquered the world, one of the best selling girl bands of all time swanned back into the now vastly different arena that made them superstars (ie commercial RnB) and systematically wiped the floor with the competition. The retro swing beat preoccupations of "CrazySexyCool" have been replaced with serpentine robotica and predatory beats and lyrics. While not quite as likeable and listenable as their second LP, this is still a near-perfect slice of pre-millenial RnB at it's best, from infectiously raucous bangers like "Silly Ho" and the joyfully pornographic "I'm Good At Being Bad", to deliberately distant computerised jams like the title track, "Fanmail" is the mark of an outfit at the peak of their creativity. Modern classic.
3) Destiny's Child- 'The Writing's On The Wall' (1999)
Oh how easy it is to deride Texan lovelies Destiny's Child. From the ludicrously obvious pushing of lead member Beyonce Knowles (this is what you call a BAND?!?) to the shamelessly materialistic preoccupations of pretty much every one of their considerable roster of world conquering megahits, the Child are a band designed for the loftier minded of urban music fans to mock. They overenunciate. They praise God then put on pseudo-strip shows. They sack members everytime one p!sses off Miss Knowles. And they make some of the most memorable pop music of recent years. Destiny's Child's might have mastered the form of the single, but this remains their only truly satisfying album. There really isn't one bad song- each confection is catchier, better produced and more satisfying than the last, climaxing in the simple poppy RnB genius of "Jumpin' Jumpin'", "So Good", "She Can't Love You, "Bills, Bills, Bills", "Say My Name"....do you want me to go on? Perhaps the biggest guilty pleasure on this list, the Child can be slinky, boistress or soulful depending on the demands of the song in question. By the end (perhaps Timbaland's best ever RnB song "Get On The Bus") the efficiency and professionalism on show is almost exhausting. Miss Knowles, we salute you. Just let poor Michelle get a slice of the action sometimes- you know, that one standing at the back in the trousers and making the dance routines look more even. And no, the middle eight doesn't count.
2) Janet Jackson- 'The Velvet Rope' (1997)
Gay icon Janet Jackson's career is a celebration of the potency of commercial RnB- since '86 she's constantly matched her older brother in the catchy pop stakes. However, while Jacko churned out classic album after classic album, Janet's concept albums never really had the same resonance. Until, that is, 1997, when, fuelled by severe depression, she made this CLASSIC slice of commercial RnB at it's darkest. From severely poppy (optimism on crack "Together Again") to hip hop at it's smoothest (the stone cold classic "Got 'Til It's Gone"), Janet could retire tomorrow in the knowledge that she has made one the best RnB albums ever. Too many highpoints to mention, but perhaps most arresting is the poisonous "What About", which starts with sweet nothings on a beach and ends in punk rock castration.
1) TLC- 'CrazySexyCool' (1994)
The album that created a thousand imitators. Nearly ten years on and the gloriously chilled sophomore LP from RnB's all purpose supergroup still sounds fresh as the day it came out. The two elements that truly set this apart from all other pretenders are the affectionate bestottal with retro RnB stylings, and the curiously depressed nature of a lot of the seemingly cheery songs. Beneath the blase promiscuity of "Creep" is a deep-rooted jadedness more profoundly sad than any emo-rocker could hope to express. And everyone heaping praise on the Black Eyed Peas' "Where Is The Love" need only listen to "Waterfalls" to put that song in it's place and make them realise how social dismay should REALLY be done. Also, unlike most other RnB groups, each member is allowed to shine and display their voice, be it the aphrodisical purr of T-Boz (the Cool) on the hits, the sensual moans of Chilli (the Sexy) on Viagra-put-to-music "Let's Take Our Time, or the pleasingly childlike rap stylings of the much missed Left Eye (far and away the Crazy) on bouncy party numbers like "Switch". Everytime you get frustrated at the often dire state of modern RnB albums, simply take a deep breath, pull out this CD, and remember that when this genre is done properly, it can't be beaten. Game, set, and match to the ladies from Atlanta. Diggin' on you indeed.
 |
|
|
|
|
|
|
Epinions.com ID:
kookytree
|
|
Reviews written: 52
Trusted by: 46 members
About Me:
mais lindo que michael jackson!
|
|
|
© 1999-2009 Shopping.com, Inc.