#90's r&b music

[jourdepluie91]

Brandy Norwood

Simply known as Brandy, she was one of the most popular R&B artists of the 90s and is known for her distinctive sound, characterized by her peculiar timbre, voice-layering, and intricate riffs, which has earned her the title of "the Vocal Bible".

[hiphophardware]

D'Angelo

[beyondthesurface]

Moesha (1996)

[dillweed1236]

(1991) 2pac x The Digital Underground - Same Song

[yemme]

SWV.... Tiny Desk black card shinin' like hell this month...

[randomvarious]

Today's compilation:

Women & Songs 4 2000 Adult Alternative / Singer-Songwriter / Pop / Adult Contemporary / Dance-Pop / R&B / Country-Pop

Me, sitting in a packed boardroom in the Canadian offices of Warner Elektra Atlantic in ~1997:

"OK, OK, hold on, hold on, wait..."

*closes eyes and lightly pinches bridge of nose with thumb and index finger*

"I just got this brilliant fuckin' idea."

*takes an enormous bong rip and then exhales while gathering thoughts*

"OK, so, y'know, like...people...they love women, right? But another thing that they also love is songs too, right? So, like...see if you can follow me here...what if, like, we took women, but then, like, what if we also took songs...and then, like, what if we somehow managed to...put them both together...?!? 🤔🤯"

*The CEO of the company takes the stubby cigar from his mouth and places it in his ashtray. He then removes his glasses, gently places them on the table, and rubs his eyes a few times as he carefully mulls over what I've just said. He then gets up out of his seat while a grin starts to form on his face, and proceeds to clap slowly, with each successive clap coming more quickly than the previous one, which then leads to a universal round of applause and standing ovation from everyone else in the room. The CEO then pulls me aside and says the following into my ear...*

"See, RV, this is why we're paying you the big bucks."

*He shakes my hand vigorously and then proceeds to give me a million dollars 😀*

---

Y'know, I've posted *a lot* about *a lot* of different compilations over the years, but the first installment in Canada's Women & Songs series is one that's probably going to stick with me until the day that I die; not because it presents a terrific encapsulation of the female singer-songwriter boom of the mid-to-late 90s—which it so totally does—but because of the plainly awful and absurdly low effort that went into both naming and packaging it. It's like, you'd think it was being put out by someone who had just decided to invest in a CD burner and then sell their own bootleg releases that'd been comprised of songs that they'd downloaded off of Napster or something; but no—this shit *actually* came from the greenbacked behemoth that was WARNER ELEKTRA ATLANTIC instead! And for whatever reason, the folks there *really* couldn't be bothered to spare a few more bucks or literally thirty seconds to come up with something that was even a little slightly better than Women & Songs and these atrocious album covers. It's really all just so ridiculous when you think about it, and because of that, it's also very unforgettable as well.

But anyhoo, just like its first volume, this fourth one from the series is really nothing short of excellent too, as it provides a fantastic and diverse array of female-led gems that had specifically been lighting up the Canadian charts in some capacity dating back to 1996. We've got superstar divas like Janet Jackson, Toni Braxton, Tina Turner, Madonna, and Whitney Houston; we've got the country-pop stylings of Faith Hill and LeAnn Rimes; we've got summer romcom staple "Breathless" by The Corrs, one of the single-greatest radio pop songs of the 90s in Natalie Imbruglia's version of "Torn"—believe it or not, she was actually, like, the fourth person to record and release that song—we've got Tracy Chapman, Veruca Salt's Nina Gordon on a well-translated adult alternative tip (anyone else remember "Volcano Girls"?), teen poppers All Saints, and we've also got Dido's "Here With Me," which was co-produced by none other than the great Rick Nowels, a guy whose own exploits have somewhat quietly managed to enrich the careers of so many other female pop stars too, from Stevie Nicks, to Belinda Carlisle, to Celine Dion, to Adele, to Alessia Cara, to Dua Lipa, to Lykke Li, to FKA Twigs, to Madonna, and Lana Del Rey 😯.

But because the Canadian music industry itself has a natural inclination to insularly market and promote a lot of the country's very own artists, there's also a showcase of some really talented women on here whose names you probably wouldn't recognize unless you were Canadian yourself; and that's a bit of a shame, because Pickering, Ontario's own Sarah Slean, for instance, really brings it with a beautifully woven and rich tapestry called "High," which first appeared on her independently released debut album, Blue Parade, in 1998. Trust me when I say this: if you really love all those singing-songwriting ladies of the 90s, like Fiona Apple, Sarah McLachlan, Natalie Merchant, Paula Cole, Jewel, Tori Amos, etc., you're gonna wanna hear this Sarah Slean song as well, because while it's definitely in a similar vein to all of those women, it's also pretty uniquely wonderful too 👍.

And speaking of Sarahs, I usually don't go for classical crossover-type fare, but Sarah Brightman's rendition of Procol Harum's "A Whiter Shade of Pale" here is especially lovely. It's a highly effective combination of her own soprano, a lush arrangement of orchestral strings, and an unexpected infusion of a contemporarily cinematic trip hop-type of drum beat that really manages to satisfyingly bring the whole thing together. Awesome, and dare I say, (le) epic, stuff.

And I can't leave here without briefly marveling over Whitney Houston's "My Love Is Your Love" too, which Wyclef Jean and his frequent collaborator Jerry Duplessis lent their own subdued Fugees production style to back in 1999. Such a beautiful collaboration with that one, the likes of which I'm not sure that we've ever really heard anything similar to since. Maybe my favorite song on this entire album 😊.

So, in conclusion, women and songs are both great on their own, but once again, as the wea conglomerate has shown us, when you actually decide to combine 'em, it can really yield something special. And I know it's kind of a wild concept that might be a bit difficult to grasp at first, but I think if you give this thing a shot, you'll be able to hear a lot of the mid-90s-to-y2k greatness that came as a result of this purely abstract, out-of-the-box thinking. A bunch of quality music on here, and with some focus specifically put on Canada too, but just make sure to do yourself a favor and skip over the totally uninspired opening that is Madonna's cover of Don McLean's "American Pie," because that thing is BAD.

Highlights:

Faith Hill - "Breathe" The Corrs - "Breathless" Chantal Kreviazuk - "Before You" Janet Jackson - "Together Again" Natalie Imbruglia - "Torn" Tracy Chapman - "Telling Stories" All Saints - "Pure Shores" Toni Braxton - "You're Making Me High" Dido - "Here With Me" Nina Gordon - "Tonight and the Rest of My Life" LeAnn Rimes - "How Do I Live" Tara MacLean - "If I Fall" Whitney Houston - "My Love Is Your Love" Sarah Slean - "High" Sarah Brightman - "A Whiter Shade of Pale"

[possible-streetwear]

Lauryn Hill

[scorpionextdooor]

[alexvnderblvck]

Alex Vaughn x Muni Long- IYKYK by Alexander Black

@alexvnderblvck

[jourdepluie91]

Mariah Carey 🦋

Referred to as the "Songbird Supreme" by The Guinness Book of World Records, she is regarded as one of the greatest singers in the history of music and is noted for her songwriting, five-octave vocal range, melismatic singing style and signature use of the whistle register. An influential figure in popular music, Carey is credited with influencing vocal styles, merging hip-hop with R&B and pop through her collaborations and popularizing remixes.

Carey rose to fame in 1990 with her self-titled debut album under the guidance of Columbia Records executive Tommy Mottola, whom she later married in 1993. She is the only artist to date to have their first five singles reach number one on the Billboard Hot 100, from "Vision of Love" to "Emotions". Carey gained worldwide success with her albums Music Box (1993) and Daydream (1995)―both of which rank among the best-selling albums and spawned singles such as "Dreamlover", "Hero", "Without You", "Fantasy", "Always Be My Baby" and "One Sweet Day". The lattermost of these topped the US Billboard Hot 100 decade-end chart (1990s). After separating from Mottola, Carey adopted a new urban image and began incorporating hip-hop and R&B elements with the release of Butterfly (1997) and Rainbow (1999).

Her album Butterfly has been credited for revamping Carey's image as a pop star where she began to embrace hip hop and R&B themes and fully come into her own self, resulting in butterflies becoming a metaphorical symbol of her impact and legacy upon pop and R&B music.

By the end of the 1990s, Billboard ranked Carey as the most successful artist of the decade in the United States. She left Columbia Records in 2001 after eleven consecutive years of US number-one singles and signed a record deal with Virgin Records.

Following a highly publicized breakdown and the failure of her film Glitter and its accompanying soundtrack, Virgin bought out Carey's contract, and she signed with Island Records the following year. After a brief, mildly successful period, Carey returned to the top of the charts with The Emancipation of Mimi (2005) which became one of the best-selling albums of the 21st century. Its second single, "We Belong Together", topped the US Billboard Hot 100 decade-end chart (2000s).

In 2018 she released the album Caution. The lead single With you became Carey's highest-charting non-holiday song on the US Adult Contemporary chart since "We Belong Together" in 2005. It was followed by a second single, A No No, a R&B and hip-hop track which samples Lil' Kim's Crush on You" (1997) . Caution received universal acclaim from critics; it debuted at number five on the Billboard 200.

Her subsequent ventures included roles in the films Precious (2009), The Butler (2013), A Christmas Melody (2015), and The Lego Batman Movie (2017), being an American Idol judge, starring in the docu-series Mariah's World, performing multiple concert residencies, and publishing the memoir The Meaning of Mariah Carey (2020).

Carey has been called a pop icon and has been labeled a "diva" for her stardom and persona. She said, "I have had diva moments, and then people can't handle it. I guess it's a little intense, because I come from a true diva: My mother is an opera singer. And that's a real diva, you know—Juilliard diva. And I mean it as a compliment, or I wouldn't be the person I am without experiencing that."

Her style has often been described as "eccentric" and "over the top". Writer Noah Berlatsky noted that "Carey has always reveled in uber-feminine, girly imagery", with her album titles such as Butterfly, Rainbow, Glitter and Charmbracelet being prime examples.

Carey is one of the best-selling music artists, with over 220 million records sold worldwide and is an inductee of the Songwriters Hall of Fame, the National Recording Registry at the Library of Congress and the Long Island Music and Entertainment Hall of Fame.

[hiphophardware]

TLC - Crazy Sexy Cool (1994)

[kellymagovern]

Dionne Farris - "I Know" [x]

[dillweed1236]

Dr. Dre, Snoop & The D.O.C preforming Let Me Ride during the Up In Smoke tour (2000).

[ultraviolethypno]

ARGGHHH i have to go back to work tomorrow but i dont wanna!!! somebody come here and be my stress ball!!!

[randomvarious]

Today's compilation:

KissFM Flashback: Best of Love 1998 R&B / Adult Contemporary / Pop / Soul / Arena Rock / Pop-Rock

Funny thing about this pretty anodyne and somewhat random assortment of love songs from the Warner Elektra Atlantic catalogue that span between the late 70s and late 90s is that, had you not recognized the radio station logo that's on this album's cover, you'd probably have no idea that this was actually a Finnish release. And that seems to be because of two intertwined things: one, naming your radio station Kiss FM is like the equivalent of naming your American town Springfield; like, I'm pretty sure it's the most popular name for a radio station in the entire world, which also makes it the most generic. And because it's the most generic name for a radio station, it also then makes sense that its own tracklist would not provide a single clue as to where this particular Kiss FM station itself was actually located.

Which I guess just also goes to show how generic the market was overall for one of those hit European radio stations that played a mix of 'the hits from yesterday and today' in the late 90s, because not a single song on this release is actually Finnish-made itself, which would definitely lead you to think that it's not actually Finnish when it so totally is! 

But all that said, despite there not being anything to actually individualize this comp from any other similarly-scoped Euro comp out there, this thing nevertheless still manages to kick itself off with a pair of my all-time favorite big hits of 1996: the terrific Todd Terry remix of Everything But the Girl's "Missing," which was not just undoubtedly that year's single biggest commercial house hit, but was one of its biggest radio hits, period, too; and British one-hit wonder Donna Lewis' dreamy and ever-so-soft disco-pop-slow-dance smash, "I Love You Always Forever," which subtly built up all this tension with an unwavering bassline chug that smacked of the stuttering opening seconds from Survivor's own "Eye of the Tiger," and then suddenly released it all with a much louder and very catchy bridge that was outfitted with some handclaps and sharp, rich, and powerful keyboard chords. Sounds like a ballad that Cyndi Lauper might've made had she been born a decade later, and to that same end, a really lovely tune.

And another thing you might be interested in is that if you wanna hear iconic Swedish teen pop producer Max Martin's signature mid-to-late 90s sound applied to something before he managed to launch the Backstreet Boys into the stratosphere himself, there's Papa Dee's euro-reggae-pop cover of P.P. Arnold's "The First Cut Is the Deepest," which has that same smack-clappy backbeat sound that would define much of BSB's own output. Not gonna say that I particularly enjoy this song at all, but it's still intriguing to hear the Martin sound on something else prior to BSB.

And lastly, we have Lutricia McNeal's largely forgotten cover of Barbi Benton's "Ain't That Just the Way." If you dig that softly bouncy, hip hop-laced contemporary R&B sound of the mid-to-late 90s that made the careers of people like Mary J. Blige, Brandy, and Monica, this Oklahoma City native who ended up launching her career in Sweden and scoring this hit there is a good one too. After hitting big in Europe, "Ain't That Just the Way" crossed over here into the States and achieved moderate success as well, and while it never ended up earning itself the Grammy-winning plaudits of something like The Fugees' Lauryn Hill-led cover of Roberta Flack's own Grammy-winning "Killing Me Softly with His Song," I happen to think that the two tunes dovetail pretty perfectly with each other as 1996 R&B companions 👍.

So, a pretty lame Finnish comp of love songs with most of a selection that could fool anyone into thinking that it actually came from any one of a number of stations named Kiss FM in America instead, but nevertheless, some great intercontinentally popular hits from 1996 on here anyway 😌.

Highlights:

Everything But the Girl - "Missing (Todd Terry remix)" Donna Lewis - "I Love You Always Forever" Simply Red - "If You Don't Know Me By Now" Lutricia McNeal - "Ain't That Just the Way" Mr. Big - "To Be With You" Damn Yankees - "High Enough"