Category: Hip Hop

R&B ballads dominated the charts in the early 90s, and Boyz II Men helped lead the charge. Alongside acts like Mariah Carey, Whitney Houston, Jodeci, and SWV, Boyz II Men proved that slow jams had marketable appeal. Forming in their native Philadelphia in 1988, the group signed to Motown Records about a year later thanks to a chance audition with Bell Biv Devoe.

In 1991, Boyz II Men released their debut album, Cooleyhighharmony. The multi-platinum LP featured hits like the New Jack Swing-inspired “Motownphilly” and their first chart-topper “End of the Road.” But it was the group’s sophomore album II – and its lead single “I’ll Make Love To You” – that solidified them as certified romantic crooners. Released in 1994, “I’ll Make Love To You” had all the elements to put female fans in a trance: lyrics that specifically targeted a woman’s desires, impassioned harmonies, and a music video starring actor Duane Martin to bring the vision to life.

The song was written by Kenneth “Babyface” Edmonds, who penned the track as a response to “End of the Road” (which he co-wrote). “The funny part is that we felt like it sounded too much like ‘End of the Road.’ We didn’t want to do it,” member Shawn Stockman told Entertainment Weekly in 2019. “We didn’t understand how much of an impact the song was going to have. That’s youth.”

The decision to add “I’ll Make Love To You” to II’s official tracklist worked in their favor: the single topped the Billboard Hot 100 for 14 weeks, making history as the first act to have consecutive double-digit runs on the chart while simultaneously breaking their previous record (“End of the Road” topped the Hot 100 for 13 weeks). “I’ll Make Love To You” also secured another record, tying for the most weeks at No. 1 with Whitney Houston’s 1992 single “I Will Always Love You.” If that wasn’t enough, the single also earned a Grammy Award for Best R&B Performance by a Duo or Group with Vocals.

Boyz II Men continued their reign throughout the decade, most notably with 1996’s “One Sweet Day.” With 16 weeks at No.1, the collaboration with fellow chart favorite Mariah Carey became the longest-running No. 1 song in the chart’s history. (The record was later broken in 2019 by Lil Nas X’s “Old Town Road.”)

Aside from its chart success, Boyz II Men’s “I’ll Make Love To You” has become a modern-day standard that has since been covered by artists like Justin Bieber and Brett Young, and performed on talent competitions like The X Factor UK and The Voice. It has also opened the doors for future male R&B crooners from Usher and Ne-Yo to Luke James and Lucky Daye, reminding us that romance will always be a winning formula.

Boyz II Men’s “I’ll Make Love To You” appeared on 2014’s NOW That’s What I Call Slow Jams, alongside other ballads like Usher’s “U Got It Bad” and Robin Thicke’s “Lost Without You.” Looking for more stories behind music’s biggest hits? Check out the Now! That’s What I Call Music page.

Browse Boyz II Men’s music on limited edition vinyl and CDs here.

​Discover more about the world’s greatest R&B artists | uDiscover Music

With the launch of user-friendly web portals like AOL and Prodigy, 1995 marked a watershed year for the intersection of technology and entertainment. In the mere seconds (and sometimes minutes) that it took to connect to dial-up internet, fans could interact with one another like never before, allowing for a greater opportunity to discover new music from around the globe. What albums were they excited about? In 1995, grunge was in full swing, rap reigned supreme, and the world couldn’t get enough of Britpop. Electronic music and rave culture were making their way into the mainstream, while the raucous sounds of pop-punk permeated the airwaves.

It was a landmark year for women in music, with outstanding solo releases from Alanis Morissette, PJ Harvey, Natalie Merchant, Shania Twain, and Cassandra Wilson, among others, while female-fronted bands like No Doubt, Elastica, and Garbage ruled the airwaves.

From the Foo Fighters’ best-selling debut to 2Pac’s introspective masterpiece, Me Against the World, here are the best albums of 1995.

Can’t get enough 90s music? Listen to our 90s Music playlist here.

63: Filter – Short Bus

Filter got big on the strength of the ubiquitous hit “Hey Man, Nice Shot” and the 1995 album Short Bus delivered more of the band’s signature guitar-heavy alt-rock.

62: AC/DC – Ballbreaker

Ballbreaker is a fun, riff-heavy blast from the kings of hard-rock.

61: Autechre ‎– Tri Repetae

Taking philosophical cues from the 80s hip hop and acid house that inspired them, Autechre’s Tri Repetae sounds like little else: Complex electronic music that demands multiple listens to unravel.

60: Black Grape – It’s Great When You’re Straight… Yeah!

Britpop meets breakbeats, It’s Great When You’re Straight… Yeah! is a fun, ecstatic, and slightly deranged bit of mid-90s sampladelic rock.

59: Blind Guardian – Imaginations From The Other Side

A brutal and high-energy maelstrom of metal, Imaginations From The Other Side enhances its hard edges with some interesting elements of folk and progressive rock.

58: Primus – Tales from the Punchbowl

A bizarre and fun mashup of metal, funk, and prog rock, Tales from the Punchbowl is controlled chaos and a brilliantly executed fusion of sound.

57: Dissection – Storm of the Light’s Bane

Dissection’s 1995 album Storm of the Light’s Bane is a blistering heavy metal workout whose fires are tempered with some beautiful melodic moments.

56: Xscape – Off the Hook

Composed of four singers who are all powerful soloists in their own right, Xscape’s strength is in their dense harmonies and sweet, catchy songs.

55: Silverchair – Frogstomp

With its heavy guitars and even heavier vocals, the 1995 album Frogstomp and its standouts “Tomorrow,” “Leave Me Out,” and “Findaway” still hold up beautifully.

54: Suffocation – Pierced From Within

A manic slice of fire and pure brutality, Pierced From Within is the sonic equivalent of an exorcism.

53: The Highwaymen – The Road Goes on Forever

Composed of some of country music’s biggest names, this final album by The Highwaymen was a fitting send-off, with highlights including the title track and “Live Forever.”

52: Cassandra Wilson – New Moon Daughter

A dreamy, and musically rich work, New Moon Daughter was the breakout album that established Cassandra Wilson as one of the greatest jazz vocalists of her generation.

51: Big L – Lifestylez ov da Poor & Dangerous

A virtuosic MC and magnetic personality, Big L shines on his debut. Unfortunately, his career was cut short when he was killed four years after Lifestylez… was released in 1995. The album remains a beloved classic and a bittersweet glimpse at his potential.

50: A Guy Called Gerald – Black Secret Technology

A riveting drum & bass exploration from 808 State’s A Guy Called Gerald, Black Secret Technology is an Afrofuturist masterpiece.

49: DC Talk – Jesus Freak

Inspired and righteously driven, DC Talk’s Jesus Freak injected 90s alt-rock with a populist, Christian message.

48: Elliott Smith – Elliott Smith

Led by the arresting opener “Needle in the Hay,” Elliot Smith is a heartbreaking record whose power and vulnerability is transformative.

47: Green Day – Insomniac

Snotty, energetic, and anthemic, Green Day’s 1995 album Insomniac is pure pop-punk goodness.

46: Queen – Made in Heaven

The final album created by Queen before the passing of Freddie Mercury, Made in Heaven is a soaring, heartfelt masterwork.

45: The Orb – Orbus Terrarum

A dreamy and ethereal journey, Orbus Terrarum highlights The Orb’s gift at making electronic music that requires us to reflect on the beauty of the natural world.

44: Blur – The Great Escape

With brilliant hits like “Stereotypes,” “Charmless Man” and “Country House,” The Great Escape helped solidify Blur’s status at the top of the Britpop food chain.

43: Natalie Merchant – Tigerlily

Subtle, soulful, and intentional, Natalie Merchant’s Tigerlily is an emotional powerhouse of a record. “Wonder,” “San Andreas Fault,” and “I May Know The Word” are standout examples of Merchant’s depth and power as a singer.

42: Bruce Springsteen – The Ghost of Tom Joad

Packed full of emotionally arresting and understated moments, The Ghost of Tom Joad is a powerful and underrated addition to Springsteen’s incredibly deep catalog.

41: Jodeci – The Show, the After Party, the Hotel

A slow-burning and sensual exploration of love and desire, The Show, the After Party, the Hotel was not only a classic upon its release, it continues to influence R&B today.

40: Fugazi – Red Medicine

Distorted, furious, and righteous, Fugazi’s Red Medicine has a hardcore heart with grooves that are funky and hypnotic.

39: Garbage – Garbage

Cutting-edge when it was released, Garbage’s self-titled debut still sounds fresh decades later. The band’s fresh combination of rock and electronica shines while Shirley Manson leads the way with flamboyance and fire.

38: Goodie Mob – Soul Food

With songs like the dystopian nightmare “Cell Therapy” and the transcendent gospel cut “Free,” Goodie Mob’s debut Soul Food proved that hip hop was ready for an injection of southern soul and intellect.

37: Elastica – Elastica

Fiery and anthemic, Elastica is a refreshing 90s take on punk and New Wave.

36: Sonic Youth – Washing Machine

Sonic Youth spent the 90s building a comfortable bridge between the worlds of noise/experimentalism and underground guitar rock. On Washing Machine, songs like “Little Trouble Girl” and “The Diamond Sea” find the band offering up some of their most melancholy and pop-influenced moments.

35: Moby – Everything Is Wrong

Whether we’re being hit with a blissful dance anthem like “Everytime You Touch Me” or the furious breakbeats on “Let’s Go Free,” Everything Is Wrong is fun, well-executed electronica.

34: Ol’ Dirty Bastard – Return To The 36 Chambers

A bizarro trip into the mind of Ol’ Dirty Bastard, Return To The 36 Chambers is the wildest of the Wu Tang’s early run of classic solo albums.

33: Oval – 94 Diskont

A gorgeous collection of ambient pieces, Oval’s 94 Diskont could be released tomorrow and still sound cutting-edge.

32: Pavement – Wowee Zowee

Bittersweet, rocking, and funny, the 1995 album Wowee Zowee is anchored by moments of genuine vulnerability that poke out from behind the songs’ wry exterior.

31: Buju Banton – ‘Til Shiloh

In addition to the all-time classic reggae cut “Champion,” ’Til Shiloh is pure, unfiltered 90s dancehall.

30: Supergrass – I Should Coco

Supergrass’ 1995 debut I Should Coco is a remarkable work full of big bold anthems like “Caught By The Fuzz” and the timeless hit “Alright.”

29: Teenage Fanclub – Grand Prix

An infectious, power-pop romp, Teenage Fanclub’s Grand Prix is smart, catchy, and concise.

28: The Pharcyde – Labcabincalifornia

A much more mature and understated record than their debut, Bizarre Ride 2 the Pharcyde, Labcabincalifornia is full of introspective rhymes and lush production from J Dilla, Diamond D, M-Walk, and The Pharcyde themselves.

27: Bone Thugs-N-Harmony – E 1999 Eternal

Coming straight out of Cleveland, Ohio, Bone Thugs-N-Harmony challenged rap’s coastal dominance with an unlikely melding of hardcore gangsta rap, breezy melodic lines, and soulful vocal harmonies.

26: Foo Fighters – Foo Fighters

The Foo Fighters self-titled debut is packed with well-crafted songs that can be sweet and breezy (“Big Me”) or heavy and driving (“Good Grief”). Although the band would go on to have much larger hits, Foo Fighters charted a new path for mainstream rock.

25: D’Angelo – Brown Sugar

Refracting 70s funk and soul through the lens of 90s hip hop and R&B, D’Angelo’s debut was a cultural reset whose influence is still shining.

24: Basic Channel – BCD

Basic Channel’s BCD is a striking fusion of Detroit Techno-style synthesis and rhythms with the echoed-out ghost of Jamaican dub.

23: Rancid – …And Out Came The Wolves

With its rapid-fire verses and sing-along choruses, Rancid’s …And Out Came The Wolves epitomizes the anthemic nature of 90s punk.

22: Kenny Wayne Shepherd – Ledbetter Heights

With songs like “Shame Shame Shame,” “Riverside,” and “Everybody Gets The Blues,” Kenny Wayne Shepherd’s Ledbetter Heights is full of fiery, contemporary blues jams.

21: The Chemical Brothers – Exit Planet Dust

With its big, bombastic beats and acidic basslines, Exit Planet Dust perfectly captures the sound of mid-90s rave culture.

20: Kenji Kawai – Ghost In The Shell OST

Kenji Kawai’s Ghost In The Shell soundtrack is as grandiose and atmospheric as the classic anime that inspired it. Full of soaring choral vocals and minimalist percussion, the soundtrack is a colorful, compositional feast.

19: White Zombie – Astro-Creep: 2000

Full of big riffs, and daring sonic twists, Astro-Creep 2000 is a bizarre trip into the heart of darkness.

18: Leftfield – Leftism

Lush, organic, and groovy, Leftism creates a rich musical meeting point where dub, house, and ambient collide.

17: Mariah Carey – Daydream

Featuring enduring classics like “Fantasy” and “Always Be My Baby,” Daydream is pure pop perfection that’s full of soul.

16: Mobb Deep – The Infamous…

Hardcore yet melodic, violent, and introspective, Mobb Deep’s 1995 album encompasses the contradictions and power of New York hip hop in the mid-90s.

15: Jawbreaker – Dear You

Derided upon its release for its clean production and Blake Schwarzenbach’s changed vocals, Jawbreaker’s final album has come to be regarded as one of emo’s finest moments.

14: Björk – Post

Whether she’s tackling big band jazz (“It’s Oh So Quiet”), head-nodding hip-hop (“Army Of Me”) or minimalist electro-pop (“Headphones”) Bjork’s range and willingness to experiment establishes Post as one of the most eclectic and inspiring pop records of the 90s.

13: 2Pac – Me Against the World

With songs like “So Many Tearz” and the fantastic single “Temptations,” Me Against the World is a harrowing trip into the mind and soul of rap’s greatest poet.

12: Smashing Pumpkins – Mellon Collie & The Infinite Sadness

A nearly flawless double album of heavy rockers and emotionally rich ballads, Mellon Collie… is arguably Billy Corgan and The Smashing Pumpkins’ greatest artistic achievement.

11: Goldie – Timeless

With its beautiful string arrangements and cutting-edge production, Timeless was the most ambitious dance music record of its day. Cuts like “Inner City Life” and “Khemistry” make a strong case for drum & bass as soul music and the 90s expression of the Black British experience.

10: Pulp – Different Class

With funny and insightful tunes like “Common People” and “Disco 2000,” Jarvis Cocker and Pulp created a Britpop classic for the ages.

9: Tricky – Maxinquaye

A watershed moment in 90s popular music, Tricky’s debut combined hip hop, soul, dub, and punk and came out with a collection of songs that were practically burning with emotional power.

8: PJ Harvey – To Bring You My Love

Sharp as barbed wire yet tender and vulnerable, PJ Harvey’s To Bring You My Love is one of the rawest and unfiltered artistic statements of the 90s.

7: No Doubt – Tragic Kingdom

No Doubt’s Tragic Kingdom is a phenomenal 1995 album packed with beloved songs like “Don’t Speak,” “Just A Girl,” and “Sunday Morning.”

6: Radiohead – The Bends

With The Bends, it can be argued that Radiohead had long mastered rock before they reinvented it. Songs like “Fake Plastic Trees” and “High And Dry” are tried and true hits, but they’re still brilliant and powerful.

5: Oasis – (What’s The Story) Morning Glory?

“Wonderwall,” “Don’t Look Back in Anger,” “Champagne Supernova” and more, (What’s The Story) Morning Glory? is an era-defining classic that is packed with hits.

4: Raekwon – Only Built 4 Cuban Linx…

A surrealist crime novel masquerading as a rap album, Only Built 4 Cuban Linx’s dusty, sample-based beats are animated by Raekwon and Ghostface’s complex, slang-heavy, narrative-breaking wordplay.

3: Shania Twain – The Woman in Me

Impeccably written and produced, the 1995 album The Woman in Me is a gem of a pop-country record. Shania Twain holds it down with some outstanding vocal performances.

2: Alanis Morissette – Jagged Little Pill

A smash hit when it arrived in 1995, the album Jagged Little Pill distilled the angst and power of 90s alt-rock into a single collection of perfectly crafted songs.

1: Genius/GZA – Liquid Swords

Pulling its inspiration from martial arts films, Liquid Swords is not only a literary feast, its beats and GZA’s stoic demeanor throughout give the record a hard and dark edge.

Can’t get enough 90s music? Listen to our 90s Music playlist here.

​Discover more about the world’s greatest R&B artists | uDiscover Music

Though renowned for the splendor of their meticulously hand-sewn headdresses and suits, New Orleans’ Mardi Gras Indian tribes fundamentally represent solidarity, community, and resolve. Their origins may be traced at least as far back as the 1800s, when Native Americans – under punitive threat by federal authorities – sheltered and abetted enslaved African descendants seeking freedom. When pre-desegregation African-Americans were banned from (white) Mardi Gras Krewes, they paraded as Mardi Gras Indian tribes, commemorating their bond with Indigenous peoples. As New Orleans’ population evolved, they began to absorb Caribbean influences within their ritual costumes, dance, and music.

The latter’s Creole patois call-and-response chants and persuasive rhythms represent a true hybrid of cultures – like so many things distinctively New Orleans. By the mid-1970s it was also due for proper documentation. Chief Bo Dollis’ Wild Magnolias had already released well-regarded recordings fusing Mardi Gras Indian vocals with band backing. But George Landry, AKA Big Chief Jolly, founder of the Wild Tchoupitoulas, was positioned to do something even more special. Landry’s nephews just happened to be the city’s first siblings of soul and funk, Art, Charles, Aaron, and Cyril Neville. Art’s band, The Meters, were the most rhythmically revolutionary funk outfit this side of James Brown’s original JBs, and had long served as studio musicians for revered producer Allen Toussaint.

Listen to The Wild Tchoupitoulas self-titled album now.

That they all converge on the Wild Tchoupitoulas’ self-titled 1976 album alone makes it a milestone. That it also organically connects the dots between the disparate strains of the city’s musical heritages makes it one of the most wondrous representations of New Orleans ever recorded. As chief, Landry largely assumes front and center. His baritone – suitably raspy, considering his lyrical boasts of Mardi Gras Day fire water consumption – leads his other tribesmen and the Nevilles through festive rallying cries touting the superiority of the Tchoupitoulas’ suits, style, and panache in face-offs against rival tribes (the exuberant “Indians Here Dey Come” and “Big Chief Got a Golden Crown”; the ceremonial majesty of “Indian Red”). A lilting reggae groove with a calypso-inspired melody, “Meet De Boys On De Battlefront,” in particular, functions as both a chronicle of Carnival pageantry and a toast to the fierceness, in all respects, of the tribe and its ancestors: “I’m an Indian ruler from the 13th ward/Blood shief-a-oona I won’t be barred/I walked through fire and I swam through mud/Snatched the feathers from an eagle, drank panther blood.”

Providing the perfect counterbalance are the tracks more prominently featuring the Nevilles. A cover of The Meters’ “Hey Pocky Way” beautifully blends the brothers’ group harmonizing (Aaron’s unmistakable high-pitched timbre cutting through) with drummer Ziggy Modeliste’s signature second-line rhythmic riffing. “Brother John,” penned and sung by Cyril, exalts John “Scarface” Williams – Apache Hunters Indian and former singer with bandleader Huey Smith – who was killed breaking up a knife fight in 1972. Cyril would later describe the tribute to author David Ritz as an expression of “that weird mixture of violence and beauty that was part of our R&B street life.” He might very well have also been describing an album as unique as anything in the NOLA musical canon, whose joyous realization was generations in the making.

Listen to The Wild Tchoupitoulas self-titled album now.

​Discover more about the world’s greatest R&B artists | uDiscover Music

Among the huge soul and R&B talent to come out of the UK, Terri Walker – whose debut album Untitled was released in 2003 – is one of the country’s finest. Emerging alongside British R&B artists like Ms. Dynamite, Estelle, and Keisha White, Walker stood out with her vivacious personality and punchy, jazz-inflected vocals.

Born Chanelle Walker in London, she moved to Germany as a child to live with her mother and German stepfather, at which point she became Chanelle Gstettenbauer. (She flexes her fluent German on the Untitled interlude “Deutschland.”) She went to boarding school in the UK, studying opera and training briefly at the prestigious Italia Conti Academy of Theatre Arts. However, Walker was more inclined to follow in the footsteps of British soul divas Mica Paris and Beverley Knight.

Terri Walker’s Untitled is available on vinyl via the Black Story initiative. Order it now.

As she stepped into the industry, she rebranded herself “Terri Walker,” and lent her vocals to various UK garage tracks. After shopping demos around of her own music, she eventually signed to Def Soul UK. In March 2003, her debut album was released. The record, Untitled, is a statement of purpose. “I ain’t that stupid love fool,” Walker spits on the opening track “Love Fool,” setting the tone with honest, straight-talking R&B. Bringing together seasoned industry professionals like producer/songwriter Warryn Campbell (Mary Mary, Alicia Keys, Brandy) and bassist Pino Palladino (Elton John, D’Angelo, Jeff Beck), the album marries slick R&B grooves with jazzy flourishes, anchored by Walker’s charisma and attitude. She collaborates with rapper Mos Def on snappy rebuke “Guess You Didn’t Love Me” and shows her softer side on puppy love ditty “Ching Ching (Lovin’ You Still)” – which peaked at #38 on the UK charts, her highest entry.

Walker’s signature track and the album’s high point is “Drawing Board,” a shrugging anthem of indifference in the face of romantic disappointment. Ballads like the sensual duet “What Will I Do” and “Love You For Life” also widen the emotional range of the album and demonstrate Walker’s capacity for soul-baring vulnerability. She has a wail of a time on “Dirty Weekend,” ad-libbing over the brassy outro.

Despite its assured sound, Walker once told journalist Sope Soetan that she called the album Untitled because she was still finding herself. Nonetheless, the record garnered Walker four Music of Black Origin (MOBO) nominations and ushered in a cult following. She would follow with four studio albums, collaborate with producer Salaam Remi on the side-project Champagne Flutes, and record an album as part of the duo Lady with Nicole Wray. Nodding to the sense of uncertainty she felt when recording Untitled, Walker named her fourth album Entitled – reflecting her ultimate sense of belonging in the industry.

Browse our R&B / Soul / Funk collection featuring limited edition vinyl and CDs here.

​Discover more about the world’s greatest R&B artists | uDiscover Music

What constitutes a jazz record? It’s a question Robert Glasper doesn’t concern himself with too much. The classically trained jazz pianist has always straddled the two worlds of jazz and hip-hop, most audibly on pathfinding albums the likes of Black Radio, released on February 28, 2002. After moving from his native Houston to attend the New School in New York, he met neo-soul singer Bilal Oliver, who would become his frequent collaborator and introduction into the conscious hip-hop collective known as the Soulquarians. Its illustrious ranks was comprised of other members of the Black bohemia including Common, J Dilla, Questlove, D’Angelo, Erykah Badu, Q-Tip, and others.

With one foot in jazz and the other in hip-hop, Glasper made the gradual shift from the “acoustic Robert Glasper Trio,” from his Blue Note debut, Canvas, to the more hip-hop-oriented Robert Glasper Experiment. After 2009’s Double-Booked, which was equally split between his trio and the Experiment, it was time for the Experiment to step out on its own.

With only a five-day window to record in LA, Glasper took a very jazz-centric approach, consulting his digital Rolodex of singers, rappers, and other past collaborators to jump in the studio, resulting in a very collaborative and spontaneous recording process. With all instrumental tracks recorded live, often in a single take, it was a feat only a group as versatile as the Experiment could pull off. All four members — Robert Glasper, keys; Casey Benjamin, sax and vocoder; Derrick Hodge, bass; and Chris Dave, drums share a deep jazz pedigree that makes improvisation and collaboration with other artists an integral part of their musical makeup.

Within the diaspora that is “Black music,” Robert Glasper Experiment’s Black Radio, released in 2012, sought to connect all the divergent threads of styles, genres, and scenes into one cohesive sound within a jazz framework. Appealing to both jazz nerds and hip-hop heads, Black Radio is a landmark album that explored new musical territory and serves as a musical collage of hip-hop, jazz, neo-soul, R&B, and funk with genre-crossing guests.

Thanks to his cross-genre and generational appeal, the album simultaneously snagged a 2013 Grammy nod for Best R&B Album and entered the Billboard jazz charts at number one. Breaking out of the conventional thinking around jazz is both a driving point for Glasper and a selling point to the generations who never got down with Davis.

While Miles had flirted with the concept of a hybrid album with 1992’s Doo-Bop and Herbie Hancock helped introduced hip-hop to the mainstream with his breakout 1983 hit, “Rockit” the creative exchange between jazz and hip-hop had primarily been a one-way street, with hip-hop artists sampling jazz standards. Black Radio took a different approach, representing an offshoot of the music that hip-hop used to sample. Lupe Fiasco, who makes an appearance on the track “Always Shine” along with Bilal, summarises Glasper’s role perfectly:

“The precedent was set, it was just waiting for somebody who was a master with jazz, in its own right, to come in and bridge the gap.”

The end result is an album built on complex compositions, layered with mellow instrumentals, frantic break beats, soulful R&B vocals, and other post-bop incarnations. What ties all the improvisational threads together is Glasper’s continuous, gentle keyboards — providing a stable, sonic bedrock and guiding presence on the album.

Listen to Robert Glasper’s Black Radio now.

Although much of Black Radio is original material, it also contains multiple pop covers and jazz standards that bridge multiple musical boundaries. David Bowie’s “Letter to Hermione” gets a seductive R&B makeover, Erykah Badu transforms into a jazz chanteuse for Mongo Santamaria’s “Afro Blue,” Lalah Hathaway trips out on Sade’s “Cherish the Day” and Nirvana’s “Smells Like Teen Spirit” is barely recognizable with Cobain’s lyrics layered over a keytar and Rhodes piano, giving the band, Air a run for their money.

Two other standout tracks that represent different sides of the Black Radio dial are “Ah Yeah” the sultry duet between Musiq Soulchild and Chrisette Michele and the title track and lead single, “Black Radio” featuring freestyle verses from Yasiin Bey (formerly known as Mos Def). Named after the black box that records all the information from a plane crash, “Black Radio” serves as a metaphor for the durability of good music, even in turbulent times.

Black Radio can be bought here.

​Discover more about the world’s greatest R&B artists | uDiscover Music

From her beginnings as an outspoken queen of neo-soul to her later politically-charged salvos at the vanguard of contemporary R&B, Erykah Badu’s multi-hued, occasionally controversial career has never been less than captivating. Fusing jazz, soul, funk, and hip-hop in equal measure, here are the 20 best Erykah Badu songs, revealing the depths of her brilliance.

20: Hello

A highlight of Badu’s 2015 mixtape, But You Caint Use My Phone, this brilliant rework of the Todd Rundgren/Isley Brothers hit was a collaboration with former beau André 3000. The pair were a much-celebrated couple in the 90s and the duet was inspired by their son, Seven. It ends with the sound of their voices singing in perfect harmony – a testament to the power of family ties.

19: Other Side Of The Game

The third single released from her debut album, Baduizm, tells the story of a woman grappling with the moral dilemmas involved with supporting a romantic partner involved in criminal activity. Its subtle, slow-burning blend of jazz and R&B, driven by the deepest of bass grooves, typified the baby-makin’ sonics that made Baduizm one of the biggest breakout R&B hits of the 90s.

18: Window Seat

A sensual midtempo groover, New Amerykah Part Two (Return Of The Ankh)’s lead single gained infamy for its music video. Shot guerrilla-style, the film featured Badu walking through Dealey Plaza in Dallas, slowly taking off her clothes before being shot by an unseen sniper – an allusion to President John F Kennedy’s assassination at the same site.

17: Telephone

Written the day after she heard of J Dilla’s passing, “Telephone” is a heartfelt and moving tribute to her former collaborator, who died tragically young from a rare blood disease. The song was inspired by a conversation she’d had with the producer’s mother, who told her that Dilla would experience dreams in which the recently-passed Ol’ Dirty Bastard gave him directions home.

Listen to the best Erykah Badu songs on Apple Music and Spotify.

16: Back In The Day

Released in 2003 as a supposed EP that was actually longer than most artists’ full-length albums, Worldwide Underground’s immaculately executed analog grooves were exemplified by the deep basslines, dreamy keyboard runs and exquisitely funky guitars of this single – a nostalgic ode to youthful days spent smoking weed with friends.

15: Time’s A Wastin’

A highlight from her second album, Mama’s Gun, “Time’s A Wastin’” fuses funky bass lines with lush strings and playful keyboard interjections to underscore Badu’s cautionary tale to a young black man. The track ends with a delicious nod to rare-groove man Johnny Hammond’s “Can’t We Smile.”

14: Soldier

New Amerykah Part One (4th World War) found Badu taking a huge stylistic and thematic detour from her previous efforts. Its cutting-edge hip-hop sound – delivered here in the shape of an ethereal flute sample offset by sharp, clipped minimalist beats by producer Karriem Riggins – formed the backbone for the singer’s hard-hitting meditations on racial inequality and black oppression.

13: Fall In Love (Your Funeral)

Another Karriem Riggins production masterclass, “Fall In Love” epitomizes the warm, analog-soaked grooves that Badu returned to on New Amerykah Part One’s follow-up album, Return Of The Ankh. A luscious melding of R&B grooves and hip-hop swagger.

12: Tyrone (live version)

Flush from the huge success of her debut album, Badu released a live album – a bold move for someone at the start of their career. Towards the end of her set, released as Live in 1997, she tests the recently-written “Tyrone” – an acerbic riposte to a cheapskate partner. Both the performance and its rapturous reception has gone down in legend.

11: Me

Many of Erykah Badu’s best tracks are long-form exercises in riding the good groove – and few are more sumptuous than this effort by Sa-Ra Creative Partners producer Shafiq Hussein. Over a gorgeous wash of shuffling beats, tight basslines, and gentle brass arrangements, Erykah delivers a powerful ode to self-love.

10: Didn’t Cha Know

Mama’s Gun’s second single was created after a fateful visit to J Dilla’s Detroit basement in 1998. It’s based on a sample from jazz-funk ensemble Tarika Blue’s 1977 cut “Dreamflower,” a track she discovered while searching through the producer’s mammoth collection.

9: Gone Baby, Don’t Be Long

The third part of a trilogy of songs told from the viewpoint of a woman in love with an errant hustler, Badu followed “Otherside Of The Game” and Worldwide Underground’s “Danger” with this sensuous denouement. Another brilliant example of her penchant for long-form grooves, the track gets its soulful reggae bump from Wings’ 1979 album track “Arrow Through Me.”

8: On & On

Erykah Badu’s debut single caused a huge impact on its release. A chart hit on both sides of the Atlantic, it earned her a Grammy, brought the emergent neo-soul movement to a wider audience, and established the singer as one of music’s brightest new stars. Its playful fusion of classic jazz and hip-hop still sounds fresh as a daisy.

7: AD 2000

A lament for the tragic death of Amadou Diallo, who was shot by NYPD officers in 1999. Driven by a stunningly-beautiful, Stevie Wonder-esque instrumental backing and featuring lyrical and vocal contributions from soul legend Betty Wright, the track is Badu’s most heartfelt and powerful protest song.

6: Master Teacher Medley

One of New Amerykah Part One’s most left-field, cutting-edge tracks, Badu’s medley duet with Georgia Anne Muldrow has had a lasting lyrical impact, introducing the Stay Woke concept – a call to the black diaspora to remember their origins as a displaced people – to the world.

5: Next Lifetime

One of neo-soul’s finest moments, this sensual ballad comes from the perspective of a woman with conflicted romantic thoughts. Already attached, but with feelings for someone else, it’s a bittersweet tale with a poetic metaphysical slant: “Well I guess I’ll see you next lifetime/Maybe we’ll be butterflies.”

4: Honey

How typical of the playful and idiosyncratic Badu to effectively hide one of her most effervescent and accessible dancefloor bombs. Appearing unlisted at the end of New Amerykah Part One, “Honey” opens with a re-work of RAMP’s “The American Promise” before morphing into a life-affirming, P-funk-heavy workout of the highest order.

3: I Want You

Worldwide Underground’s epic ten-minute centerpiece is a Marvin Gaye-esque sensual ode to lust and longing, with James Poyser’s keyboard rhythms masterfully mimicking the quickened heartbeat of the love-smitten.

2: Green Eyes

Badu’s break-up with André 3000 inspired the ten-minute track that ended her Mama’s Gun album. Taking the form of a three-part suite, “Green Eyes” moves from its playful ragtime beginnings through to smoky jazz and warm, brass-inflected soul to capture the many moods of a failing relationship as Badu delivers one of her most stirring and open-hearted performances.

1: The Healer

Driven by producer Madlib’s brilliantly manipulated sample of The Yamasuki Singers’ Kono Samuarai, “The Healer” is an ode to the unifying power of hip-hop. Of the song’s lyrics, Badu explained to The New York Post: “There are so many ways to worship, no matter what religion you are. And to me, hip-hop is felt in all religions – it has a healing power. I’ve recently been to Palestine, Jerusalem, Africa… and everyone is listening to hip-hop. There’s something about that kicking snare sound that all kinds of people find meaning in.”

Shop Erykah Badu’s music on limited edition vinyl and CDs here.

​Discover more about the world’s greatest R&B artists | uDiscover Music

Erykah Badu was one of the four R&B vocalists, along with D’Angelo, Maxwell, and Lauryn Hill, who ushered in the neo-soul era of the late 90s. (In fact, the subgenre’s name was originally coined to market Badu). Her voice recalled Billie Holiday, her style recalled the Black pride and Afro-futurism of the 70s, but her sum total was something completely new to R&B. Decades after her 1997 debut, Erykah continues to be a source of inspiration for producers and singers such as SZA, Lion Babe’s Jillian Harvey and Ari Lennox.

Badu has received her flowers in the time she’s reigned as the “First Lady of Neo-Soul”; celebrated for her storytelling through layered and nuanced lyrics; for her persona and style; and her mix of soul, hip-hop, and jazz in her music. As Badu has introduced us to her varied artistic facets; playing with aliases like Badulla Oblongata, Sara Bellum, and Analogue Girl in a Digital World; DJ’ing, rhyming, hosting, and delivering babies, her singing almost gets lost in the conversation. But one listen to a fan favorite such as “Green Eyes,” and it’s easy to see how significant her vocals have been to her legacy, too. Her vocal delivery has always been essential to the ways in which we understand Badu’s artistry.

Listen to Erykah Badu on Apple Music and Spotify.

In the 10-minute “Eyes,” Badu sarcastically insists that her eye color is the result of her vegetable intake – not jealousy over her lover’s new companion. She utilizes an airy delivery to mask the bite in her lyrics over a jazz-influenced production. “You don’t mean nothing to me, so go ahead and be with your friend,” she offers softly, barely able to force out the final word – a sign of her true contempt. On songs such “Other Side of the Game” and “Window Seat” she emotes by stretching her voice, with its signature southern twang, when she’s feeling her most vulnerable and desperate for acceptance. Badu’s signature cut “Tyrone” finds the singer exasperated with a preoccupied lover, her playful, delayed vocal delivery further highlighting her vivid storytelling.

Producer, songwriter, and member of both The Roots and The Soulquarians production collective, James Poyser has been working with Badu since her debut album, Baduizm, co-writing “Other Side of the Game” during one of their first sessions together. He says Badu “sings in a way that’s imperfectly perfect.”

“There’s a rawness to it. The way she emotes, growls and that Billie Holliday tremolo that she has, it all works,” he says. “There’s a gang of singers I’ve heard after she came out that adopted her kind of phrasing.”

Vocalist Durand Barnarr, who started singing backup for the Dallas native after she spotted his cover of her song “That Hump” on YouTube nearly ten years ago, has called the young artists influenced by Erykah’s sound and lyricism the “Badu Babies.” (Not to be confused with the actual babies Badu helps bring into the world in her role as a doula.)

Bernarr says that as a kid he was initially drawn to Badu’s tone, a “floozy, full twang.” “When you take away the band, she’s a blues singer,” he says. Bernarr grew up in a household where his parents only played gospel and jazz. Badu was one of the only pop artists he was allowed to listen to. When he started taking his talent seriously as a teenager, he began “singing and harmonizing” along to Badu’s records, using her songs as vocal warm-ups. He christened himself a Badu Baby through the title of his 2010 release 8ight: The Stepson of Erykah Badu. Badu inspires allegiance from non-vocalists as well; Dallas producer Zach Witness, who was once surprised when Badu showed up on his doorstep to record music after chatting through Instagram, considers the singer to be a second mother. Her pop-up visit led to him producing her 2016 mixtape But You Can’t Use My Phone.

Among the new class of singers influenced by Badu, Ari Lennox stands out as a clear student of and heir. Lennox has her own identity and flair as a performer, but her exaggerated, nasally delivery as a vocalist almost immediately brings young Badu to mind. In “BMO,” Lennox continuously sings “aye,” elongating the word, underneath the verses and choruses. The delivery harkens to popular “hey” adlibs from Badu’s discography, on songs such as “Window Seat.” Like Badu, Lennox’s music is both modern and a nostalgic reimagining of the jazz and soul singers who came before her.

The nasal lilt that catapulted Badu to fame can also be heard in the vocals of artists such as SZA and Jillian Harvey. Even Teyana Taylor, who recently enlisted Badu to help deliver her second child, has been influenced by the singer’s style. The pair recently collaborated on the song “Lowkey,” which features an interpolation of Badu’s “Next Lifetime,” for Taylor’s The Album.

The best thing about “Badu Babies,” as Bernard has dubbed them, is that they’re not intent on replicating Badu’s entire sound. “You have people that can be inspired by something but still sound like themselves. That’s so important,” Bernard says. These artists are infusing their own stylings, which will likely influence future generations of R&B singers, much like Badu inspired them.

This article was first published in 2020. We are re-publishing it today in celebration of Erykah Badu’s birthday.

Shop Erykah Badu’s music on limited edition vinyl and CDs here.

​Discover more about the world’s greatest R&B artists | uDiscover Music

Corinne Bailey Rae is celebrating 20 years of her self-titled debut LP with a North American tour. Like a Star: Celebrating 20 Years of Corinne Bailey Rae will begin on June 2 in Silver Spring, Maryland. From there, Rae will perform in cities like Toronto, Chicago, Los Angeles, and San Francisco, among others, before concluding the run on September 25 in New York.

Corinne Bailey Rae was originally released in February 2006, and upon its release landed atop the UK chart. She went on to win two MOBO Awards, for Best UK Newcomer and Best UK Female, a Mojo Award for Best New Act, and was nominated for Best UK & Ireland Act at the MTV Europe Music Awards.

The following year, the singer was honored with Outstanding New Artist at the NAACP Image Awards and was also nominated for Outstanding Female Artist and Outstanding Album. At the Grammy Awards that year, she earned a nomination for Best New Artist, while one of the standout songs from that LP, “Put Your Records On,” was nominated for both Record of the Year and Song of the Year.

That track peaked at No.2 in the UK and spent nearly 30 weeks on the chart. Corinne Bailey Rae spent 58 weeks on the Official Charts Company’s Top 100. The album has been certified 3x platinum in the UK and platinum in the US. In the US, the album also charted at No.4. Additionally, the album has sold more than four million copies across the world.

Corinne Bailey Rae’s last LP, Black Rainbows, arrived in September of 2023 after seven years between projects. Following its release, the album was nominated for the 2024 Mercury Prize. In a rave 8.0 review on Pitchfork, writer Allison Hussey wrote, “Rae has taken a sharp and surprising turn toward unabashed rock music with her scuzzy, guitar-powered new album, Black Rainbows. She’s not whispering but roaring.”

Browse Corinne Bailey Rae’s music on vinyl and CD here.

​Discover more about the world’s greatest R&B artists | uDiscover Music

“Lonely” is Akon’s newest entry in the Spotify Billions Club. The Senegalese-American singer’s 2005 smash has surpassed 1one billion streams on Spotify, the world’s leading streaming platform. It’s Akon’s third song to join the Billions Club—and his first solo track—following his collabs with David Guetta and Eminem, “Sexy Bitch” and “Smack That.”

Appearing on Akon’s 2004 debut album Trouble, “Lonely” was released as a single in February 2005, becoming his breakthrough hit. Akon co-produced it with Benny-D, Knobody, Shakim Williams, and Disco D, building it out of a sample from crooner Bobby Vinton’s 1964 chart-topper “Mr. Lonely.”

Akon’s song pitched up the sample of Vinton’s voice a la Alvin and the Chipmunks, a style that gained traction in the mid-2000s thanks to producers like Kanye West and Just Blaze. The idea to flip “Mr. Lonely,” though, was Akon’s alone; only Akon and “Mr. Lonely” writers Vinton and Gene Allan are credited as songwriters on “Lonely.”

Not only was “Lonely” the song that made Akon a fixture of 2000s pop music, it’s the song that first caught the attention of SRC Records A&R rep Jerome Foster, aka the song’s co-producer Knowbody, earning Akon his record deal with the Universal imprint. In a 2005 Hit Quarters interview, Foster said he immediately flew to Atlanta to meet Akon upon hearing the “Lonely” demo.

“I was extremely lonely when I wrote it – true story,” Akon told NME in 2023. “At the time, the only person who had my back was no longer there for me because of mishaps and decisions of my own. But for me, writing a song like this is a form of therapy. Once I get it out, I feel so much better. I feel even better again when I see other people can relate to it too.” Clearly, people are still relating to it more than two decades later.

Buy Akon’s Trouble on vinyl here.

​Discover more about the world’s greatest R&B artists | uDiscover Music

In 1987, writer Barry Michael Cooper went to Harlem’s legendary Apollo Theater to interview then-20 year old Teddy Riley about the new R&B sound the young producer had been largely responsible for – a sound which Cooper dubbed, for the purpose of the article – New Jack Swing.

New Jack Swing is sonically defined as R&B with production elements more traditionally associated with hip-hop; tempo and rhythm (the “swing”), programmed drums, and sampling, It was a hybrid that had been bubbling since the mid-’80s, pioneered by the writing and production teams of Jimmy Jam and Terry Lewis and LA Reid and Babyface.

Teddy took the sound and added Harlem’s flavor to it: The energy of hustlers, gangsters, fly girls, and those hoping to either be – or be with – any of the above. Uptown was a land of style, flash, shine…and parties. It was aspirational; the source from which Uptown Records founder Andre Harrell coined the term “ghetto fabulous,” and the inspiration for the label’s ethos. The majority of the earliest artists, producers and figures who shaped New Jack Swing culture, including Riley, Harrell, Keith Sweat, Riley’s fellow Guy members Aaron and Damien Hall, Al B. Sure and Heavy D., were all from uptown, and by extension the fashion and energy of from the streets was inseparable from the sound. “For gangsters and their facsimiles,” Cooper wrote of Riley in 1987, “here’s the new jack talisman, warding off the evil of poverty, failure and longevity…This is about living now, money, and living large.”

New Jack Swing quickly expanded beyond music into television, film, and fashion. It also reshaped the music industry; both by creating space for new, young executives with a fresh perspective; and by making hip-hop more accessible to a wider audience, opening the door for rap’s increasing mainstream presence.

This list was chosen and ranked based not just on the overall quality of the song, but how impactful the track was to the genre and the culture. It includes foundational tracks from Jimmy Jam and Terry Lewis and LA and Babyface; key Teddy Riley productions; songs from essential New Jack-era movies; and even one hit wonders that simply encapsulate everything that defines New Jack Swing. Enjoy these jams that prompted us to dress in our finest, dance our hardest, and chill the coldest. – Naima Cochrane

40: Teddy Riley & Tammy Lucas – Is It Good to You

Weaponized synth hooks combined with hard-hitting drum machine beats were Teddy Riley’s hallmark and he didn’t disappoint with the super-funky “Is It Good To You,” the keyboardist/producer’s collaboration with sweet-voiced Tammy Lucas. The song made No. 50 in the US R&B charts and appeared on the soundtrack to the movie Juice in 1992. – Charles Waring

39: Today – Why You Get Funky on Me

Hailing from New Jersey, Today were a quartet fronted by singer Lee Drakeford and were protégés of Teddy Riley collaborator Gene Griffin, the producer of the group’s third Top 10 US R&B hit, “Why You Get Funky On Me.” Featured in the 1990 hit movie House Party, starring rappers Kid N’ Play, the song exudes a Riley-esque swagger with its seamless fusion of R&B and hip-hop. – Charles Waring

38: Color Me Badd – I Wanna Sex You Up

The trend of perfectly curated Black movie soundtracks in the 90s started with New Jack City, written by Barry Michael Cooper, the Village Voice writer who coined “New Jack Swing.” One of the standout tracks alongside NJS mainstays like Johnny Gill and Christopher Williams was the playfully risque and immediately catchy debut from R&B group Color Me Badd. “I Wanna Sex You Up” topped the charts in the US, and then spread around the globe, spurring mutliple remixes and solidfying CMB’s place in 90s nostalgia annals. – Naima Cochrane

37: LeVert – Casanova

Ohio vocal trio LeVert were already an established soul music act with a No. 1 hit to their name when the New Jack Swing phenomenon sent seismic shockwaves through the R&B world in the late 80s. Quick to adapt, they served up their own take on the swingbeat sound with the contagious “Casanova,” which blended silky vocals with a tough beatbox groove, giving the group their second US R&B chart-topper. – Charles Waring

36: The Good Girls – Your Sweetness

Signed to Motown and pitched as a New Jack Swing version of the label’s iconic girl group, The Supremes, Los Angeles trio The Good Girls hit the ground running when their catchy debut single “Your Sweetness” stormed into the US R&B Top 10 in 1989. Stylistically, its harmonized vocal hook and chord changes drew inspiration from Teddy Riley’s work with Guy. – Charles Waring

35: Chuckii Booker – Turned Away

The godson of soul music giant Barry White, California-born Booker brought a smoother, West Coast sensibility to the swingbeat sound with his chart-topping US R&B single, “Turned Away,” in 1989. Taken from the Los Angeles multi-instrumentalist’s 1989 debut album, the single – a meditation on romantic rejection – showcased Booker’s svelte vocals gliding over glistening keys and a fluid groove. – Charles Waring

Celebrate the history of New Jack Swing with our playlist on Spotify.

34: The Boys – Dial My Heart

When it comes to boy bands, Khiry, Tajh, Hakim, and Bilal Abdulsamad should be the blueprint for every group that came after them. The Boys helped recenter Motown as a prominent trendsetter in R&B thanks to their teenybopper lyrics, oversized suits, and bubbly personalities. Their debut single launched the group to stardom at the time, but “Dial My Heart” is one of those songs that transcends age and genres. – Tatyana Jenene

33: Jeff Redd – You Called and Told Me

When you think of the 1991 film Strictly Business, Jeff Redd’s “You Called And Told Me” should be one of the first things that come to mind. This smooth cult classic is for the real R&B heads. – Tatyana Jenene

32: Heavy D and the Boyz – Somebody For Me

A common theme for artists during the New Jack Swing era was the desire to find real love. Heavy D and the Boyz might have been first with the late ’80s hit “Somebody For Me.” The overweight lover was vulnerable but kept his cool as he tried to find a real one. – Tatyana Jenene

31: Al B. Sure! – Nite and Day

Born Albert Brown III in Boston, Massachusetts, Al B Sure! sang background vocals for Heavy D & the Boyz before debuting with the single, “Nite and Day,” in 1988, which topped the US R&B charts for three weeks. The song’s gentle blend of angelic vocals and a romantic theme offered a fresh take on New Jack Swing, toning down the style’s masculine aggression. – Charles Waring

30: Karyn White – Secret Rendezvous

Karyn White was the quintessential it girl during the 80s and 90s and proved her hit-making abilities with the Top 10 song “Secret Rendezvous.” While “Superwoman” may be the beloved ballad, “Secret Rendezvous” is an excellent song perfect for every occasion. – Tatyana Jenene

29: Full Force – Ain’t My Type of Hype

B-Fine, Bowlegged Lou, and Paul Anthony might have been banned from Play’s get together in House Party, but their song, “Ain’t My Type of Hype” became the unofficial theme song of the 1988 film thanks to the iconic dance-off between Tisha Campbell, AJ Johnson, and Kid ‘N Play. – Tatyana Jenene

28: Wreckx-N-Effect – New Jack Swing

This hypnotic Top 20 debut single from a Harlem rap trio whose line-up included Teddy Riley’s younger brother Markell, saw the group waxing lyrical about the New Jack Swing style, describing it as “dope beat medicine.” Propelled by a groove that samples James Brown and Parliament, the song also name-checks other New Jack Swing artists, including Keith Sweat, Al B Sure! and Guy. – Charles Waring

27: Father MC – Treat Them Like They Want To be Treated

Father MC is tired of the dating game and proves that casanovas want love too on “Treat Them Like They Want To Be Treated.” With a then-unknown K-Ci and Jojo Hailey on background vocals, the fellas proved that love and affection go both ways while dating. – Tatyana Jenene

26: Janet Jackson – Miss You Much

People don’t immediately associate Janet Jackson’s name with New Jack Swing, but 1989’s Rhythm Nation 1814 was one of the early projects in the genre from Jimmy Jam and Terry Lewis. “Miss You Much,” as the album’s lead single, served as an answer for fans waiting for another Control, and kicked the Rhythm Nation 1814 era off with a multi-chart No. 1. – Naima Cochrane

25: Whitney Houston – I’m Your Baby Tonight

When Whitney Houston insisted on making an R&B album, Clive Davis called writing and production duo LA Reid and Babyface. They crafted a jam to push the pop star into an edgier, funkier space, but also a more relaxed performance (despite the tongue-tying, rapid speed bridge, which Whitney famously knocked out in one take). “I’m Your Baby Tonight” was Whitney from Newark. – Naima Cochrane

24: Portrait – Here We Go Again! – Radio Edit

Los Angeles quartet Portrait were never able to emulate the success of their playful debut single, “Here We Go Again!,” which rose to No. 3 in the US R&B charts in 1992. A self-written tune which highlighted New Jack Swing’s meld of hip-hop attitude with R&B slickness, the single blended jazzy chords and harmonies over a handclap-heavy backbeat. – Charles Waring

23: Joe Public – Live and Learn

A bona fide four-piece band from Buffalo, New York, Joe Public were the first R&B act to appear on MTV’s Unplugged series after breaking into both the US pop and R&B Top 5 in early 1992 with their catchy debut single, “Live & Learn.” Written and co-produced by the group, the single welded warm soulful vocals to an irresistible swingbeat rhythm. – Charles Waring

22: Troop – I’m Not Souped

Bristling with indignation at being misunderstood, “I’m Not Soupped” is an angry riposte to a girlfriend who has accused her lover of being conceited. Co-written by Troop’s main singer, Steve Russell, with producers Zack Harmon and Christopher Troy who provide a turbo-charged rhythm track, the song raced into the US R&B Top 20 in 1989. – Charles Waring

21: Christopher Williams – I’m Dreamin’

With his rugged but soulful baritone voice, the Bronx-born Christopher Williams (the nephew of jazz singer Ella Fitzgerald) cut a clutch of charting New Jack Swing-flavored singles between 1989 and 1995, the most successful of which was “I’m Dreamin’.” With a production sound indebted to Teddy Riley, the song appeared on the soundtrack to the 1991 movie, New Jack City, and climbed to pole position in the US R&B charts the same year. – Charles Waring

20: Aaron Hall – Don’t Be Afraid (Juice Soundtrack Edit)

Following his departure from Teddy Riley’s group Guy in 1991, gospel-reared singer Aaron Hall bounced back a year later by scoring a US R&B No. 1 with “Don’t Be Afraid.” Sounding like the Gap Band beefed-up on steroids, this classic swingbeat juggernaut was co-produced by Public Enemy‘s sonic mastermind Hank Shocklee and taken from the soundtrack to the Omar Epps and Tupac-starring movie, Juice. – Charles Waring

19: En Vogue – Hold On

It’s a bold move to open your debut single with an acapella version of “Who’s Lovin’ You,” but it worked for these four funky divas from Oakland. “Hold On” became a refreshingly swanky hit that proved New Jack Swing wasn’t just a boy’s club. The song merged hip-hop and R&B like a perfect PB&J sandwich. – Tatyana Jenene

18: Another Bad Creation – Playground

If The Boys were New Jack Swing’s cookie-cutter boy band, then ABC was the street-smart, G-rated boy band of the era. “Playground” is a song that can go from the kid’s party to the nightclub. It’s infectious, fun, and full of energy, just like the New Jack Swing era. – Tatyana Jenene

17: Johnny Gill – Rub You The Right Way

Johnny Gill was known mostly for his full, dramatic runs and riffs until he burst onto our TV screens with leather-clad dance combinations for the lead single of his 1990 self-titled solo album. “Rub You the Right Way” is what’s scientifically known as “a jam,” and the R&B chart topper still inspires Johnny’s level of pumping, stepping, and maybe even gyrating when that beat drops. – Naima Cochrane

16: Heavy D and the Boyz – We Got Our Own Thang

Produced by swingbeat wunderkind Teddy Riley and powered by looped beats and James Brown samples, the infectious “We Got Our Own Thang” took the New York rap group led by Jamaican-born Heavy D into the US R&B Top 10. The centerpiece of Big Thyme, the group’s chart-topping 1989 album, the single also offered a vivid example of how New Jack Swing forged closer ties between hip-hop and R&B. – Charles Waring

15: Jade – Don’t Walk Away

“Don’t Walk Away” was a sassy and sweet song with enough bass to blow out the speakers in your Mercedes W126 500. The trio brought the around the way girl next door look to the music video with box braids and crop tops that remain fashion inspirations today. – Tatyana Jenene

14: Ralph Tresvant – Sensitivity

When New Edition went on hiatus to pursue solo (and trio) careers, Tresvant set the bar high with his debut single “Sensitivity.” The song stood out from other New Jack Swing songs because it was slower in tempo, but it was still fast enough to let you get your two-step on. Plus, Tresvant delivers four bars of fire during a short rap verse that showed his versatility. – Tatyana Jenene

13: Guy – Teddy’s Jam

After tasting chart success producing singer Keith Sweat in 1987, Teddy Riley confirmed his role as New Jack Swing’s principal architect with his group Guy, which broke into the US R&B Top 5 a year later with their third single, “Teddy’s Jam.” Fronted by vocalist Aaron Hall, the tune, with its blend of hip-hop swagger and soulful sophistication, is really a vehicle for Riley’s distinctive production sound defined by layered synths, samples, and heavy drum machine beats. – Charles Waring

12: Troop – Spread My Wings

Their name an acronym for Total Respect Of Other People, Pasadena’s Troop brought some Californian sunshine to the New Jack Swing aesthetic with 1990’s Chuckii Booker written-and-produced “Spread My Wings,” a warmly harmonized groove ballad whose theme was searching for true love. Taken from the 1989 album, Attitude, the tune was the first of three US R&B chart-topping singles by the vocally assured quintet. – Charles Waring

11: Michael Jackson – Remember The Time

The King of Pop’s 90s update was led by a New Jack-era dream team: maestro Teddy Riley to bring the sound current, Boyz in the Hood director John Singleton for the music video, plus hip-hop dancer and frequent New Jack video choreographer Fatima Robinson for the moves. The end result: an epic culmination of 90s pop culture, with one of the flyest dance breaks in history. – Naima Cochrane

10: Hi-Five – I Like the Way (The Kissing Game)

If you had to pick a song that best describes puppy love, it would be “I Like the Way (The Kissing Game).” The Teddy Riley-penned and produced track walks the fine line of being sweet and cute without being corny. – Tatyana Jenene

09: Boyz II Men – Motownphilly

Under the management of New Edition’s Mike Bivins, Boyz II Men came into the game with cardigans, bow ties, and vocals that helped them become one of the most successful groups of the 90s. Their high energy debut single paid homage to their hometown and R&B capital, Philadelphia, as well as the classic Motown sound, all while staying true to the New Jack Swing era thanks to production by Dallas Austin. – Tatyana Jenene

08: Tony! Toni! Tone! – Feels Good

The Oakland trio of Tony! Toni! Tone! proved that New Jack Swing wasn’t just an East Coast thing with “Feels Good.” The song is a melting pot for music genres with bluesy riffs, a percussion-focused instrumental, and a sample of Lyn Collins’ “Think (About It).” If you’re not out of your seat dancing to this one, you might want to check your pulse. – Tatyana Jenene

07: Bobby Brown – My Prerogative

The king of R&B, Bobby Brown, could not be contained on or off the stage, which led to his departure from New Edition. As he began to garner the reputation of R&B’s bad boy, Brown clapped back at the critics with “My Prerogative.” The No. 1 hit solidified Brown’s spot as a legend and paved the way for several generations of R&B bad boys. – Tatyana Jenene

06: New Edition – If It Isn’t Love

With the Bubblegum Pop hits like “Candy Girl” and “Mr. Telephone Man” in their rearview, New Edition reintroduced themselves to the world as men with 1988’s “If It isn’t Love.” The Jimmy Jam and Terry Lewis-penned/produced hit brought New Edition back to the limelight and ushered in a new adult sound for the group. – Tatyana Jenene

05: Keith Sweat – I Want Her

“I Want Her,” Keith Sweat’s ode to the beauties men fall in love with from across the club, was not only the first hit New Jack Swing single, but became the top R&B song of 1988 – a year following its release. The track, created in Teddy Riley’s St. Nick projects apartment, kicked off a string of hits, driving 1987’s Make It Last Forever to multi-platinum sales. That gave Riley a stamp of legitimacy as a producer outside of New York, and put New Jack Swing on the map, officially. – Naima Cochrane

04: Bell Biv DeVoe – Poison

Ricky, Mike, and Ronnie didn’t have the solo interests of fellow New Edition members Bobby, Ralph, and Johnny, freeing them to take risks, but when “Poison” was first released, it performed moderately – until the video dropped. The dark, slick but gritty “Poison” clip gave a much needed illustration of BBD’s “mentally hip-hop, smoothed out on the R&B tip with a pop feel appeal to it” vision. Most importantly, the caution to “never trust a big butt and a smile,” remains sound advice, decades later. – Naima Cochrane

03: Johnny Kemp – Just Got Paid

This Thank-God-it’s-Friday anthem is one of several Teddy Riley projects in 1987 and 1988 that set the stage for New Jack Swing to shift from a new sound in R&B to a full-on cultural movement. Johnny Kemp originally wrote the song for Keith Sweat, but instead the track launched his 1988 album Secret of Flying. “Just Got Paid” is infused – as all early New Jack Swing is – with a distinctively Harlem energy and ethos: if you have your money right and your style tight, the world is yours. – Naima Cochrane

02: Bobby Brown – Don’t Be Cruel

Bobby Brown’s seminal LP is one of the first full New Jack Swing albums, and while many consider the Riley-produced “My Prerogative” the definitive album track, the LA Reid and Babyface-helmed title track and opener is a 6:48 masterpiece. “Don’t Be Cruel” creates a perfect balance of smooth Bobby, full-power Bobby, even rapping Bobby, and perhaps the most important side of Bobby Brown: the “King of Stage.” The once-nicknamed “Bad Boy of R&B” had too much swagger and braggadocio for traditional R&B, and “Don’t Be Cruel” set the tone for Bobby Brown to stretch his star power to multi-platinum success. – Naima Cochrane

01: Guy – Groove Me

If you want to explain New Jack Swing to new listeners in one track, point them to “Groove Me.” The second single from Guy’s self-titled debut, “Groove Me” is a sonic representation of the hip-hop and R&B hybrid genre finding its…well, groove. But more importantly, “Groove Me” is the energy of New Jack Swing – it’s a party. Teddy’s New Jack Swing sound was cultivated in Harlem’s St. Nicholas projects and could be heard in cars cruising through the Harlem streets and nightspots before the world at large caught on. It channeled the lifestyle of the uptown NYC streets. The “Groove Me” video drives this home, with early Dapper Dan fashions, uptown dance crews, and the celebratory energy that dominated dancefloors of the era. – Naima Cochrane

Best New Jack Swing Songs: The Slow Jams

New Jack Swing is, by definition, a subgenre of tempo and rhythm. But the New Jack Swing era also produced some of modern R&B’s most enduring ballads. Those who spent their formative years during New Jack Swing’s peak had no shortage of slower gems for mixtapes, lyrics for passed notes, music beds for school dances, and material to impress your crush at talent shows. In celebration of the days when we called in radio dedications and left songs on answering machines, here are just five of the best New Jack Slow Jams. – Naima Cochrane

Keith Sweat and Jacci Mcghee – Make It Last Forever

“Make it Last Forever” is a contender for greatest R&B duet of all time, a late 80s and early 90s first dance classic, and (still) a karaoke favorite. Though Sweat’s catalogue is deep with ballads, credit for this song’s staying power belongs to Jacci McGhee and her incredible ad libs. – Naima Cochrane

Bobby Brown – Roni

We all know the truth about a ‘roni, and we’ll likely sing it at the top of our lungs if given a chance. The Bad Boy of R&B’s ode to tenderonis is a classic sweetheart anthem. – Naima Cochrane

Guy – Goodbye Love

This is another candidate for the greatest R&B duet of all time. Aaron Hall and Tammy Lucas sell the sad longing of accepting that a relationship is over even while there’s still love there – and they’re beautifully dramatic about it. Perfect for the hyper-dramatic breakups of adolescence. – Naima Cochrane

New Edition- Can You Stand the Rain

There’s a reason Boyz II Men chose this song when auditioning for Mike Bivens. We sang it from the bottom of our hearts in school too. The sing-along options are plentiful (which is part of what we love about New Edition). So whether you chose to be Johnny on the verse, Ralph on the pre-chorus, Ricky on the adlibs, or Mike on the “let’s go get wet,” chances are you’ve had a full “Can You Stand the Rain” moment of your own. – Naima Cochrane

Troop – All I Do Is Think of You

Even people who weren’t born at the time this song was released know the intro chords and opening “Nayhooooooo” of this Jackson 5 remake. Troop’s rendition of “All I Do Is Think Of You” invites instant nostalgia. Of butterflies. Of daydreams. Of the simple, uncomplicated days of “Do you like me? Check Yes. No. Maybe.” – Naima Cochrane

Browse our R&B / Soul / Funk collection featuring limited edition vinyl and CDs here.

​Discover more about the world’s greatest R&B artists | uDiscover Music