Category: Hip Hop

Born Robyn Rihanna Fenty, on February 20, 1988, Rihanna was just 15 when she was first discovered in her home country of Barbados by record producer Evan Rogers. Over the next year, she recorded a demo tape with Rogers, which included the track that would eventually become her debut single – and one of the best Rihanna songs of all time. “Pon De Replay” was described by Rolling Stone as “a poppy piece of dancehall reggae with slapping, syncopated beats recalling big-band jazz”, and Rihanna was immediately signed to Def Jam by its then CEO, Jay Z.

This was just the beginning of a momentous career that, over a decade in, has seen her constantly top the charts worldwide. We take a trip through Rihanna’s career, focusing on 20 of the best Rihanna songs…

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Getting her six-album Def Jam deal off to a roaring start, Rihanna released her first album, Music Of The Sun, in May 2005, and lead single “Pon De Replay” reached No.2 in both the US and UK, while the album earned a gold certification and firmly established the singer as a household name.

Its follow-up, A Girl Like Me, was released in April 2006 and was another pop and R&B fusion, with heavy influences from Rihanna’s Caribbean roots. In an interview with MTV, she said, “Vocally, I’ve matured so much, and lyrically I’m speaking about stuff I would never sing about before. Now I’m singing about experiences that I’ve gone through and stuff that other 18-year-old girls go through, so it’s all about progression.” This maturity was represented in songs such as “SOS” and “Unfaithful,” which explore more adult themes such as infidelity and lust; the former was a dance-pop hit that sampled Soft Cell’s “Tainted Love” and earned Rihanna her first US No.1.

In an attempt to shake off her innocent persona, Rihanna took on a bolder, more independent image for 2007’s Good Girl Gone Bad. Speaking to the Saskatoon StarPhoenix, she said, “I took the attitude of the bad girl and I really got rebellious and did everything the way I wanted to do it – I didn’t want to listen to anybody.” The pop-R&B crossover hit “Umbrella” was the first single from the album, and, featuring Jay Z, it was also Rihanna’s first big collaboration, reaching No.1 in 17 countries. Third single “Hate That I Love You” was another collaborative effort, co-written and featuring labelmate Ne-Yo. Released on 21 August 2007, the song comfortably reached platinum status.

A major turning point in Rihanna’s artistic progression came with 2009’s Rated R, on which she shook off her pop princess image and began to explore other genres with a variety of songs that still rank among the best Rihanna songs. Justin Timberlake, one of the writers and producers featured on the album, said that it represented a whole new sound for Rihanna, while fellow producer Ne-Yo described Rated R as angrier and edgier than what had come before.

Written after her assault by then-boyfriend Chris Brown, there was, unsurprisingly, speculation as to whether any of the album’s songs referenced him, though Chuck Harmony, another co-producer on the record, argued that no matter what single Rihanna released, the lyrics would immediately be associated with Brown. Stylistically, Rated R incorporated genres such as dancehall (“Rude Boy”), Latin (“Te Amo”), and dubstep, while lead single “Russian Roulette” had a darker and more intense tone than any of Rihanna’s previous efforts.

In the summer of 2010, Rihanna lent her vocals to a number of hip-hop stars, including Eminem (“Love The Way You Lie”) and Kanye West (“All Of The Lights”), with the former becoming Eminem’s best-selling single to date, selling six million copies in the US alone. Rihanna also helped Drake achieve his first-ever taste of the UK top spot when she asked him to appear on her 2010 single “What’s My Name?,” the second release from her fifth studio outing, Loud. Released in November that year, the album moved away from the darker themes of Rated R and returned to upbeat pop, R&B, and dancehall, as Rihanna wanted to go back to having fun. The shift was immediately clear with the first single, “Only Girl (In The World),” which won her the 2011 Grammy Award for Best Dance Recording, and more than holds its own among the best Rihanna songs. Third single “S&M” raced to No.1 on the Billboard Hot 100 and saw Rihanna set a new record as the solo artist with the fastest accumulation of ten chart-toppers.

Barely pausing for breath, Talk That Talk followed a year later, in November 2011, and was another dance-pop and R&B outing in the vein of Loud. Lead single “We Found Love” added uptempo techno to the mix (courtesy of DJ Calvin Harris), topped the charts in 27 countries, and proved that, if there’s anything to be learned from Rihanna’s career, it’s that she rarely released a single without breaking a record or two. Staying at the top of the Hot 100 for 10 weeks, “We Found Love” became the longest-running No.1 of 2011. The second single from the album, “You Da One,” is a mid-tempo pop/reggae mix that entered the Top 20 in the US, UK, and 11 other countries.

Mining the same rich vein, while incorporating elements of hip-hop and reggae, Unapologetic was Rihanna’s seventh studio album, and her third consecutive UK No.1. Picking up an executive producer credit – as she has done for all her releases since Loud – Rihanna enlisted the help of co-producers David Guetta, Stargate, Labrinth and Chase & Status. Signaling a new focus for the singer, lead single “Diamonds” was an electric pop ballad that, lyrically, left previous themes of dysfunctional romantic relationships firmly in the past and once again topped the charts in over 20 countries worldwide. Its follow-up, the pop and R&B ballad “Stay,” featured guest vocals from US singer Mikky Ekko and offered yet another side of the singer, revealing a vulnerability rarely seen in her singles.

After releasing almost an album a year for her entire career, there was a four-year gap before Rihanna issued Unapologetic’s follow-up. Having left Def Jam for Roc Nation in 2014, however, she filled the gap with three standalone singles, including the Kanye West and Paul McCartney collaboration “FourFiveSeconds” and the solo outing “Bitch Better Have My Money.” When Anti finally emerged, on January 28, 2016, it was initially a TIDAL exclusive via Westbury Road/Roc Nation, before being given a wider release. Since then, lead single “Work,” another collaboration with rapper Drake, became the Barbadian singer’s 27th Top 10 hit and more or less soundtracked 2016, cementing its reputation as one of the best Rihanna songs of all time. It was shortly followed by “Kiss It Better.”

In November 2016, Rihanna became the first artist to surpass more than 100 million Gold and Platinum song certifications, including nine-times multi-Platinum sales for “We Found Love,” six-times multi-platinum sales for “Stay,” “What’s My Name?” and “Only Girl (In The World),” double multi-Platinum sales for “FourFiveSeconds” and a Platinum award for “Bitch Better Have My Money.” Any one of these could top the list of a fan’s best Rihanna songs; in a career that’s been nothing but incredible, the singer boasts a success rate rarely seen elsewhere. Her ability to stay true to her roots is what has kept her original fanbase loyal, while her continual reinventions and explorations of different genres pull in new listeners with every album. What stands out across these 20 songs is her diversity: actress, singer, and philanthropist, Rihanna is also an unpredictable talent who leaves us eagerly anticipating her next move.

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Will.i.am’s 2012 collaboration with Britney Spears, “Scream & Shout,” has achieved the milestone of one billion streams on Spotify. The electro house track would appear on the Black Eyed Peas frontman’s fourth studio album #willpower (2013).­ “I wanna scream, and shout, and let it all out,” goes the song’s catchy chorus.

“Scream & Shout” includes a reference to the lyric “It’s Britney, bitch” from Spears’ 2007 single “Gimme More.” In the United States, “Scream & Shout” peaked at number three on the Billboard Hot 100 and became the first number one song of the newly established Dance/Electronic Songs chart. Across the Atlantic, “Scream & Shout” became will.i.am’s second consecutive song to top the UK Singles Chart. The song marked Spears’ sixth single to achieve the feat, and her first since “Everytime.” “Scream & Shout” would be remixed with verses from Lil Wayne, Hit-Boy, Diddy, and Waka Flocka Flame.

In 2023, the music video for “Scream & Shout” surpassed the one billion view threshold on YouTube. The video features both will.i.am and Spears alongside a number of dancers.

Spears and will.i.am have collaborated on a number of songs beyond “Scream & Shout.” Their first track together was “Big Fat Bass” on 2011’s Femme Fatale. After “Scream & Shout” came “It Should Be Easy” off Spear’s 2013 album Britney Jean. will.i.am executive produced that record and worked on a number of individual songs. Most recently, the duo released “Mind Your Business” in 2023.

Other highlights on the rapper and producer’s #willpower include “#thatPOWER” (ft. Justin Bieber) and “Fall Down” (ft. Miley Cyrus). Musicians like Nicole Scherzinger, Chris Brown, Juicy J, Eva Simons, and more appear on the album.

Earlier this year, the Black Eyed Peas’ 2009 single “I Gotta Feeling” reached two billion streams on Spotify. The group’s other songs “I Gotta Feeling“ and “Where Is The Love” have previously entered the illustrious club.

Listen to will.i.am’s “Scream & Shout” here.

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Like his ambiguous alias, The Weeknd’s music revels in vivid tales of late-night debauchery before facing up to their sobering aftermaths. In the past decade, the Canadian artist (born Abel Tesfaye) has risen from the underground to become one of the biggest stars in the world. After dropping a string of mixtapes and joining a new class of R&B renegades, The Weeknd entered the pop fray – teaming up with Swedish super-producer Max Martin and others on the way to becoming the global superstar we know today. With every incarnation, however, The Weeknd’s lyrical themes have never strayed: he remains a keen chronicler of sex, drugs, and emotional extremes. His innate ability to not only stay ahead of the curve but actually be the curve has made him one of pop’s greatest disruptors, while his music continues to shape the pop landscape. The best Weeknd songs, below, offer a glimpse into his extraordinary ascent.

27: Heartless

“Heartless” was the first taste of The Weeknd’s After Hours era, introducing fans to that chaotic, raunchy energy that would go on to define his most successful era to date. The chorus is a thesis statement of sorts for After Hours as Abel sings, “Why? ‘Cause I’m heartless/ And I’m back to my ways ’cause I’m heartless/ All this money and this pain got me heartless/ Low life for life ’cause I’m heartless.”

26: Phantom Regret By Jim

Look, “Phantom Regret By Jim” isn’t necessarily a Weeknd track, but his brilliant decision to use actor Jim Carrey to narrate the album’s end makes the album closer all the more impactful. Over a song co-written in part by Oneohtrix Point Never, Carrey muses on life and death, asking, “And how many grudges did you take to your grave?/ When you weren’t liked or followed, how did you behave?/ Was it often a dissonant chord you were strumming?/ Were you ever in tune with the song life was humming?” It’s a fascinating way to end the album, and the sort of risk only a revolutionary artist like The Weeknd could pull off.

25: House Of Balloons/Glass Table Girls

Essentially two songs in one, “House Of Balloons/Glass Table Girls” opens with a spacey synth intro before building into an electrifying second half, giving us two contrasting sides to the party scene. The Weeknd is no stranger using two-part structures, or even songs that serve as a call-and-response for one another, and “House Of Balloons/Glass Table Girls” is the perfect example of his innate narrative skills, as he chronicles a party that turns dark over a Siouxsie And The Banshees sample.

24: The Fall

The Weeknd steps into fearlessness on this track from Echoes Of Silence, letting us know he “ain’t scared of the fall.” The artist’s brave assertion of being unafraid of failure makes his verses about stardom and blowing through money hit harder. He’s insistent on living in the moment – one of the best qualities of a singer who deals in the ephemerality of the present moment.

23: Drunk In Love (Remix)

Remember when every artist was churning out remixes of Beyoncé’s “Drunk In Love”? Tesfaye threw his hat in the ring in 2014, and his voice fit the track like a glove. The R&B crooner makes the song uniquely his own by leaning more into the drunk aspect than the “love” part, showing that he can spin a web, even on a song that wasn’t originally his.

22: One Right Now (with Post Malone)

Once The Weeknd and Post Malone started teasing a collaborative track, it was bound to be a hit. Two of the biggest stars in the world linked up for a massive anthem, set to dominate the charts from sheer wattage alone. Luckily for us, the song is an absolute classic from the duo, built around their personalities but with enough tricks and flair to be entirely fresh.

21: High For This

“High For This” ushered listeners into Tesfaye’s world as the opening track on House Of Balloons, a perfectly brooding, thunderous intro that readies you for a rollercoaster of emotions. On this song, he’s comforting a woman while she parties – something The Weeknd is no stranger to.

20: Wasted Times

“Wasted Times” is frequently referred to as one of The Weeknd’s best songs. Featured on his 2018 EP, My Dear Melancholy, the song shows a different side to the R&B artist’s romantic life, in which he laments his actions in a more mature way. The production is heavily reminiscent of House Of Balloons, but with an added layer of depth and insight into The Weeknd’s personal life.

19: Wicked Games

Many Weeknd fans credit “Wicked Games” as their first exposure to the artist. The song’s sentiments play into a palpable loneliness and offer up sexual gratification as a very temporary fix. The black-and-white music video lends narrative to the loneliness as well, with The Weeknd singing to the camera with a mostly barren background. Needless to say, many could relate to his emotions, and we’ve been coming back for more ever since.

18: Often

Sexual rendezvous and drug use are a recurring theme in The Weeknd’s songs, and on “Often” he exudes a cavalier attitude about both. The moments between night and morning seem to be a blur, marked by ambiguous lyrics and braggadocious references. The lifestyle may be out of our element but, for him, this is just another day. One of the breakout hits of his sophomore studio album, Beauty Behind The Madness, “Often” went triple-platinum in the US and gold in his native Canada.

17: Take My Breath

On “Take My Breath,” Abel Tesfaye enters an alternate universe where his go-to sound is inspired by the 70s and his energy is honed in on heating up the dance floor. Of course, The Weeknd can do this with his one-of-a-kind post-R&B, but on “Take My Breath” he breaks out the bellbottom pants and emerges from his disco nap ready to party.

16: Can’t Feel My Face

The Weeknd has always cited Michael Jackson as a musical influence, and that fully comes through in “Can’t Feel My Face.” Perhaps his most recognizable tune, “Can’t Feel My Face” shot straight to No.1 thanks to its disco-funk-fuelled sound and infectious chorus. In the music video, The Weeknd is on stage doing his best Jackson moves and getting booed during karaoke – a funny side you don’t often see in the singer’s moody visuals.

15: The Hills

“The Hills” is yet another chart-topping hit from Beauty Behind The Madness. The song peaked at No.1 on the Billboard Hot 100 and held a Top 10 slot in five other countries. The hypnotizing lyrics, “When I’m f__ked up/That’s the real me,” were on the tips of everyone’s tongues in 2015, and the bass-boosted track went on to earn diamond certification, making it one of the most successful Weeknd songs of his career.

14: Earned It

This Grammy-winning single took the radio by storm in 2015. Another Beauty Behind The Madness cut, the song also featured in the Fifty Shades Of Grey soundtrack, thrusting Tesfaye into the mainstream. The singer’s seductive voice took center stage on the film’s soundtrack, and “Earned It” became the Canadian singer’s first Top 5 single, peaking at No.3 on the Billboard Hot 100. The accompanying NSFW visual both matched the provocative film and intensely carnal nature of the song.

13: The Zone (featuring Drake)

The Weeknd and Drake have worked on and off with each other since 2011, when Drake put the emerging singer on the map with a guest spot on his Take Care album. Drizzy returned the favor and jumped on “The Zone,” off The Weeknd’s 2011 mixtape, Trilogy. The downtempo single lays bare a narrative in which Tesfaye intends to sleep with a girl, but is thinking of someone else. The message isn’t necessarily new, but the singer has a way of expressing vulnerability in a startling way, keeping his fans coming back for more.

12: Loft Music

Nearly every party in 2011 was soundtracked by House Of Balloons, and the lyrics to “Loft Music” had everyone in a chokehold. The song samples “Gila” by Beach House, and flips into a racy fantasy world in which waking life and drug use seem like a lucid dream. No one knows how to sing about reckless moments of youth like The Weeknd, and this bold track put everyone on high alert for more to come from the talented singer.

11: Tell Your Friends

This Kanye-produced addition to Beauty Behind The Madness is a stunning piano-driven track detailing Tesfaye’s experiences with fame. The lyrics are particularly vulnerable in a new way, helping the album become The Weeknd’s best-selling record to date. Instead of the usual moody synths, Tesfaye applies his silky falsetto over a classic soul sample, courtesy of “Can’t Stop Loving You” by Soul Dog. The single achieved platinum certification and spent a considerable amount of time on the Billboard Hot 100 and R&B charts.

10: Save Your Tears

The Weeknd has an inimitable ability to conjure catharsis from the subtlest accents. In “Save Your Tears,” it’s the descending synth line in the chorus that emphasizes his laments, as he sings, “You could’ve asked me why I broke your heart/ You could’ve told me that you fell apart/ But you walked past me like I wasn’t there/ And just pretended like you didn’t care.” Like all of the best Weeknd songs, Tesfaye manages to make himself the hero and villain at the same time.

9: The Morning

“The Morning” still ranks as one of the best Weeknd songs, and its impact on his career is unparalleled. The subject matter of this one is pretty clear: sex, drugs, traveling, and the rock star lifestyle set to hazy synths and woozy blues riffs. With “The Morning,” Tesfaye created a new subset of R&B: hangover jams. The song also got play in the 2019 film Uncut Gems, when The Weeknd (playing himself) performs it a darkened nightclub.

8: Rolling Stone

Taken from his trilogy of mixtapes, “Rolling Stone” saw the enigmatic singer drop his guard ever so slightly, dedicating the music video to his fans and accompanying it with an open letter. “Because I am a man of few words, I chose to make a video to show you how I felt and where I stand. I usually don’t like to ‘spoon feed’ my audience because I grew up idolizing storytellers who tell stories using symbolism, so it was in my nature to do the same.” The singer gets reflective, as he addresses the camera over a simple guitar melody.

7: The Birds Pt.2

Well, she didn’t heed his warning, and now she’s shooting a gun. The combination of crying, gunshots and crows cawing at the beginning of “The Birds Pt.2” paints an eerie picture. This dark track illustrates Tesfaye’s craftsmanship when it comes to storytelling, making it one of The Weeknd’s best songs in a roster of hits.

6: The Birds Pt.1

The Weeknd often muses about his difficulty with relationships and here offers a literal warning not to fall in love with him. On “The Birds Pt.1,” Tesfaye goes as far as to describe falling in love with him as “falling to the point of no return”; by the end of the track, you’re practically praying that every woman who listens takes heed. But then what would happen to the music?

5: Starboy (featuring Daft Punk)

“Starboy” finds The Weeknd stepping into his fame and revelling in his own talent. The accompanying video shows him walking through an immaculate mansion and smashing his own record plaques. The single and platinum-selling album of the same name also represented The Weeknd star-walking over the threshold of fame and into a new chapter of his music. A collaboration with French electronic music duo Daft Punk, the synth-laden track went seven-times platinum in the US and peaked at No.1 on both Billboard’s Hot 100 and Hot R&B/Hip-Hop charts.

4: Sacrifice

Among the many songs on The Weeknd’s semi-concept album, Dawn FM, there are plenty of standouts. But this Swedish House Mafia co-production might just be the finest. “Sacrifice” shows what The Weeknd does best, never straying far from his patented formula. The track begins with lines so epic, they may end up on his Hall of Fame bust: “I was born in a city/ Where the winter nights don’t ever sleep/ So this life’s always with me/ The ice inside my veins will never bleed.”

3: King Of The Fall

Tesfaye drops a little well-earned braggadocio on plenty of his tracks, but “King Of The Fall” has some of his most potent verses. Once again, the singer shares his perspective as the protagonist of his own hedonistic debauchery and speeds up his usual languid delivery. It was released as a standalone track ahead of his King Of The Fall Tour in 2014 and served as a precursor to Beauty Behind The Madness, which dropped the following year.

2: Coming Down

The House Of Balloons mixtape was a grand introduction to The Weeknd’s push-and-pull narrative about relationships. On “Coming Down,” the artist sings about his feelings surrounding a relationship while under the influence, apologising (but not really) for things he did when he was high. The track creates the hazy atmosphere of coming down from an intense high and coming face-to-face with the harsh reality.

1: Blinding Lights

“Blinding Lights” isn’t only one of the Weeknd’s best songs, it’s one of the great pop moments of the 21st century. The synth line sounds like it was taken from an 80s video game and the drums thump in your chest like that sensation after one too many cups of coffee. It’s an exhilarating performance, and Abel Tesfaye manages to build and strip back tension with the snap of a finger. “Blinding Lights” is a masterclass in pop songwriting and showcases The Weeknd at the absolute top of his game.

Blurbs by Alyson Lewis and Sam Armstrong.

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Having drawn lessons from the rise of hip-hop, early-90s R&B was no longer the flabby, glitzy, brassy razzamadazzle it had been in the mid-80s. Crucial to the paring-down process was the prominence of En Vogue and the unexpected supremacy of Soul II Soul, both of whom created a positive-minded, floor-filling unfussy vibe, albeit in very different ways. US hip-hop producers were ideally placed to understand this new flowering of soul music, since it was made much the same way as rap, deploying breaks and retro grooves to create something new. Among the best of this new breed of R&B groups were Zhané, protégées of two New Jersey acts, Naughty By Nature and Queen Latifah, and members of their Flavor Unit collective, yet still independent in outlook. While they’re not as well-remembered as En Vogue, for an all-too-brief period across 1993-94 Renée Neufville and Jean Norris (Zhané is a mock Francophone contraction of their first names) were really saying something, as their debut album, Pronounced Jah-Nay, proves.

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Like Pronounced Jah-Nay itself, let’s kick off with the big hit, “Hey Mr. DJ,” a tune that puts the swing into things, thanks to a handy piano sample snipped from Michael Wycoff’s 1982 club groover “Looking Up To You.” The girls sing beautifully here, but some of the credit is due to Naughty By Nature’s Kay Gee in the production suite, who gets Fam of Rottin Razcals to kick up a rumpus with a rabble-rousing rhyme or two to prevent things getting too languid. Busting out of jeeps across the late summer/early autumn of ’93, the record was a Top 10 US smash.

Further singles followed a similar template: slightly more uptempo, “Groove Thang” sampled Patrice Rushen and went Top 20, “Sending My Love” made No.40 with its chugging bassline and soft, sophisticated feel, and “Vibe” made good use of George Benson’s “Love X Love” without troubling the charts – though it should have.

There’s more to Pronounced Jah-Nay than the singles, however. “Sweet Taste Of Love” snakes along on a drum machine smack set to “OK, but no faster than I have to” and a synth bass that burbles like it’s lying in the pool on a lilo, stoned. “Changes” turns up the tempo a couple of notches but is built the same way, with some beguiling one-note-at-a-time piano lines. Renée Neufville’s “Love Me Today” is lusher, with a warm softness in her voice to match the waltz-time lilt of the tune. “Off My Mind” offers a spot of nightclub swing. “For A Reason,” a ballad to close the set, has Jean Norris’ glowing vocal sounding like she spent some time in her childhood emulating Diana Ross in the mirror. No wonder the group were signed to Motown, like their mentor Queen Latifah: they would have understood each other.

One album later, that was it for Zhané, who parted to pursue solo careers – no surprise when you see who wrote what here: they both composed most of the material, but separately, with Renée Neufville taking the lioness’ share of the credits, though Norris still chipped in with a few gems. R&B moved swiftly on, but Pronounced Jah-Nay, originally released on February 15, 1994, and now given a 2LP reissue, now benefits from a luminous, nostalgic sheen. Say it any way you like, but do say it loud: they still sound just fine.

Pronounced Jah-Nay can be bought here.

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By the end of the 90s, Sisqó had already achieved major success as the lead vocalist of Dru Hill. The R&B group, revered for its velvety harmonies and Shakespearean romance ballads, released its debut self-titled album in 1996 and scored seven Top 40 hits and three No. 1s on the U.S. R&B chart. But while Sisqó was already known for his powerhouse vocals, he went to another level with his 1999 solo debut album Unleash The Dragon.

Crafted while Dru Hill was on a hiatus, Unleash The Dragon was a combination of lovelorn tunes that initially put the R&B group on the map as well as more experimental productions that winked at what was to come in Y2K. The highlight, of course, was “Thong Song.” The unlikely classic was all inspired by a successful date: “We’re talking about 1998, so it was extremely taboo to wear one,” the singer told Billboard in 2019. “I never saw one before, so she shows me and I was in awe! I was like, ‘What are you wearing?’ She told me, ‘Oh this old thing? It’s just a thong.’ I thought it was glorious! I called my friends that night, like ‘Gather ’round fellas! I have to tell you a tale.’ I just saw something called a thong! It’s almost like dental floss, but they wear it as underwear!”

Listen to Sisqo’s “Thong Song” now.

The song is an addicting earworm: it has an increasing modulation that makes the repeated verses sound refreshing, there’s an inventive combination of orchestral violin strings and a hip-hop beat, and of course Sisqó’s signature “YEEEEEAAAAAAHHHHHH” ad-lib on the bridge. There’s also an unexpected sample. Co-producers Tim & Bob (Tim Kelley and Bob Robinson) originally sampled Wes Montgomery‘s cover of The Beatles‘ 1966 song “Eleanor Rigby,” which was later built upon once Sisqó got an earful of it.

In VICE’s 2021 documentary The Story of the Thong Song, Robinson revealed the “Thong Song” reference track was accidentally added to a compilation of Dru Hill-esque ballads he planned to play for Sisqó. The producers initially crafted “Thong Song” with Michael Jackson in mind, but once Sisqó heard the opening strings he wanted it all to himself. He then hired acclaimed violinist Bruce Dukov (who notably worked on Star Wars) to rewrite the strings. Sisqó also threw in a very ‘90s lyrical reference (“Not just urban she likes the pop / ‘Cause she was livin’ la vida loca”), which he later had to pay for. According to the VICE documentary, Desmond Child (the writer of Ricky Martin’s “Livin’ La Vida Loca” hit) now owns the majority of the song’s publishing.

What saved “Thong Song” from being a novelty one-hit wonder was that it showed Sisqó’s musicality. “There was a lot of harmony and innovation that people now, 20 years later, are able to appreciate the song more,” the singer told Billboard. “The song is written in a very classical sense, no pun intended. It starts off with me singing low, then I sing-rap, then it goes into a higher register. That’s what makes the song timeless.”

And he was right: In 2017, Norwegian trio JCY gave “Thong Song” a tropical house remix and Ludacris sampled it on “Vitamin D” featuring Ty Dolla $ign. The song has also been interpolated by artists like Little Mix, Chris Brown, Sia, and Daddy Yankee.

Following “Thong Song”, Sisqó released two more solo albums (2001’s Return of Dragon and 2015’s Last Dragon). He also reunited with Dru Hill for 2002’s Dru World Order and 2010’s InDRUpendence Day. The group embarked on their 25th-anniversary tour in 2021, while Sisqó participated in NBC’s American Song Contest last year. Decades later, the singer continues to revel in the success of that thong-th-thong-thong-thong.

Listen to Sisqo’s “Thong Song” now.

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Just as vinyl has experienced a renaissance over the years, so has the humble cassette tape, beloved by Gen-Xers and the vehicle for crafting one of the most intimate forms of expression… the mixtape.

Browse our Valentine’s Day collection featuring limited edition vinyl and CDs here.

Played endlessly until you know every skip, crackle, and pause, a mixtape may get lost, but the songs on it are never really forgotten and instantly transport you to the time, place, and person who made it.

There is an acknowledged art to making the perfect mixtape, one that’s been immortalized in the film adaption of Nick Hornby’s novel High Fidelity, with John Cusack pontificating on the subtle intricacies of making a mix: “Making a tape is like writing a letter – there’s a lot of erasing and rethinking and starting again. A good compilation tape, like breaking up, is hard to do.”

Making a mix can communicate any feeling you want, without having to put anything into words – other than a catchy title. Speaking of which, a theme is essential. Mixtapes are not playlists, they need to be cohesive rather than just a jumbling of songs. So what are the rules – or, rather, guidelines? When it comes to affairs of the heart, there are no rules.

So, with Valentine’s Day right around the corner, scroll down to read our guide to making the perfect mixtape for each stage of courtship.

Three important things to remember

First, make it personal. Mixtapes represent not only songs you like, but selections you think the recipient will love. Even for the romantic sadomasochists, there’s Danzig’s “Devil’s Plaything.” Consider the genre, but don’t be afraid to mix things up. There is a certain amount of peacocking that goes into tape curation, but don’t go too obscure just for the sake of it.

Secondly, there are general organizational rules of thumb: avoid including more than one track by the same artist, or two versions of the same song back to back (though covers are welcome). And avoiding excessively long tracks, there’s a beauty to sticking to analogue tape limits.

Thirdly, try to avoid the big hits. Not that Top 40 music is inferior, but more because he or she can just turn on the radio if they want to hear what’s charting on Billboard. Moreover, never underestimate the importance of flow. You can’t follow Mazzy Star’s “Bells Ring” with “Love Song” by The Damned. And when all else fails, go for a song with a girl or boy’s name in it.

While this labor of love no longer involves supreme patience and a tape machine, you can still make a “mixtape” no matter the format.

First Crush

This is perhaps the trickiest tape mix of all. How do you make your intentions clear without overwhelming the target of your affection? You can’t kick off a tape with The Smashing Pumpkins’ “Ava Adore,” you have to work your way up to it. For the non-committal types, there’s Rufus Wainwright’s “Vibrate,” which promises undisrupted attention; or for the heart-on-your-sleeve types there’s “No.1 Fan” by The Beautiful South. If you’re one of the many who couch their feelings in satire, you can use Bill Baxter’s “Embrasse-moi, Idiot!” and let him or her figure out the lyrics.

While you can’t go full torch song yet, it doesn’t mean you can’t get a little soulful, maybe Raphael Saadiq and D’Angelo’s “Be Here”? What about those looking to turn a friendship into something more? Jurassic 5’s “Thin Line” covered this dilemma and then some. And if you want to be really obvious, there’s always Lil’ Kim’s “Crush On You” or Sophie B. Hawkins’ “Damn I Wish I Was Your Lover.”

Early Dating

So your tape has succeeded and you’re dating. Congratulations! You’ve already set the bar high and now you’ve trod into equally slippery territory, where you’re a couple but still figuring out how serious you want to be. Pre-declaration of the “L-word,” opt for something beautiful and evocative: “I have searched for all your fragrance in the silent dark/Is that OK?” The Clientele’s “We Could Walk Together” conveys poetic longing while avoiding cliché, while Stephen Merritt of The Magnetic Fields can always be counted on for a sardonic love tune – after all, he did write a triple-album called 69 Love Songs.

When you’re are at the stage of professing love, there are decades of love songs at your disposal. But a mixtape is all about avoiding the obvious (sorry, “Sunshine, Lollipops, And Rainbows”). Love can be a strange and disorienting thing, and nothing captures that more than Pulp’s “F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.” “Oh yeah, all the stuff they tell you about in the movies/But this isn’t chocolate boxes and roses – it’s dirtier than that.” Jarvis gets it. Not all love songs require lyrical gymnastics, case in point: Alex Chilton’s pie-eyed vocals on Big Star’s “I’m In Love With A Girl.”

Traditionally, the mixtape is often flush with 80s and 90s music due to the advent of tape decks and the almighty Walkman, but that’s not to say you can’t get some 70s funk on there and dip into other decades. Syreeta’s bass-fuelled cover of Stevie Wonder’s “I Love Every Little Thing About You” is one of the most delightful love songs on record; it’s a true mystery why her solo career never fully took off.

Serious Relationship

This is where you can really flex your mixtape muscles, crafting an impeccable mix for your significant other. You know their likes, their dislikes and can include songs that hold special meaning in your relationship. But if you’re ever in doubt, a soul song can always move the heart. Irma Thomas has been getting a lot of action lately due to her 1964 song “Anyone Who Knows What Love Is (Will Understand)” cropping up in TV and film – notably the fourth season of Charlie Brooker’s Black Mirror – but her earlier release, “Ruler Of My Heart,” is equally stirring.

Cover versions are great for mixes because they allow you to experience a song you’re familiar with in a new way. While Brenda Holloway sings the hell out of “You’ve Made Me So Happy,” Lou Rawls’ silky vocals take it over the top. Side-stepping the saccharine love songs of the adult contemporary dial, Glen Campbell manages to make grown men weep with his emotionally raw interpretation of Jimmy Webb’s “Wichita Lineman,” a blue-collar ballad that lays it all on the line.

Let’s Get Back Together

So you flew too close to the sun and now your relationship is a pile of ashes. Depending on how things ended, there might be a chance you can rekindle the flame the same way you started it – with a mixtape! The key to putting together a “take me back” mix is to lay all your cards on the table, even if it means the inclusion of James Brown’s “Begging Begging.” Sure, it’d be easy to just fill both “sides” with Hank Williams and call it a day, but you can catch more flies with honey.

Let the smooth vocal harmonies of the Gibb brothers wash over him or her on Bee Gees’ “You Know It’s For You,” which seeks to win over the heart through perseverance alone. Or you could leave it up to Roxy Music’s “All I Want Is You” to win them over. After all, Bryan Ferry has always had luck with the ladies. And if your break-up was more misunderstanding than a result of egregious errors, Angel Olsen’s “Shut Up Kiss Me” cuts right to the heart of the matter.

Shop our Valentine’s Day collection featuring limited edition vinyl and CDs here.

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Motown wasted no time getting Teena Marie back in the studio on the heels of her 1979 Rick James-produced debut, Wild & Peaceful. Her sophomore project had to dispel the notion that she was a singer in need of a svengali – she was, in fact, a prolific writer with her own ideas about how she wanted to sound. While Berry Gordy was afraid R&B listeners would assume she was a pop singer and thus keenly withheld her image from American pressings of her debut, it was time to show the world who she was; literally.

James encouraged Marie to take the reins of her own production, but she asked Richard Rudolph, producer and husband of Minnie Riperton, to co-produce the next album with her. Together, Rudolph and Marie combined seasoned studio musicians, like Paulinho Da Costa and Randy Waldman, with a new group of players from Nashville named Ozone, who arrived at Motown by way of Billy Preston and Syreeta, creating a sophisticated and buoyant profusion of soul, funk, jazz and pop sounds. On background vocals, Teena was joined by her sister-friend/collaborator, Jill Jones (later a protégé of Prince), Andraé Crouch & the Disciples’ Bili Thedford, Brenda Lee Eager, and others. Teena wrote all but one of the album’s nine tunes, the outlier being “Now That I Have You,” an octave-stretching ballad intended for Minnie Riperton, who died just before production on Lady T began in the late summer of 1979.

Listen to Teena Marie’s Lady T now.

“Aladdin’s Lamp” and the album’s first single, “Can It Be Love” were ballads that exhibited the unabashed emotional transparency that Teena would become synonymous with, singing of both the joys of newfound love and fresh heartache without inhibition. Uptempo cuts like “You’re All The Boogie I Need” and “Young Girl In Love,” meanwhile, were youthful and sassy, expressing the playful side of the poet.

From the swaggerific, bass-heavy opener “Behind the Groove,” which hit #4 on Billboard’s Dance/Disco chart, to the closer, the Marvin Gaye-esque “Too Many Colors,” Lady T introduced concepts that would develop in her work over the next 32 years: intergalactic travel, the vitality of a groove, emerald city love songs, and the quandaries of race and racism.

Lady T was a statement of self-possession. With its shoulders up, head-held-high cover portrait, soul-exposing back cover poem, and nine versatile compositions, the album solidified Teena’s relationship with a growing listener base, assuring them that she had only scratched the surface of her own creativity.

Browse our Motown collection featuring limited edition vinyl and CDs here.

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Can it really be that long ago? In many ways, it feels like we’ve benefitted from Erykah Badu’s idiosyncratic style and lyrical insights since time immemorial; yet it also feels like only yesterday that Baduizm, originally released on February 11, 1997, made its creator a household name, taking her to No.2 in the US while cruising to the top of the R&B chart.

A confident mix of jazz, soul, R&B, and hip-hop, Baduizm was uniquely Erykah: the first offerings from a woman who’d been singing on local radio stations since the age of 14, and who, aged 25, contained a lifetime’s worth of experience in her vocal delivery, drawing comparisons to Billie Holiday while also being praised by the Chicago Tribune for having “an artistic vision as unique and independent” as Prince’s during his mercurial 80s heyday. Receiving the Best R&B Album award at the Grammys (as well as scooping Best Female R&B Vocal Performance for Badu’s R&B chart-topping debut single, “On & On”), the album also swept up accolades at the American Music Awards and Soul Train Music Awards.

Three years later, Badu followed her debut with an even more expansive album. Furthering her artistic exploration even while looking inward to develop deeply personal lyrics that resonated with her ever-growing fanbase, Badu loaded Mama’s Gun with neo-soul classics such as “Bag Lady” and “Didn’t Cha Know?” – cuts that more than earned their place among the era’s finest, and which still sound fresh as ever. Recently hailed by Pitchfork as “a Black feminist album that went well beyond documenting tales of heartbreak to address issues greater than the sum of any one relationship,” Mama’s Gun remains a landmark release. But Baduizm is where it all started – and Erykah herself remains the High Priestess Of Neo-Soul.

Erykah Badu’s Baduizm can be bought here.

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The Guild of Music Supervisors has announced their 16th annual Icon Awards honoree, legendary singer, songwriter, multi-instrumentalist, and producer, Raphael Saadiq. The Icon Award was created to celebrate those who have made legendary contributions to the music and film industry. Previous recipients of the Icon Award include Quincy Jones, Burt Bacharach, Kenny Loggins, Marc Shaiman, and Stephen Schwartz.

The 16th Annual Guild of Music Supervisor Awards ceremony takes place February 28th at the Wiltern Theatre in Los Angeles. Tickets are available to purchase now.

Raphael Saadiq offered the following: “I am honored to be the recipient of this year’s Icon Award. Music plays such an important role in how stories are told on screen and I have always believed in the power of music to deepen emotion and connect people to the story. To be recognized by a community that celebrates the important relationship between music and cinematic story telling means a lot to me.”

Lindsay Wolfington, President of the Guild of Music Supervisors, had this to say about Raphael Saadiq, “We are very excited to honor someone whose reach has touched so many parts of the music and media industries; Raphael Saadiq’s contributions as an artist, songwriter, producer and composer for visual media truly define what we celebrate with the GMS Icon Award.”

The recipient of this year’s Legacy Award, meanwhile, is Robin Kaye, former Vice President of the Guild of Music Supervisors. The Legacy Award is presented to a music supervisor who has made a lasting impact on the industry over the course of their career.

A founding member of the iconic R&B group Tony! Toni! Toné!, Saadiq went on to forge a trailblazing solo career with acclaimed albums including Instant Vintage, The Way I See It, Stone Rollin’, and Jimmy Lee. Saadiq has written and produced for D’Angelo, Solange, Beyoncé, Stevie Wonder, Mary J. Blige, and John Legend, among many others. Most recently, Saadiq co-wrote the original song “I Lied to You” (with Ludwig Göransson) for Ryan Coogler’s 2025 film Sinners, performed by breakout star Miles Caton. Saadiq received Golden Globe, Grammy, and Oscar nominations for “I Lied to You.”

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

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Each year, the annual Super Bowl attracts a massive audience at home and abroad, ranking second only to the UEFA Champions League final as the most-watched annual sporting event worldwide. Yet it’s not all about the sport. The best Super Bowl halftime shows have played host to spellbinding performances from the best rock and pop superstars over the past three decades.

With Rihanna set to add their name to the list, with a much-anticipated halftime show, we take a look at the best Super Bowl halftime shows of all time.

The Rolling Stones (2006)

Satisfaction guaranteed with the legendary group, tearing through classics like “Start Me Up” and “Rough Justice.”

Lady Gaga (2017)

Also featuring groups of hundreds of lighted drones in the sky over Houston’s NRG Stadium, Lady Gaga’s set included tracks from her album Joanne and an impassioned cover of Woody Guthrie’s “This Land Is Your Land.” The NFL claimed it was the “most watched musical event of all-time,” citing global viewing figures of 150 million.

Tom Petty & The Heartbreakers (2008)

The incomparable Tom Petty was at full tilt during this performance, slashing and burning through a four-song set including a yearning “Free Fallin’” and a supercharged “Runnin’ Down A Dream.”

Katy Perry feat. Lenny Kravitz & Missy Elliott (2015)

When you’re the halftime performer at the Super Bowl, all eyes are on you. Unless, apparently, you bring dancing sharks on stage like Katy Perry did during “Teenage Dream” and “California Gurls” at the 2015 Super Bowl. Left shark’s moves were…unpredictable, which caused an internet uproar, though one that also highlighted Perry’s electric performance and her brilliant decision to share the stage with Missy Elliott.

Michael Jackson (1993)

A barnstormer that set the bar for anyone else looking to compete with the best Super Bowl halftime shows: the self-styled King Of Pop performed an awesome mini-set including “Billie Jean,” “Black Or White,” and “We Are The World.” After this performance, the NFL actively pursued pop’s top names for their halftime shows.

Diana Ross (1996)

Diana Ross’ Super Bowl halftime performance featured an electrifying medley of Ms. Ross’ greatest moments from The Supremes (“Baby Love,” “You Keep Me Hangin’ On”), her solo career (“Chain Reaction”), and more.

Boyz II Men, The Temptations, Smokey Robinson, Martha & The Vandellas, Queen Latifah (1998)

An all-star Motown extravaganza, this Super Bowl halftime show culminated with the artists performing a show-stopping finale of “Dancing In The Street” with the GSU Marching Band.

U2 (2002)

In tribute to those killed in the 9/11 terrorist attacks, U2 performed an emotional mini-set featuring “Beautiful Day,” hymn of peace “MLK,” and “Where The Streets Have No Name.”

Paul McCartney (2005)

Paul McCartney was on suitably fab form for his Super Bowl halftime performance with a hits-stuffed mini-set of Beatles classics and his own James Bond theme, “Live And Let Die.”

Bruce Springsteen & The E Street Band (2009)

Tailor-made to slay stadiums, The Boss and his loyal cohorts rampaged through a quartet of all-American classics including “Glory Days” and “Born To Run.”

Madonna With MIA, Nicki Minaj, Cee Lo Green, LMFAO (Indianapolis, 2012)

This Madonna spectacular visualized by theatrical company Cirque Du Soleil and choreographer Jamie King set a new record for Super Bowl viewing figures, attracting 114 million viewers – reputedly more people than those watching the game itself.

The Weeknd (2021)

The Weeknd and musical director Oneohtrix Point Never brought the After Hours era to the biggest stage imaginable at the 2021 Super Bowl. Performing a medley of hits across his discography, Abel Tesfaye moved from the stage to a claustrophobic room filled with look-alikes ready to brawl, before emerging once again to serenade his global audience with “Blinding Lights.”

Beyoncé, Destiny’s Child (2013)

This highly acclaimed Super Bowl halftime performance generated more than 299,000 tweets per minute. At the time, it was reportedly the second most tweeted moment in the history of Twitter.

Coldplay feat. Bruno Mars and Beyoncé (2016)

Coldplay came with a number of tricks up their sleeves for the Super Bowl 50 halftime show. After running through seminal hits like, “Yellow,” “Viva la Vida,” “Paradise,” “Adventure of a Lifetime,” the group brought Bruno Mars and Beyoncé onstage to perform “Uptown Funk” and “Formation,” respectively, before everyone joined together for a rousing finale. Chris Martin was wise enough to know that inviting Beyoncé onstage is an automatic W. If only she could have helped the Carolina Panthers offense.

Prince (2007)

Torrential – rather than purple – rain threatened to make Prince’s Super Bowl XLI halftime performance a washout. No problem for one of the world’s greatest live performers, who shrugged off organizers’ concerns with one question: “Can you make it rain harder?”

Whipping up his own storm on a lit-up, symbol-shaped stage, Prince defied the elements to unleash “Let’s Go Crazy,” “Baby I’m A Star,” and “Purple Rain,” chucking Bob Dylan’s “All Along The Watchtower” and Foo Fighters’ “Best Of You” in for good measure. Come the finale, a full marching band had taken to the field, Prince had cycled through four guitars – one of which suffered water damage thanks to the strength of the rain – and 93 million people had witnessed a performance that is still hailed as one of the all-time best Super Bowl halftime shows.

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