Category: R&B

“There are eight billion tales in the naked universe/This is just one of them/But… they all have black holes.” With these illustrious words – ostensibly scientific, possibly profane, and undisputedly funky, George Clinton commenced Parliament’s final album of the 1970s, Gloryhallastoopid (Or Pin the Tail on the Funky). Tasked with following the triumphant undersea saga of Motor Booty Affair (not to mention the storied sequence of concept recordings that preceded it), Gloryhallastoopid found Parliament exploring the inception of the cosmos as an allegory for its own beginnings and the roots of funk.

It’s a typically ambitious premise, and from the musical side an especially intriguing one given the context. In 1979 disco was still the prevailing style of the moment, though a fierce backlash was brewing. Indeed, that same year, Parliament’s fraternal twin outfit Funkadelic answered its own call to “rescue dance music from the blahs” with a certifiable anthem, “(Not Just) Knee Deep.” Nothing from Gloryhallastoopid ascends to that transcendent single’s heights. But there’s still plenty of quality, and in its best moments assuredly encapsulates all the classic P-Funk elements.

The “Mothership Connection”-esque title track once again finds Clinton’s narrative stand-in Starchild (accompanied by a new voice character, Wellington Wigout) setting the scene pre-Big Bang “from deep in the black hole,” with a nonsensical backwards recorded mid-section representing the thematic rewind of sorts. A template for the boogie-funk Roger Troutman’s Zapp would soon popularize, “Theme From the Black Hole” doubles down on the risqué rear view puns (e.g. “a toast to the booty… to the rear, march”) amidst taunts from nemesis Sir Nose D’Voidoffunk. “The Big Bang Theory” abandons exposition entirely in favor of pure groove, yielding a horn-and-synth led instrumental so hot it concludes with sci-fi sound effects that suggest the explosion that started it all.

For the first time in a while, however, there’s also what feels conspicuously like filler. “Party People’s” four-on-the-floor stomp is probably as close to a disposable disco groove as Parliament ever got and stretches on for nearly ten minutes. “The Freeze (Sizzlaeenmean),” is a welcome throwback to James Brown’s early ’70s extended early funk workouts, but lacks the tension and urgency that made those JB grooves so undeniable.

Rotating players and personnel changes within the group may have been a contributing factor (keyboard wizard Bernie Worrell has no writing credits, and his presence feels palpably diminished). But if anything Gloryhallastoopid is a victim of the inordinately high bar, musically and conceptually, P-Funk set for itself throughout the decade. Any other funk group of the era would be lucky to possess a molecule of the talent required to generate “May We Bang You” – another risqué number bearing multi-instrumentalist Junie Morrison’s unmistakable stamp. It brings the cosmic extended metaphor into the bedroom and, when the song reaches its beautiful bridge, a velvety chorus croons en masse, “Love your groove.” There’s nothing in the galaxy that can touch it.

Shop Parliament’s music on vinyl or CD now.

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Summer Walker has dropped a new album. Finally Over It, Walker’s third studio album, is out now via LVRN/Interscope Records. Alongside the release, Walker shared an official music video for “FMT.”

Directed by Child, the “FMT” video takes place in a barren landscape as Summer communes with a group of women in a bath. “This water remembers your first cry, your first breath, and it knows the weight of my arms when they first held you, and now it learns to let you go,” an older woman tells her.

Finally Over It concludes a trilogy that began with 2019’s Over It and continued with 2021’s Still Over It, which gave the Atlanta-based R&B singer/songwriter her first No. 1 Album on the Billboard 200.

One cut off the album, “Heart of a Woman,” recently received two Grammy nominations for Best R&B Performance and Best R&B Song. The song’s video, co-starring Walker and rapper NLE Choppa, finds Walker reliving the same day three times in a loop after learning about her partner’s
infidelity.

Ahead of the album, Walker built viral hype with an inventive rollout that included a 90s-inspired hotline commercial, blurred digital covers across DSPs, and a lie detector test confirming fan-theories about who might appear on the album. She also launched the Finally Over It escape room in Atlanta and sent a Finally Over It dump truck on tour around the city to collect fans’ old belongings from ex-boyfriends.

Walker eventually revealed the album’s lineup with a wedding reception–themed seating chart and video. Among the producers and artist involved on Finally Over It are Chris Brown, Latto, Mariah the Scientist, Bryson Tiller, Teddy Swims, GloRilla, Sexyy Red, Brent Faiyaz, 21 Savage, Anderson.Paak, The Dream, Jeremih, Troy Taylor, Bryan-Michael Cox, Nineteen85, Ant Clemons, Jean Baptiste, and more.

The 18-song album is structured into two sections, “For Better” and “For Worse.” Both emotional worlds explore the lessons of love, and reflect on self-worth, stability, and intimacy. Ahead of the release, Walker spoke on Instagram about the emotional realizations behind the project, saying, “I came out of my funk. I’m gonna live life to the fullest and get everything I deserve. It’s so freeing, and I can finally take the baggage off and just be happy.”

Order Summer Walker’s Finally Over It on vinyl or CD now.

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Maintaining a foothold in popular music is nearly impossible, yet Frankie Beverly and Maze entertained audiences all over the world for decades. Their classic 1970s and 1980s catalog was rife with timeless musical moods and lyrics that transcend eras. Quite simply, Maze created beautiful music that rounds off the edges of rough days.

Maze got their big break when they met Marvin Gaye. The Motown superstar mentored them and made them his opening act in their early years. Their 1976 debut album, Maze Featuring Frankie Beverly, was gold-certified and spawned the hits “Happy Feelin’s” and “Lady of Magic.” Three more chart-topping albums followed, establishing Maze as a mainstay on R&B radio stations.

While their studio albums touched the ears of music lovers through radio and vinyl, the magic of Maze truly came alive onstage. “I mean, we’ve really come from the bottom line, which is a working act, and that’s why that live album is so good,” explained Frankie Beverly in the NME in 1982. “In the studio, it’s harder to make that energy happen, it doesn’t come so naturally.” The live album Beverly was referring to? Live in New Orleans, recorded on November 14th and 15th, 1980 at the historic Saenger Theatre.

Beverly chose New Orleans, a Southern city celebrated more for its musical past than for its then-present instead of coastal entertainment hubs like New York and Los Angeles. Recording in New Orleans was an acknowledgment of the love Maze consistently received from the city. “I never thought we’d do well in the South. We weren’t funky like Cameo. We had that California thing. We did songs… [But it was] like we were born and raised [in New Orleans]. It was like a disease here,” Beverly told The Times-Picayune in 2013. He’s said countless times – whether true or not – that the majority of sales of Maze Featuring Frankie Beverly came from the New Orleans area.

By the time they recorded Live in New Orleans, Maze had four certified gold albums, and a string of R&B hit songs that included “Southern Girl,” “Feel that You’re Feelin,” and “Workin’ Together.” Much like James Brown’s push to record and release his groundbreaking 1963 live album, Live at the Apollo, Beverly understood that capturing the magic that happens onstage at a Maze concert was the closest way to recording the full Maze experience. By the early 1980s, Maze were an incredibly tight live band, with a chill take on R&B and soul that placed them alongside groups like Kool and the Gang, as opposed to the intergalactic funk of Parliament-Funkadelic. Maze were intentionally low-key and unfussy in their stage presence.

Nonetheless, what they put to record in 1980 was special. The live performance of “Happy Feelin’s” nearly eclipsed the studio version in popularity. And the moment where the audience takes over “Joy and Pain” and Beverly leads them in an acapella rendition of the chorus is transcendent. In an interview, Beverly once said that “The Saenger crowd “gave us a classic record.”

Upon its 1981 release, Live in New Orleans became Maze’s fifth gold-certified album and rose to #3 on the Billboard R&B chart and #32 on the Billboard US chart. But beyond the numbers, the cultural impact of Maze is even more impressive in an era where many of the bands from the 1970s began downsizing or struggled to stay afloat, Live in New Orleans solidified Maze’s position as one of the premiere R&B touring for decades to come.

The album also served as a prelude to Maze’s long-term relationship with New Orleans. Throughout the next few decades, the group became a regular closing headliner at the annual Essence Festival. There, Maze played to 40,000 fans of different generations who all clamored for their hit songs with the same energy as the Saenger theater audience did in 1980. As noted local DJ Melissa Weber once put it, “As a child… [they were] the biggest band in New Orleans… I had no idea until I was older that Maze and Frankie Beverly were, in fact, not from New Orleans at all.”

While the album is a live album, it includes four studio recordings at the end. One tune, “Before I Let Go,” went on to become what some call the unofficial “Black national anthem” because it’s played at weddings, barbecues, family reunions, Historically Black College homecomings, and many other joyous occasions. But Live in New Orleans is all about the live performances, an album that shows us why live music will always matter.

Shop Maze And Frankie Beverly’s music on vinyl or CD now.

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Jhené Aiko’s debut EP, Sail Out, is a melodic ode to romance and self-sufficiency. Straying from typical R&B themes of needing love and someone else to feel fulfilled, Aiko sings about the difference between wanting someone and needing them – the difference between dipping your toe in the water and jumping into the pool. On Sail Out, Aiko introduces us to J. Hennessy, her alter ego, who is more romantically selfish and a little more aggressive. While working on Souled Out, Aiko realized she had two albums worth of material and decided to release Sail Out. The name reflects a more carefree approach to life, encouraging seeking out what will bring inner peace and happiness. The EP, which debuted at No. 8 on Billboard and is certified Gold, includes features from Kendrick Lamar, Vince Staples, and Ab-Soul for a more rap-influenced feel.

Shop Jhene Aiko’s music on vinyl or CD now.

As a Pisces, Aiko feels in tune with all signs of the zodiac and experiences several different personalities or influences in a day; she speaks on the Pisces symbol, two fish swimming in different directions, representing duality. Pisces is the intuitive, healing, dreamer of the zodiac, empathetic to different perspectives and people – sometimes drowning in the intensity of situations. Because of this, Aiko says she exhibits versatility as an artist and is more apt to explore avenues other R&B artists don’t. Jhene developed more of a rap persona on Sail Out, and said the first rap she ever wrote was when she was five years old – she sat down with her mom and told her mom what she wanted to say while her mom wrote the words down for her.

Sail Out opens with “The Vapors” featuring Vince Staples, a track discussing love almost from the perspective of it being an addictive drug. Aiko purposely used a double entendre in the hook – “Can I hit it again? Can I hit it again?” – and Vince then floats in with a verse about push and pull in a relationship with poor communication. She follows that with “Bed Peace,” featuring Childish Gambino, which is a more lighthearted track with an accompanying video inspired by John Lennon and Yoko Ono. When asked about the song and video, Aiko said she was inspired by Lennon and Ono because of how happy and in love they appeared in photos, and that people should be less afraid to show when they love someone.

Aiko keeps the Pisces anthems coming on “Stay Ready (What A Life),” featuring Kendrick Lamar, which is all about being secluded with the one you love, making love, and isolating yourselves from the rest of the world and making a world of your own. “WTH,” featuring Ab Soul, is an escapism track about getting way too high to cope with life and not being able to tell reality from a dreamlike state. “The Worst” is the second single off Sail Out, with an accompanying video showing Aiko having a breakdown after killing a lover who treated her wrong. She laments “I don’t need you, I don’t need you, I don’t need you – But I want you.”

Then follows “3:16 AM,” (a nod to Jhene’s birthday, which is 3/16), which revolves around not being feeling alone and abandoned, unsure of what the next step will be for her. “Comfort Inn Ending” is a singing freestyle of Jhene regretting getting involved with someone in the first place when they both knew it wouldn’t last.

The EP feels like a wild but steady ride through the different stages of a toxic and intoxicating relationship, almost serving as a cautionary tale to anyone listening. But honestly, how Sail Out makes you feel might depend on your sign.

Shop Jhene Aiko’s music on vinyl or CD now.

Note: This article was first published in 2018.

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Soul music and R&B warms the heart, making it the perfect companion to the holiday season. This Christmas, give the gift of soulful classics and up-to-the-minute R&B with our specially curated holiday gift guide. Whether you’re shopping for vinyl, collectibles, or iconic artists, these gifts will make any music fan feel the holiday love.

Dru Hill – Enter the Dru 2LP

Dru Hill’s classic sophomore album Enter the Dru comes to life on this 2LP vinyl, featuring smooth harmonies and unforgettable R&B hits from one of the genre’s defining groups.

Pick up Dru Hill’s Enter the Dru 2LP here.

Floetry – Floetic 2LP

Floetry’s acclaimed debut Floetic blends soulful vocals and spoken word poetry, reissued on 2LP vinyl for fans of smooth, timeless neo-soul.

Get Floetry’s Floetic 2LP here.

Kool & The Gang – Greatest Hits Color LP

Kool & The Gang’s Greatest Hits arrives on vibrant color vinyl, bringing their funk, soul, and feel-good grooves to life in a must-have collection.

Order Kool & The Gang’s Greatest Hits color LP here.

Summer Walker – Finally Over It Translucent Light Blue 2LP

Summer Walker’s Finally Over It continues her reign as an R&B powerhouse, pressed on gorgeous translucent light blue vinyl that matches her smooth, confessional sound.

Grab Summer Walker’s Finally Over It translucent blue 2LP here.

Jodeci – The Show, The After Party, The Hotel 2LP

Revisit Jodeci’s seductive sound with The Show, The After Party, The Hotel, a 2LP set that captures the iconic group’s signature blend of soul and swagger.

Buy Jodeci’s The Show, The After Party, The Hotel 2LP here.

Daniel Caesar – Son of Spergy 2LP

Daniel Caesar’s Son of Spergy offers introspective lyrics and lush production across this 2LP release, solidifying his reputation as one of R&B’s most thoughtful voices.

Shop Daniel Caesar’s Son of Spergy 2LP here.

Jhené Aiko – Souled Out Limited Edition Opaque Blue Lagoon 2LP

Jhené Aiko’s Souled Out glows on this limited edition opaque blue lagoon vinyl, bringing new depth and beauty to one of her most beloved albums.

Order Jhené Aiko’s Souled Out blue lagoon 2LP here.

Jhené Aiko – Chilombo Standard 2LP

Jhené Aiko’s Chilombo brings her signature mix of serenity and strength to vinyl, a stunning 2LP set that showcases her ethereal artistry.

Pick up Jhené Aiko’s Chilombo 2LP here.

Keri Hilson – In a Perfect World… 2LP

Keri Hilson’s debut album In a Perfect World… returns on vinyl, featuring hits like “Knock You Down” and “Energy,” pressed across two LPs of R&B perfection.

Get Keri Hilson’s In a Perfect World… 2LP here.

Rihanna – Vinyl LPs

Rihanna has pressed select albums from her vaunted discography on vinyl! Check out the link below to see if your favorite album of hers is available.

Buy it here.

Ne-Yo – In My Own Words 2LP

Ne-Yo’s breakout debut In My Own Words returns on 2LP vinyl, featuring smooth vocals and timeless R&B hits that defined an era.

Buy Ne-Yo’s In My Own Words 2LP here.

Find the ultimate Christmas gift for every music fan on your list—check out our other holiday gift guides for more inspiration.

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The Ruff Ryders were one of the largest rap posses in the late 90s, and Eve – AKA the label’s First Lady – helped propel them to Grammy-winning dominance. With the genre’s lack of female representation at the time, the paw print chest-tattooed Eve was a unique voice: A slick lyricist that shifted the male gaze of rap to a female’s perspective on sexuality, self-worth, and stacking your coins.

Eve Jihan Jeffers Cooper is a proud Philadelphia native. She initially found a place as a singer in an all-female R&B cover group called Dope Girl Posse, but when the group’s manager suggested they take a rap approach, Eve began sharpening her lyrical pen. After initially signing to Dr. Dre’s Aftermath and appearing on 1998’s Bulworth soundtrack and The Roots’ “You Got Me,” Eve moved to Ruff Ryders Entertainment/Interscope and was properly introduced on “What Ya Want.” The 1999 single, found on the compilation Ryde or Die Vol. 1, was sharp and assertive, with Eve rapping over a catchy Swizz Beatz production.

As Eve became an established name in the rap world, she also expanded her reach. She dabbled in fashion with the launch of clothing line Fetish, which launched in 2003 and closed in 2009. The rapper also found a home in film and TV, starring in the Barbershop film franchise, her own Eve sitcom (which ran from 2003-2006 on UPN), and serving as a co-host on CBS daytime talk show The Talk starting in 2017. Nonetheless, music has always remained at the forefront, and these are her best songs.

The Hits

(“Hot Boyz,” “Let Me Blow Ya Mind,” “Rich Girl,” “Gangsta Lovin’”)

A few months after Eve stepped onto the scene, the rapper quickly scored her first top ten single on the Billboard Hot 100 – thanks to Missy Elliott’s “Hot Boyz.” A still beloved posse cut (also featuring Lil’ Mo, Nas, and Q-Tip) from Elliott’s 1999 sophomore album Da Real World, the song showcased Eve’s now-signature sassy flow. The rapper kept the momentum going by linking up with Gwen Stefani for the Dr. Dre-produced “Let Me Blow Ya Mind.” The buzzy single, found on Eve’s sophomore album Scorpion (released in 2001) soared to No. 2 on the Hot 100.

Eve followed up with “Gangsta Lovin’,” the lead single from 2002’s Eve-Olution. Featuring Alicia Keys, the affectionate single displayed Eve’s softer side – and also peaked at No. 2. “Rich Girl” – the second team-up from Stefani, the rapper, and Dr. Dre – sampled Louchie Lou & Michie One’s 1993 song of the same name. The single, from Stefani’s debut 2004 album Love. Angel. Music. Baby., received a 2005 Grammy nomination for Best Rap/Sung Collaboration. Prior to the 2010s streaming takeover, it was a challenge for rappers (let alone female rappers) to earn such chart success. But Eve was proof that it was possible.

Boss Lady Anthems

(“What Ya Want,” “Eve,” “Satisfaction,” “She Bad Bad,” “Who’s That Girl?”)

Along with crafting chart smashes, Eve was also admired by fans for the confidence she helped give them. And it was all due to braggadocio lyricism that made listeners feel they were the most important person in the room. Eve first made that clear on the song “What Ya Want,” where she proved that women were secure enough to not fall for a man’s weak pick-up lines. “Who’s That Girl?”, the lead single from 2001’s Scorpion, may not have been a major hit (it peaked at No. 47 on Billboard’s Hot 100) but it quickly became a fan favorite thanks to the bold melodies that matched Eve’s equally in-your-face lyricism.

The Grammy-nominated “Satisfaction,” found on 2002’s Eve-Olution, is a more subdued production that allows the rapper’s flow to take center stage as she spits about putting all her haters to rest. “Eve,” which features Jamaican personality Miss Kitty, came later in her career (2013 to be exact). The powerful tune reminds everyone that while she may have taken a little hiatus, she’s still got the fire. “She Bad Bad,” found on 2013’s Lip Lock, is an experimental tune that fuses electronic beats with Afrobeat-inspired hooks.

The Island Jams

(“Give It to You,” “Reload”)

A handful of Eve’s songs reflect her love for Caribbean influences, and she first experimented with the island sound with 2007’s “Give It To You.” Produced by fellow Ruff Ryder Swizz Beatz, the sultry single features dancehall star Sean Paul and finds Eve at her most seductive. 2019’s “Reload,” marked a major comeback from Eve. (It was her first official single in six years.) But instead of returning with a vengeance, she opted to slow things down a bit alongside dancehall singer Konshens. All the reggae-rap song needs is an ice cold cup of rum punch.

Relationship Tunes

(“Gotta Man,” “Love Is Blind,” “Got It All,” “You Got Me,” “Caramel,” “Not Today”)

What makes Eve such a relatable rapper is her natural ability to connect with the ladies and their journey of discovering love. Eve doesn’t shy away from the real-life (and sometimes jarring) struggles that relationships can bring. Lifted from 1999’s debut album Let There Be Eve…Ruff Ryders’ First Lady, “Love Is Blind” sees Eve telling a story about her best friend surviving domestic violence and how she’d use any means to protect her life.

On the lighter end, “Gotta Man” is an adorable showcase of puppy love. The 2000 single “Got It All,” featuring Jadakiss, as well her feature on City High’s 2001 single “Caramel,” is Eve telling men that she is an asset all on her own. Meanwhile, the rapper hopped on Mary J. Blige’s 2004 single “Not Today” to show how quickly she’ll kick a guy to the curb, while her feature on The Roots’ 1999 single “You Got Me” finds her longing for her lover to come home.

Party Starters

(“Tambourine,” “My Chick Bad,” “Like This”)

Eve is mainly known for her attention-grabbing wordplay, but don’t be fooled – she can also write one heck of a club anthem. 2007’s “Tambourine” will have you rushing to the dancefloor thanks to Swizz Beatz’s jangling production and Eve’s catchy flow. That same year, the rapper linked up with Kelly Rowland for the latter’s “Like This” single. The slinky Top 40 tune was more R&B-leaning, but it still captured the hip-shaking groove that is necessary for a party hit. In 2010, Eve turned the volume all the way up when Ludacris recruited her (along with fellow female rappers Diamond and Trina) for the “My Chick Bad” remix. Eve closed the song with her signature confidence: “Cause I’m that b—h and still keep a mean fetish/Still stack lettuce, huh, still stack cheese/And I got a bad temper, tell your n—a say please.”

Shop Eve’s music on vinyl or CD now.

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You can not discuss the best 90s R&B songs without mentioning Dru Hill. In 1992, high school friends Mark “Sisqo” Andrews, Larry “Jazz” Anthony Jr., Tamir “Nokio” Ruffin, and James “Woody” Green formed a group eventually called Dru Hill, after Druid Hill Park in their native Baltimore. The quartet got their start at local and regional talent shows. (Not to mention their local fudge shop.)

They created a massive buzz after a few years, and landed a record deal with Island. Their debut album, Dru Hill, dropped in 1996 and went platinum on the strength of singles like “Never Make a Promise,” “In My Bed,” “Tell Me,” and “5 Steps.” The group often drew comparisons to Jodeci and Boyz II Men – influences they were happy to claim – and like many of the greats before them, their rich complex harmonies, rooted in soul music, met at the intersection of gospel, blues, hip-hop, and R&B. They were in their late teens and early 20s when they entered the world stage, but they crooned grownup tales of love and sex. Dru Hill also provided unforgettable visuals to match their tunes. That’s where many first saw their signature dance moves, like the Dru Hill bounce.

Dru Hill’s road through stardom wasn’t always smooth, especially after their sophomore album in 1998. There were label and group member changes throughout the years. The quartet became a trio at times, or a quintet, and then eventually back to a quartet. Despite the shifts in line up, though, they’re still making music. The focus in this introduction, however, is Dru Hill’s best songs from 1996 until 2002.

Dru Hill’s quintessential R&B songs

(“Tell Me,” “In My Bed,” “Never Make A Promise,” “5 Steps,” “I Should Be…”)

Dru Hill’s breakthrough was fueled by tantalizing love songs and signature dance moves. They came in hot with their debut single “Tell Me,” a melodious promise to deliver hot steamy love at all times. “Tell Me,” which first appeared on the soundtrack of the 1996 film, Eddie, peaked at number 18 on the Billboard Hot 100 and number five on the R&B chart. The video was also a treat, as they introduced their most famous dance move, the Dru Hill bounce, an energetic hop on both feet, one at a time, to the mid-tempo rhythm.

Even heartthrobs get their hearts broken, and “In My Bed,” the second single from their eponymous debut, was a scandalous tale of the sort. It spent three weeks at number one on the US R&B chart and peaked at number four on the US pop chart. Sisqo’s vocals lead this standard tale about suspicion of infidelity, but the steamy video ended with a twist that was unexpected for that time – Sisqo walking in on his girlfriend cheating with another woman.

“Never Make A Promise” was Jazz’s time to shine. His mellifluous tenor carries the song and his falsetto riffs at the end are the cherry on top. In the song, Jazz is promising to always protect the love of his life. In the song’s accompanying video, which tackles incest, he saves his lover from her abusive father. The mellow syrupy tune went straight to number one and stayed at the top of the charts for weeks.

If it wasn’t clear before that this group was rooted in gospel music, then “5 Steps” drives that point home via the powerful choral arrangements in the hook. This melancholy song finds the group singing about the short time we have on Earth and cherishing moments with loved ones while we still can. Meanwhile, “I Should Be…” is one of the best songs from 2002’s Dru World Order, which peaked at #25 on the Hot 100 and #6 on the R&B chart. It saw the group singing about what they knew best – how to be in love – with melodies as strong as ever.

Sophomore Success

(“You Are Everything,” “Beauty,” “These Are The Times”)

There was a lot of pressure on Dru Hill’s second album, but “You Are Everything” quickly dispelled any concern. The song sees them trying to reconcile with the lover they spurned, and while the Jodeci influence can be heard throughout their music, it’s especially rich here. The single propelled the album, Enter the Dru to double-platinum status.

“Beauty,” penned in part by Nokio, is a soft and sensual ode to a beautiful but elusive crush. The ethereal song sounds like a dream sequence and is a nod to Nokio’s stellar pen and keen ear for melodies. (They didn’t call the then-burgeoning producer “Nasty On Key In Octave” for nothing.)

Dru Hill can get raunchy at times, but “These Are the Times” is the opposite. Penned by Babyface and Damon Thomas, this song about taking it slowly finds them tempted by carnal flesh but willing to wait for true love. Here, they cherish the moments of getting to know a lover first, but Sisqo makes it quite clear when he sings about his desire to swallow her like Reeses Pieces, that the wait is going to be hard. Once again, the group delivered on visuals with a Man in the Iron Mask-themed video, complete with a sword fight.

The Best Remix Ever?

(“In My Bed (So So Def Remix)”)

It’s rare that remixes are as good as (or even better) than the original hit song, but Jermaine Dupri outdid himself as a producer on this one. He turned the slow jam into an up-tempo groove that makes it really hard to choose one version over the other. It’s all helped, of course, by Dupri and Da Brat lacing the track with braggadocio rhymes throughout.

Hip-Hop Appeal

(“Bad Bad Mama,” “This Is What We Do”)

Dru Hill lent their vocal chops to the hook of Foxy Brown’s “Big Bad Mama.” The single, from the How to be a Player movie soundtrack, contained an interpolation of Carl Carlton’s “She’s a Bad Mama Jama” and went on to peak at #53 on Billboard Hot 100. It was one of Foxy Brown’s most successful singles and showcased Dru Hill’s ability to seamlessly blend R&B with hip-hop. “This Is What We Do” from Enter The Dru, meanwhile, never made it to the radio, but Method Man blessed this raunchy groove with a few bars, once again showing the group’s versatility in this unlikely pairing. The flirty song is all about the fun of the chase.

Dru Hill Deep Cuts

(“All Alone,” “April Showers,” “Angel,” “Love’s Train”)

Dru Hill sang about self-care before it was cool. “All Alone” is another song about heartbreak, but they’re singing about overcoming that grief by taking some time to be alone and reflect on their feelings. It’s a rare cut where every member sings a verse. It’s great to hear Nokio, who often preferred to play the background and focus on writing and arranging. The song reveals his voice is breathy and chill compared to some of his more boisterous groupmates.

Woody didn’t sing lead as much as Sisqo or Jazz, but he was often allotted a verse or two on various group efforts. However, he really got to shine on “April Showers,” a love song he wrote for a high school girlfriend. It wasn’t a single, but its passion and beauty make it impossible to skip. His groupmates assisted his declaration of love by providing lovely background harmonies.

“Angel” is another Woody deep cut. At the beginning of the song, he mentions that people weren’t always aware when he sang lead and often told him that he should sing more. This was his way of recreating the magic he made with “April Showers,” now a cult classic, and reminding people that he had a strong voice, he was really good at love songs, and that he had a beloved place in the group. Mission accomplished.

Most of Dru Hill’s songs don’t have samples or contain interpolations, but they didn’t shy away from incorporating some remakes in their repertoire, paying homage to soulful groups who paved the way for them. Their first recorded foray into the world of remakes was their take on Con Funk Shun’s 1982 smash “Love’s Train.” The song appeared on their debut album and is another alluring call for a lover to join them in bliss. It sounds a lot like the original (a good thing), but its updated production, Sisqo’s signature riffs, and Dru Hill’s robust harmonies give it a boost.

Shop Dru Hill’s music on vinyl or CD now.

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The best funk albums ever made have one thing in common: They make you want to get down. Over the years, plenty of artists have excelled in the genre: James Brown, Parliament-Funkadelic, Rick James. There have also have been artists that have taken elements from funk and made it their own: Prince, Michael Jackson, and Stevie Wonder all come to mind. In the below list, we’ve paid tribute to some of the finest to ever do it, choosing one album per act, simply to get in as many artists as possible. We hope you enjoy this list of just a few of the best funk albums ever made, and use it as a starting point for further exploration.

Explore some of the most essential 1970s albums on vinyl.

40: Mark Ronson – Uptown Special

Ronson’s phenomenally successful 2015 album takes a tour through the history of funk, bringing the genre screaming into the 21st century. It includes the modern-classic floor filler “Uptown Funk,” while the album is topped and tailed with contributions from one of the original masters of funk – Stevie Wonder.

39: Average White Band – AWB

Scotland’s funkiest outfit, Average White Band are probably best-known for the million-selling “Pick Up the Pieces,” produced by the legendary Arif Mardin for Atlantic. However, not everybody involved thought it was a hit. As AWB’s Malcolm ‘Molly’ Duncan recalled: ‘”You’re completely mad,” I said. “It’s a funk instrumental played by Scotsmen, with no lyrics other than a shout.”’

38: Lee Fields – Let’s Talk It Over

Something of a cult classic, beloved of deep funk fans, Lee Fields’ 1979 album showed that the former Kool and the Gang man deserved a limelight of his own. Obviously influenced by James Brown (Fields provided the vocals to the 2014 JB biopic Get On Up), his love of classic soul and funk shines through on “Mighty Mighty Love” and “She’s A Lovemaker.”

37: Red Hot Chili Peppers – Blood Sugar Sex Magik

After a tumultuous end to the 80s, RHCP were by their own admission in a dark place. But producer Rick Rubin encouraged the band to make the funk album he believed they were capable of. Singer Anthony Keidis described the process as, “The most beautiful creation of music in my life.”

36: James Taylor Quartet – Wait A Minute

You might not expect great funky sounds to come out of the southeast of England in the mid-1980s, but you’d be wrong. Seasoned Mods, organist James Taylor and his pals’ jazz-funk echoed Booker T & the MGs, while their version of “The Theme from Starsky and Hutch” is rightly hailed as an all-time classic funk album.

35: The Temptations – All Directions

The Motown label’s “My Girl” hit-makers were never ones to rest on their laurels, changing styles and band members with the seasons. Having pioneered the psychedelic soul sound that fed into funk, it was only right that they should reap the rewards of their innovation. Central to All Directions is an epic, 12-minute cover of the Undisputed Truth’s “Papa Was A Rolling Stone.”

34: Herbie Hancock – Head Hunters

Is it jazz? Is it funk? Electronic soul? As Herbie Hancock told the New York Times, “The thing that keeps jazz alive… is that it is so free and so open to not only lend its influence to other genres, but to borrow and be influenced by other genres.” Call it what you want – it’s a stunning LP.

33: Graham Central Station – Graham Central Station

Former Sly & the Family Stone man Larry Graham joined and renamed a band named Hot Chocolate (not to be confused with the UK act), renaming them with a pun based on the celebrated Manhattan railway terminus. Bringing his sumptuous bass to the fore, these are pop-soul tracks of a very funky nature.

32: Cameo – Word Up!

Cameo had a string of acclaimed funk albums behind them by the time of their 1986 international smash hit, Word Up! (give 1977’s debut Cardiac Arrest a go after this, and then join the dots). Through the 80s, Cameo’s ability to move with the times helped them appeal to a young crowd raised on hip hop and R&B.

31: The Commodores – Machine Gun

Think of funk and your mind may not go straight to Motown. And if all you know of The Commodores are smooth ballads like “Easy” and “Three Times A Lady,” then 1974’s Machine Gun is going to come as quite the eye-opener. As well as the much-imitated infectious instrumental title track, “I Feel Sanctified” is a real funky jam.

30: Cymande – Cymande

You won’t find too many British groups on a list of the best funk acts ever, but one you can’t miss is Cymande, a London band whose eponymous 1972 debut fuses funk with African rhythms and scales, reggae, and jazz. “Bra” and “The Message” stand out, but listen to the album as a whole to get the most out of it.

29: Charles Wright & the Watts 103rd Street Rhythm Band – Express Yourself

If you were to sum up the sound of Charles Wright & the Watts 103rd Street Rhythm Band in one word, it would have to be “joy.” That’s the feeling that oozes out of their records, as light, sunny grooves underpin catchy pop hooks. With the title track of their 1970 album, they landed one of funk’s most universal anthems.

28: Dr. John – In the Right Place

Hailing from New Orleans, Dr. John, the Night Tripper, was famed for his dark soul show, dripping in voodoo, amulets, and ceremony. But after four albums in that vein, he changed tack. An album of New Orleans songs was followed by his funkiest offering by far, which includes his classic “Right Time Wrong Place.”

27: Rufus featuring Chaka Khan – Rags to Rufus

Underneath Chaka Khan’s sumptuous vocals, which would go on to win 10 Grammys, Chicago’s multi-racial Rufus is a band packed with twisting rhythm and attention-grabbing arrangements – the Stevie Wonder-penned “Tell Me Something Good” was one of the first hits to feature a guitar talk box.

26: The Bar-Kays – Gotta Groove

Following the plane crash that killed four Bar-Kays and Otis Redding, surviving members Ben Cauley (trumpet) and James Alexander (bass) built a new band, and their first outing, in 1969, saw them rise from tragedy to triumph. “Don’t Stop Dancing (To the Music)” hits the ground running, while their hot-buttered southern soul really hits on “In The Hole.”

25: Manu Dibango – Soul Makossa

You’d be forgiven for not being au fait with all the b-sides of singles celebrating African soccer teams, but 1972’s “Soul Makossa,” by Cameroon saxophonist Manu Dibango became more than just a cult favorite, after its chant refrain “ma-ma-ko, ma-ma-sa, ma-ko ma-ko-sa” was referenced first on Michael Jackson’s “Wanna Be Startin’ Somethin’” and then Rihanna’s “Don’t Stop the Music.”

24: Edwin Starr – War & Peace

The Sound of Young America, as Motown billed itself, eschewed its apolitical stance with Edwin Starr’s monster hit “War.” The veteran Motown singer mixed psychedelic soul and funk on the accompanying long player – “Adios Senorita” shows the influence of labelmates The Temptations, while “Time” is an absolute force of nature.

23: Fela Kuti – Fela’s London Scene

As Fela Kuti announces on J’Ehin J’Ehin “Only a fool can eat his teeth.” Quite. Hailing from Nigeria, Kuti shot to international acclaim when he fused jazz and funk with African Yoruba music to create Afrobeat. Recorded in England in 1971, Fela’s London Scene drips with hypnotic beats and grooves, generating a spellbinding mix that transcends the sum of its parts.

22: Earth, Wind and Fire – Gratitude

Gratitude captures the Chicago band in their element. Mostly recorded live, Gratitude showcases a band that could compete with the JBs for energy and tightness, and reportedly put on a show to rival even George Clinton for flamboyance. It’s a breathless double album that also includes the hit single (and positivity anthem) “Sing a Song.” And why not?

21: Donald Byrd – Blackbyrd

There could have been few more respected figures in jazz than Donald Byrd – he’d played with all the top bop musicians, and taught jazz at Rutger and Howard. But when he released 1973’s Blackbyrd, many jazz purists turned away; funk wasn’t considered worthy in some quarters. But far more lapped it up for the groundbreaking fusion that history has proven it.

20: Michael Jackson – Off the Wall

Where does funk end and disco begin? Not an easy question, but it’s likely the answer is to be found somewhere in these grooves. Michael Jackson’s 1979 masterpiece includes such timeless classics as “Don’t Stop Til you Get Enough” and “Workin’ Day and Night,” but the funk is everywhere, even when it’s not obvious – such as underpinning the smooth R&B/pop of “I Can’t Help It.”

19: Prince – 1999

By 1982, Prince already had a string of gold and platinum albums in the bag. But the release of 1999 changed everything, positioning him as a unique artist, a genius who took the influences of funk, rock, R&B, and pop, and fused them into a style all of his own. While the follow-up, Purple Rain, may have outsold 1999, it was this album that propelled Prince into the stratosphere.

18: Marvin Gaye – Here, My Dear

Here My Dear has come to be seen in some quarters as among Marvin Gaye’s finest work. When a judge ruled that his alimony settlement with Anna Gordy (daughter of Motown chief Berry) would be the proceeds from his next record, Gaye initially intended to “put out a load of garbage.” But soon he became immersed in making this brutally honest assessment of their marriage.

17: Isley Brothers – 3+3

The original Isleys family trio were joined by the three of the next generation (hence 3+3) for this 1973 classic. Young Ernie’s stunning guitar solo on “That Lady” (a cover of their own 1964 “Who’s That Lady?”) benefited from the lessons given by one-time Isleys guitarist Jimi Hendrix, while “Summer Breeze” was the feel-good hit of the summer of 1974.

16: Fred Wesley & the JBs – Damn Right I Am Somebody

Trombone supremo Fred Wesley leads James Brown’s legendary backing band through a Brown-produced tour de force that captures the JBs at one of their highest peaks. It’s an album rammed with groove and licks that just won’t quit, with politics at the fore – “I’m Payin’ Taxes, What Am I Buyin’” a comment on Brown’s well-known contempt for the IRS.

15: Bootsy’s Rubber Band – Stretchin’ Out in Bootsy’s Rubber Band

There are few funkier sounds than Bootsy Collins’ iconic popping bass, one of the defining features of James Brown’s conversion to funk, as well as being central to Funkadelic-Parliament’s interstellar groove machine. When he stretched out on his own for this 1976 George Clinton-produced offering, he struck gold, most notably on “I’d Rather Be With You.”

14: Tower of Power – Tower of Power

“What Is Hip?” asked Tower of Power on their 1973 eponymous breakthrough album. The California horn-section-cum-funk-band immediately answered their own question by becoming one of the hippest brass outfits around, providing sass for some of the biggest names in the music world. Adding Lenny Williams on vocals, they enjoyed chart success with the glorious “So Very Hard to Go.”

13: Kool & The Gang – Wild & Peaceful

Just in case you were in any doubt, the Jersey City outfit’s 1973 album opens with the top 10 hit “Funky Stuff,” while the second number is aptly titled “More Funky Stuff.” And on it goes – “Jungle Boogie,” with its sublime bass-led signature riff, and “Hollywood Swinging” keep the party fuelled.

12: Gil Scott-Heron – Pieces of a Man

American poet and musician Gil Scott-Heron spent his teenage years in The Bronx, before his promise as a writer earned him a school scholarship in the Upper West Side. He launched his studio career with 1971’s album Pieces of a Man, opening with “The Revolution Will Not Be Televised,” an extraordinary work that still sounds vital over 50 years later.

11: Parliament – Funkentelechy Vs. the Placebo Syndrome

Funkentelechy Vs. the Placebo Syndrome is packed with delights. There’s Bootsy Collins’ impossibly brilliant bass on “Bop Gun (Endangered Species),” the twisted, ironic nods to more innocent days in “Sir Nose D Voidoffunk,” and so, so much more. The P-funk builds to a glorious climax with “Flash Light,” and its era-defining Moog bassline – much imitated, but never bettered.

10: Curtis Mayfield – Super Fly

The soundtrack to the 1972 Blaxploitation movie of the same name, Curtis Mayfield’s Super Fly is best known for the hits “Freddie’s Dead,” and the title track, while “Pusherman” has become one of Mayfield’s most popular tracks. The whole album is a masterpiece – intoxicating grooves, cinematic orchestration, and tales from the ghetto, with Mayfield vocally on the form of his life.

9: Sly and The Family Stone – There’s a Riot Goin’ On

Such is a measure of their greatness, that such an iconic record, one that regularly features near the top of lists of greatest albums, is arguably not even Sly & the Family Stone’s best album (check out 1969’s Stand! next). One thing that most everyone agrees on, however, is that it’s one of the best funk albums of all time that no self-respecting record collection should be without.

8: The Meters – Struttin’

Like funk itself, The Meters hail from New Orleans, and it’s the down-home New Orleans style that Struttin’ celebrates. “The Hand-Clapping Song” has become something of a cult classic, having been sampled by (among many others) A Tribe Called Quest, Erik B & Rakim, Wu-Tang Clan, and Whitney Houston.

7: Ohio Players – Fire

The funk, it is said, has a groove that just won’t quit – something that Ohio Players took literally. Having formed in the late 1950s, they refused to give up on their dreams of stardom. In the early 70s, a string of LPs with suggestive titles and highly erotic covers finally brought success – 1974’s Fire may be the pick of the bunch.

6: Stevie Wonder – Talking Book

Is Talking Book strictly speaking a funk album? Perhaps not as a whole, but it would be impossible not to include an album with such joys as the slow’n’sleazy “Maybe Your Baby,” and the light’n’breezy “Big Brother.” And then there’s “Superstition” – Stevie singing this live on Sesame Street is almost certainly the funkiest thing that ever happened on children’s TV.

5: Betty Davis – They Say I’m Different

Having spent much of the 60s picking up influences ranging from Jimi Hendrix to Miles Davis (to whom she was briefly married) Betty Davis assembled her own band, wrote and recorded her own songs, and laid down a series of intensely funky (and sensual) records in the early 70s, before quietly disappearing from the music business.

4: Rick James – Street Songs

Having formed a teenage band with Neil Young, Rick James, the nephew of one of the Temptations, eventually shot to fame in the 70s after signing to Motown. His 1981 Street Songs album featured the monster smash “Super Freak” – although he admitted that he preferred recording ballads to his trademark bass-riff-heavy funk.

3: Funkadelic – Maggot Brain

George Clinton started out singing doo-wop, but by the end of the 1960s he found his groove, thanks to a fusion of soul, psychedelia, and funk. Funkadelic’s eponymous debut album was a dark offering while the follow-up, Free Your Mind… promised redemption through funk music. But Maggot Brain is perhaps their sonic peak – thanks in no small part to that guitar solo on the title track.

2: Isaac Hayes – Shaft

In the late 1960s, Stax songwriter, producer, and musician Isaac Hayes launched a career as a solo artist – his second album, Hot Buttered Soul, is rightly lauded as one of the greatest soul albums of all time. But it was his soundtrack to the 1971 Blaxploitation movie Shaft that showed quite how funky Hayes could be. Shaft! – you’re damn right!

1: James Brown – The Payback

Where to begin with James Brown, one of funk’s foremost founding fathers and greatest exponents? Well, 1973’s The Payback is probably as good a place as any. Legendary trombonist Fred Wesley had significant input into this double album, one of a run of records that redefined Brown as an albums artist and one of the best funk albums ever made.

Think we missed one of the best funk albums? Let us know in the comments below.

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With his 2000 debut album, Country Grammar, St. Louis rapper Nelly not only redefined what it meant to be a midwestern hip-hop artist, he proudly put on for his city while elevating the culture. Nelly has a robust and diverse discography: The band-aid clad rapper is just as comfortable concocting raunchy club anthems (‘Hot in Herre”) as he is cranking out captivating slow jams (‘Dilemma”). He boasts an impressive career, countless No.1 singles and an immeasurable impact on hip-hop. These are the best Nelly songs.

Nelly, The Chart Topper

Nelly’s arsenal of hits is undeniable. The rapper has had a slew of hits top the Billboard charts, sold over 20 million records and won three Grammy awards along the way.

Country Grammar

Nelly’s debut single was one of gargantuan proportions. 2000’s ‘Country Grammar” unexpectedly transformed a children’s rhyme – ‘Down, Down Baby” – into one of hip-hop’s most memorable choruses. This track redefined midwestern rap and introduced the world to an artist determined to shift the culture.

Hot in Herre

Nelly’s first No.1 song on the Billboard Hot 100 is one of his most acclaimed. ‘Hot in Herre,” produced by The Neptunes, is a quintessential party anthem that masterfully interpolates Chuck Brown’s ‘Bustin’ Loose” with Nelly’s signature and syrupy drawl. His unforgettable opening line: “I was like/Good gracious, ass is bodacious” served as a jaunty prelude to a story about a raucous – but fun – evening.

E.I.

‘E.I.” captures the essence of Nelly. His energetic flow – especially on its playful chorus (“Andele, andele, mami/ E.I. E.I./Uh-oh/What’s poppin’ tonight?”) – is downright infectious. Nelly is at his best when things are light and frothy, and this track is a perfect example.

Nelly, The Sh_t Talker

Few rappers talk sh_t as well as Nelly. Whether he’s touting his lyrical prowess, seducing a woman or simply showing off how successful he is, Nelly oozes confidence.

Pimp Juice

Nelly tried his hand at sonic sultriness on 2002’s “Pimp Juice.” Although some baulked at its lyrical content, Nelly simply leaned into one of the most notorious caricatures in the history of rap. On it, Nelly insisted that everything from his shoes (“anything from Timberland to Gators”) to his ride (“that seventy-four Coupe Deville”) made him irresistible to the opposite sex. (It also inspired an energy drink of the same name.)

#1

‘#1” appeared in the 2001 film Training Day as well as Nelly’s sophomore album Nellyville. It’s unfiltered braggadocio at its finest. A chorus full of quips declaring the rapper’s innate superiority is both effective and insanely catchy. It went on to peak at No.20 on the US Billboard Hot R&B/Hip-Hop Singles Chart.

Batter Up

As you might expect from the title, ‘Batter Up” has plenty of baseball metaphors. The song focuses on Nelly’s climb (along with his group St Lunatics) to the top, with a lyric about the crew making it to the “big leagues”. But the real marker of success here is getting the one and only Sherman Hemsley to appear in the music video. The ultimate cosign.

Nelly, The Lothario

Most of Nelly’s catalogue switches between hypermasculinity and feel good tracks, but there’s a rich trove of tunes that have him tapping into different emotions. Whether it’s notable collaborations with R&B personalities or bellowing on a track solo, Nelly has made a habit out of using his sensuality to keep fans on their toes.

Dilemma

‘Dilemma” is more R&B ballad than straightforward hip-hop joint. But it remains one of Nelly’s (and Kelly Rowland’s) biggest hits. The collaboration sampled Patti LaBelle’s ‘Love, Need and Want You,” and revealed both Nelly’s vocal (and emotional) versatility.

My Place

The only thing smoother than Nelly’s whispery chants on ‘My Place” are Jaheim’s rich and sensual vocals. The lead single from 2004’s Suit boldly samples Teddy Pendergrass’ ‘Come Go With Me” for its chorus. They pull it off, though: Nelly and Jaheim are a formidable pair with undeniable chemistry and melodic fluidity.

Wadsyaname

Although this song was only released as a bonus track on Nelly’s fifth studio album, Brass Knuckles, it still remains one of his most endearing songs. Sampling the piano line from K-Ci & JoJo’s ‘All My Life” proved fruitful for the rapper; he layered it with an unceasing chorus in which he attempts to holler at a potential muse. Nelly’s brand of romanticism has always been rooted in persuasion.

One & Only

‘One & Only” pays homage to synthy 80s lovesick ballads with Nelly’s trademark flare. The track is one of his more expressive moments. You won’t hear more Nelly more tender than when he’s pleading and insistent about both giving and receiving love.

Nelly, The Fashion Renegade

Nelly’s personal style – which included the infamous band-aid, du-rags, oversized chains and sports jerseys – is iconic. It’s clear that fashion has always been a huge priority.

Air Force Ones

‘Air Force Ones” is a perfectly penned ode to the classic Nike sneaker. Alongside Ali, Murphy Lee, and Kyjuan, the rappers trade boasts about the colors and designs of the shoes they’re buying, and how it nearly feels like a sanctimonious act. A thunderous beat brings home the feel of Nelly “stomping in [his] Air Force Ones”.

Grillz

Nelly’s jewel-encrusted mouthpieces take front and centre on the aptly titled ‘Grillz.” Having a grill is practically considered a rite of passage in hip hop, but Nelly took the tradition to new heights with this No.1 single. You can practically hear how proud he is as he described one of his favorites: “I got a grill they call penny candy, you know what that means/It look like Now and Laters, gum drops, jelly beans”.

Stepped on My J’z

Alongside Ciara and Jermaine Dupri, ‘Stepped on My J’z” shows Nelly narrating the aftermath of having his Air Jordans sullied. The theatrics only heighten the energy of the track. As Nelly and Dupri exchange bars about their sneaker obsession, Ciara sleekly reminds everyone listening that women partake in the culture as well.

Nelly, The Experimental Crooner

One of Nelly’s most admirable musical traits is his willingness to explore. Although he initially came on the scene as a hip-hop artist, he quickly made his interest in other genres clear. Whether it’s pop, country, or rap, Nelly’s sonic malleability hasn’t just translated to immense album sales – it’s also inspired the next generation to be more adventurous.

Ride Wit Me

One of Nelly’s most successful songs is a complex anthem that manages to oscillate between pop, country, and hip-hop. Its enticing guitar intro, mellifluous soundscapes, and soft cadences are simple, and that’s the point. The song is ultimately a showcase for Nelly’s dynamism. ‘Ride Wit Me” paved the way for rappers looking to widen their sound.

Over & Over

The second single from 2004’s Suit featured a memorable cameo from country superstar Tim McGraw, with both wallowing in the pain of potentially losing a lover. Although McGraw says he never considered ‘Over & Over” a country song, the track nonetheless pushed the boundaries of both genres. ‘Over & Over” is a prime example of when worlds successfully collide.

Just a Dream

‘Just a Dream” showcases Nelly’s savvy pop inclinations, but it also demonstrates his lyrical and emotional maturity. It’s hard to imagine early career Nelly rapping about losing the love of his life, let alone pensively evaluating the role he may have played in what happened.

Hey Porsche

On M.O.’s lead single, Nelly went full-on pop star. It was a risky move for the artist. Although he’s ventured in genre-bending before, this particular song is bolder in its radio sheen. ‘Hey Porsche,” in all its synthesized glory, reaffirms the rapper’s confidence and devotion to crafting inescapable mainstream anthems.

Nelly, The Party Starter

If you were in a hip-hop club in the 2000s, chances are you heard a Nelly song (or two). Transforming risqué dance moves into cultural trends is no easy feat, but Nelly makes it look easy.

Shake Ya Tailfeather

There’s nothing quite like club staple ‘Shake Ya Tailfeather.” It’s one of the most infamous songs from 2003’s Bad Boys II soundtrack, and it’s also got one of Nelly’s most quoted lines. (“Is that your ass or your mama half reindeer?”)

Flap Your Wings

“Drop down and get your eagle on!” That’s the infamous dancefloor command from ‘Flap Your Wings,” but it would have little power if it weren’t backed up by a typically simple, typically excellent Neptunes production. The Neptunes’ spare, tribal beats are the perfect backdrop for Nelly’s lighthearted, melodic flow.

Party People

This Fergie assisted track was featured on the deluxe version of her debut record, The Dutchess, as well as Nelly’s fifth studio album Brass Knuckles. It’s unapologetically loud and boisterous. Its monstrous beat is the perfect backdrop for Nelly’s strident and blustery yells. On ‘Party People,” hedonism reigns supreme as the pair insist that their version of clubbing is paramount.

Shop for Nelly’s music on vinyl or CD now.

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It’s been 25 years since Mya released the album that changed her career forever, and now Fear Of Flying will celebrate that milestone in style with a 2LP vinyl edition of the hit 2000 R&B album. Mastered in Dolby Atmos, the vinyl set boasts all the songs fans know and love, along with two bonus tracks “No Tears On My Pillow” and “For The First Time.” There’s also a T-shirt and an exclusive insert signed by the artist herself.

Originally released in April 2000, Fear Of Flying was a major success, quickly becoming certified platinum and ushering Mya into a new tier of stardom. The album contains hit singles “The Best of Me,” “Man In My Life,” “Free,” and “Case of the Ex (Whatcha Gonna Do),” which reached number 2 on the Billboard Hot 100.

“I want to bring people of all races and ages together. I want to create memories for them. If I can be a part of that, I’m happy,” Mya explained in an interview with Billboard upon its release. “Fear Of Flying is a metaphor for the ups and downs of life. It’s about handling things like an adult, knowing you must have faith to make anything happen.” That message resonated with fans, who still adore the album a quarter of a century later.

Fear Of Flying arrived after Mya’s self-titled 1998 debut album established her reputation as a teenage prodigy. Shortly after the release of her sophomore album, the singer appeared on one of the biggest pop songs of the 21st century: “Lady Marmalade,” which was featured in Baz Luhrmann’s film Moulin Rouge. Mya is also known for a slew of other collaborations, including “Ghetto Superstar” with Pras and Ol Dirty Bastard, “It’s All About Me” with Sisqó, and “Best Of Me (Part 2)” with Jay-Z.

Order the 2LP vinyl version of Mya’s Fear of Flying now.

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