Category: R&B

A momentous date in US chart history, as well as in the latter-day Motown story, arrived on August 15, 1992. It was the start of the road for “End Of The Road.” Philadelphia group Boyz II Men went to No.1 on the Billboard Hot 100 with the epic ballad — little realizing that it would still be there 13 weeks later, in a run that stretched from summer into late autumn, from August to November.

The song, produced by L.A. Reid and Babyface and co-written by the pair with Daryl Simmons, was composed for the soundtrack of the movie Boomerang, starring Eddie Murphy. With Boyz II Men due back on the road the following day, Reid and Babyface flew to Philly and recorded all of their vocals in three hours.

Breaking Elvis’ record

What a record-breaking session that was. The song’s 13-week run broke a chart longevity record that had stood since 1956, when Elvis Presley’s double-sided “Hound Dog” and “Don’t Be Cruel” spent 11 weeks at the summit. Boyz II Men’s achievement didn’t last long, as before the end of 1992, Whitney Houston had started a 14-week sequence at the top with “I Will Always Love You.”

Not to be outdone, two years after “End Of The Road,” the Motown group themselves had a 14-week reign with “I’ll Make Love To You” and then, incredibly, a 16-week span in 1995 as guests on Mariah Carey’s “One Sweet Day.” Adding in their other No.1 late in 1994 with “On Bended Knee” (which ruled for “only” six weeks), and one in 1997 with “4 Seasons Of Loneliness,” Boyz II Men boast an extraordinary record of 50 weeks atop the Hot 100 with just five singles.

The group’s name, incidentally, was taken from one of their early inspirations. In their early days as a five-piece in 1988, they called themselves Unique Attraction, but would often cover the closing track on the Heart Break album released that year by one of their favourite groups, New Edition. It was called “Boys To Men.”

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The February 1980 release of Lady T, Teena Marie’s sophomore album, was a quantum leap in her career. The unveiling of her face on the cover raised questions: Wait!! She’s white!? For those who missed her premiere Soul Train appearance with Rick James in 1979, her 1980 performance of “Behind The Groove” on the show confirmed that she was, indeed, the woman on the cover. But, by that time, she was a bona fide soul star.

After the triumph of Lady T, Berry Gordy assured her she was ready to produce herself, and she immediately entered the studio to begin Irons in the Fire, the first album that would proclaim “written and produced by Teena Marie” on the back cover. Ozone, the Nashville funk band that complemented Lady T, was front and center, along with bass player Allen McGrier who joined Teena’s touring unit in 1979 fresh from The Dells’ band. At the core of the background vocals were godsister Jill Jones and Mickey Boyce, a childhood friend and lifelong collaborator. The icing on the cake was the warmth of Paul Riser’s string arrangements which added a heightened sophistication to Teena’s wise-beyond-her-years compositions.

Listen to Teena Marie’s Irons in the Fire now.

The album’s first single, “I Need Your Lovin’,” initially didn’t pass the Gordy test. He insisted the song didn’t have a hook – and Teena argued that it had three: the bass line, the M-O-N-E-Y pre-chorus, and the chorus itself. He listened again and agreed. The single would hit the Top 10 on Billboard’s R&B chart, #2 on their disco chart, and #37 on the pop chart.

The album’s second single, “Young Love,” just missed the R&B Top 40, but Teena, like Marvin Gaye, was an album artist. “Young Love,” the title track, the Latin-flavored “You Make Love Like Springtime,” and the jazz triumph “Tune In Tomorrow” all became Quiet Storm classics, making Teena just as renowned for her ballads that didn’t chart as the dance cuts that did. Released just six months after Lady T, Irons In the Fire became Teena’s first Top 10 R&B album.

With Irons, Teena established herself not just as a composer of love songs, but as a spiritual seeker. The first single’s subtle reference to her “third eye,” the title track’s prayerful introspection, and the liner notes’ Ntozake Shange-esque poem communicated Teena’s depth. The increasingly curious and engaged audience she was amassing was drawn into the world she inhabited.

Listen to Teena Marie’s Irons in the Fire now.

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Two for the price of one is a commonplace consumer proposition. In the 21st Century, the concept of the hit duet has been developed to an improbable degree, with artists often turning up on other people’s tracks more regularly than putting out their own. It makes sound business sense – hitting two fanbases at once – but it’s also responsible for both lively creative innovation and some of the greatest songs of our time. In the early stages of his career, Justin Bieber was mentored by R&B icon Usher – and they later worked together – but there’s a far broader set of collaborators who have recorded with him since. Here are the ten best Justin Bieber duets to date.

Have we missed one of the best Justin Bieber duets? Let us know in the comments section below.

12: “Despacito (Remix)” (Luis Fonsi and Daddy Yankee, featuring Justin Bieber)

Less a classic collaboration, more of an almighty leg-up. The original cut by Puerto Rican vocalist Luis Fonsi and rapper Daddy Yankee had done reasonable business for a few months, before a remix featuring Justin’s vocals helped push it into the stratosphere. remix of the reggaeton/Latin classic became one of the biggest songs of 2017, with sales in the millions and streams in the billions. It’s even been credited with giving Puerto Rico, where the video was filmed, a major tourism boost.

11: “2U” (David Guetta, featuring Justin Bieber)

Widely known as the Grandfather Of EDM, pioneering DJ David Guetta has worked with many artists over the past two decades. Justin’s contribution to this powerful pop/club banger didn’t extend to filming a video – the pair relied on a group of lip-synching models for that – but “2U” was a substantial hit in 2017.

10: “Friends” (with BloodPop)

After years spent writing for acts such as Lady Gaga and Madonna, BloodPop (aka Michael Turner) took a step into the spotlight with this dance hit, which was released in 2017. Justin co-wrote the track, marking his return to music after a year’s break. It was a big hit, particularly in the UK – where it peaked at No.2 – and was later reissued in a remixed form with additional vocals from Julia Michaels.

9: “Beauty And A Beat” (featuring Nicki Minaj)

Culled from Justin’s third album, Believe, this 2012 single wasn’t one of his biggest hits, but it did reach the top of the US club charts. Nicki Minaj has appeared with almost everybody since her breakthrough, including notable guest turns with Katy Perry and Madonna, though she also took a strong lead in the creation of this cut. Zedd also had a hand in writing it, making “Beauty And A Beat” the only track on Believe that Justin didn’t get a writing credit on.

8: “#thatpower” (will.i.am, featuring Justin Bieber)

A trip to the Brit Awards in London led to the recording of “#thatpower,” which was issued from will.i.am’s fourth studio album, #willpower. The pair performed the song at the 2013 Billboard Music Awards and it was used as “impact” music on several major TV shows. The track was a sizeable dance hit and crossed over onto the world’s mainstream charts, including a No.2 peak in the UK and a Top 20 placing in America.

7: “Stuck with U” (featuring Ariana Grande)

Even a pandemic couldn’t keep these two popstars apart. “Stuck with U” brought together pop royalty for a good cause, creating the ultimate quarantine love song and one of the best Justin Bieber duets. The sweet duet harmoniously blends two of the best voices in pop, while addressing the ups (and downs) of cohabitation.

6. “Intentions” (featuring Quavo)

The breakout hit from Bieber’s Changes album saw the crooner return to his “R&Bieber form.” Propelled by a bright, flickering beat, “Intentions” recruits Quavo of Migos for an infectious, yet heartfelt, single.

5: “Let Me Love You” (DJ Snake, featuring Justin Bieber)

The transatlantic partnership between France’s DJ Snake and Canadian singer Justin wasn’t the first single to be picked from the Frenchman’s debut album, Encore, but it was the biggest hit. A powerful Bonnie And Clyde-themed video certainly helped play its part, too.

4: “Cold Water” (Major Lazer, featuring Justin Bieber and MO)

If there’s one track on this list of the best Justin Bieber duets that defines the era of the multi-artist billing, “Cold Water” is it. Major Lazer is a collective built around EDM über-producer Diplo, and the team has worked with artists like Ellie Goulding and Bruno Mars. Danish singer MO joins Justin on this track, which hit the clubs in 2016 and became Major Lazer’s biggest crossover smash to date.

3: “As Long As You Love Me” (featuring Big Sean)

Rodney “Darkchild” Jenkins had a hand in “As Long As You Love Me,” the second single from 2012’s Believe. The song offers the first signs of Bieber experimenting beyond the obvious, and Big Sean’s contribution adds some ballast to the dub-heavy electronica. In the US, it became one of the 40 biggest songs of the year.

2: “Where Are Ü Now?” (with Jack Ü)

Who can imagine how different the original vocal and piano demo by Justin sounds compared to the cut we all know, which was remodeled by Diplo and Skrillex? The EDM titans helped turn “Where Are Ü Now?” into one of the decade’s biggest dance hits and the song marks the point when Justin truly broke beyond his core teenage fanbase for the first time. Released ahead of Purpose, it raised expectation for that 2015 album to a fever pitch.

1: “I Don’t Care” (with Ed Sheeran)

You can imagine the commercial appeal of pairing the world’s two biggest male pop stars on a new track but, perhaps, no one should be surprised that this midtempo pop song is also a creative triumph. Lifted from Ed Sheeran’s collaborations album, No.6 Collaborations Project, it was written by Ed and Justin, alongside the ever-dependable Max Martin and Shellback, with Poo Bear and Fred Gibson. It was the first new music from Ed in more than two years, and its jet-setting video, with sequences shot in Japan and the US, has already been seen many millions of times.

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Nicki Minaj opened her fourth studio album, Queen, in dramatic fashion: “Who you gettin’ at Nicki?” she asks, before responding, “Watch them c__ts learn.” From the jump, it’s clear that Minaj is not only coming for her rival female MCs, but also the men who have forsaken her legacy and self-worth. The album’s title speaks for itself, as Minaj sought to assert herself as the reigning Queen Of Rap nearly a decade after her triumphant debut, Pink Friday.

In the years following her 2014 release, The Pinkprint, the pop, and hip-hop climates had both dramatically changed – as had Minaj. The legendary MC had become tabloid fodder for her public beefs and subsequent relationship splits, and Queen documents the highs and lows of that journey in a majestic world that only Minaj could create.

‘All you bi__hes wanna look like me’

To kick off her Queen era, Nicki Minaj released two singles, “Barbie Tingz” and “Chun-Li,” proving that the pop-crossover artist still had bars. “Barbie Tingz” demanded homage from hip-hop’s newcomers with the line “Let’s be real, all you bi__hes wanna look like me”. Reminiscent of Minaj’s early mixtape days, the boom-bap-centric single became an instant favorite for its more street-oriented vibes.

To cap that off, “Chun-Li” became Queen’s official first single, introducing a new persona that references an ass-kicking character from the Street Fighter video-game franchise. Over a bumping saxophone and sporadic gongs, Minaj reminds her detractors, “Ayo, I been on, bi__ch,” and embraces the notion that “They paintin’ me out to be the bad guy”. Her new visuals matched the provocative attitude of her music, with Minaj looking like the spitting image of Lil’ Kim on the single’s cover art. ‘Chun-Li’ peaked at No.10 on the Billboard Hot 100, an impressive comeback for an artist whose last proper release had been four years ago.

Leading up to Queen’s release, Minaj teased out three singles, including “Rich Sex,” featuring her longtime collaborator and mentor, Lil Wayne; the pop-reggae collab track “Bed,” with frequent partner Ariana Grande; and the controversial Tekashi 6ix9ine smash “Fefe”. The latter garnered much attention due to Tekashi 6ix9ine’s legal troubles, but also for the undeniable show-stealing verse from Minaj, which saw her in rare lyrical form.

Queen, however, wasn’t the only outlet for Minaj to speak her mind. The singer/rapper also launched her own radio show on Beats 1, appropriately titled Queen Radio. Finding a new lane for her celebrity, Minaj used the platform to debut her album, on 10 August 2018, as well as dispel rumors surrounding her while airing her own grievances and talking shop with friends and collaborators.

Nothing’s off-limits

Making its debut at No.2 on the Billboard 200, Queen had to break through the near-impenetrable hold that male rappers had on the charts. To do so, the album saw Minaj venture into new sonic directions while bringing along the colorful alter egos that she introduced throughout her three Pink albums.

Following the hypnotic tribal rhythms of “Ganja Burn,” “Majesty” plays into the demonic rhyme schemes of her frequent partner in crime, Eminem. One of Queen’s finest moments is “Barbie Dreams,” which sees Minaj pay tribute to Biggie’s iconic 1994 track, “Just Playing (Dreams).” Instead of lusting after the R&B divas of the day, however, Minaj flips the script and skewers her male competitors and former romantic flames, questioning the sexual prowess of Meek Mill, 50 Cent, Quavo, and Young Thug in hypothetical sexual situations. The song kicked up a stir upon release, but Minaj made it clear that “Barbie Dreams” wasn’t a diss track, but meant all in good fun. After all, nothing’s off-limits in hip-hop.

“Hard White” sees Minaj calling out her suspected imitators once again, claiming she has to “work hard just to get half back” and “I ain’t ever have to strip to get the pole position” – a not-so-subtle shot at fellow rapper Cardi B. On the clap-back track “LLC,” Minaj stakes more claims that she invented the blueprint for other female rappers in the game.

Showing a vulnerable side

A stretch of Queen sees Minaj applying R&B vocal stylings to pop melodies, a skill she’s never shied away from since her Pink Friday debut. She mourns being duped by a lover on “Thought I Knew You,” featuring The Weeknd, and assures “A true bad b__ch ain’t weak or bitter” on “Nip Tuck.” Though most of Queen brims over with bravado, Minaj lets her guard down and displays her vocal chops on the piano-tinged ballad ‘Come See About Me’, which deals with the toll that fame takes on her personal relationships.

It’s in these moments when Minaj isn’t single-mindedly focused on reasserting her relevance, that we see her authentic self. On “Run And Hide” she sings about her trust issues and how she maintains her self-preservation over a boom-bap beat. On “Chun Swae” she joins forces with Swae Lee to create cloud-rap magic, while the Future-assisted “Sir” advances Queen’s hazy, dream-like production.

A Nicki to rule them all

No Nicki Minaj record is complete without some floor-filling cuts and musical spontaneity. After tearing up dancefloors on her previous albums, critics noted how Queen struck a more serious, darker tone. That said, Minaj still delivers a twerk anthem with “Good Form.”

To close the album, she pays homage to Foxy Brown’s 2001 opus, Broken Silence, on “Coco Chanel.” Just as Broken Silence merged dancehall and West Indies music with hip-hop, Brown jumps on the track with a patois verse, a nod to both her and Minaj’s Trinidadian roots. (Minaj, alongside Drake and Rihanna, have been leaders in bringing West Indian culture to mainstream pop since the 2010s.) The riddim of “Coco Chanel” continues into Queen’s closing track, ‘Inspirations Outro’, on which Minaj shouts out to other Caribbean musicians who have inspired her.

Queen is not only a declarative statement from one of the last great crossover hip-hop stars, but proves that Minaj is well equipped to stay top of the rap game. From R&B stylings to dance-pop and hard-hitting hip-hop, there’s a Nicki to rule them all.

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You can drive, vote, and get a job at 18, but turning 21 marks the true transition into adulthood. In the US, you can drink legally (and responsibly, of course) and enter the mysterious world of nightlife and sometimes questionable decision-making. Whether you’re imbibing or not, however, here are the best 21st birthday songs to let loose to.

25: Madonna: B-Day Song (featuring MIA) (2012)

Madonna knows a thing or two about creating a mood with music, and this upbeat number with MIA is perfect for getting the party started. With its nursery-song melody and 60s girl group peppiness, it’s one of the more PG-friendly 21st birthday songs.

24: No Doubt: Six Feet Under (2000)

No Doubt’s Return Of Saturn album contained plenty of coming-of-age tracks, including this dancey hit about getting older. The lyrics are a little less optimistic than those found in typical birthday songs, but Gwen understands that sometimes, on birthdays, you just have to face the facts.

23: blink-182: What’s My Age Again? (1999)

Time is a blur the older you get, and forgetting to act your age is just part of that journey. blink-182 frontman Mark Hoppus wrote this relatable track because people kept calling him immature, and it became one of the band’s best-performing singles on the charts.

22: Rihanna: Birthday Cake (2011)

On this Talk That Talk single, Rihanna says “and it’s not even my birthday!” While the infectious anthem isn’t really about cake per se, for Rihanna, we’ll suspend reality. With its buzzsaw intro, catchy handclaps, and plenty of innuendo, it’s one of the racier 21st birthday songs.

21: Lady Gaga: Telephone (featuring Beyoncé) (2009)

“Telephone” sees two pop icons team up on this anthem about letting it all out on the dancefloor. Turning 21 is the ultimate occasion for partying, not looking at your phone in the club, so when Lady Gaga and Beyoncé tell you to dance, you listen!

20: Nicki Minaj: Gettin Cake (2010)

This Nicki Minaj deep cut from her Barbie World mixtape is an off-the-cuff track that helped cement her status in the hip-hop world. The Queen’s lyrics are more about getting money than actual birthday cake, but no one says you can’t do both!

19: Lil Jon & The East Side Boyz: Get Low (featuring Yin Yang Twins) (2002)

From the original “Kings Of Crunk,” “Get Low” is the quintessential 21st birthday song that has soundtracked many club nights and frat-party basements. The raunchy single brought crunk to the mainstream and inspired Dave Chapelle’s beloved Lil Jon impressions.

18: Ariana Grande: 7 rings (2019)

Ariana Grande’s smash single “7 rings” isn’t technically about birthdays, but, for most of us, buying luxurious items is confined to specific occasions. What track better encapsulates the birthday vibe of treating yourself than this Rodgers & Hammerstein-inspired song?

17: Trey Songz: Say Aah (2009)

Trey Songz had a run of hits in 2009, including the double-platinum hit “Say Aah.” The track is full of perfect hooks and ad-libs about popping champagne, necessary for any 21st birthday party.

16: Destiny’s Child: Birthday (1998)

Destiny’s Child created the perfect R&B hit about being taken care of on your birthday, but don’t expect Beyoncé to come over and cook you a candlelit dinner.

15: Twista: Birthday (2009)

Twista’s “Birthday” is not only one of the best songs about birthdays, but the rapper manages to shout out every astrological sign in the lyrics. A great 21st birthday track for any time of year!

14: Busta Rhymes: Pass The Courvoisier, Part II (featuring Pharrell Williams and Puff Daddy) (2001)

Expensive cognac may have fallen out of favor, but this early 00s joint hasn’t aged a day, thanks to the triple-threat of Busta Rhymes. P Diddy and a slick Neptunes beat that will have everyone singing “Pass the Courvoisier.”

13: Katy Perry: Birthday (2013)

Katy Perry took this smash hit a step further and disguised herself in order to attend actual birthday parties in the music video. The hilarious visual accompanying an already stellar single makes this track a 21st birthday must-play.

12: Drake: Ratchet Happy Birthday (2018)

Drake loves recording songs that celebrate accomplishments, and turning a year older is something worth toasting. While 2 Chainz made the true ratchet birthday anthem, this mellow track with PARTYNEXTDOOR hits all the right notes and provides a throwback to Drake’s softer side.

11: LCD Soundsystem: Drunk Girls (2010)

Master of the intelligent party anthem, LCD Soundsystem’s James Murphy compares the drunken antics of boys and girls in this floor-filling, dance-rock track.

10: 2 Chainz: Birthday Song (2012)

“Birthday Song” is the second single from 2 Chainz’s debut album, Based On A TRU Story, and this iconic collaboration with Kanye West has an equally entertaining video to match. 2 Chainz lays out his inspiring NSFW birthday wish in the chorus. Now, what’s yours?

9: Kendrick Lamar: Swimming Pools (Drank) (2012)

Drinking songs and 21st birthday songs often overlap, but this standout cut from Kendrick Lamar’s good kid, mAAd city is actually about the dangers of binge drinking couched in a club anthem.

8: P!nk: Raise Your Glass (2010)

P!nk shares a toast to all the party kids and “underdogs” on this irresistible celebratory smash. Ten years into her career, “Raise Your Glass” was the introduction to her greatest hits collection and advises “don’t be fancy, just get dancy.”

7: J-Kwon: Tipsy (2004)

Released during the peak of St Louis-hip-hop in the mid-00s, this ode to underage drinking still slaps and sounds even better when you get can get “Tipsy” without a fake ID.

6: Stevie Wonder: Happy Birthday (1980)

A classic for a reason, Stevie Wonder’s “Happy Birthday” is sung at birthday parties around the world. His incredible rendition of a classic tune is a celebratory staple and contains a hidden message of unity. Written for the late Martin Luther King Jr, Stevie wanted to write a song that brings people together.

5: LMFAO: Shots (featuring Lil Jon) (2009)

Most 21st birthday celebrations are hedonistic affairs, and this ode to shots is the unofficial anthem. From Lil Jon’s shouty demands to the thumping bassline, “Shots” is the essential mid-00s banger.

4: Post Malone: rockstar (featuring 21 Savage)

Now considered a throwback jam, “rockstar” was a self-fulfilling prophecy that turned Post Malone and 21 Savage into two of the biggest stars of the 2010s. Despite its woozy, sedated production, the trap-pop single is technically a turn-up anthem. Either way, it will make any newly-minted 21-year-old feel like a rock star.

3: Rihanna: Cheers (Drink To That) (2011)

As the poster party girl of pop, Rihanna is bound to make any list of celebratory 21st birthday songs twice. Her toast is both a kiss-off to her haters and a reminder that life’s too short to not live it up – something every 21-year-old can relate to.

2: DMX: Party Up (Up In Here) (1999)

Twenty-first birthday celebrations either go all night or fizzle out early, depending on your stamina. There’s no better MC to get you fired up than DMX and the stereo-rattling beat of “Party Up,” courtesy of Swizz Beat.

1: 50 Cent: In Da Club (2003)

This Get Rich Or Die Tryin’ single peaked at No.1 on multiple Billboard charts, making it 50 Cent’s best-selling album to date. Undoubtedly, the infectious intro means some of those spins were birthday requests. Go, shorty!

Looking for more? Discover the best birthday songs for any milestone. Think we’ve missed one of the best 21st birthday songs? Let us know in the comments section below.

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Musicians: they’re just like us. They have friendships, fallouts, romances, and make small talk at parties. When it comes to the music industry, it’s always been quite small, which makes it inevitable for the world’s biggest acts to meet, become friends, and – if we’re lucky – collaborate. Below are just some of these surprising musical friendships – from fleeting, backstage hangs to longtime creative partnerships.

Ed Sheeran and Taylor Swift

Don’t let Sheeran’s look of excited bewilderment fool you, the musical friendship between Ed and Taylor Swift is well documented – from the Folklore star donning an “I <3 Ed” shirt at Sheeran’s 2013 Madison Square Garden show, to the British singer-songwriter supporting Swift on her 2013 tour, to their hilarious banter on social media. Swift perhaps put it best when she told Rolling Stone that Sheeran “is the James Taylor to my Carole King and I can’t imagine a time when he wouldn’t be.”

Lil Wayne and Travis Barker

When he’s not touring with pop-punk stalwarts blink-182, Travis Barker is rap’s favorite drummer, and Weezy is no exception. Along with sharing their passion for ink, the two are longtime friends and collaborators since 2005. The pair reunited almost 15 years later to launch Barker’s imprint, DTA Records, with the single “Gimme Brain” featuring Rick Ross.

Marc Bolan and Elton John

While T. Rex’s Marc Bolan only relaxed in Elton John’s grand piano on special occasions, the two artists were great pals in the British rock scene. Elton joined T. Rex on their 1971 Top Of The Pops appearance and penned the song “I’m Going To Be A Teenage Idol” about the glam rocker in 1973. In between that, they were featured in the Ringo Starr-directed concert film, Born To Boogie (pictured here).

Teddy Pendergrass, Meat Loaf, and Debbie Harry

Did Meat Loaf tell Debbie Harry and Teddy Pendergrass what he wouldn’t do for love? These three disparate artists were brought together through the magic of film – 1980’s Roadie, to be exact. The comedy, which was Meat Loaf’s first starring role, featured a trove of cameos – including one by Harry’s band, Blondie. Pendergrass, meanwhile, contributed the Top 5 R&B hit, “Can’t We Try” to the film’s fantastic soundtrack.

Chuck Berry and Bo Diddley

Chuck Berry and Bo Diddley were both pioneering artists who transformed the blues into rock’n’roll in the 50s. They were also two of the greatest guitar players – ever. In 1964, the axe-masters teamed up for Two Great Guitars, just one of the highlights of their musical friendships.

Ludacris, Prince, and Dave Chapelle

While any fan of The Chapelle Show knows that Dave and Prince go way back (and that they both enjoy a mean game of basketball), one really wonders what Ludacris and Prince were discussing at this 2007 NBA All-Star game. In an interview following Prince’s death, however, Ludacris talked about kicking it with the iconic artist: “The thing that a lot of people don’t know was how great his sense of humor was.” Based on Prince’s coy smile in this photo, it looks like the admiration was mutual.

Katy Perry and Rihanna

For much of the 2010s, Katy Perry and Rihanna not only dominated the pop charts, but were also the best of friends – vacationing together, inseparable at award shows, and attending each other’s concerts. Rihanna even threw Perry a bachelorette party ahead of her marriage to comedian Russell Brand. While they’ve each embarked on their own pop paths, is it too late for a collab?

Michael Jackson and Steven Tyler

While schmoozing at Studio 54, Michael Jackson and Steven Tyler could have come up with the ultimate dance anthem: “Moon Walk This Way.” Though that was clearly a missed opportunity, this photo is a prime example of the magic of the fabled NYC club: it could bring together two people who had very little in common – other than fame. Thus, Michael (who was then a squeaky-clean member of the Jackson 5) was hanging out with the frontman of Aerosmith (in all of his rock’n’roll debauchery), and they’re flanked by Studio 54 owner Steve Rubell and Cherrie Currie of the Runaways, to boot.

John Lennon, Harry Nilsson, Alice Cooper, Micky Dolenz, and Anne Murray

During John Lennon’s 18-month “Lost Weekend” period, he relocated to Los Angeles, where he reconnected with his good friend, collaborator, and soon-to-be roommate, Harry Nilsson. Lennon quickly became an honorary member of “The Hollywood Vampires” – a celebrity drinking club founded by Alice Cooper. Members like Ringo Starr, and The Monkees’ Micky Dolenz frequented Hollywood hot spots, including the Rainbow Room and The Troubadour. On this particular night, the Vampires caught a set from Canadian pop singer Anne Murray, who was likely quite shocked, when she saw her celebrity-filled audience.

John Lee Hooker, Willie Dixon, and Joe Cocker

While blues legend John Lee Hooker made no secret about his love for “Whiskey & Wimmen,” he also loved collaborating with other artists. Here he is, doing a bit of both – with fellow blues pioneer Willie Dixon and British blues-rocker, Joe Cocker (who grew up idolizing both artists).

Freddie Mercury and Barbara Valentin

Freddie Mercury had some of the best times in his life in Munich – throwing decadent parties, recording his solo debut, Mr. Bad Guy, and meeting a trove of new friends, including Austrian actress Barbara Valentin. When it came time to shoot the video for Queen’s “It’s a Hard Life,” Freddie invited Valentin to be a part of the cast – as seen in this on-set polaroid.

Boy George and R.E.M.’s Michael Stipe

“Do you really want to hurt me, Michael?”
“Everybody hurts, sometimes, George.”

Pete Townshend and Toots Hibbert

In the late 60s, Jamaican band Toots and the Maytals were instrumental in popularizing reggae and ska music across the world. In the mid-70s they joined rock giants The Who on their North American tour. Based on this backstage photo of Pete Townshend and Toots Hibbert, it looks like the two bands – both at the zeniths of their careers – were having the time of their lives.

Snoop Dogg and 2Pac Shakur

Along with Dr. Dre, Snoop Dogg and 2Pac were “two of the best from the Westside” and ran the rap game in the 90s. Snoop says Pac taught him “a different kind of work ethic,” but also passed him his first joint, igniting two opposing forces that would shape the course of Snoop’s career.

Cher, Elton John, and Diana Ross

While Cher, Elton John, and Diana Ross never did form a Divas Live-style supergroup, this glorious 1975 photo captures the giddy trio at the inaugural (and short-lived) Rock Music Awards ceremony. Elton and Diana co-hosted the raucous awards ceremony, while Cher presented Elton with the Outstanding Rock Personality of the Year award. If anything, this photo proves just how fun – and outrageous – the 70s really were.

Clarence Clemons and George Clinton

Though E-Street Band sax man Clarence Clemons was never part of the P-Funk universe, you can tell the two were kindred spirits. They also had several bandmates in common: one of Clemons’ earliest gigs was with a New Jersey group Tyrone Ashley’s Funky Music Machine – which featured three of P-Funk’s future founding members.

Herb Alpert and Louis Armstrong

Both legends in their own right, Herb Alpert and Louis Armstrong performed together countless times over the years. “It was easy to love Satchmo,” said Alpert. “You didn’t have to know a thing about music, all you had to do was be alive.”

Slash and Rod Stewart

Rod is God and Slash is Slash. When you can go by a single moniker, that’s how you know you’re in good company.

Paul Young, Iggy Pop, Rick James, and David Bowie

David Bowie and Iggy Pop’s relationship is one of the most fruitful and famous musical friendships in history, gifting us The Idiot and Lust for Life and later Bowie’s Tonight and Never Let Me Down, but just imagine the possibilities if they got Rick James on board for a seriously funky-punk mashup?

Looking for more? Discover the Best Vocal Duos Of All Time: The 11 Greatest Musical Pairings.

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For Blackstreet, 1996 represented new beginnings thanks to a new record deal and the addition of Eric Williams and Mark Middleton. While the group continued to ride the wave of their successful 1994 debut album, thanks to the success of singles like “Before I Let You Go,” and “Joy,” Teddy Riley still found time to produce for the who’s who of hip-hop and R&B like Whitney Houston, Bobby Brown, Heavy D, and more.

At this point, Riley was considered one of the most talented and trustworthy tastemakers in the game. Still, “No Diggity,” the lead single for Blackstreet’s sophomore album Another Level – and the biggest song of the group’s career – almost didn’t happen because practically no one believed in the track. Eventually, though, everyone got on board thanks to some magical production from Riley and Will “Skylz” Stewart, plus major cosigns from Dr. Dre and Riley’s best friend, Heavy D.

Listen to Blackstreet’s “No Diggity” now.

Indeed, “No Diggity” ushered in a new sound in R&B as it was often imitated throughout the rest of the decade and the early aughts. The track is the blues, a nursery rhyme, and futuristic R&B wrapped in a fun, cheeky woman’s anthem. The song introduced the world to Riley’s protege Queen Pen and was a complete 180 from their signature slow jams like “Tonight’s The Night” and “Before I Let You Go.” It’s a song you’ve never heard before, yet it sounds so familiar; it’s catchy without being corny. It’s one of the most addictive songs ever created.

The recording

“No Diggity” started its life when Riley ran into Skylz at the Future Sound Studios and heard him experimenting with Bill Withers’ 1971 song, “Grandma’s Hands.” After insisting that Stewart give him the sample, Riley added the drums and a reverse kick, laying the foundation to the track.

“After I finished making the track, Will came in and was like, ‘This record is a smash. But what do you want to write to it?” Riley told VIBE Magazine. “I gave him the melody to ‘No Diggity.’ I wanted the song to start with ‘Shorty get down…’ And then I thought, ‘Well, can we add the words ‘Good Lord’ to the track?’”

Stewart added, “She got game by the pound,” then Riley had the idea to sample “I Like the Way You Work” from the group’s debut album. According to Riley, he couldn’t sell the other members of Blackstreet on the song, which is why he sings the first verse. He convinced Williams to do the second verse, and the rest was history.

Well, almost. According to Riley, the label also didn’t understand “No Diggity,” but his best friend, Heavy D, and Dr. Dre convinced Jimmy Iovine that it was worthy enough to be the lead single. At the time, Heavy D was the freshly appointed CEO of Uptown Records and was well respected as a producer thanks to his work with Mary J. Blige, Monifiah, and Riley’s previous group Guy. Meanwhile, Dre was new to the Interscope family after departing from Death Row in March of 1996. The infamous producer launched his Aftermath label under the Interscope umbrella and the mentorship of Iovine.

Both of these men’s cosigns were worth their weight in gold. Dre’s reason for wanting “No Diggity” to be a single was pretty straightforward. He missed the filming of Wreckx-n-Effect’s “Rumpshaker” video and didn’t want to miss another Teddy Riley music video party. When Iovine told Riley that Dr. Dre wanted to be in the video, Riley said he would only allow it if he could get a verse on the song.

The reception

The song was an immediate hit, selling 1.6 million copies in 1996. It went to No. 1 on the Billboard Hot 100, ending the 14-week streak of Los del Río’s worldwide smash “Macarena.” “No Diggity” went on to win Best R&B Performance by a Duo or Group with Vocals at the 1998 Grammy Awards. Not only was it one of the biggest songs of 1996, but it was one of the biggest songs of the decade and beyond. Several artists have covered the song, including X-Factor finalist Cher Lloyd and singer Ed Sheeran.

Listen to Blackstreet’s “No Diggity” now.

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Following the runaway success of “On & On” and its mighty follow-up “Next Lifetime,” Erykah Badu released her third single and music video, “Otherside of the Game” in July of 1997. Where the first two singles established her as a singer wise beyond her years, with knowledge of the spiritual laws that govern the world, and a third eye pointed towards the afterlife, “Otherside of the Game,” reminded listeners that she was of this planet, with squarely human concerns.

The song contemplates the conflicting feelings that come from being in a relationship with someone who makes a living outside the law. An easy presumption is drug dealing but, like any true ride or die would do, the specifics are withheld. “Work ain’t honest but it pays the bills,” she repeats as increasing concern playing out on her face.

Written and directed by Badu, the music video plays out as one continuous shot in the large and bohemian chic apartment of the conflicted Badu and her lover. The camera follows them as they wake, dress, tease each other, cuddle, and even do business with what seem to be dirty cops.

As if to further reiterate how much she’s just like us, stressing over loved ones and contemplating difficult decisions, she cast her then-partner Andre 3000 as the street-employed love interest and made a direct reference to her pregnancy with their son Seven. “What are we gonna do when they come for you?” she asks. Having had a father who was in and out of the carceral system, Badu’s lyrics ring with an air of truth.

Badu wrote and arranged the music of the song with James Poyser of the Roots in a single day in Philadelphia. That evening she wrote the lyrics and the next day she recorded it. Peaking at #14 on the R&B Airplay chart in August of 1997, the song didn’t enjoy the same success as her earlier singles. That said, it has aged like fine wine, as evidenced by the countless “throwback” articles in recent years obsessing over the song and music video.

Buy Erykah Badu’s music on vinyl or CD now.

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In the summer of 2014, Jessie J, Ariana Grande, and Nicki Minaj teamed up for the ultimate powerhouse anthem, “Bang Bang.” Immediately upon its release, on July 28, fans and critics knew the song was something special.

As a collaboration featuring three leading women in pop – one of them a top raptress – ‘Bang Bang” was a “Lady Marmalade” for a new generation. Just as Maya, Pink, Christina Aguilera, and Lil’ Kim had turned LaBelle’s hit 70s single into a 21st-century anthem, the playful wit and diva showboating of “Bang Bang” ensured that the track’s soulful vibes and schoolyard chant would be ingrained in the pop-culture consciousness.

“I put my vocal on it, and it just felt special, exciting”

In an interview with Rolling Stone, Jessie J revealed the origins of the single. Revered hitmaker Max Martin initially sent her a demo of the track and the singer immediately fell in love with it. She reworked some of the lyrics while recording her parts at Metropolis Studios in London. “After Max sent it over, I rewrote some of the song and made it feel more me,” the singer recalled. “I put my vocal on it, and it just felt special, exciting.”

While she’d initially planned on including some new tracks on a US reissue of her 2013 studio album, Alive, the UK singer decided to save “Bang Bang” for her third record, Sweet Talker. Stopping by during the recording session, both David Guetta and Emeli Sandé praised Jessie J’s vocals, but there were some missing pieces to the puzzle.

“I want to get Ariana to jump on it”

After hearing Jessie J’s contribution, the song’s producer and songwriter, Martin, pushed to get another powerhouse vocalist on the track. “I want to get Ariana to jump on it,” he told Jessie.

“Bang Bang” had originally been intended for Ariana Grande, who was in the process of completing her sophomore album, My Everything. To the disappointment of Martin, Savan Kotecha, and Ilya Salmanzadeh – the same producers who delivered Grande’s hit single “Problem,” featuring Iggy Azalea – Ariana hated her original recording and scrapped it. Martin, however, envisioned creating an anthem that captured the spirit of old girl-group singles.

Wendy Goldstein, Executive VP/Head Of Urban A&R at Republic Records, also believed Grande was a great fit for the song. She convinced Monte Lipman, the label’s CEO, to set up a meeting with the star. Lipman played the collab version for Grande, who responded, “No way,” after hearing Jessie J’s part. She decided to give “Bang Bang” another shot and ended up slotting it on the deluxe edition of My Everything.

“I was on the floor… I was like, This is insane”

What makes “Bang Bang” stand apart from other collaborations is Nicki Minaj’s verse. Following Jessie J’s recording sessions, Minaj played the song one time, immediately knowing “it was special”. The summer of 2014 had been a busy one for the rapper: she was in the process of recording her third album, The Pinkprint, finessing her guest verse on Beyoncé’s “***Flawless (Remix)” and preparing for the release of her controversial single “Anaconda.”

In an interview with Carson Daly, Minaj also remarked that Jessie J’s voice “does not get enough credit”. Prior to “Bang Bang,” Jessie J had wanted to collaborate with Minaj for a while, having her in mind for the 2011 song “Do It Like A Dude.” After hearing Minaj’s “Bang Bang” verse, Jessie J knew the track was complete. Grande also was floored by the MC’s contribution. “I was on the floor,” Grande told Revolt TV. “It was a surprise to me; I was like, This is insane.”

“That’s what I feel like young women, especially, need to hear”

The group’s chemistry on record also translated to the accompanying music video, in which the trio takes to the streets and rooftops of an imagined New York City, each getting their time to shine, showing off their individual talents. Jessie J didn’t even meet Grande or Minaj until the video shoot, after the song had already reached No.1 on iTunes.

Shot in two days in Los Angeles, the video was directed by Hannah Lux Davis, who made sure each star had equal screen time. Jessie J pointed out how “all three of us look so different, and we’re all equally confident”. The point of the video wasn’t for the singers to rival each other, but to celebrate their uniqueness as powerful women. “I’m not going to rival what she has, but I’ve got what I’ve got,” Jessie J told Rolling Stone. “That’s what I feel like young women, especially, need to hear.”

The video helped “Bang Bang” continue its assault on the mainstream. After debuting at No.6 on Billboard’s Hot 100, it quickly moved up to the No.3 spot, becoming of the biggest summer anthems that year. The song also debuted at No.1 in the UK and became Grande’s second Top 10 single and second release to debut at the top spot that year.

Listen to the best of Jessie J on Apple Music and Spotify.

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

Allow us to reminisce, about a promising 21-year old R&B singer who created the blueprint for contemporary R&B today. On July 28, 1992, Mary J. Blige released her game-changing debut album, What’s The 411?, and introduced to the world a fusion of R&B hooks and hip-hop beats and a sly producer named Puff Daddy.

At 18, Blige was the youngest artist and first woman signed to MCA’s hip-hop label, Uptown, founded by the late Andre Harrell a former VP at Def Jam who signed Blige after hearing her sing a version of Anita Baker’s 1986 hit, “Caught Up in the Rapture” and immediately signed her in 1989.

A new hybrid genre – hip-hop soul

It was at Uptown she would hook up with intern-turned A&R man and producer Puff Daddy (Sean Combs) who had taken on the reins for the newly signed acts, Blige and the R&B quartet, Jodeci. Combs was set on taking Teddy Riley’s ‘New Jack Swing’ and adapting it for the new generation by layering smooth R&B melodies and harmonies over classic hip-hop beats. The result was the new hybrid genre – hip-hop soul, that can be heard on his remix for Jodeci’s “Come & Talk to Me” and Mary J.’s breakout hit, “Real Love” that featured Blige’s powerful vocals over Audio Two’s “Top Billin” beats.

“Puff came with the sound. He came with the hip-hop and Mary came with the soul. That was the hip-hop soul”, Harrell recalled on the Rap Radar Podcast in 2016. “Attitude plus style plus talent was really what Uptown Records was about. We really wouldn’t sign the person who had talent but didn’t have style or attitude.”

She had the whole package

Mary J. Blige had the whole package. She had the street style, the swagger, and the vocal intensity that were missing from the male-dominated rap and soul game in 1991. Hip-hop and New Jack Swing had already been creeping onto the pop charts with the success of Boyz II Men’s “Motownphilly” and Lisa Lisa & Cult Jam “Let The Beat Hit ‘Em” while contemporary R&B was dominated by power ballads and female belters like Whitney Houston, Mariah Carey and Lisa Fischer.

In the summer of 1992, Blige blew the roof off both, establishing herself as the “Queen of Hip-Hop Soul’ when What’s The 411? went triple platinum, spawning six singles, including “You Remind Me” and “Real Love” and selling over 3.4 million copies. For the next year, the album was played indefinitely on rap, soul, and pop radio followed by a slew of remixes that started the cycle all over again.

While many praised Combs as the Svengali of Blige’s success, carefully crafting her fly-girl next-door image and stacking the album with strategic samples and slick production, it was really Blige’s vocal prowess and the way she spoke to people in her songs that gained listeners’ loyalty.

R&B loves its balladry, but Blige brought a sense of realism and gravitas to the heart of it, cutting through the saccharine promises of the crooner landscape to become the patron saint of the broken hearted for years to come. She was vulnerable but certainly not soft and as Blige later told The Guardian in 2005, “I had no idea that my personal pain would create such a big fan base. Everything that was bringing me down was everything that rose me up”.

Blige brought a sense of emotional maturity and self-awareness far beyond her 21 years that resonated with female and male audiences alike. It certainly helped that her debut encapsulated New York-driven hip-hop culture at that time and featured over 10 samples, multiple covers, features, and influences that ranged from Chaka Khan, Ohio Players, Grand Puba, Busta Rhymes, Grover Washington Jr, Biz Markie, Schoolly D, and countless others.

An explosion of confidence

Her debut was an explosion of confidence with the first track “Leave A Message”, featuring just a running montage of hype by Busta “with an A” Rhymes and different artists praising the album. The title is a call back to Blige’s early days as a 4-1-1 telephone operator and from the jump, she breaks it down for the audience. On what otherwise would have been a slow, bittersweet ballad, the MC Lyte-sampling track, “Reminisce,” kicks right into gear with an uptempo, New Jack flavor and features Blige’s raw vocals at the top – proving she didn’t need a beat to impress.

Despite not being the title track, “Real Love” would become Mary’s big breakout and first top ten pop hit, hitting No.7 on the Billboard Hot 100 and becoming a boom-bap anthem for generations. Just a year later, the remix would also top the charts and help put a little-known emcee named Biggie Smalls, on the map.

Her other big single off the album is the gritty torch song, “You Remind Me,” which proved Blige could match vocal runs with the best of them. Unlike the divas of the day who were groomed for the pop charts at a young age, Blige brought her guttural, native-New Yorker inflection and New Jack swagger to create a new style of ballad singing.

Won over the biggest skeptics

Even to the old guard of music criticism, Blige won over even the biggest skeptics with her cover of Rufus featuring Chaka Khan’s “Sweet Thing.” Her frank take on the soul classic appealed to a new generation when she warned future lovers, “Don’t be so shady”.

Blige dips into her lower register for the jazz-fused single, “Love No Limit” that’s one of her more experimental gambles on the album and certainly unlike anything else on urban radio at the time. Blige later teams up with K-Ci Hailey from Uptown labelmate, Jodeci on the stirring duet, “I Don’t Want To Do Anything.” The epic slow-jam caused many to speculate that the two were involved, especially after their MTV Unplugged appearance. But their turbulent romance hadn’t started yet, when his brother and Jodeci partner JoJo Hailey wrote the song.

On the closing track “What’s The 411?,” Mary gets to show off her flow and respond to every street corner cat-caller played by Grand Puba with, “Don’t have no time for no wham bam, thank you ma’am!”, then breaking out into a short cover of a Debra Law’s “Very Special.” In just a few short bars, Mary proved she was more than just the around-the-way girl.

Buy Mary J. Blige’s music on vinyl or CD now.

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