Top 50 R&B/Soul Albums of All Times
The list was complied by the staff at Mega E. For albums to be
considered the album must contained 50% of new material and 60% vocals. This
caused most live, jazz and best of compilations to be omitted. The albums are a
list based on Longevity, Creativity, and its historical mark on music.
*With reviews by Amazon
Customers
50. Ship Ahoy………………….The
O’jays
49. Brown Sugar………………….D’Angelo
48. If I Were Your Woman ……………..Stephanie Mills
47. Private
Dancer………………………….Tina Turner
46. Make It Last
Forever………………….Keith Sweat
45. Whitney…………………Whitney
Houston
44. Hotter Than
July…………………………………..Stevie Wonder
43. Sparkle
(Original Motion Picture Soundtrack)……Aretha Franklin
42. Bobdyguard
(Original Motion Picture Soundtrack)…..Whitney Houston/Various
Artists
41. Don’t Be Cruel……………….Bobby Brown
40. It’s About Time………………S.W.V.
39. Off The Wall…………………..Michael Jackson
38. 1999…………………………………………..Prince
37. Confession…………………Usher
36. Hot Butter Soul……………………………….Isaac Hayes
35. Tender Lover………………………………..Babyface
34. Dairy Of Alicia Keys………………………Alicia Keys
33. Love Deluxe……………..Sade
32. Johnny Gill……………………..Johnny Gill
31. Rock Me Tonight…………….Freddie Jackson
30. Baduism………………………..Erykah Badu
29. What’s The 411………………….Mary J. Blige
28. All N All……………………….Earth, Wind & Fire
27. Let’s Get It On……………………………….Marvin Gaye
26. Crazy Sexy Cool…………………………………T.L.C.
25. Cooleyhighharmony (reissue)…………………………..Boys II Men
24. Rhythm Nation 1814……………………Janet Jackson
23. 12 Play………………………………….R. Kelly
22. My Life……………………………….Mary J. Blige
21. Can’t Slow Down………………………Lionel Richie
20. Bad………………………………………………………………………Michael Jackson
19. Innervisions……………………………..Stevie Wonder
18. Diamond Life……………………………………..Sade
17. Lady Soul……………………………………………..Aretha Franklin
16. Stand…………………………………………………….Sly & The Family
Stone
15. Purple Rain (Motion Picture Soundtrack)…………..Prince & The
Revolution
By Daniel J. Hamlow
If 1999 was a warm-up for Prince's stardom, it hit him like a bolt
of purple lightning from the heavens, followed by an earthshattering
thunderclap, for Purple Rain was Prince's supreme moment. And Prince introduced
a sound that incorporated a snarling guitar that owed a nod to Jimi
Hendrix.
The organ and Prince's monologue heralds "Let's Go Crazy", then
comes the drum machine and that snarling guitar. The song goes into full drive
here and like "1999", is a song that brings life to any party. The fiery guitar
solo at the end is well worth the song. There's a stab against psychiatrists who
prescribe pills to their patients instead of real solutions. "Instead of asking
him how much of your time is left, ask him how much of your mind."
The lush string-oriented "Take Me With U" is a mid-paced duet
between Prince and his Purple Rain co-star Apollonia. Her vocals are really
prominent when the two sing "I don't care if we spend the night at your mansion"
and the other four verses of the bridge, as well when they repeat the title line
toward the end of the song. Unless one has a copy of Apollonia 6 and her solo
album, this is the closest one'll have of hearing her.
"The Beautiful Ones" about how the most beautiful women aren't
necessarily the happiest, starts out as a slow ballad in Prince's falsetto,
before he raises the power adrenaline several notches when screaming out "Do you
want him, or do you want me, 'cause I want you." Matt Fink's piano- and later
organ-sounding synthesizers provide a lush backing to this wonder. It comes to a
quiet close, with only Fink's and Bobby Z's drums. Mariah Carey covers this on
her Butterfly album to no avail.
"Computer Blue" starts out with a suggestive conversation between
Wendy and Lisa. "Wendy?" "Yes Lisa?" "Is the water warm enough?" "Yes Lisa."
"Shall we begin?" "Yes, Lisa." What actually takes place is a hard-pounding
track featuring the lyrics at first, then fiery guitar work throughout,
climaxing in Prince's falsetto screams. Bobby Z's percussion provides a strong
backbeat throughout. Love this one!
The grinding "Darling Nikki" has its notoriety about the title
character and her house of eroticism, and is also the song that inflamed Tipper
Gore. And yes, it has another killer guitar solo and passionate Prince screams.
I wonder, are the last lyrics of that song the ones played backward at the
end?
"When Doves Cry", which zoomed up to #1 to the charts in six weeks,
punctuated by the percussion and keyboards, is yet further proof of premier
songwriting and sound.
"I Would Die 4 U" which has a rippling fuzzy sound throughout,
seems to be about God: "I'm not a human/I'm a dove/I am your conscious/I am
love." Then again, it might be Prince, as he's for love and peace. It segues
into "Baby I'm A Star", which rivals "Let's Go Crazy" in energy level. It's
simultaneously a declaratory statement by Prince to his audience of what he is
and an assertion by the common person that an engaging personality will make him
shoot to the stars.
The apocalyptic title track is one of the loveliest compositions
Prince has done. To hear it in anything other than its full 8:45 is sacrilege.
The lyrics come in up to 3:45, the song then becomes a thundering symphonic rock
instrumental with a fusion of guitar, cello, violin, and viola. For the last
minute and three-quarters, the strings carry it through to its
conclusion.
Every song on this album is so entwined together in Prince's
unifying theme and sound that it's sometimes jarring to hear any of these songs
on anywhere else but this album. Anyone wanting to know why Prince made the
impact he did should get this album, which is the first ever piece of music I
bought sung by one artist. A personal favorite and all-time classic.
14. That’s The Way Of The World……..Earth, Wind &
Fire
By M. Jones
This album is a certified classic, I don't know what the editorial
reviewer of this album, Rickey Wright, was thinking or listening to. THAT'S THE
WAY OF THE WORLD is very much on par with Stevie Wonder's best 1970's material
& was a natural progression of the wonderful soundtracks of the early to mid
1970's for black films Sweetbacks Badass Song, "Shaft", "Superfly" &
"Trouble Man" amongst others. But it would make sense he would say that in his
reviews seeing as how he's biased towards british bands who overall took their
queues from many of the classic R&B acts of the 1950's 1960's & 1970's.
Stevie himself admitted that he borrowed from the innovative groove &
majesty of the Elements!
This album is really the 3rd of their albums from their most
experimental & creative period (the first being "Head To The Sky" & the
2nd being "Open Our Eyes" in my opinion) and is the first of what I consider
their 6 masterpieces. The other 5 were "Gratitude"; "Spirit"; "All N All"; "I
AM" and "Faces". This album was also the soundtrack to the movie of the same
name, i have the movie & it's actually a nice film about the seedy side of
the music industry. Earth, Wind & Fire only have a few lines in the film as
a whole but their musical performances are brilliant as always & Maurice
White's production as flawless as ever! You really get to see what made them so
great in the clips where they are in studio warming up and recording and how
they translated that to live performances.
From the opening lines of "Shining Star" to the last note (a
beautiful falsetto by Philip Bailey) on "See the Light", this soundtrack helped
to define what R&B, Funk and World Music was all about while solidifying one
of the greatest and most influential periods in music history. From this point
on, the band would be a truly world wide phenomenon and put them on par with the
greatest bands in history. They would become the first black band to have the
kinds of success both on the charts and on the road that their white
counterparts and contemporaries where enjoying.
Maurice White is a true musical avatar, like Stevie, he was able to
blend several different types of musical influences while maintaining an
underlying African foundation upon which he built such masterpieces. "Shining
Star" is a musical tour de force with one of the funkiest guitar solo's you'll
ever here. "That's the Way of the World" is the bands theme song with such
incredible lyrical content. "Happy Feelin" & "Yearnin Learnin" allow the
band to show off the reason why their the baddest funk & roll band of all
time. and one of my personal favorites "Africano" shows off the elements great
instrumental prowess.
The Elements are, without question, one of the greatest musical
forces at any point in music history and my favorite band of all time. Soaring
vocals, majestic melodies & harmonies, outstanding musicianship and awesome
lyrics are what made Earth, Wind and Fire a group not just for the 70's but for
all ages.
When you wish upon a star, your dreams will take you very far
yeah.......
13. The Emancipation Of Mimi………………………….Mariah
Carey
By Matthew G. Sherwin
Mariah Carey returns strong, proud and super confident with her
brand new release The Emancipation of Mimi! Mariah considers Mimi to be another
name symbolizing her true inner self-so even the title of the CD proudly and
forcefully announces that she is trying new, fresh things on this CD. Mariah
explains it herself in the liner notes for her new CD: her "emancipation" is "to
free from restraint, control, oppression, or the power of another" or "to free
from any controlling influence" or "to free somebody from restrictions or
conventions." You know what? Mariah is a strong creative force and we all are
better off for it! The Emancipation of Mimi really highlights how well Mariah
can write and co-produce with other incredible talents such as the Neptunes,
Kanye West, and R. Kelly. Mariah's new CD is full of songs featuring very
personal lyrics-she is brave enough to share her real emotions with us here! The
CD also proves even once again that Mariah's dazzling voice has not diminished
with time! The album overflows with super creative lyrics and her exceptionally
versatile voice makes it very special and a great addition to your
collection!
The CD starts off strong with the song entitled "It's Like That."
Not only is this a beautiful song, the musical arrangement is strong, aggressive
and awesome! Mariah simply sounds great; her voice is perfect here! Then comes
the song "We Belong Together"--thoughtful, beautiful, with a great beat! With
"We Belong Together" Mariah sings about a love that is no longer.
Mariah also stays in the hip hop scene with songs like "Shake It
Off" and the street jam "One and Only." And, if you like THAT, try also the
Neptunes-produced "Say Somethin'" which she performs with Snoop Dogg and
Pharrell Williams. Excellent! Mariah also does "Mine Again" with James Poyser on
keyboards and "Fly Like A Bird" really shows off what Mariah can
do!
Mariah works well with the other greats that I mentioned above; but
there are even more talents on this awesome CD! Another Island Def Jam artist
who you just might have heard of once or twice-a guy called Kanye
West-collaborates with Mariah on "Stay the Night." What's more, three of the
"Emancipation" songs are both co-written and co-produced by Mariah and James
"Big Jim" Wright: "I Wish You Knew," "Circles," and "Fly Like a Bird." Trey
Lorenz, Fatman Scoop, and Jermaine Dupri also provide vocals on this CD. The
track "To The Floor" features Nelly.
One critic from Vibe magazine wrote that "Mariah gets back to her
winning formula with Mimi." This almost seems like an understatement; the CD is
really that good! Do yourself a major favor and get this-enjoy it today!
12. I’m still In Love With You……………………….Al Green
By finulanu ""the mysterious"" (Here, there, and everywhere)
Oh yes. Definitely my favorite Al Green album, and definitely one
of the greatest soul albums in history. The opening title track gives Al yet
another classic ballad, with an awesome "I-hi-hi... wrapped up in your love..."
vocal hook and horns adding a lot of punch. "I'm Glad You're Mine," a Latin-funk
crossover with a very creative string arrangement and kick-butt vocals, is just
as good; and then there's my favorite, the gospel-funk sex jam "Love and
Happiness." It's amazing how well he milks that one groove, thanks to another
incredibly creative horn arrangement, an enviable guitar riff, and the usual
vocal goodness, with Al doing everything from whispering to moaning to screaming
to monologuing. The organ sounds great too, and it's got a lot of bottom. It's
also my pick for Al Green's greatest song ever. "What a Wonderful Thing Love Is"
threatens to push into sap with its slightly syrupy intro, but then Al's vocals
come in and everything turns all right. Because he's Al Green and he's one of
the best singers ever, that's why! The song itself isn't a particular favorite,
but Green's vocals are enough to make it good. "Simply Beautiful," Green singing
over a guitar vamp, minimal percussion, and subdued strings, is pretty much is a
showcase for Green's vocals, and it works for the simple reason that it's an
awesome vocal performance. It's an interesting experiment, and it works
tremendously. And his cover of "Pretty Woman" is quite good - a lot better than
I had expected it to be. Al Green is great at inhabiting other people's songs,
making them his own, and sometimes even improving on the originals. He also does
this on his cover of the country standard "For the Good Times." And "Look What
You Done for Me" is yet another of Al's very best tunes - he really testifies on
the vocals, it's got all kinds of hooks, and once more, the horns are awesome!
And the closing "One of These Good Old Days" ends the album on a high note. This
is a total classic album. Al Green crown achievement, this album includes the
awesome “Love & Happiness”. It also includes the title track
and the quiet storm staples “Simply Beautiful’ & “For the Good
Times”
11. Bad Girl…………………………………………………….Donna Summer
By Rachel Lai
Donna Summer's "Bad Girls" is one of those rare albums that washes
over you like a life-giving elixir of hope. It's [] imaginative, progressive,
beautiful, hook-filled, and danceable. Above all, it defined its era, and in
retrospect, it continues to define and influence today's artists. Perhaps
Donna's influence should be re-evaluated: she was at the forefront of the
electronica movement, releasing the pulsating "I Feel Love" in 1977 and
extending her musical experimentation in that genre to this double LP set. With
"Bad Girls", she also defined what dance music would be and still is -- she was
the first artist to develop longform dance epics (fans of Madonna's extended
remixes, take note), and she pioneered many of the style's enduring
techniques.
The record's opening salvo is the brilliant one-two punch of Hot
Stuff (#1 pop) and Bad Girls (#1 pop). Unlike much of Donna's earlier material,
these perennial tracks cannot be merely classified as disco; they are incredible
dance songs, yes, but they also signalled tremendous musical growth for Summer,
who decided to incorporate rock elements into Hot Stuff, and flamenco guitar/
R&B influences into Bad Girls. Indeed, it is her willingness to experiment
that has led to such career longevity. And she was never a producer's pawn --
she coproduces several tracks here, and co-writes eight of them; later, she
would take even more control.
"Love Will Always Find You" extends the theme of tawdry sex and
cheap love (Bad Girls was envisioned as a concept album about prostitution),
adding a throbbing brass section in for good measure. Its ballad-ready title
belies its addictive beat. The downbeat "Walk Away" (#36 pop) and the
celebratory "Dim All The Lights" (#2 pop) follow in quick succession; both are
classic dance tracks that benefit from Donna's incredible performance and
propitious sequencing. As she 'walks away' from love, heartbroken, we segue into
the hope that new love brings on "Dim All The Lights". But these songs would be
nothing without her incredible delivery -- listen to her exquisite intonation
and the emotion she injects into her sonic story.
"Journey To The Centre Of Your Heart" (reminiscent of "Love Will
Always Find You"), "One Night In A Lifetime", and the hopelessly addictive - and
very sexy - "Can't Get To Sleep At Night" are shimmering mid-tempo dance cuts
about sexual and emotional infatuation. But if you thought that Donna could only
do disco and dance, witness the tender beauty of the piano ballad "On My Honor",
the slightly operatic "There Will Always Be A You", and the jazzy "My Baby
Understands". These tracks showcase Donna's vocal abilities and stylistic
versatility (there are even country influences in "On My Honor") and they rank
among my favorite Summer album tracks.
And now we arrive at the electronica section of the album -- "Our
Love", "Lucky" and the haunting closer "Sunset People". These tracks are bathed
in synthesizers and electronic quirks, and are perhaps the most beautiful (and
influential) on the album. "Our Love" is absolutely stunning, an obvious
forerunner of the Eurythmics "Love Is A Stranger" and New Order's seminal "Blue
Monday" (in fact, "Blue Monday" steals a hook directly from "Our Love"). It
falls into the "why was this not released as a single?" category, and its abrupt
ending has been replicated countless times. "Lucky" is incredibly sensual, one
of the best things she's ever recorded. And "Sunset People", a song that details
the seedy nightlife of the sunset strip, is a perfect end coda to the emotional
and sexual odyssey that is "Bad Girls".
10. Toni Braxton……………………………………………………..Toni Braxton
By Evil. P
When Toni first stepped onto the scene with this
debut, she easily defined herself as an artist to watch out for with one of the
best albums of the decade. This was released back in '93 when R&B wasn't all
about money and power. With the production team of LA Reid & Babyface, you
really couldn't go wrong at the time (as they were at the top of their game back
then).
The album starts off with "Another Sad Love Song" and "Breathe
Again", two crossover hits that worked wonders on both urban and pop stations.
Her voice takes you on an emotional ride like few artists can - probably because
of her low octave range with excellent ability (actually, this applies to every
song on this album). Next is "Seven Whole Days" - a very soulful track. This was
followed by "Love Affair", "Candlelight", and "Spending My Time With You", and
while they aren't highlights to me, they are good songs
nonetheless.
The album continues with "Love Shoulda Brought You Home",
originally from the Boomerang Soundtrack, this was the track that launched her
into the spotlight. Not a big hit, but it portrayed her as a well established
soul artist when it was actually her debut. "I Belong To You" and "How Many
Ways" were smaller crossover hits, "I Belong To You" being a fairly upbeat
R&B song, and "How Many Ways" featuring haunting vocals. The third big
crossover hit "You Mean The World To Me" followed in "Breathe Again's" footsteps
as another great song. After this emotional rollercoaster, "Best Friend" can
only look weak in comparison. The album finally finishes off with a "Breathe Again" Reprise.
For overall content, I would have to rate this as one of the
strongest debut album's ever (easily Toni's best work to date), and in my
opinion this gets my vote for album of the 90's. This is filled with many
outstanding songs. If I had to pinpoint one, it would be "Another Sad Love
Song", which edges out three others (Breathe Again, You Mean The World To Me,
and Seven Whole Days) by a thread.
If you were introduced to Toni Braxton by her recent work, I would
pick this up because her vocals are unbelievably strong . By today's standards
its still a great album, more soulful than "The Heat", and more long-lasting
than even "Secrets". An essential purchase for any fan of Soul/R&B
9. Superfly (Orginal Motion Picture Soundtrack)………………Curtis
Mayfield
By M. Jones
SUPERFLY: Amy Linden's editoral review was spot on about the
sometime over use of the term "Classic" & she was also spot on when stating
that that doesn't apply here. This is, without question, one of the most
incredible albums ever to be released & truly solidified Curtis Mayfield's
true genius. This album broke so much ground that it's truly scary that it's
concepts were all the workings of one individual. This was the soundtrack to a
film and holds the distinction of being one of the precious few sountracks to
out gross the film it scored.
The album as reached number 1 on both the R&B & Pop charts,
and set such a standard for how soundtracks were to be recorded from that point
on. It was truly an artist displaying full mastery of his craft, composing,
writing, arranging, producing, singing and performing, Curtis did it all! He had
already had a Hall Of Fame career as a member of The Impressions who are one of
the most under-appreciated groups of all time! He also has released 3 solo
albums previous to this one being "Curtis"; "Roots" and "Curtis Live" that had
established him as an undenible force of nature. But this was to be his
signature album, you know, the one that from then on we would point back to when
giving an example of his absolute greatness.
All the greats have "that" album were everything truly comes
together and there's no denying it's flawless genius. He was an influence to
millions across the world by the time this album and movie were released. The
true genius here is that the movie is based upon the life of a "Pusherman" and,
in many ways, glorifies that lifestyle. Curtis took the script and turned it on
it's head in such a brilliant and almost subtle way that it's almost
missed.
"Little Child Running Wild" is a perfect example of this, while the
film is busy glorifying it's ghetto prince, Curtis is portrays the terrible
nature of his condition and how it came to be that way. "Pusherman" is ghetto
perfection and more than any other song, gives an expose of life on the streets
in the "hood." It is a perfect fit for the scene in the movie where it appears
and is one of the absolute highlights. It would almost seem as if Curtis is
glorifying here but if you listen, it's almost a mockery of the lifestyle and
those trapped within it.
The next song is "Freddie's Dead" and more than any other displays
the genius of this man. Freddie's character has exactly 10 to 15 seconds, if
that, at the beginning of the film and as Curtis sings, he's murdered and thrown
on a corner to die. From that small scene, Mr. Mayfield gives us the longest
track on the album and tells such a gripping tale with such gorgeous
compositions that you truly feel as if you've know the man all of his life. And
that's the most profound beauty of this soundtrack, Curtis is telling another
story within the story being revealed on screen. You truly would miss his
lyrical content within the context of the overall film if it wasn't there. Like
there's several scenes missing.
There are 2 wonderful instrumental pieces "Junkie Chase" and
"Think" both of which shows off Mayfield's tremendous music composition skills
which, to these ears, are second to none. "Give Me Your Love" is as sensual as
song as you'll ever hear and is as hot and steamy as the love scene it played
behind in the film. Another crown jewel on the album is "Eddie You Should Know
Better", this song is, in a way, the exact opposite of "Freddie's Dead" in that
Eddie is a main character and truly another sad soul who instead of giving you
background information on, Curtis takes the least amount of time to deal with as
he is a truly pitiful individual and the song just laments the state he's ended
up in after so many people worked so hard to help him be better.
"No Thing On Me (Cocaine Song)is Curtis giving soulful wisdom, it's
the most telling denunciation of the "ghetto lifestyle" on the album and is as
poetic a song as you'll hear. And the title and closing track, "Superfly", is
another song, which if you give a close listen, not only doesn't praise the
lifestyle but is almost a tongue lashing as the smarts displayed on the streets
could be used for something far more beneficial to himself and the community at
large.
I have stated on several occasions that Mr. Mayfield was the single
most under-appreciated artist of all time. His lyrics, music compositions &
vocals and the combination of the 3 were as impressive as anyone in music
history & i'd put his albums up against any artist & The Impressions
albums up against any groups in any genre from any time period. This truly was
his time to shine and shine he did, this album was a game changer and music was
the beneficiary of it's wonderful themes and techniques.
8. Sign Of The Times……………….Prince
By Ronald M Washington
Ok. The age old question: What IS Prince's best album? Sign 'O The
Times or Purple Rain? I personally would throw in 1999 in that question too.
Well to answer that you probably should look at it the same way that we look at
Stevie wonder's Songs In The Key Of Life and Innervisions. Songs is Stevie's
most important work for MUSIC. Innervisions is his PERSONAL best. Therefore I
feel Sign is the Purple One's most important work for music and Purple Rain is
his personal best. Why? "Sign" bashes down musical doors just as "Songs" did 11
years earlier. And, as with "Innervisions", "Purple" has better all around song
writing and energy to it. Enough of the comparison, you should have BOTH CD
anyway! On with my review. Because this is a double disc, reviewing all of the
songs in 1000 or less is impossible so I'll stick with what I feel are the best
songs.
Sign 'O The Times: A slow, purculating classic. Prince sings of all
of the madness going on in the world today and how things seem to be getting
worse. "September my cousin tried refer for the very first time, now he's doing
horse. It's June". It's a great opening for a the masterpiece that is to follow.
Housequake: One of the tightest jams he's ever done, and he's done MANY! This
song started so many parties it's amazing! It's Prince as both jokester and
funkster. AllI can say is "Shut Up already, DAMN"! It: This is the hottest,
sweatest sexiest song every. It is, well, IT!!. It's minimalist musicwise, not a
whole lot of instrumentation or anything but that's the point. Sex and sexual
lust is not complicated or multilayered. It's pretty straight and simple. Just
like this great song. A must hear. Starfish and Coffee: Prince snd Stevie Wonder
were compared when Prince was just starting off. Mainly because of the fact that
both were multi-instrumentalist and great studio musicians. With this song it
takes the similarities to another level. As a child, before his Motown fame,
Stevie would be listening to many blues and soul masters on his way to school.
And he was generally he only black kid on the bus going to these special schools
for the blind. Because of that it took a lot of nerve for him to listen to what
he loved while the other kids were listening the like. In Starfish and Coffee,
Prince tells the tale of a person (Cynthia) who lived life to the beat of her
own drum. Everyday she brought for lunch starfish and coffee. As he says in the
song, "Go on Cynthia, keep singing starfish and coffee, maple syrup and jam..."
She's going to do her thing no matter what. It makes you think if Cynthia is
actually Prince in disguise. Say what you want but our buddy Prince IS
different. And he has definitely walked to his own beat. Musically, the song is
weird, very psychedelic, but incredibly catchy. It's actually one of the best
songs on the album. Not anything you would hear on the radio, but still one of
his best. Strange Relationship: A heavy-handed funk classic. A tale of a
love/hate/love relationship that many of us have been involved with. Crank this
one up to listen to it. I Could Never Take The Place Of Your Man: One of the
best song of his career. This is a psychedelic/pop/jazz masterpiece. To be
honest, most of Prince's music is not very thought provoking. Prince is know for
his MUSIC and there is plenty of it going on in this one. The song is about a
night in the club where he meets a lady and does his rap but feels that she's
looking for something more than just a one night stand. Which is what he's
gunning for! Again, this is not brain surgery lyrics wise but musically he goes
from his now patented psychedelic/pop to a jazzy mid-section and back. Ending I
with a rocked out scream. Amazing. Adore: The best song on the CD. Prince sings
in falsetto here to great effect. It's a slow jam that glides you in and out of
it's story. Prince clowns around on this one too. Saying he'll do anything and
give anything for his woman.....except for his car!!! It's funny, irreverent but
oh so truthful in so many ways. The best part is that it doesn't mess up the
sexiness of the song. Only Prince could pull that off. It is a perfect end to a
great CD. Prince never won Album of the Year Grammys but he should have for this
one.
7. Rapture……………………………………………Anita Baker
By John Jones
With the release of "Rapture" in 1986, Anita Baker singlehandedly
introduced the "Quiet Storm" genre, a rich blend of jazz, pop, and soul, to the
masses. Finding the likes of "Sweet Love" and "Caught Up in the Rapture" on pop
radio was always a rich treat, and her popularity helped foster a taste for
mature pop.
Years after its release, "Rapture" is still as smooth and sweet as
ever. Anita's smoky, Sarah Vaughan-influenced vocals are flawlessly showcased in
a worthy set of songs set to spotless production. Songs like "No One in the
World" and the uptempo "Same Ole Love" are among Baker's staples in adult
contemporary radio, and jazz stations and fans alike will likely never tire of
the lush and soulful "Been So Long," one of Baker's all-time classics that gives
an example of the perfect scat.
Elsewhere, Baker gives what is arguably her most soulful
performance ever on "You Bring Me Joy," and a sultry cover of Manhattan
Transfer's "Mystery" easily trumps the original. The fact that Baker still
performs most of these songs in her concerts proves that "Rapture" is a
sentimental treasure for many a music fan, and one listen to the record's
flawless execution makes it easy to see why.
Her second solo project, Rapture is Anita Baker masterpiece. The
production by friend and former band-mate Michael J. Powell is stellar. The lead
single “Sweet Love” earned Anita Baker a Grammy. The album is enjoyable from
beginning to end.
6 The Miseducation of Luaryn Hill…………………..Luaryn
Hill
By Busy Body
In the mid-Nineties, The Fugees reigned supreme on the R'n'B scene.
With their massive No.1 album "The Score" and a huge multi-million selling UK
No.1 in the form of "Killing Me Softly," the talent of Wyclef Jean shone very
brightly. Beyond Wyclef's talent, however, there was one other. Another talent
that stood head and shoulders above everyone else, a musical and lyrical talent
not since the days of artists such Aretha Franklin and Joni Mitchell. It was of
course, the raw talent of Lauryn Hill.
Expectations were high for solo material from The Fugees members.
The fall of 1998 brought Lauryn Hill's first solo record since her success with
The Fugees. It was called "The Miseducation Of Lauryn Hill." The album stormed
to No.1 and went 7x Platinum in the US, also topping the charts in many other
foreign territories. A few were calling it hype, but the critics were gushing
for Miss Hill. Read any review of this album by a professional critic and they
are bound to call this album something along the lines of "A ground-breaking
classic that totally re-writes the Hip Hop rule book." Lauryn Hill deservedly
earnt a record 10 Grammy nominations in 1999, and won five (Album Of The Year,
Best New Artist, Best R&B album, Best Female R&B Vocal Performance, Best
R&B Song).
The Miseducation Of Lauryn Hill is a classic record, which is up
there with albums by artists such as Stevie Wonder and Marvin Gaye as one of the
most influential and ground-breaking records in its category. The album is
unique in its style - it encompasses many styles and captures many influences
from sin, love, depression, street life, fame, wealth, the past, the present and
the future. The first song, "Lost Ones," is quick to dispel the stereotypes of
Hip Hop culture by taking on a different subject than most other rappers albums.
Lauryn sings about the way people change, and how it's not always for the
better. The hit single "Ex-Factor" shows a very emotional side of Lauryn. She
sings of a lover who she is with, but their relationship is so difficult because
of his dependency on her.
"To Zion" speaks a real truth about Lauryn's turbulent past.
Martial drums and a beautiful chant towards the end makes this song totally
epic. "Doo Wop (That Thing)" is the lead single from the album. Lauryn's rapping
is at her best on here. Everything fits together so well - lyrics, beats,
arrangement. It's all excellent, and it's extremely thought-provoking. The
rather dreary "Superstar" sees Lauryn angrily attack all the rappers who are
only concerned with the money, the girls and the bling-bling. It is followed-up
by the wonderful "Final Hour." Lauryn's rapping in this song is on top-form, and
my favorite part is where she sings, "Now I'm-a get the mozzarella like a
Rockerfeller, still be in the church of Lalibela, singing hymns a cappella,
whether posed in Maribella, in couture, or collecting' residuals from off The
Score." It's amazing. The way she sings it, the tone in her voice, the emotion
and the catchiness of it all - it really does touch the depths of your
soul.
"When It Hurts So Bad" is an excellent song about confused love,
while "I Used To Love Him" is a fantastic duet with Mary J. Blige in which the
two sing about a guy they once loved, but don't anymore. Plain and simple.
"Forgive Them Father" is a song about the sinners who use people and then talk
them down. A thought-provoking song to those who take people for granted. "Every
Ghetto, Every City," is a brilliant and funky R&B song in which Lauryn
reminisces about her childhood past, and how she remembers everything. "Nothing
Even Matters" is a duet with D'Angelo, and a beautiful ballad. You can just sit
back and relax to this wonderful song.
"Everything Is Everything" is definitely an album highlight.
Striking beats and wonderful vocals are joined with amazing lyrics with
references to the bible, Egyptian past, European culture and much more. It's a
very interesting topic on life and how you chose to live it. The album's title
track, "The Miseducation Of Lauryn Hill" has a brilliant piano, and Lauryn's
vocals are stunning. This song is a complete revelation and a perfect 'official'
closing song. Bonus tracks include a cover of "Can't Take My Eyes Off You" and
"Tell Him." Both fantastic songs, which should've been included on every version
of this superb album.
5. I Never Loved A Man The Way I Love You…………..Aretha
Franklin
By David W. Coleman
Aretha Franklin always had the tools. She was the daughter of a
minister and grew up singing in the church. She could also play a mean piano,
whether slow and soulfully, or fast and rollicking. At the age of 18 she signed
with Columbia Records. For the next 6 years, she recorded a huge body of work,
ranging from jazz and blues, to standards and pop, to straight R&B and soul.
The label didn't seem to know what to do with her, in terms of consistent
direction. But all of that dues-paying singing Aretha did in those early years
would soon pay off in a big way. When her CBS contract expired, Atlantic Records
snapped her up faster than you can say "Gold Records." The rest, as they say, is
history. This album changed things all at once for Aretha. Its release proved to
be both a coming-out party and a coronation. And a singer who, to that point,
was considered an also-ran amidst the landscape of soul-singing Sisters, took
her rightful place as The Queen of Soul. It is a place she still holds today. No
one could do it like Aretha! This landmark set contained two singles that
changed the face of pop music. The title cut set the tone with its first biting
line: "You're a no good heartbreaker!" But, of course, Aretha loves him. In that
way, she was like a lot of other women, especially Black women. That's really
the key to Aretha's success: she knows how to talk to women. Sisterhood has
really always been where she was coming from. The next single, "Respect," is
considered by most to be the greatest pop single of all time. Which is amazing,
considering that its writer, Otis Redding, had a big R&B hit with the song
only 2 years prior. The story goes that when Otis first heard Aretha's version,
he told his producer, "That girl done stole my song!" He was right. Aretha,
singing and playing her heart out, was all over "Respect." She demanded her
propers not only for herself, but for Black women, for women worldwide, for
Black people, and for oppressed people everywhere. The album's third single, "Do Right Woman, Do Right Man," is another classic. And this deep, deep set also
contains favorites like "Don't Let Me Lose This Dream" and "Soul Serenade." And
Aretha showcases all she learned singing the blues at CBS, with her self-penned
"Dr. Feelgood," which is still one of her biggest numbers at live shows. One
listen to this song, and you can't help but say, "Right on, Sister!" or "You go,
Girl!" In case you don't know, this album routinely makes the top ten of lists
of the best albums ever. I rank it just behind "What's Going On" by Marvin Gaye,
as the second-best soul album of all-time.
4. Thriller…………………………………………….Michael Jackson
By Mark "Technology, Music and Movies" (edited)
It's amazing to note that Michael Jackson actually wrote most of
the biggest hits on this album, something today's R&B artists rarely do.
Most of the biggest hits from the album are his original works, including "Wanna Be Startin' Something," "The Girl Is Mine," "Beat It," and "Billie Jean." "Baby
Be Mine," "Thriller," and "The Lady In My Life" were written and composed by Rod
Temperton. "PYT" was the work of the legendary James Ingram and Quincy Jones.
And Steve Porcato wrote both "Human Nature" (with John Bettis) and the newly
released "For All Time" (with Michael Sherwood), number 16 on this
edition.
AWARDS
It's amazing to think this album won 8 Grammys, and I don't even
believe it was close in any category.
+ Album of the Year
+ Record of the Year ("Beat It")
+ Best Male R&B Vocals ("Billie Jean")
+ Producer of the Year (Qunicy Jones and Michael
Jackson)
+ Best Engineered Recording, Non-Classical (Bruce
Swedien)
Enjoy!!! It what album should be. The production on this album is
outstanding. Michael is at his peak vocally. The songs are somewhat simple
lyrically, but that add to its charm. The classic songs “Billie
Jean” & “Beat it” seems to live on way after its initial release.
3. Whitney Houston………………………………Whitney Houston
By Ian Phillips
Whitney Houston exploded onto the music scene in early 1985,
signing a deal with Arista Records, under the guidance of Clive Davis. Her
self-titled debut, released that year was the beginning of a fruitful career and
lapped up some of Whitneys very best work to date.
The debut extract would be the sparkling, vibrant ballad, You Give
Good Love, produced by the divine Jermaine Jackson. Whitneys positively
exquisite and exhilarating vocal delivery was astoundingly powerful, much in the
shadow of the great, Aretha Franklin. Despite its glorious content, You Give
Good Love bombed on the U.S charts and was therefore not even issued in the U.K
through lack of interest.
The slice of disco-pop in distinctly 80's style was the angelic,
How Will I Know, a rather sappy and girly tune that hardly had the credibility
of the previous single, but emerged as a winner where it topped the U.S charts,
whilst storming its way into the U.K Top 10 charts. How Will I Know was produced
by Narada Michael Walden who would go on to produce more of her work on future
albums.
Thinking About You was an electric affair with its startling
electro-pop orchestrations whilst Whitneys vocal delivery is highly dynamic.
More jamming pop follows with the upbeat, Someone For Me, where her rocketing
vocal delivery is once again astoundingly strong.
The genius Michael Masser who had produced countless soul classics
with divine soul diva, Diana Ross, was involved in most of the project and
worked his magic again with this breathtaking singer. The ballad, Saving All My Love For You is so uplifting and timeless. The full force of her vocal
techniques floods out on this tear-jerker of a classic. Her delivery on here is
almost mesmerizing.
She duets with Jermaine Jackson on the sugary, Nobody Loves Me Like
You Do. There is a nice range of harmonies between these two fabulous singers
and even a slight air of sexual chemistry between the two sizzles through. All
At Once is another sweeping ballad where she is joined by a gospel backing choir
on the exalting chorus. All At Once became another huge International hit to her
credit.
Theres another duet with Jermaine Jackson included with the exotic,
late night R&B number, Take Good Care Of My Heart where their vocals are
propelled into full effect and both sound equally as magnificent as one another.
A timeless collaboration though failed to hit the U.S top 40 charts when
released as a single there.
Another one of Whitneys most definitive classics follows with her
fantastic cover of The Greatest Love Of All where her wide range of spectacular
abilities is displayed yet again.
Hold Me is a sickly romantic ballad on which she duets with soul
crooner, Teddy Pendergrass. Despite the overly syrupy content the track is
actually exhilarating on just hearing these two fine singers like captured on
record together. Always makes for a dynamic combination.
This album is actually quite remarkable for a debut. Consistent,
solid and high quality work from one of the greatest singers of our era, it is
an indeed timeless classic and stands as some of her most memroable work.
2. What’s Going On…………………………………………………..Marvin Gaye
By Thomas Magnum
By the time 1970 rolled around, Marvin Gaye had grown tired of his
singing career. Although he was a major star, having huge hits, he felt
disenfranchised from the business. The death of his close friend and singer
partner Tammi Terrill had thrown him into serious state of depression and anger.
He became serious about football and tried out with the Detroit Lions and he
also had a hand at boxing. He, of course, never made the cut with these
activities. His brother Frankie had recently come back from Vietnam and the
stories that he related Marvin, helped spur him out of his funk and into the
recording studio. He turned those feelings of detachment, melancholy and anger
into one of the landmark albums in musical history. Gone were the days of Mr.
Gaye singing about love and happiness, What's Going On explored the situation
and status of the black man in society as well as the problems facing the world
as a whole. The title track opens the album and he ponders the question of what
is going on in the world today. It was not just about the brothers dying in and
mothers crying about the Vietnam War, but about the wars of everyday life in
Urban America. The next five songs flow in and out of one another forming a
musical suite. In "What's Happening Brother" he questions why the inner city is
decaying while "Flyin' High (In The Friendly Sky)" is about Mr. Gaye's drug use.
"Save The Children" asks for us to get together and make the world a better
places for our kids and he provides a possible solution by looking to higher
powers in "God Is Love". "Mercy, Mercy Me (The Ecology)" is his take on the
polluting of the world. "Right On" is a what one might call psychedelic funk and
"Wholy Holy" is a sermon from the son of a preacher. The album closes back where
it started with "Inner City Blues (Make Me Holler)" where Mr. Gaye rails against
the problems of the ghettos. What's Going On was deemed so non-commercial by
Motown, that they refused to release it and it sat in the can for almost a year.
Mr. Gaye threatened to leave the label and they relented and finally released it
in 1971. The album became a huge hit and Marvin Gaye was hailed for his
ground-breaking work. The album is more than just music, it is a honest and open
look at the ills of society. The album opened up many people's eyes and made
them think about alot things they wouldn't have normally paid attention to.
Unfortunately, most people didn't pay attention as most of the problems the
album addresses are sadly still relevant today.
1.
Songs In The Key
Of Life……………………………..Stevie Wonder
By Nse Ette (Lagos, Nigeria)
This album is Stevie Wonder's Magnum opus; a delightful, intricate
musical delight, which is still a powerful lesson in music today.
Released way back in 1976, where it performed the (then) rare feat
of debuting atop the Billboard 200 album charts. It spun off two hot 100 no.1
singles; the horn laden 40s big band sounding `Sir Duke', and the nostalgic,
funky `I wish', as well as `As' and `Another star' which both made the top
40.
It also won the Grammy for album of the year (Stevie's third win in
that category) and three others: one for best male r&b vocal for 'I wish'
best male pop vocal for the album, and best producer for Stevie.
Not to talk of the cover versions and samples inspired by this
album over the years: George Michael & Mary J Blige ('As'), Coolio
('Gangsta's Paradise' samples 'Pastime paradise'), Tevin Campbell ('Knocks me
off my feet') Mary J Blige ('Time' samples `Pastime paradise') to name a
few.
Stevie Wonder paved the way for future soul vocal styling as
utilized by people like Charlie Wilson (GAP band), Aaron Hall (Guy), Boys II men
to name a few, and the Neo soul pack.
What can I say about this masterpiece that hasn't been said
already? I wouldn't call this just soul music. More than that, it's more of
psychedelic soul, with sprinklings of jazz, rock and pop. With lyrics that
touched on everything from love, life, death, war, sadness, and joy. Lyrics that
were way ahead of their time, still relevant today.
The delightful `Ebony eyes' has a faint Beatles feel to it. A real
pop gem!
`Saturn' is a pop epic with lyrics even more relevant today. It's
about wanting to leave earth with all her troubles for a fantasy utopia on
Saturn. Featuring lyrics like `'we have come here many times before/to find your
strategy to peace is war/killing helpless men, women and children/that don't
even know what they're dying for'. Are we sure it wasn't written for the world
of today?
`Another star' is a delightful upbeat, almost disco number with
great `la la la la' backing vocals sweeping in and out, featuring excellent
percussion, great horns, and guitar and backing vocals from George
Benson.
`Blackman' is a history lesson, teaching us about the
accomplishments of the black man, as well as a few red, yellow and white people.
The different peoples who made America. Also featuring excellent percussion and
darting horns, as well as a classroom segment towards the end. What a wonderful
musical history lesson which still needs to be told this day.
`Have a talk with God' is a gently bubbling psychedelic soul
number, encouraging prayer to God when all seems lost and desolate. Beautiful
musicianship, played entirely by Stevie himself.
`Love's in need of love today' begins with some choir like humming,
which breaks into an inspiring but subdued ode to love. Anthemic vocals towards
the end.
`Village ghetto land' is a tale of life on the streets. Stark, icy
synth strings and Stevie's passionate voice make up this brilliant song.
`children play with rusted cans/sores cover their hands/politicians laugh and
drink - drink to all demands'. Still so true.
`Pastime paradise' is a wonder! Great synths, percussion, cutting
strings, and intricate vocal layering, not to talk of the lyrics.
`Proclamation/race relations...' I can't describe this song well enough.
Fantastic!!!
Then there's the two part `Ordinary pain', the second part sung by
Shirley Brewer making for an interesting song. The instrumental `Contusion'
which is a brilliant, upbeat fusion jam. The tender, instrumental harmonica
laden `Easy Goin' Evening (My Mama's Call)'. The harmonica driven, sunny ode to
his daughter `Isn't she lovely'. The beautiful, powerful testament to love
called `As' which here, is the ultimate version. Again, intricate vocal layering
and superb musicianship.
What more can I say. This album was recently certified diamond for
shipments of 10 million copies in the US alone.
A classic which has stood well
up to the test of time, almost 30 years on.
