The ‘90s may be the last decade when R&B, not hip-hop, was the dominant force in black music. Innovation abounded, with New Jack Swing giving way to neo-soul as well as further experiments with studio technology’s fast-moving innovations. R&B crossover was a matter of course on the pop charts; there, ballads like Whitney Houston’s blockbuster “I Will Always Love You” and the stirring Boyz II Men-Mariah Carey team-up “One Sweet Day” had months-long reigns at No. 1, while upbeat tracks like Blackstreet’s swaggering “No Diggity” and Janet Jackson’s peppy “Together Again” also reached the summit.
Artists from every echelon and subgenre seemed to be laser-focused on honing and upping their game: ‘80s titans like Jackson and her brother Michael incorporated of-the-moment ideas into their platinum-plated ‘90s work; early-decade upstarts like Mariah Carey and TLC blossomed into megastars, forcing pop listeners to keep up their ever-evolving visions for the genre; and new acts like Maxwell and Lauryn Hill emerged in constant states of evolution, redrawing R&B’s boundaries so that the genre encompassed ever-greater territory. These 30 highlights from the decade collect some of R&B’s highest points.
30. Prince and the New Power Generation, ”Diamonds & Pearls” (1991)
‘The Hits‘ plays the part of an avant-garde love song as we are taken into what could well be the centre-piece of a timeless record coming in the form of the title track ‘Anthems‘. We recall briefly, when seeing Pure Love at a show late last year, Carter announcing ‘ Anthems ‘ as a ‘song for those of you who work shit jobs’. Removed from those expectations however, Pure Love's debut Anthems is a gem of pop-rock album with arena-ready hooks that will stick with the listener for days on end.
Prince experienced a lot of transitions in the ‘90s—his name change to a symbol, his acrimonious departure from Warner Bros. Records, his transition to independence, his pioneering forays into online retail. But he opened the decade with this gorgeous, glittering expression of pure love, his restrained vocal given a counterpoint by New Power Generation member Rosie Gaines, whose unbridled performance crests on the track’s show-stopping bridge. –Maura Johnston
29. Babyface, “When Can I See You” (1994)
Released in 1994 during the MTV Unplugged era, this acoustic gem revealed new depth for a songwriter who was often (unfairly) accused of being somewhat formulaic. Kenneth Edmonds’ forthright and unadorned ballad led to a brief spike in acoustic soul (see The Tony Rich Project’s “Nobody Knows”) and seemed to predict the rise of neo-soul as well. –Mosi Reeves
28. Toni Braxton, “You’re Makin’ Me High” (1996)
The slinky lead single from Braxton’s 1996 mega-seller Secrets simmered, with Braxton’s vocal performance doubling as an exquisite lesson in self-control—which, it turned out, was right in line with the chart-topping track’s ethos. “That’s what ‘You’re Makin’ Me High’ was all about,” she told the London Independent in 1996, when they inquired after the Babyface/Bryce Wilson co-production’s subject matter. “Masturbation. It’s a very safe form of sex.” –MJ
27. Maxwell, “Luxury:Cococure” (1998)
Maxwell debuted in 1996 with a mix of D’Angelo’s enigmatic funk and Sade’s airy, slightly remote soul-jazz. But he soon evolved into a remarkably unique performer by stretching neo-soul to its ambient limits, and using abstract images to anchor his songs of love, faith, and heartbreak. Critics initially misinterpreted “Luxury: Cococure,” the first single from Embrya, as a pretentious mess rather than a soul analog to hypnagogic pop icons like Björk. Amidst lush sounds, Maxwell compares the newness of black love to submerging himself in deep waters. He feels cocooned by the sensation, even as the freezing water saps his energy, much like the protagonist in Kate Bush’s orchestral suite “The Ninth Wave” (from her Hounds of Love). It’s heady, intellectual fare for an audience used to savoring his ballads through Urban Adult Contemporary radio, and despite early trepidation, they embraced his conceits wholeheartedly. –MR
26. Whitney Houston, “Heartbreak Hotel” (1998)
By 1998 and My Love is Your Love, Whitney Houston was as well known for her tabloid exploits with Bobby Brown as she was for her legendary pop career. The great thing about “Heartbreak Hotel,” the lead single from her last great album, was that it reminded listeners that Houston’s musical art, not her Hollywood blockbusters and People magazine headlines, was most important. It marked a passing of the torch to a younger generation of black women, represented by Faith Evans and Kelly Price; the trio’s carefully restrained yet anguished vocals, set amidst a stutter-step bounce and cameos from Faith Evans and Kelly Price, felt like a remarkable achievement. –MR
25. Mark Morrison, “Return of the Mack” (1996)
Seemingly emerging from out of nowhere, this British one-hit wonder made one of the most memorable hooks of the decade. (Some have called itthe best song ever, but we wouldn’t go that far.) It’s so killer, in fact, that it essentially overwhelms his lyric about going back on the market after his woman cheats on him. “Return of the Mack” is less about recovering from a breakup than reasserting your pride, no matter how damaged. Basically, it’s an excuse to harmonize “Return of the mack!” again and again. –MR
24. Mint Condition, “Breakin’ My Heart (Pretty Brown Eyes)” (1991)
The lush, sprawling ballad from Mint Condition’s 1991 debut Meant to be Mint isn’t only an exquisite expression of how love (or, at least, infatuation) can rip one’s heart in two; it showcases the sextet’s chemistry and talent for pacing, with its nearly six-minute length almost feeling a shade too short thanks to its smouldering build and Stokley Williams’ song-ending leave-it-in-the-booth ad-lib. Javascript generate random serial number. –MJ
23. Groove Theory, “Tell Me” (1995)
Amel Larrieux and Bryce Wilson’s debut single arrived during a fortuitous moment. Though still a viable force, acid jazz and house music had waned in the black mainstream, and neo-soul authenticity had emerged as a potential new force. “Tell Me” alluded to all these sounds with its stride piano, a steadily pulsing beat, and Larrieux’s aching falsetto voice. It seemed to portend Groove Theory as a new innovator in R&B. Instead, the duo disbanded shortly after its release, leaving fans of the Billboard top 10 single to wonder what could have been. –MR
22. Michael Jackson, “Remember the Time” (1992)
When the second single from Michael Jackson’s New Jack-embracing Dangerous initially came out, most of the attention went to its audacious, cameo-studded video, which was directed by John Singleton and featured the Gloved One’s first on-screen kiss (with Iman, who played an ennui-ridden queen). But the song—co-written by New Jack Swing architect Teddy Riley and his collaborator Bernard Belle along with Jackson—hits the exact sweet spot of Jackson’s appeal, blending of-the-moment pop aesthetics with a feather-light funkiness and one of Jackson’s most unbridled vocal breakdowns. –MJ
21. Xscape, “Just Kickin’ It” (1993)
After the release of Dr. Dre’s The Chronic, R&B briefly swelled with acts that tried to replicate its unhurried lowrider tempo and neo-Blaxploitation funk. (Also see Color Me Badd’s “Time and Chance,” Janet Jackson’s “Any Time, Any Place (R. Kelly Mix),” and Sweet Sable’s “Old Times Sake.”) But Xscape’s debut single was arguably the best. The four Atlanta women brought lovely multi-part harmony to their vision of teenage love, a home-cooked meal and chilling on the avenue. Despite a brief interlude that this was “strictly for the niggas,” it sounded as universal as anything on the charts in 1994. –MR
The album kicks off with the Oasis-esque ‘She (Makes theDevil Run Through Me)’ and it gives a good indication of what’s to come. A solid riff and guitar solo show that the restof the album means business; something that is confirmed within seconds of thenext song, ‘Bury My Bones’, starting. Thumping drums and a crunching riff leadinto the opening line “I’m so sick of singing about hate/It’s never gonna makea change”. If proof were needed that there’sbeen a change of musical direction, then this is definitely it. It’s one of thebest songs on the album.
The guitars are huge and Carter’s vocals are particularlyimpressive. It has a punchy aggression, but at the same time has a veryaccessible sound. Other standout songs on the album include the brilliantpop/rock track ‘Beach of Diamonds’. If you’re a fan of Noel Gallagher’s solostuff then you’ll like it. The upbeat and catchy ‘Handsome Devil’s Club’ isanother highlight with a big sing along chorus reeling you in. ‘Riot Song’ isanother top quality song, again with strong chorus.
These are my personalfavourites off the album. They’re also the ones I was most familiar withbefore, as they were released on EPs last year.
The rest of the album though isjust as strong, with consistent guitar heavy anthems. To conclude then, this an album full of pure rock songs.Nothing more, nothing less. It’s not trying to be anything else. Once youunderstand that, you can enjoy it for what it is. With so many various subgenres within rock, it’s nice to have a band that plays straight forward rockmusic.
It was a brave decision to venture to a different style, and one thatmight not be popular with the legion of fans that like Carter’s previous work.But that also works the other way round. With a radio friendly and accessiblesound, Pure Love’s fan base can only grow. An album I definitely recommend.