Contemporary R&B is a music genre that combines elements of rhythm and blues, soul, hip hop and electronic music. The genre features a distinctive record production style, drum machine-backed rhythms, pitch corrected vocals, a smooth, lush style of vocal arrangement. Electronic influences are becoming an increasing trend and the use of hip hop or dance-inspired beats are typical, although the roughness and grit inherent in hip hop may be reduced and smoothed out. Contemporary R&B vocalists are known for their use of melisma, popularized by vocalists such as Michael Jackson, R. Kelly, Craig David, Stevie Wonder, Whitney Houston and Mariah Carey. Contemporary R&B originated at the end of the disco era, in the late-1970s, when Michael Jackson and Quincy Jones added more electronic elements to the sound of the time to create a smoother dancefloor-friendly sound; the first result was Off the Wall, which—according to Stephen Thomas Erlewine from AllMusic—"was a visionary album, that found a way to break disco wide open into a new world where the beat was undeniable, but not the primary focus" and "was part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, alluring funk".
Richard J. Ripani wrote that Janet Jackson's Control was "important to the development of R&B for a number of reasons", as she and her producers, Jimmy Jam and Terry Lewis, "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, sound effects, a rap music sensibility." Ripani wrote that "the success of Control led to the incorporation of stylistic traits of rap over the next few years, Janet Jackson was to continue to be one of the leaders in that development." That same year, Teddy Riley began. This combination of R&B style and hip hop rhythms was termed new jack swing and was applied to artists such as Michael Jackson, Bobby Brown, Keith Sweat, Al B. Sure!, Guy and Bell Biv DeVoe. In contrast to the works of Boyz II Men and similar artists, other R&B artists and groups from this same period began adding more of a hip-hop sound to their work, like the innovative group Jodeci; the synthesizer-heavy rhythm tracks of new jack swing were replaced by grittier East Coast hip hop-inspired backing tracks, resulting in a genre labeled hip hop soul by Mary J. Blige and producer Sean Combs who had mentored group Jodeci in the beginning and helped them with their unique look.
The style became less popular by the end of the 1990s, but experienced a resurgence. In 1990, Mariah Carey released Vision of Love, it was immensely popular peaking at number 1 in many worldwide charts including the Billboard Hot 100, it propelled Mariah's career. The song is said to have popularized the use of melisma and brought it in to mainstream R&B. During the mid-1990s, Whitney Houston's The Bodyguard: Original Soundtrack Album sold over 40 million copies worldwide becoming the best-selling soundtrack of all time. Janet Jackson's self-titled fifth studio album janet. which came after her historic multimillion-dollar contract with Virgin Records, sold over twenty million copies worldwide. Boyz II Men and Mariah Carey recorded several Billboard Hot 100 No. 1 hits, including "One Sweet Day", a collaboration between both acts, which became the longest-running No. 1 hit in Hot 100 history. Carey released a remix of her 1995 single "Fantasy", with Ol' Dirty Bastard as a feature, a collaboration format, unheard of at this point.
Carey, Boyz II Men and TLC released albums in 1994 and 1995 -- II and CrazySexyCool. In the late 1990s, neo soul, which added 1970s soul influences to the hip hop soul blend, led by artists such as D'Angelo, Erykah Badu, Lauryn Hill and Maxwell. Hill and Missy Elliott further blurred the line between hip hop by recording both styles. Beginning in 1995, the Grammy Awards enacted the Grammy Award for Best R&B Album, with II by Boyz II Men becoming the first recipient; the award was received by TLC for CrazySexyCool in 1996, Tony Rich for Words in 1997, Erykah Badu for Baduizm in 1998 and Lauryn Hill for The Miseducation of Lauryn Hill in 1999. At the end of 1999, Billboard magazine ranked Mariah Carey and Janet Jackson as the first and second most successful artists of the 1990s. In the second half of the 1990s, The Neptunes and Timbaland set influential precedence on contemporary R&B and hip hop music. R&B acts such as Michael Jackson, Whitney Houston, Janet Jackson, Mariah Carey and Toni Braxton are some of the best-selling music artists of all time.
Following periods of fluctuating success, urban music attained commercial dominance during the early 2000s, which featured massive crossover success on the Billboard charts by R&B and hip hop artists. In 2001, Alicia Keys released "Fallin"', it peaking at number one on the Billboard Hot 100, Mainstream Top 40 and Hot R&B/Hip-Hop Songs charts. It won three Grammy Awards in 2002, including Song of the Year, Best R&B Song, Best Female R&B Vocal Performance, it was nominated for Record of the Year. Beyoncé's solo studio debut album Dangerously in Love has sold over 5 million copies in the United States and earned five Grammy Awards. Usher's Confessions sold 1.1 million copies in its first week and over 8 million copies in 2004, since it has been certified Diamond by the Recording Industry Association of America and, as of 2016, has sold over 10 million copies in the US and over 20 million copies worldwide. Confessions had four consecutive Billboard Hot 100 number one singles—"Yeah!", "Burn", "Confessions Part II" and "My Boo".
In 2004, all 12 songs that topped Billboard Hot 100 were
Girls Will Be Girls (Klymaxx album)
Girls Will Be Girls is the second album by R&B group Klymaxx. Released in 1982, Produced by Jimmy Jam and Terry Lewis and Lakeside members Otis Stokes and Stephen Shockley with Dynasty member William Shelby; this would be one of the first acts Jimmy Jam and Terry Lewis would begin their writing and production career outside of The Time. "Girls Will Be Girls" - 6:09 "Wild Girls" - 6:01 "Convince Me" - 5:15 "The Man in My Life" - 5:27 "Heartbreaker" - 4:27 "All Turned Out" - 4:54 "Offer I Can't Refuse" - 4:51 "If You Love Me" - 5:11 "Don't Hide Your Love" - 4:11 Bass, Vocals - Joyce "Fenderella" Irby Drums, Vocals - Bernadette Cooper Guitar - M. Ann Williams Guitar, Vocals - Cheryl Cooley Keyboards, Vocals - Robbin Grider Keyboards, Vocals - Lynn Malsby Percussion, Vocals - Judy Takeuchi Vocals - Lorena Porter Hardimon Girls Will Be Girls at Discogs
Dance-pop is a pop and dance subgenre that originated in the early 1980s. It is uptempo music intended for nightclubs with the intention of being danceable but suitable for contemporary hit radio. Developing from a combination of electronic dance music and pop music, with influences of disco, post-disco and synth-pop, it is characterised by strong beats with easy, uncomplicated song structures which are more similar to pop music than the more free-form dance genre, with an emphasis on melody as well as catchy tunes; the genre, on the whole, tends to be producer-driven, despite some notable exceptions. Dance-pop borrowed influences from other genres, which varied by producer and period; such include contemporary R&B, trance, new jack swing, synthpop and some forms of Europop. Dance-pop is a popular mainstream style of music and there have been numerous pop artists and groups who perform in the genre. Notable ones include Cher, Britney Spears, Kylie Minogue, Gloria Estefan, Christina Aguilera, Jennifer Lopez, Spice Girls, Paula Abdul, Backstreet Boys, Michael Jackson, NSYNC, Destiny's Child, Janet Jackson, Taylor Swift, Miley Cyrus, Katy Perry, Lady Gaga, Ariana Grande and Selena Gomez As the term "disco" started to go out of fashion by the late 1970s to early 1980s, other terms were used to describe disco-based music, such as "post-disco", "club", "dance" or "dance-pop" music.
These genres were, in essence, a more modern variant of disco music known as post-disco, which tended to be more experimental and producer/DJ-driven using sequencers and synthesizers. Dance-pop music emerged in the 1980s as a combination of dance and pop, or post-disco, uptempo and simple, club-natured, producer-driven and catchy. Dance-pop was more uptempo and dancey than regular pop, yet more structured and less free-form than dance music combining pop's easy structure and catchy tunes with dance's strong beat and uptempo nature. Dance-pop music was created and produced by record producers who would hire singers to perform the songs. In the beginning of the 1980s, disco was an anathema to the mainstream pop. According to prominent Allmusic critic Stephen Thomas Erlewine, Madonna had a huge role in popularizing dance music as mainstream music, utilizing her charisma and sex appeal. Erlewine claimed that Madonna "launched dance-pop" and set the standard for the genre for the next two decades.
As the primary songwriter on her self-titled debut album and a co-producer by her third record, Madonna's insistence on being involved in all creative aspects of her work was unusual for a female dance-pop vocalist at the time. The staff of Vice magazine stated that her debut album "drew the blueprint for future dance-pop."In the 1980s, dance-pop was aligned to other uptempo electronic genres, such as Hi-NRG. Prominent producers in the 1980s included Stock and Waterman, who created Hi-NRG/dance-pop for artists such as Kylie Minogue, Dead or Alive and Bananarama. During the decade, dance-pop borrowed influences from funk, new jack swing, contemporary R&B. Other prominent dance-pop artists and groups of the 1980s included the Pet Shop Boys and Kim, Samantha Fox, Debbie Gibson, Tiffany. By the 1990s, dance-pop had become a major genre in popular music. Several dance-pop groups and artists emerged during the 1990s, such as the Spice Girls, Britney Spears, Christina Aguilera, Jessica Simpson, Backstreet Boys, and'NSYNC.
During the early 1990s, dance-pop borrowed influences from house music, as well as contemporary R&B and new jack swing. By the late 1990s, electronic influences became evident in dance-pop music. Additionally in 1998, Cher released a dance-pop song called "Believe" which made usage of a technological innovation of the time, Auto-Tune. An audio processor and a form of pitch modification software, Auto-Tune is used as a way to correct pitch and to create special effects. Since the late 1990s, the use of Auto-Tune processing has become a common feature of dance-pop music. Celine Dion released a midtempo dance-pop song, "That's the Way It Is" by the end of 1999. During this period, some British bands connected with Britpop and alternative pop experimented with dance pop as a form - examples include Catatonia single Karaoke Queen, Kenickie's final single Stay in the Sun and Romo band Orlando's major label debut single "Just For A Second." Another Britpop band, Theaudience was fronted by Sophie Ellis Bextor who went on to a successful solo career in artist-driven dance-pop.
At the beginning of the 2000s, dance-pop music was still prominent, electronic in style, influenced by genres such as trance, house and electro. Nonetheless, as R&B and hip hop became popular from the early part of the decade onwards, dance-pop borrowed a lot of its influences from urban music. Dance-pop stars from the 1980s and 1990s such as Britney Spears, Christina Aguilera, Janet Jackson and Kylie Minogue continued to achieve success at the beginning of the decade. Whilst a lot of dance-pop at the time was R&B-influenced, many records started to return to their disco roots.
Never Underestimate the Power of a Woman
Never Underestimate the Power of a Woman is the debut album by R&B group Klymaxx. Released in 1981, it was produced by Stephen Shockley; the title is taken from the slogan of Ladies' Home Journal. "All Fired Up" "I Wish You Would" "I Want to Love You Tonight" "You're the Greatest" "Never Underestimate the Power of a Woman" "The Beat of My Heart" "No Words" "Can't Let Love Just Pass Me By" Cheryl Cooley - guitar, background vocals Bernadette Cooper - drums, background vocals Robbin Grider - synthesizer Joyce "Fenderella" Irby - bass guitar, background vocals Lynn Malsby - keyboards, background vocals Lorena Porter Shelby - lead vocals Patricia Sylvers - background vocals Judy Takeuchi - percussion Ann Williams - guitar Never Underestimate the Power of a Woman at Discogs