One in a Million is the second studio album by American singer Aaliyah. It was released on August 13, 1996, by Blackground Records and Atlantic Records. After facing allegations of an illegal marriage with her mentor R. Kelly following the success of her debut studio album, Age Ain't Nothing but a Number (1994), Aaliyah severed all ties with him as Blackground ended its partnership with Jive Records and signed a new distribution deal with Atlantic. Throughout that period of turmoil, Aaliyah began recording her second studio album with Sean Combs, who soon abandoned the project, prompting Aaliyah and her management to seek new collaborators. She subsequently began recording with producers such as Jermaine Dupri, Vincent Herbert, and Craig King, before meeting the previously unknown Timbaland and Missy Elliott, who quickly became the album's primary contributors.
One in a Million is an R&B, pop, and hip hop record experimenting with genres such as trip-hop, electronica, funk, and jungle music. Its lyrical themes predominantly address relationship circumstances, such as commitment, abstinence, and heartbreak. Upon its release, the album garnered generally positive reviews from music critics, mostly directed towards the innovative production and Aaliyah's progressed vocal performance. It debuted at number 20 on the US Billboard 200 with first-week sales of 40,500 copies, before reaching number 18. Internationally, One in a Million peaked within the top 40 in Canada, Japan, and the UK. In June 1997, the album was certified double platinum in the US by the Recording Industry Association of America (RIAA). By 2011, it had sold over three million copies domestically and eight million worldwide.
One in a Million was heavily and extensively promoted with media appearances and live performances. It produced six singles—"If Your Girl Only Knew", "Got to Give It Up", "One in a Million", "4 Page Letter", "The One I Gave My Heart To" and "Hot Like Fire"—with "The One I Gave My Heart To" becoming the highest-peaking single at number nine on the US Billboard Hot 100. Following its 2021 reissue, the album peaked at number 10 on the US Billboard 200. Retrospectively, it has been listed among the best albums of its era and genre by numerous publications and has been credited for re-establishing Aaliyah's image, elevating careers of Timbaland and Elliott, and influencing mainstream music trends of the decades since release.
Background and development
After Aaliyah's uncle Barry Hankerson obtained a distribution deal with Jive Records, he signed her to his label Blackground Records when she was 12 years old.[1][2] He introduced her to R. Kelly, who became her mentor, as well as the sole producer for her debut studio album Age Ain't Nothing but a Number (1994).[2][3][4] A commercial success, the album was certified double platinum by the Recording Industry Association of America (RIAA),[5] selling three million copies in the United States and six million worldwide.[6][7] To promote the album, Aaliyah embarked on a 1994–1995 world tour throughout the US, Europe, Japan, and South Africa.[8][9][10] She soon faced allegations of an illegal marriage with Kelly, consequently ending her partnership with Jive and severing ties with Kelly.[3][11] According to Aaliyah's cousin and Blackground executive Jomo Hankerson, the music industry "villainized" Aaliyah for the scandal, which caused difficulty with enlisting producers for One in a Million "except for a couple of relationships with Jermaine Dupri and Puffy".[12] Aaliyah reflected on the situation, saying she faced the adversity by refusing to give up singing as it was her passion, and that she used the support from her fans as inspiration for recording One in a Million.[13]
Following her departure from Jive, Aaliyah transferred to Atlantic Records in June 1996, as Blackground signed a new distribution deal with the label.[14][15] In a press release surrounding One in a Million, Aaliyah admitted to being "a little anxious" over transitioning from Jive to Atlantic and reformulating her musical style.[12] However, considering the label switch and a new team of collaborators, the album was intended to re-establish Aaliyah's fanbase and broaden her mainstream appeal, as it featured contributions from a wider range of producers–unlike Age Ain't Nothing but a Number, which was produced solely by Kelly.[16] While speaking with the Associated Press, Aaliyah claimed One in a Million showcased her growth over the prior two years, especially in her vocal range.[17] She also noted that she took artistic risks by experimenting with different styles, and felt the record showcased divergent sides of her personality.[17]
Recording and production
To create One in a Million, Aaliyah principally collaborated with Timbaland (left) and Missy Elliott.
Production for One in a Million dates back to August 1995, when Billboard reported Aaliyah was starting work on a new album; initially, it was slated for an early 1996 release and was to be produced by Sean Combs, J. Dibbs, and Dave Hall.[18] The album was executive produced by Atlantic Records' then-executive vice president Craig Kallman,[lower-alpha 1] Hankerson, and Aaliyah's father and manager Michael Haughton.[21] While speaking with Billboard about its development, Atlantic Records' product development director Eddie Santiago mentioned: "We wanted Aaliyah to keep growing, so we didn't want to have the same suspects on her new project".[16] In the same interview, Aaliyah discussed the record's direction: "I wanted to maintain my smooth street musical image but wanted to be funky and hot yet sophisticated".[16] With One in a Million, Aaliyah became more involved with crafting the material by taking co-writing credits and assisting in the creative direction.[16] Of the original producers enlisted for the album, Dibbs' songwriting and production effort "Giving You More" was included on the final track listing.[21] contributions from the likes of Hall never materialized, and she recorded songs with Combs at his studio in Trinidad for a week but their collaborative material was never finished as Aaliyah abandoned her session with Combs in favor of recording with Dupri in Atlanta.[13] "I Gotcha' Back" was the sole track created during sessions with Dupri to be included on One in a Million; it was written and produced by Dupri and Carl-So-Lowe within "three to four days".[22]
Vincent Herbert and Craig King were also approached to work on One in a Million; being among the earliest collaborators, they were allowed to "build a sound" for the record.[22] Aaliyah recorded approximately eight songs with the pair at the Vanguard Studios in Detroit, two of which–"Choosey Lover (Old School/New School)" and "Never Givin' Up"–made the final track listing.[22] "Never Givin' Up" was written by King and Monica Payne on the floor of the house he had just moved in, which inspired the first line "Sitting here in this empty room". King wrote the song to show appreciation to the Isley Brothers and the Clark Sisters.[22] Tavarius Polk's earlier demo impressed Aaliyah and the producers so much he was kept on the track, which was originally conceived as Aaliyah's solo song. She recorded the song in a single session, with the lights completely turned off in the recording booth so her face could not be seen.[22] The Herbert–King sessions also produced a cover of Marvin Gaye's 1977 song "Got to Give It Up" and "No Days Go By".[13] Aaliyah elaborated on covering "Got to Give It Up" saying: "I wanted some real party songs, so when my uncle played me that [original track], I thought of how I could make it different. Slick Rick [who had been incarcerated] was on work release at the time, so Vincent "got him on the song."[13] She co-wrote and did vocal arrangements on "No Days Go By", along with King and Rheji Burrell. The song is the album's sole track for which Aaliyah received writing credits, and was included only on the Japanese edition of One in a Million.[22][23][24]Diane Warren became a part of the album's production as well, after reaching out to Kallman and expressing her desire to collaborate with Aaliyah. Warren's intention in working with Aaliyah was to have her perform a song she would not have usually performed, in order to showcase another side of her artistry, which included displays of a wider vocal range.[22] She wrote "The One I Gave My Heart To", which was originally set to be produced by Babyface. However, he was unable to finalize the work due to unforeseen circumstances, so he enlisted Daryl Simmons as his replacement.[22]
Aaliyah and Kallman promptly concluded it was important to find innovative producers who were not widely known to produce One in a Million, as the ultimate goal was to find Aaliyah her individual, artistry-defining sound. Kallman therefore started meeting with numerous obscure songwriters and producers including Timbaland. Kallman said that the point of their meeting became obvious when Timbaland first played beats: "This doesn't sound like anything that's out there and really had its own super exciting and electric, 'just dynamic properties.'"[22] Previously, Atlantic had received a demo from him and Missy Elliott, titled "Sugar and Spice". The label felt the track was too juvenile lyrically but enjoyed its structure and melody, hence it was sent to Aaliyah, who was impressed. Consequently, Timbaland and Elliott were flown to Detroit to work with her.[25] Prior to Aaliyah meeting Timbaland and Elliot, she spoke with them over the phone and explained the musical direction that she wanted to pursue.[13] During her initial meeting with the duo, Aaliyah said they were skeptical about if she would like their work, ultimately she did as she thought it was "different" and "unique".[13] Thereupon, the trio spent a week recording at the Vanguard Studios, with the first songs recorded being the title track and "If Your Girl Only Knew", before flying to Ithaca, New York to record at the Pyramid Studios.[13] As primary collaborators on One in a Million, Timbaland and Elliott contributed to nine out of 17 tracks on the final track listing, providing ad-libs and rap vocals on their tracks in addition to songwriting and production.[21]
Music and lyrics
In critical commentaries, One in a Million is classified as predominantly an R&B, pop, and hip hop record.[26][27] According to Micha Frazer-Carroll from The Independent, it "had a bold, expansive vision, with tracks effortlessly bouncing from trip-hop to sensual slow jams to jungle beats".[28]BET described the album as "a unique fusion of R&B, hip-hop, and electronic beats that was light-years ahead of its time".[29] The album opens with the jungle-inspired intro "Beats 4 Da Streets", on which Elliott invites Aaliyah and the listeners into "the new world of funk", as echoing amid bells, blippy synths, and heavy bass are heard in the background.[30][31][12] The trip hop track "Hot Like Fire" was described as a suggestive-themed "panting, minimalist controlled-blaze baby-maker".[32][12][33] On "Hot Like Fire", Aaliyah makes a promise to her new lover "that his patience will be rewarded".[34] The album's title track is an ethereal club ballad with "seductive" trip hop, funk, electronica, and drum and bass influences.[35][36][31] It incorporates "shimmering" synths and cricket noises within its instrumentation.[37] Lyrically, the song sees Aaliyah expressing affection and devotion to her partner.[38]
"A Girl Like You" has a "standard 90s boom bap beat", on which Aaliyah "holds her own" against featured rapper Treach from Naughty by Nature.[35][12] During the chorus, Aaliyah and Treach engage in a "cute back-and-forth".[34] The fifth track "If Your Girl Only Knew" is a funk, pop, and hip hop song described by Connie Johnson from the Los Angeles Times as "teasingly witchy".[40][41][42][43] On the track, Aaliyah "chide[s] a man for hitting on her when he already has a girlfriend",[40] against heavy keyboard and organ instrumentation interspersed with live drums and a thumping bassline.[16] The sixth and seventh tracks "Choosey Lover (Old School/New School)" and "Got to Give It Up" are both covers, of songs originally performed by the Isley Brothers and Gaye, respectively.[16] The former "mimics the 1983 original faithfully" for the first four minutes before transitioning into a contemporary-styled remix outro.[35] On the latter, Aaliyah places her falsetto "toe to toe against the liquid overlapping rhyme scheme of hip hop's ultimate storyteller Slick Rick".[44] On "4 Page Letter", Aaliyah tells her "crush to keep an eye out for the mailman" because she has sent him a love letter, while recalling and following her parents' advice.[12][38]
Dean Van Nguyen from The Independent described the ninth track "Everything's Gonna Be Alright" as a "carefree anthem for the summertime block party".[30] Subsequent tracks "Giving You More" and the Tavarius Polk-assisted duet "Never Givin' Up" lyrically see Aaliyah portraying a "reassuring lover".[12] "I Gotcha' Back" is a "jeep-friendly" mid-tempo G-funk song containing an interpolation of "Lean on Me" by Bill Withers.[12][33][34] The track showcases Aaliyah promising devotion to her potential boyfriend: "When no one else is there / With me you can chill".[33][34] The jungle-inspired ballad "Heartbroken" features drums that fill out space in between the low, shifting two-tone synth hums.[31][33][34] Like its successor "Never Comin' Back", it depicts Aaliyah opposing a negligent lover.[34][38] The latter features Timbaland "aping the sound of a live band vamping on a laid back groove" as Aaliyah performs a "call-and-response harmony routine with an imaginary concert audience over canned crowd noise".[35] "The One I Gave My Heart To" is a pop-R&B power ballad highlighting the protagonist's vulnerability over heartbreak and betrayal.[45][34]
Marketing
Imagery
The cover artwork and overall packaging for One in a Million were photographed by Marc Baptiste, who had previously photographed Aaliyah's cover shoot for Seventeen. After the Seventeen shoot, the two crossed paths again, after mutual friend Kidada Jones introduced them at The Mercer Hotel.[22] A month later, they met to discuss possible concepts for the artwork and after hearing his ideas, Aaliyah decided that she wanted to work with him.[22] The 14-hour photo shoot for One in a Million occurred at various locations throughout New York City, with the cover itself being photographed at the Canal Street station late into the session.[22] Baptiste wanted the concept for the artwork to have a "street-chic vibe", as he wanted Aaliyah to have realism and be "more approachable to an audience".[22] The finished product saw Aaliyah staring down the camera, while wearing a power jacket and silver-rimmed glasses. [46]
Throughout the promotional cycle for One in a Million, Aaliyah adapted a more mature and feminine image as opposed to her previous tomboy style, a switch quickly noticed by the public.[47][48] She incorporated slimmer garments, such as bra tops, into her style alongside her signature "sweeping deep-parted bang" hairstyle, which heavily contrasted the loose-fitting, baggy and masculine clothing she sported while promoting Age Ain't Nothing but a Number.[48] Furthermore, she became the face of Tommy Hilfiger's Tommy Jeans advertising campaign upon the release of One in a Million, and frequently wore the label's clothing items while promoting the album.[49] In an April 1997 article discussing the music video for "One in a Million", MTV staff felt that Aaliyah was getting "all grown up and steamy in the video", to which Aaliyah responded by stating: "[As] far as it being sexy, I would prefer to say sensual. Sensual is being in tune with your sensual self. Sexy, I mean that's in the eye of the beholder, such as beauty is in the eye of the beholder."[47]
Release
In an effort to generate visual awareness for One in a Million, Blackground Records ran advertisements on cable channels such as BET and The Box from June 24 to August 6, 1996.[16] The music video for "If Your Girl Only Knew", the lead single of the album, was serviced to both local and national video shows on July 8.[16] Immediately after the video's premiere, the label launched a vigorous print advertisement campaign, featuring Aaliyah in publications such as Hits, Seventeen, The Source, Sister 2 Sister, and YSB.[16] Due to Aaliyah's outstanding academic performance in high school, Blackground planned to run advertisements in React, an educational teen publication inserted in various daily and weekly papers across the US.[16] Since Aaliyah was an advocate for breast cancer screenings and crusades against Alzheimer's disease, Blackground also planned for her to do a series of public service announcements on those topics.[16]
One in a Million was first released in France on August 13, 1996,[50] before being released in the US two weeks later, by Blackground and Atlantic Records.[51] In order to support it, Aaliyah embarked on an international promotional tour from August to September, touring the US, the United Kingdom, Germany, South Africa, and Japan.[16] Years after its release and Aaliyah's death, the album was reissued across Europe alongside its 2001 eponymous successor, starting February 2004 in Germany and including the bonus track "Come Over".[52] In August 2021, it was reported that Aaliyah's post-Jive recordings would be re-released on physical and digital formats–and be made available on streaming services for the first time–in a deal between Blackground (since rebranded as Blackground Records 2.0) and Empire Distribution. One in a Million was reissued on August 20,[53] despite Aaliyah's estate issuing a statement in response to Blackground's announcement, denouncing the "unscrupulous endeavor to release Aaliyah's music without any transparency or full accounting to the estate".[54] In addition, the album was reissued on vinyl on August 5, 2022.[55]
Live performances
On September 14, 1996, Aaliyah made an appearance at MTV's sixth annual Rock N' Jock event, which aired on October 26.[56] During the event, she participated in a celebrity basketball game and performed "If Your Girl Only Knew" during the halftime show.[56][57] On October 11, she performed the song on Soul Train.[58][59] To promote One in a Million in the UK, Aaliyah made an appearance on The O-Zone on October 24,[60] and on Sky One's "The Hit Mix" on November 2, 1996.[61] Aaliyah made an appearance on the Fox television series New York Undercover's as a musical guest, performing "Choosey Lover (Old School/New School)".[62][63] She performed "One in a Million" on Live with Regis and Kathie Lee on February 14,[64] and on The Tonight Show with Jay Leno on February 18.[65][66] Three days later, Aaliyah performed "If Your Girl Only Knew" and "One in a Million" on Showtime at the Apollo.[67] In March, Aaliyah made an appearance at the annual MTV Spring Break event in Panama City, Florida; during the event, she performed "One in a Million".[68][69] Aaliyah had also planned a 1997 tour co-headlined with Az Yet and Foxy Brown.[47]
"If Your Girl Only Knew" was released as the lead single from One in a Million on July 15, 1996.[16] It received critical acclaim both upon its release and in retrospective commentaries, mostly directed towards the production and Aaliyah's matured vocal performance.[41][85] A commercial success, the song peaked at number 11 on the US Billboard Hot 100 and atop the US Hot R&B/Hip-Hop Songs, selling over 600,000 copies in the US by the end of the year.[86][87][88] Internationally, it reached the top 20 in New Zealand and the UK.[89][90] The accompanying music video was directed by Joseph Kahn, and depicts Aaliyah and her entourage arriving to a party on motorcycles, wearing dark leather outfits, and subsequent events at the party.[91] Following the 2021 reissue of One in a Million, "If Your Girl Only Knew" debuted and peaked at number 15 on the US Digital Song Sales.[92][93]
"Got to Give It Up" was released as the second international single from One in a Million on November 4, 1996,[94] reaching the top 40 in New Zealand and the UK.[95][90] Its music video, directed by, Paul Hunter, shows Aaliyah performing the song alongside a hologram of its original performer Gaye.[96] Simultaneously, "One in a Million" was released as the second US single on November 12, 1996.[97] It peaked at number 25 on the US Radio Songs and atop the US R&B/Hip-Hop Airplay.[lower-alpha 2][99][100] Internationally, the song reached the top 20 in New Zealand and the UK.[90][101] Its Hunter-directed music video was credited with establishing Aaliyah's signature image through a progressively provocative styling, as compared to her previous visuals.[102] Following the 2021 reissue of its parent album, "One in a Million" debuted and peaked at number seven on the US Digital Song Sales,[92][93] and was certified gold by the RIAA.[5]
"4 Page Letter" was released as the fourth single from One in a Million on April 8, 1997,[103] peaking at number 59 on the US Radio Songs and at number 12 on the US R&B/Hip-Hop Airplay.[lower-alpha 2][104][105] Its music video was directed by Daniel Pearl and follows the song's lyrical theme in a forest setting.[106] A reworked, Guy Roche-produced version of "The One I Gave My Heart To" was released as the fifth single on August 25, 1997.[107] It peaked at number nine on the US Billboard Hot 100, becoming the highest-peaking single from One in a Million, and at number seven on the US Hot R&B/Hip-Hop Songs.[86][87] The single was certified gold by the RIAA on October 21, and had sold 900,000 copies in the US by the end of 1997.[5][108] "Hot Like Fire" was released as a double A-side single with "The One I Gave My Heart To" on September 16, peaking at number 31 on the US R&B/Hip-Hop Airplay.[109][lower-alpha 2][105] The Darren Grant-directed music video for the former sees Aaliyah emotionally perform the song in different settings, including a rain shower,[110] which heavily contrasts her energetically performing on a pyrotechnics-infused stage in the Lance Rivera-directed music video for the latter.[111]
One in a Million was met with generally favorable reviews from music critics. Writing for AllMusic, Leo Stanley viewed the album as a significant improvement over Age Ain't Nothing but a Number, noting a larger variety of material and producers, and described Aaliyah's vocal performance as "smoother, more seductive, and stronger than before".[51] Her vocal progression was also met with acclaim from MTV, whose editor noted she "glides easily between vocal ranges".[118] Peter Miro from Cash Box praised Aaliyah for her equal ability in executing different musical styles, listing "A Girl Like You", "If Your Girl Only Knew", and the title track as highlights.[27] Connie Johnson of the Los Angeles Times shared Miro's sentiments, commending the range "from the teasingly witchy 'If Your Girl Only Knew' to the gently poignant '4 Page Letter'", further praising Aaliyah's self-assurance and the record's diverse production.[43] An editor of People also exalted the album's sonic heterogeneity and Aaliyah's vocal performance, ultimately declaring she managed to live up to the album's title.[31]Dream Hampton agreed, writing in her review for Vibe that Aaliyah's "deliciously feline" voice had the same "pop appeal" as Janet Jackson's and is complemented by the "solid and supportive" production.[33]
Bob Waliszewski from Plugged In gave One in a Million a mixed review, as he felt its lyrical messages of loyalty and commitment got overshadowed by sexually suggestive content.[38] J.D. Considine from The Baltimore Sun felt the tracks rarely gave Aaliyah a chance to exhibit her vocal strengths, but praised her performance on "Choosey Lover (Old School/New School)", which she "handles with precisely the sort of suave assurance the song demands."[119] A reviewer for Q wrote: "With her smooth, sweetly seductive vocal firmly to the fore, [Aaliyah] works through a set of predominantly slow and steamy swingbeat numbers, all clipped beats, luxurious melodies and dreamy harmonies".[116] A staff member from The Source praised the album for being different than on sophomore album attempts.[116] Writing for The Village Voice, Robert Christgau was less enthusiastic and cited only "Got to Give It Up" as a "choice cut", calling it "a good song on an album that isn't worth your time or money".[120][121]
One in a Million has been listed among the best recordings of its era and genre by numerous publications. In 2007, Vibe included the album on its commemorative listing "The 150 Albums That Define the Vibe Era".[125]Rolling Stone ranked it at number 90 on its 2011 list "100 Best Albums of the '90s".[126] In 2015, One in a Million was ranked at number 211 on Spin's "The 300 Best Albums of the Past 30 Years".[127]Complex placed the album at number seven on "The 50 Best R&B Albums of the '90s" in 2017.[128] In 2019, Okayplayer included it on their listing "The 19 Most Influential R&B Albums of '90s".[129]Rolling Stone listed the album at number 314 on the 2020 edition of "The 500 Greatest Albums of All Time".[130] In 2022, Pitchfork ranked One in a Million at number 15 on "The 150 Best Albums of the 1990s".[131]
Commercial performance
In the United States, One in a Million debuted at number 20 on the Billboard 200 chart dated September 14, 1996, selling 40,500 copies during its first week.[132][133] The record's highest single-week sales were during the Christmas week of 1996, when it sold 71,000 copies,[133] before reaching its original peak of number 18 on February 1, 1997.[134] The album debuted at number four on the Top R&B/Hip-Hop Albums,[135] peaking at number two in its 22nd week and spending a total of 72 weeks on the chart.[136][137]One in a Million eventually went on to be certified double platinum by the RIAA on June 16,[5] selling 1,100,000 copies that year alone.[138] According to Nielsen SoundScan, the album had sold over three million copies by July 2001;[6] it also sold 756,000 units via BMG Music Club, which were not counted by Nielsen SoundScan.[139] After Aaliyah's death on August 25, 2001, One in a Million debuted atop the US Top Catalog Albums, spending four weeks at the summit.[140][lower-alpha 3] Following its 2021 reissue, the album reached the top ten on the Billboard 200 for the first time ever, peaking at number 10 with 26,000 album-equivalent units;[lower-alpha 4] it has spent a total of 68 weeks on the chart.[143]
In Canada, One in a Million debuted at number 35 on RPM Top Albums/CDs chart on September 9, 1996, reaching its peak at number 33 the following week.[144][145] In total, the album spent nine consecutive weeks on the chart.[146] On May 28, 1997, it was certified gold by Music Canada for shipments of 50,000 copies in the country.[147] In the UK, One in a Million debuted and peaked at numbers 33 and three on the UK Albums Chart and the UK R&B Albums Chart, respectively, on September 7, 1996.[148][149] It was eventually certified gold by the British Phonographic Industry (BPI) for 100,000 copies shipped in the UK.[150] Following its 2021 reissue, One in a Million re-entered the UK R&B Albums Chart at number eight.[151] In Japan, the album peaked at number 36 on the Oricon Albums Chart and received a gold certification from the Recording Industry Association of Japan (RIAJ).[24][152] As of August 2011, One in a Million has sold over eight million copies worldwide.[153][154]
Impact and legacy
"Aside from its clever combination of electronica and R&B, [One in a Million] also heralded the arrival of Aaliyah [the] Music Video Star. Similar to Madonna and Janet, Aaliyah's brand of masculine appeal laced with feminine sensuality came to life in a deluge of MTV [visuals] that played out like sci-fi epics. "
—Idolator writer Jordan Simon discussing the multifaceted impact of One in a Million.[155]
Music journalists have credited One in a Million for continuously influencing R&B and pop music decades after its release.[156][30][157] Sal Cinquemani from Slant Magazine called it "undoubtedly one of the most influential R&B albums of the '90s".[39] Tom Breihan from Stereogum stated that "it helped introduce a whole new herky-jerk electronic take on R&B that marked a near-complete break from everything that had come before".[158] Briefly discussing the album, Kelefa Sanneh of The New York Times said Timbaland's "computer-programmed beats fitted perfectly with her cool, breathy voice to create a new kind of electronic music"."[159] In 2016, Jordan Simon from Idolator wrote: "It's clear the album's deft combination of electronic and R&B set a precedent for the music of this decade, sitting comfortably on a shelf alongside recent releases from Kelela, FKA Twigs and Nao".[155] Simon also considered "the foresight and risk-taking" on the album as a precursor to the experimentation found on Aaliyah (2001).[155]Refinery29's Kenneth Partridge said One in a Million had "a spacey, sexy vibe that influenced a generation of soul singers and indie rockers alike".[160] Ross Scarano from Complex noted that its influence can be found in modern R&B, hip hop, and electronic dance music.[128]Slate writer Dee Lockett stated the album "was unlike anything on the radio at the time, and it inspired a major redirection throughout R&B, helping to bring the genre into the spotlight once again"; she further credited the album for introducing experimental R&B, thus influencing artists such as Drake, Frank Ocean, SZA, and Jhené Aiko.[161]
In retrospective commentaries, critics have emphasized the impact One in a Million had on Aaliyah's artistry and career. Brandon Caldwell from Entertainment Weekly wrote that she managed to create a singular identity detached from past controversies and become "the face of a new generation of effortlessly cool performers" with the album.[162] Writing for the music website Albumism, Steven E. Flemming Jr. asserted One in a Million cemented Aaliyah's status as a viable recording artist alongside peers Brandy and Monica, and called it "a transitional effort that marked a move toward artistic independence and a renewed, worldly purview"."[163] Flemming, like some other critics, also compared Aaliyah's trajectory surrounding One in a Million to that of Jackson.[163][33][156] The album has also been credited with elevating Elliott and Timbaland's respective careers, as they both enjoyed immense commercial success, as well as influencing mainstream music trends, in the years following the release.[157][158] Cinquemani stated it established "Aaliyah and the Timbo family as undeniable hip-hop forces".[39]
Aaliyah is the third and final studio album by American R&B singer Aaliyah. It was released on July 7, 2001, by Blackground Records and Virgin Records. Because of its packaging design, it is also known as "The Red Album". Aaliyah started to work on the album in 1998, but rescheduled its recording around her developing film career. She resumed recording in 2000 at Sing Sing Studios in Australia, where she shot her role for the 2002 film Queen of the Damned during the day and recorded songs at night. Additional recording took place at Manhattan Center and Sony Music Studios in New York and Westlake Recording Studios in Los Angeles, among other locations. Through her recording contract with Blackground, the singer worked primarily with the record label's in-house crew of writers and producers, including Bud'da, J. Dub, Rapture, and Eric Seats, as well as longtime collaborator Timbaland.
Blackground Records 2.0 is an American record label founded and owned by Jomo and Barry Hankerson. Initially named Blackground Enterprises, the label switched its name to Blackground Entertainment then later Blackground Records in 2000. In 2021, the label rebranded as Blackground Records 2.0, reviving its company and catalogue onto streaming services, with a partnership with Empire Distribution. It co-operated with a publishing company founded by Hankerson, named Black Fountain Music.
I Care 4 U is a posthumous compilation album by American singer Aaliyah. It was released on December 10, 2002, by Blackground Records and Universal Records. Following Aaliyah's death on August 25, 2001, Blackground decided to release a posthumous record in collaboration with Universal Music Group. The album compiles eight of Aaliyah's previously released songs alongside six previously unreleased recordings which were discarded from sessions for her eponymous third and final studio album (2001).
"Got to Give It Up" is a song by American music artist Marvin Gaye. Written by the singer and produced by Art Stewart as a response to a request from Gaye's record label that he perform disco music, it was released in March 1977.
Age Ain't Nothing but a Number is the debut studio album by American singer Aaliyah. It was released on May 24, 1994, by Blackground Records and Jive Records. After being signed by her uncle Barry Hankerson, Aaliyah was introduced to recording artist and producer R. Kelly. He became her mentor, as well as the lead songwriter and producer of the album. The duo recorded the album at the Chicago Recording Company in Chicago periodically from January 1993 until early 1994.
Ultimate Aaliyah is a posthumous box set and second posthumous album overall by American singer Aaliyah. It was released in selected countries on April 4, 2005, by Blackground Records. The box set consists of three discs–the first disc is a greatest hits collection, the second, entitled Are You Feelin' Me?, contains material from soundtracks and Timbaland's studio albums, while the third is a DVD with the documentary The Aaliyah Story.
American singer Aaliyah has released three studio albums, two compilation albums, and 31 singles. Aaliyah was born in Brooklyn, New York City and was raised in Detroit, Michigan. At age 10, she appeared on Star Search and performed in concert alongside Gladys Knight. At age 12, Aaliyah signed a deal with Jive Records and Blackground Records. During that time, she met R. Kelly through her uncle Barry Hankerson; eventually, he became her mentor, sole lead songwriter, and producer for her debut album. Released in 1994, Aaliyah's debut album, Age Ain't Nothing but a Number, was certified double Platinum by the Recording Industry Association of America (RIAA) and sold three million copies in the United States. Months after the release of her album, Aaliyah ended her contract with Jive and signed with Atlantic Records due to allegations of an illegal marriage with Kelly.
"(At Your Best) You Are Love" is a song by R&B group the Isley Brothers. It was originally released on their album Harvest for the World. The song was dedicated to their mother, Sally. Although not a single, the song was a radio hit in 1976, and later became a hit for R&B singer Aaliyah in 1994.
"Miss You" is a song recorded by American singer Aaliyah. Written by Johntá Austin, Ginuwine and Teddy Bishop in 1998, the song was initially recorded in 1999 for Aaliyah's eponymous third studio album (2001). However, it did not make the final cut for Aaliyah and remained unreleased until after Aaliyah's death in 2001. It was then included on the posthumous compilation album I Care 4 U (2002) and was released as its lead single on October 28, 2002, by Blackground Records and Universal Records.
"If Your Girl Only Knew" is a song recorded by American singer Aaliyah. It was released on July 15, 1996, by Blackground Records and Atlantic Records as the lead single for her second studio album, One in a Million (1996). Written by both Missy Elliott and Timbaland, with the latter producing the song, it focuses on a guy who receives a scolding from the female narrator (Aaliyah) for hitting on her when he already has a girlfriend. Musically, "If Your Girl Only Knew" is a "bouncing" funk, pop and hip hop song. Its production also incorporates other instruments ranging from keyboards, organs, and guitar licks.
"Hot Like Fire" is a song recorded by American singer Aaliyah for her second studio album One in a Million (1996). The song was written by both Missy Elliot and Timbaland, with the latter producing the song. In 1997 it was re-recorded and released as the fifth and final single from One in a Million with "The One I Gave My Heart To" on September 16, 1997 by Blackground Records and Atlantic Records.
"One in a Million" is a song recorded by American singer Aaliyah for her second studio album of the same title (1996). It was written by both Missy Elliott and Timbaland with the latter producing the song. It was released to Rhythmic contemporary radio as the third single from One in a Million by Blackground and Atlantic Records on November 12, 1996. Musically, the song is an R&B and club ballad with trip hop and drum and bass influences. While Lyrically, it is about the narrator (Aaliyah) professing her love for a man whom she identifies as being her "one in a million".
"4 Page Letter" is a song recorded by American singer Aaliyah for her second studio album, One in a Million (1996). Released as the album's fourth single by Blackground Records and Atlantic Records on April 8, 1997, it was written by both Missy Elliott and Timbaland with the latter producing it. Musically, it is an R&B ballad in which the protagonist is expressing feelings for her crush in the form of a letter.
"The One I Gave My Heart To" is a song recorded by American singer Aaliyah for her second studio album One in a Million (1996). The song was written by Diane Warren and was produced by Daryl Simmons. Musically, it is a pop and R&B power ballad with Aaliyah utilizing her soprano tone. Lyrically, the song is about the protagonist asking how the person that she loved could break her heart. The song was released as the fifth and final single from One in a Million with "Hot Like Fire" on September 16, 1997, by Blackground Records and Atlantic Records.
"Come Over" is a song recorded by American singer Aaliyah, it features backing vocals from Tank. It was written by Phalon "Jazze Pha" Alexander, Johntá Austin, Bryan-Michael Cox, and Kevin Hicks, while being produced by Alexander, Cox and Hicks. The song was originally recorded for Aaliyah's eponymous third and final studio album (2001). It was not included in the final track listing, and "Come Over" was instead given to American duo Changing Faces, who included their version on their third studio album Visit Me (2000).
"I Care 4 U" is a song recorded by American singer Aaliyah. Written by Missy Elliott and Timbaland, the song was originally recorded for Aaliyah's second studio album One in a Million (1996), but the recording was shelved. It was re-recorded in 2000 for Aaliyah (2001). A neo soul ballad, "I Care 4 U" features beatboxing, an electric piano and multi-tracked vocals.
"We Need a Resolution" is a song recorded by American singer Aaliyah, featuring a guest appearance by American producer–rapper Timbaland for her eponymous third and final studio album (2001). Written by Static Major and Timbaland, with the latter producing it, it was released as the album's lead single by Blackground Records and Virgin Records on May 15, 2001. Musically, it is a "bouncing" alternative R&B, hip hop, and electro-funk song with Middle Eastern influences. Lyrically, "We Need a Resolution" speaks about a passive-aggressive relationship that has hit a rough patch in which the narrator (Aaliyah) asks for solutions while her partner dismisses her feelings.
"More Than a Woman" is a song recorded by American singer Aaliyah for her eponymous third and final studio album (2001). It was written by Static Major and Timbaland, with the latter producing it. Initially chosen as the album's second single, Aaliyah began promoting it with televised performances on Live with Regis and Kelly and The Tonight Show with Jay Leno in July 2001. Due to premature radio support, "Rock the Boat" instead became the second single. "More Than a Woman" was ultimately released as the album's third single. In France, it was released as a double A-side with "I Refuse".
"I Don't Wanna" is a song recorded by American singer Aaliyah. Written and composed by Johntá Austin, Jazze Pha, Donnie Scantz, and Kevin Hicks, it appears on both the Next Friday (1999) and Romeo Must Die (2000) soundtracks.
"Poison" is a song by American singer Aaliyah featuring Canadian singer the Weeknd. It was released on December 17, 2021, through Blackground Records 2.0, as the lead single from Aaliyah's upcoming posthumous album, Unstoppable. The Weeknd has writing credits alongside Belly and Static Major. Production was handled by DannyBoyStyles and Nick Lamb with engineer Mike Dean.
References
Notes
↑ During the time Aaliyah was signed to Atlantic Records, Kallman was the label's executive vice president, overseeing its artists and repertoire (A&R) division.[19] In 2005, he was named chairman and chief executive officer (CEO) of Atlantic.[20]
1 2 3 Prior to Billboard's issue dated December 5, 1998, singles were not eligible to enter the Billboard Hot 100 and the Hot R&B/Hip-Hop Songs unless they were released on a commercially available format.[98] "One in a Million" and "4 Page Letter" were both radio-only singles, thus were eligible to enter only airplay charts. "Hot Like Fire" was also ineligible to enter the Billboard Hot 100 and the Hot R&B/Hip-Hop Songs due to being inferior to its counterpart "The One I Gave My Heart To" airplay-wise, which helped determine which song from a double A-side single would be eligible to chart at the time.
↑ Billboard's rules at the time forbade albums older than 18 months, such as One in a Million, to re-enter the Billboard 200, hence it was eligible to enter only the Top Catalog Albums.[141]
↑ The album-equivalent units included pure album sales of 13,000 units, streaming-equivalent albums (SEA) of 11,000 units (equaling 14.29 million on-demand streams of the album's tracks), and track-equivalent albums (TEA) of 2,000 units.[142]
↑ One in a Million had sold three million copies in the United States by July 2001, according to Nielsen SoundScan.[6] However, Nielsen SoundScan does not count sales through clubs such as BMG Music Service, through which the album sold additional 756,000 units.[139]
↑ DeRogatis, Jim (September 1, 2021). "The Focus Finally Turns to Aaliyah, in R. Kelly's Trial". The New Yorker. Retrieved October 18, 2023. Almost immediately after their marriage, Kelly and Aaliyah split, and her career thrived as well—she sold more than two million copies of each of her next two albums, which she made with other producers, and launched a film career.
↑ Witt, Stephen (December 16, 2016). "The Inexplicable Online Absence of Aaliyah's Best Music". Complex. Retrieved October 18, 2023. In 1996, after striking a distribution deal with Atlantic Records, Hankerson moved Blackground—and Aaliyah—from Jive to Atlantic, gaining full control of her masters in the process.
↑ Caramanica, Jon (November 2001). "Aaliyah, 1979–2001". Spin. Vol.17, no.11. p.36. ISSN0886-3032. Retrieved April 16, 2022– via Google Books. ...One in a Million found Aaliyah at the nexus of street savvy R&B and elegant pop.
1 2 Miro, Peter (August 31, 1996). "Urban"(PDF). Cash Box. p.11. Retrieved November 15, 2022. Aaliyah addresses ballads and uptempo hip hop forms with equal skill.
1 2 Mayfield, Geoff (August 4, 2001). "Over The Counter". Billboard. p.69. Retrieved April 16, 2022– via Internet Archive. Her last album, 1996's One in a Million achieved her previous sales peak, moving 71,000 units during that year's Christmas week; it sold 40,500 copies in its first stanza.
↑ Lockett, Dee (May 23, 2014). "Where Do I Start With Aaliyah?". Slate. Retrieved August 21, 2023. The style that [Aaliyah], Timbaland, and Elliott crafted [on One in a Million] has given rise to a new subgenre, loosely referred to as experimental R&B (or "PBR&B")...
Danois, Ericka Blount (2013). Love, Peace, and Soul: Behind the Scenes of America's Favorite Dance Show Soul Train: Classic Moments. Hal Leonard LLC. ISBN978-1-4803-4101-2.
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