Distancing himself from Riley’s influence (in part because of Riley’s legal problems with former partner Gene Griffin), I’ll Give All My Love to You finds Sweat more assured, evolving from what was increasingly becoming the tired sound of New Jack Swing.
The lead single “Make You Sweat”, written with former Riley partner Timmy Gatling, percolates with a gospelized funk that has rarely been achieved since, unless your name is Kirk Franklin.
The British indie pop collective are still going strong ten years after their debut album. In the case of Natalie Hemby, she takes an old trope in dedicating an album to a small town and maki...
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Yes, Luther Vandross was the best singer on earth (and I’ll throw in Howard Hewitt and Jeffrey Osborne for the sake of argument), but understand that he and Keith Sweat were never peers—Sweat’s popularity was always premised on how hip-hop heads heard R&B, not the 30-somethins’ who could dig a silky Soul rendition of a Hal David and Burt Bacharach composition. Houston wasn’t really tripping when she called her hubby “The King of R&B”—in the minds of the Hip-Hop generation, who was his competition? Sure, Ralph Tresvant, Ricky Bell (both Johnny Gill and Gerald Levert were really throwbacks)?
It wasn’t really until Boyz II Men, Jodeci, and Mr.
When Keith Sweat first emerged in 1987, nobody was ever gonna mistake him for a Soul Man—voice too thin, little range, always two steps removed from being in tune.
But damn if bruh didn’t know how to beg—somewhere in between a whine and a beg, really—and beg he did, arguably becoming the most recognizable R&B singer of his generation (save Misters Kelly and Levert).
Kelly, and any ole knuckle-head warbler who sang a hook on a hip-hop track (and no I’m not talking about Nate Dogg, who is one of a kind), by the time Still in the Game was released in late 1998 (a telling title), some folk began to refer to Sweat as a “classic Soul” artist—the kiss of death for any artists hoping to sell a record to anyone under the age of 25.