We tend to love those who hurt us the most and find reasons to keep them. Mary’s language of love sounds tainted and perfect simultaneously as she petitions for justified angst disguised as companionship. The contrasting tonality captured the dysfunction that often surrounds torrid relationships and fragile self-esteem. Mary’s vocal plea of assurance was filled with gruff desperation despite the velvety accompaniment. The Herb Middleton-produced ballad followed the New Jack Swing playbook with its kick drum, rimshot and syncopated triangle poured over soft piano chords and subtle bass line. Unlike the majority of the album, “You Gotta Believe” wasn’t anchored in a sample. Blige to K-Ci Hailey and (2) a cornucopia of ’90s R&B drenched in soul instrumentals from the ’60s and ’70s.
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And that's the main reason MY LIFE turns out to be such a statement of purpose-a 17-song diary full of Blige's life, love, and struggles in defending her title as the queen of hip-hop soul.It’s no secret that My Life was: (1) an open love letter from Mary J. The reconstruction of the Mary Jane Girls' "All Night Long" is (Mary Jane) Blige's shout-out to the funky '80s, while "Don't Go" is a feminist retort to Guy's "Goodbye."Įven though much of the album's musical direction is steered by producers Sean "Puffy" Combs and Chucky Thompson, Blige is the dominant songwriter here. When Blige connects with her music's roots, she doesn't pussy-foot around soul's perimeters searching for eligible influences-so "You Bring Me Joy," "My Life" and "Be Happy" sample such luminaries as Barry White, Roy Ayers and Curtis Mayfield, respectively. Thus, MY LIFE comes across as another ground-breaking venture, linking R&B's new and old schools, filling the airwaves with delightful harmonies AND hip-hop samples. If Blige heard all those rumors, she must've decided that musical revenge is the best payback of all. Yet as the follow-up approached, the nature of her talent began to be questioned, and the strength of her debut became an obstacle. Blige in a singular class as a soul-hop visionary, and opened the door for other hip-hop-influenced R&B acts. The immediate success of her triple-platinum debut WHAT'S THE 411? put Mary J. Recording information: Axis Studios, New York, NY Clinton Recording Studios, Inc., New York, NY Daddy's House Recording Studios, New York, NY Hit Factory Studios, New York, NY Sound On Sound Recording, Inc., New York, NY. Blige (vocals, background vocals) Paul Pesco (guitar) Gloria Agostini (harp) Regina Carter, Diane Monroe, Lesa Terry (violin) Eileen Folson (cello) Charles "Prince Charles" Alexander (flute, piccolo, tenor saxophone) Vincent Henry (alto saxophone) Mark Ledford, Bruce Purse (trumpet) Lenny Underwood (piano) Chucky Thompson, Fred McFarlane, Bob Brockmann, Herb Middleton (keyboards) Frank Colon (percussion) Nasheim Myrick (programming) Faith Evans, LaTonya Blige-DaCosta, K-Ci & JoJo, Big Bub (background vocals).Īudio Mixers: Bob Brockmann Charles "Prince Charles" Alexander Rob Paustian Tony Maserati. MY LIFE was nominated for a 1996 Grammy Award for Best R&B Album. Recorded at Sound On Sound Recording Studio, Axis Studios, Daddy's House, The Hit Factory and Clinton Recording Studios, New York, New York. Dalvin.Įngineers include: Nashiem Myrick, Tony Maserati, Rich Travali. Producers include: Chucky Thompson, Sean "Puffy" Combs, Nashiem Myrick, Herb Middleton, Mr. Blige, Faith Evans, Big Bub (background vocals) JoJo Hailey, K-Ci Hailey. Blige, Keith Murray (vocals) Chucky Thompson, Herb Middleton (various instruments) "Bassy" Bob Brockmann (strings, keyboards, programming) Regina Carter, Diane Monroe, Lesa Terry (violin) Eileen Folson (cello) Gloria Agostini (harp) "Prince" Charles Alexander (flute, piccolo, tenor saxophone) Mark "Led" Ledford, Bruce Purse (trumpet) Lenny Underwood (piano) Victor Bailey (bass) Kevin "K-Dog" Johnson (drums) LaTonya J. Blige is telling her audience she grew up the same way they did, listened to the same things, was influenced by the same situations. NME (Magazine) (1/7/95, p.34) - 7 (out of 10) - ".In rap, the beats sometimes seem irrelevant compared to the chat: here they reign supreme.
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Musician (3/95, p.88) - "As the album's intro makes plain, even Blige's own camp worried whether she could `do it again,' and to be honest, she doesn't-she does it how to work a groove." Vibe (12/99, p.160) - Included in Vibe's 100 Essential Albums of the 20th Century continues soaring to soulful heights over streetwise beats." - Rating: B Spin (9/99, p.156) - Ranked #72 in Spin Magazine's "90 Greatest Albums of the '90s."Įntertainment Weekly (11/25/94, p.77) - ".more serious than her crossover 1992 debut. Rolling Stone (5/13/99, p.74) - Included in Rolling Stone's "Essential Recordings of the 90's." Rolling Stone (10/31/02, p.136) - Ranked # 17 in Rolling Stone's "Women in Rock: The 50 Essential Albums" - ".Opaque, seductive."
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