My Top 100 R&B Singles of the 1990s
I want to do lists of the best singles of the '90s by genre, so this is the first one for that decade. It felt like an easy one to do since '90s R&B nostalgia never goes away and it seems like almost every song on this list has been sampled or interpolated on a contemporary hit in the last ten years. Here's a Spotify playlist of all these songs, and
here are my previous lists of 2010s R&B singles and 2000s R&B singles.
1. Mary J. Blige - "Real Love" (1992)
Two of the songs that are burned in my brain that seemed to be on MTV every morning when I’d watch videos while waiting for the school bus around 4th and 5th grade are “Real Love” by Mary J. Blige and “Now That We Found Love” by Heavy D and the Boyz. I didn’t know until years later that both artists were on Uptown Records and were pioneering early fusions of hip hop and R&B, that Mary was singing over the drums from Audio Two’s “Top Billin’” or that Heavy D was rapping over a revamp of an old song Gamble and Huff wrote for the O’Jays. I just knew that I couldn’t get those songs out of my head once I left the house and got on the school bus.
2. Aaliyah - "One In A Million" (1997)
I’ve told this story before, but I was a high school freshman in 1996/1997, and it was the first year that I rode a school bus that had a radio, and the driver let the kids pick the station. And so my memory of the first wave of Timbaland hits was the way they were some of the only songs that had a sound that would stab through all the noise and reach the back of the bus. I knew the rapid hi-hat triplets of “One In A Million” before I knew the song, and I knew the vocoded bassline of “Pony” before I knew the song. But “Million” in particular just remains more incredible to me with each passing year, the invention of a club ballad where the halftime drums are as hyperactive and syncopated as anything on an uptempo song.
3. Bell Biv DeVoe - "Poison" (1990)
To musicians, “swing” is a feeling, an idea, stretching the time between notes to suit the mood of a song, to treat rhythm like a living breathing thing. And for the first decade or so of hip hop, most of the swing in the productions came from sampled breakbeats that looped up a live drummer’s funkiest, most swinging moments on a track. But for a couple years, New Jack Swing rewrote the rules, because you can teach a drum machine to swing, sort of, if you quantize the beat by 12th notes and 24th notes instead of 8th notes and 16th notes, so even a rigid programmed drum track can skip and wiggle with its own version of swing. The sound was already in full swing, no pun intended, when the ‘90s began, and “Poison” might be its apex, immortalizing the “can’t trust a big butt and a smile” line uttered by KRS-One two years earlier on “Jimmy” by Boogie Down Productions – straight from BPD to BBD!
4. TLC - "Creep" (1994)
As much as I liked the more over-the-top energy and the focus on Left Eye in their early singles like “Ain’t 2 Proud 2 Beg” and “What About Your Friends,” the more sultry sound that TLC debuted with “Creep” just felt instantly right, it’s a shame they really only got to make a couple albums at this level and got so ripped off in terms of reaping the monetary rewards for that success.
5. Erykah Badu - "Tyrone" (1997)
There are a couple dozen classic rock songs where the definitive hit version is a live recording. But in R&B, the canon is pretty much just Marvin Gaye’s “Distant Lover,” Betty Wright’s “Tonight Is The Night,” and “Tyrone.” Erykah Badu put a perfectly good studio version tacked onto the end of Live, but it really demands to be heard with Erykah Badu’s concert audience hearing the song’s hilarious lyrics and reacting in real time, it never gets old.
6. Ghost Town DJ's - "My Boo" (1996)
Before “My Boo,” Miami bass tracks had always been accompanied by rapping and call-and-response vocals, but Ghost Town DJ’s changed that, and they did it very deliberately. As Rodney Terry of Ghost Town DJ’s told Natalie Wiener in 2016, “The whole key with the record was it was an R&B record over a fast beat. The music and vocals couldn’t have anything to do with the beat.” That simple innovation became the blueprint for a huge swath of popular music to follow in the next couple decades, including the'crunk & B' sound spearheaded by Lil Jon, who mixed “My Boo.”
7. Janet Jackson - "Any Time, Any Place" (1994)
The ‘quiet storm’ sound that defined ‘80s R&B balladry and birthed an entire radio format continued to thrive in the ‘90s, to the point that one of the biggest pop stars in the world could take a total quiet storm song to #2 on the Hot 100. There was plenty of sexuality in ‘90s pop music, but there’s a big difference between something over-the-top like, say, “Baby Got Back,” and Janet Jackson very softly singing “Skirt around my waist, wall against my face/ I can feel your lips,” and it definitely left an impression on 12-year-old me.
8. Jodeci - "Cry For You" (1993)
Jodeci might be the most influential R&B group of the ‘90s, always outshined on the charts by Boyz II Men but a much clearer blueprint for what would follow. There are a lot of great “beggin’” R&B songs, but “Cry For You” is the only one where Jodeci actually sings the word “begging” about 44 times in the final minute of the song.
9. Mariah Carey f/ Ol’ Dirty Bastard - "Fantasy (Remix)" (1995)
Guest rappers appearing on hits by pop and R&B singers wasn’t always a ubiquitous standard practice. Mariah Carey was one of the artists who spearheaded that strategy becoming an industry staple, and it’s hilarious to think that she jumped in with both feet, making Ol’ Dirty Bastard her first rap collaborator at a moment when she was the biggest singer in America and had just released an instant classic Christmas song. “Fantasy” was also a nice moment of rock and R&B working in conversation with each other. The rhythm section of Talking Heads, whose first top 40 hit was an Al Green cover, started a side project, Tom Tom Club, whose “Genius of Love” paid tribute to influences like James Brown and George Clinton. And “Genius of Love” in turn was sampled for many many R&B hits in the ‘80s and ‘90s, including two Mariah Carey #1s.
1. Mary J. Blige - "Real Love" (1992)
Two of the songs that are burned in my brain that seemed to be on MTV every morning when I’d watch videos while waiting for the school bus around 4th and 5th grade are “Real Love” by Mary J. Blige and “Now That We Found Love” by Heavy D and the Boyz. I didn’t know until years later that both artists were on Uptown Records and were pioneering early fusions of hip hop and R&B, that Mary was singing over the drums from Audio Two’s “Top Billin’” or that Heavy D was rapping over a revamp of an old song Gamble and Huff wrote for the O’Jays. I just knew that I couldn’t get those songs out of my head once I left the house and got on the school bus.
2. Aaliyah - "One In A Million" (1997)
I’ve told this story before, but I was a high school freshman in 1996/1997, and it was the first year that I rode a school bus that had a radio, and the driver let the kids pick the station. And so my memory of the first wave of Timbaland hits was the way they were some of the only songs that had a sound that would stab through all the noise and reach the back of the bus. I knew the rapid hi-hat triplets of “One In A Million” before I knew the song, and I knew the vocoded bassline of “Pony” before I knew the song. But “Million” in particular just remains more incredible to me with each passing year, the invention of a club ballad where the halftime drums are as hyperactive and syncopated as anything on an uptempo song.
3. Bell Biv DeVoe - "Poison" (1990)
To musicians, “swing” is a feeling, an idea, stretching the time between notes to suit the mood of a song, to treat rhythm like a living breathing thing. And for the first decade or so of hip hop, most of the swing in the productions came from sampled breakbeats that looped up a live drummer’s funkiest, most swinging moments on a track. But for a couple years, New Jack Swing rewrote the rules, because you can teach a drum machine to swing, sort of, if you quantize the beat by 12th notes and 24th notes instead of 8th notes and 16th notes, so even a rigid programmed drum track can skip and wiggle with its own version of swing. The sound was already in full swing, no pun intended, when the ‘90s began, and “Poison” might be its apex, immortalizing the “can’t trust a big butt and a smile” line uttered by KRS-One two years earlier on “Jimmy” by Boogie Down Productions – straight from BPD to BBD!
4. TLC - "Creep" (1994)
As much as I liked the more over-the-top energy and the focus on Left Eye in their early singles like “Ain’t 2 Proud 2 Beg” and “What About Your Friends,” the more sultry sound that TLC debuted with “Creep” just felt instantly right, it’s a shame they really only got to make a couple albums at this level and got so ripped off in terms of reaping the monetary rewards for that success.
5. Erykah Badu - "Tyrone" (1997)
There are a couple dozen classic rock songs where the definitive hit version is a live recording. But in R&B, the canon is pretty much just Marvin Gaye’s “Distant Lover,” Betty Wright’s “Tonight Is The Night,” and “Tyrone.” Erykah Badu put a perfectly good studio version tacked onto the end of Live, but it really demands to be heard with Erykah Badu’s concert audience hearing the song’s hilarious lyrics and reacting in real time, it never gets old.
6. Ghost Town DJ's - "My Boo" (1996)
Before “My Boo,” Miami bass tracks had always been accompanied by rapping and call-and-response vocals, but Ghost Town DJ’s changed that, and they did it very deliberately. As Rodney Terry of Ghost Town DJ’s told Natalie Wiener in 2016, “The whole key with the record was it was an R&B record over a fast beat. The music and vocals couldn’t have anything to do with the beat.” That simple innovation became the blueprint for a huge swath of popular music to follow in the next couple decades, including the'crunk & B' sound spearheaded by Lil Jon, who mixed “My Boo.”
7. Janet Jackson - "Any Time, Any Place" (1994)
The ‘quiet storm’ sound that defined ‘80s R&B balladry and birthed an entire radio format continued to thrive in the ‘90s, to the point that one of the biggest pop stars in the world could take a total quiet storm song to #2 on the Hot 100. There was plenty of sexuality in ‘90s pop music, but there’s a big difference between something over-the-top like, say, “Baby Got Back,” and Janet Jackson very softly singing “Skirt around my waist, wall against my face/ I can feel your lips,” and it definitely left an impression on 12-year-old me.
8. Jodeci - "Cry For You" (1993)
Jodeci might be the most influential R&B group of the ‘90s, always outshined on the charts by Boyz II Men but a much clearer blueprint for what would follow. There are a lot of great “beggin’” R&B songs, but “Cry For You” is the only one where Jodeci actually sings the word “begging” about 44 times in the final minute of the song.
9. Mariah Carey f/ Ol’ Dirty Bastard - "Fantasy (Remix)" (1995)
Guest rappers appearing on hits by pop and R&B singers wasn’t always a ubiquitous standard practice. Mariah Carey was one of the artists who spearheaded that strategy becoming an industry staple, and it’s hilarious to think that she jumped in with both feet, making Ol’ Dirty Bastard her first rap collaborator at a moment when she was the biggest singer in America and had just released an instant classic Christmas song. “Fantasy” was also a nice moment of rock and R&B working in conversation with each other. The rhythm section of Talking Heads, whose first top 40 hit was an Al Green cover, started a side project, Tom Tom Club, whose “Genius of Love” paid tribute to influences like James Brown and George Clinton. And “Genius of Love” in turn was sampled for many many R&B hits in the ‘80s and ‘90s, including two Mariah Carey #1s.
10. Lauryn Hill - "Ex-Factor" (1998)
The Miseducation of Lauryn Hill often gets held up as the best hip hop album ever made as a woman, and there’s no real point in splitting hairs about genre when it doesn’t really have any effect on the album’s greatness. But I will say that a lot of my favorite songs on the album are the ones where Hill just sings, especially “Ex-Factor,” which samples “Can It Be All So Simple” and offers another example of the Wu-Tang Clan’s surprisingly large impact on R&B.
11. D'Angelo - "Lady" (1996)
Not to take anything away from D’Angelo, because he’s obviously a singular talent, but something special always happened when he worked with Raphael Saadiq. He seemed to let him still be D’Angelo but teased out bigger and stickier hooks on “Lady” and “Untitled” than on any of his other songs.
12. Sade - "No Ordinary Love" (1993)
The Nigerian-born Sade Adu and the London-based band named after her are probably the biggest non-American influence on U.S. R&B over the last 40 years, creating a smooth, sensual and sophisticated sound that helped shape the quiet storm genre and even neo-soul (Sade guitarist Stuart Matthewman co-wrote a lot of Maxwell’s hits). They've only released one album per decade from the '90s onwards, but they made a huge impact each time out, seemingly only strengthening their legacy.
13. Aaliyah - "Are You That Somebody?" (1998)
I was busing tables and washing dishes in a Greek restaurant the summer that “Are You That Somebody?” was inescapable, so I never really noticed the famous looped sound of a baby’s coo on the song when it was blasting out of our little radio in the kitchen until I listened to the song on headphones years later. I just knew that Timbaland had added these catchy little synth arpeggios to his growing arsenal of sounds, and Aaliyah floated over that beat. “Are You That Somebody?” is supposed to finally hit streaming services this Friday, so I’ll add it to the Spotify playlist then.
14. Destiny's Child - "Bills, Bills, Bills" (1999)
Timbaland and Missy Elliott called out their imitators on “Beat Biters” in the summer of 1999, and it’s not hard to understand why. The skittering hi-hats and triplet rhythms that Timbaland introduced into R&B where everywhere, including tracks by other producers like Shek’spere that were topping the charts. But there was almost as much good faux-Timbaland music as there was real Timbo, and “Bills, Bills, Bills” also features one of my favorite stock sounds of Y2K era R&B, that pinging synth patch that you can’t quite tell if it’s supposed to be a harpsichord or a 12-string guitar.
15. Babyface - "Whip Appeal" (1990)
Babyface was arguably the primary engine of R&B’s takeover of the Hot 100 in the ‘90s, writing an astonishing number of hits from Boyz II Men to TLC to Toni to Whitney to Bobby to Mariah to Mary to Faith to Brandy. But he’s also got one of the best voices of anybody who had most of his success as a songwriter, and I love hearing him sing, especially “Whip Appeal,” which I can’t imagine any of his famous clients inhabiting so effortlessly.
16. En Vogue - "My Lovin' (You're Never Gonna Get It)" (1992)
I love the cathedral of harmonies in “My Lovin’,” all the layers and breakdowns, and the way Dawn Robinson’s voice just stabs through. James Brown’s “The Payback” is an exceptionally durable song to sample even in the context of the James Brown catalog, and it provided the foundation for so many hits in the ‘90s: Total’s “Can’t You See,” Mary J. Blige’s “Everything,” LL Cool J’s “The Booming System,” Heavy D’s “Black Coffee,” and another En Vogue song, “Hold On.”
17. Boyz II Men - "Motownphilly" (1991)
Another incredibly fun uptempo harmony showcase, and an example of the very ‘90s genre of lead singles from debut albums that declare “we made it, here’s our origin story” much like Biggie’s “Juicy.” It’s a shame that New Jack Swing fell out of favor soon after “Motownphilly” and Boyz II Men became nearly full-time balladeers, because it’d be great to have some more songs as exhilarating as this one.
18. Janet Jackson - "Love Will Never Do (Without You)" (1991)
The biggest 7th single from an album ever (the main competitors being her brother’s “Thriller” and “Smooth Criminal”), a song from a 1989 album wound up being one of the biggest hits of 1991. The video is best remembered as the moment when Janet Jackson really came into her own as a sex symbol, but I also love it for that a cappella opening that I always miss when I listen to the album version.
19. Dru Hill - "Tell Me" (1996)
I grew up going to the Maryland Zoo with my family, but I didn’t realize that the park the zoo was located was called Druid Hill Park until four Baltimore teenagers named themselves after it and became a platinum-selling R&B group. Dru Hill were definite Jodeci disciples, but I think they have a great catalog in their own right, and that memorable little hopping choreography help make their debut single the one I most closely associate with the group.
20. Adina Howard - "Freak Like Me" (1995)
Speaking of Baltimore, Loren Hill’s production team Mass Order made Adina Howard’s biggest hit, which I didn’t know until I was in the local studio of his later production team One Up (which produced singles for Sisqo and Amerie) and saw a plaque for “Freak Like Me” on the wall. It almost seems quant now that “Freak Like Me” had some shock value at the time, but it definitely set a standard for how much raunchier R&B would get thanks to hip hop’s growing influence.
Not to take anything away from D’Angelo, because he’s obviously a singular talent, but something special always happened when he worked with Raphael Saadiq. He seemed to let him still be D’Angelo but teased out bigger and stickier hooks on “Lady” and “Untitled” than on any of his other songs.
12. Sade - "No Ordinary Love" (1993)
The Nigerian-born Sade Adu and the London-based band named after her are probably the biggest non-American influence on U.S. R&B over the last 40 years, creating a smooth, sensual and sophisticated sound that helped shape the quiet storm genre and even neo-soul (Sade guitarist Stuart Matthewman co-wrote a lot of Maxwell’s hits). They've only released one album per decade from the '90s onwards, but they made a huge impact each time out, seemingly only strengthening their legacy.
13. Aaliyah - "Are You That Somebody?" (1998)
I was busing tables and washing dishes in a Greek restaurant the summer that “Are You That Somebody?” was inescapable, so I never really noticed the famous looped sound of a baby’s coo on the song when it was blasting out of our little radio in the kitchen until I listened to the song on headphones years later. I just knew that Timbaland had added these catchy little synth arpeggios to his growing arsenal of sounds, and Aaliyah floated over that beat. “Are You That Somebody?” is supposed to finally hit streaming services this Friday, so I’ll add it to the Spotify playlist then.
14. Destiny's Child - "Bills, Bills, Bills" (1999)
Timbaland and Missy Elliott called out their imitators on “Beat Biters” in the summer of 1999, and it’s not hard to understand why. The skittering hi-hats and triplet rhythms that Timbaland introduced into R&B where everywhere, including tracks by other producers like Shek’spere that were topping the charts. But there was almost as much good faux-Timbaland music as there was real Timbo, and “Bills, Bills, Bills” also features one of my favorite stock sounds of Y2K era R&B, that pinging synth patch that you can’t quite tell if it’s supposed to be a harpsichord or a 12-string guitar.
15. Babyface - "Whip Appeal" (1990)
Babyface was arguably the primary engine of R&B’s takeover of the Hot 100 in the ‘90s, writing an astonishing number of hits from Boyz II Men to TLC to Toni to Whitney to Bobby to Mariah to Mary to Faith to Brandy. But he’s also got one of the best voices of anybody who had most of his success as a songwriter, and I love hearing him sing, especially “Whip Appeal,” which I can’t imagine any of his famous clients inhabiting so effortlessly.
16. En Vogue - "My Lovin' (You're Never Gonna Get It)" (1992)
I love the cathedral of harmonies in “My Lovin’,” all the layers and breakdowns, and the way Dawn Robinson’s voice just stabs through. James Brown’s “The Payback” is an exceptionally durable song to sample even in the context of the James Brown catalog, and it provided the foundation for so many hits in the ‘90s: Total’s “Can’t You See,” Mary J. Blige’s “Everything,” LL Cool J’s “The Booming System,” Heavy D’s “Black Coffee,” and another En Vogue song, “Hold On.”
17. Boyz II Men - "Motownphilly" (1991)
Another incredibly fun uptempo harmony showcase, and an example of the very ‘90s genre of lead singles from debut albums that declare “we made it, here’s our origin story” much like Biggie’s “Juicy.” It’s a shame that New Jack Swing fell out of favor soon after “Motownphilly” and Boyz II Men became nearly full-time balladeers, because it’d be great to have some more songs as exhilarating as this one.
18. Janet Jackson - "Love Will Never Do (Without You)" (1991)
The biggest 7th single from an album ever (the main competitors being her brother’s “Thriller” and “Smooth Criminal”), a song from a 1989 album wound up being one of the biggest hits of 1991. The video is best remembered as the moment when Janet Jackson really came into her own as a sex symbol, but I also love it for that a cappella opening that I always miss when I listen to the album version.
19. Dru Hill - "Tell Me" (1996)
I grew up going to the Maryland Zoo with my family, but I didn’t realize that the park the zoo was located was called Druid Hill Park until four Baltimore teenagers named themselves after it and became a platinum-selling R&B group. Dru Hill were definite Jodeci disciples, but I think they have a great catalog in their own right, and that memorable little hopping choreography help make their debut single the one I most closely associate with the group.
20. Adina Howard - "Freak Like Me" (1995)
Speaking of Baltimore, Loren Hill’s production team Mass Order made Adina Howard’s biggest hit, which I didn’t know until I was in the local studio of his later production team One Up (which produced singles for Sisqo and Amerie) and saw a plaque for “Freak Like Me” on the wall. It almost seems quant now that “Freak Like Me” had some shock value at the time, but it definitely set a standard for how much raunchier R&B would get thanks to hip hop’s growing influence.
21. Monica - "Don't Take It Personal (Just One of Dem
Days)" (1995)
With her debut single “Don’t Take It Personal” and its follow-up, a 14-year-old Monica Brown became the youngest artist with back-to-back R&B #1s. And though her sound changed over the years, it feels like she established her whole personality and attitude so perfectly right there on day 1.
22. Tony! Toni! Toné! – “Feels Good” (1990)
Tony! Toni! Toné! fused the past and present with a combination of musicianship and technology better than almost anyone else in R&B in the late ‘80s and ‘90s. And even their biggest crossover hit that dipped a toe into New Jack Swing sort of put their own spin on the sound, hectic and overstuffed but also jubilant and danceable.
23. Michael Jackson - "Remember the Time" (1992)
The King of Pop never left the R&B charts, even on guitar-driven songs like the Dangerous lead single “Black or White.” But his best post-Thriller attempts to reconnect with the core R&B audience were the Teddy Riley-produced Dangerous singles that followed, especially “Remember the Time.”
24. Faith Evans – “Love Like This” (1998)
“Chic Cheer,” the opening track from Chic’s biggest album, 1978’s C’est Chic, wasn’t a hit at the time, though it was a staple of the band’s live sets (there’s a great story in Nile Rodgers’ memoir about them closing with it at a festival and the crowd continuing to chant its “Chic! Chic!” refrain for minutes until they reluctantly returned to the stage). A 1984 remix charted in the UK, but “Chic Cheer” really finally got its due when it became the driving force of Faith Evans’s biggest solo hit, not long after Bad Boy took samples of other Nile Rodgers productions “Let’s Dance” and “I’m Comin’ Out” to the top of the charts.
25. Ginuwine - "So Anxious" (1999)
100% Ginuwine might be my favorite Timbaland-produced album, he was at the peak of his most inspired run in ’99 and Ginuwine oversang everything perfectly. “So Anxious” is actually kind of restrained for both of them, but it works. And of course Ginuwine through a dance break in the middle of the video because he wasn’t happy just doing a straight-up ballad video with no dancing.
26. 112 f/ Lil' Zane - "Anywhere" (1999)
“Anywhere” is another example of how fake Timbaland gave us some fantastic music in its own right, 112’s Daron Jones killed that beat. And it’s also probably the best example of Slim and Q sharing lead vocal duties on a 112 song in a way that plays to both singers’ strengths. Lil Zane might have the most unnecessary guest rap on a great ‘90s R&B song, though.
27. Aaliyah - "At Your Best (You Are Love)" (1994)
When I write these kinds of lists, looking back on the biggest and best records from a particular point in time, I have mixed feelings about the impulse to avoid artists who we know bad things about now, to write them out of history. And while it’s impossible to talk about ‘90s R&B without mentioning R. Kelly, he’s certainly in this list a lot less than if I’d made it at a point in the past. Aaliyah’s debut album is one of the things he made that’s retained less stigma, but even the title Age Ain’t Nothing But A Number is pretty discomforting, and the one song R. Kelly didn’t write is a cover of his influences and frequent collaborators The Isley Brothers. But Aaliyah’s vocal on “At Your Best” is absolutely sublime and undeniable, and as difficult as it is to grapple with these issues, it’s a piece of music I still wholeheartedly love.
28. Next - "Too Close" (1998)
There’s a lot of ‘90s R&B that’s so horny it’s borderline silly, but nothing has ever been quite as ridiculous as Next hitting #1 with a song about getting a boner on the dancefloor, a song where the context of the bolilerplate lyric “you’re makin’ it hard for me” is that “it” is the guy’s penis. And it’s a big credit to “Too Close” that it’s actually an incredibly catchy, well crafted song that somehow works in spite of all that.
29. Sounds of Blackness – “Optimistic” (1991)
‘90s R&B was dominated by the big voices of performers who learned how to sing in church, and by the end of the decade gospel acts like Kirk Franklin were crossing over on the R&B charts in the big way. Sounds of Blackness, a Minneapolis group that was founded in the ‘60s, released their debut album The Evolution of Gospel in 1991, with Jimmy Jam and Terry Lewis helming singles that wedded their harmonies to cutting edge pop and R&B production trends. I’ll be honest, I didn’t have “Optimistic” on this list until about a week ago, when I heard it on the radio and just remembered how much I love this song and needed to include it.
30. Brandy – “Sittin’ Up In My Room” (1996)
If there was any doubt that Brandy was destined for greatness after releasing her debut album at 15, she erased it by holding her own with Whitney, Aretha, Patti, Chaka, and all the other divas that helped make Waiting To Exhale one of the greatest soundtrack albums of the ‘90s.
With her debut single “Don’t Take It Personal” and its follow-up, a 14-year-old Monica Brown became the youngest artist with back-to-back R&B #1s. And though her sound changed over the years, it feels like she established her whole personality and attitude so perfectly right there on day 1.
22. Tony! Toni! Toné! – “Feels Good” (1990)
Tony! Toni! Toné! fused the past and present with a combination of musicianship and technology better than almost anyone else in R&B in the late ‘80s and ‘90s. And even their biggest crossover hit that dipped a toe into New Jack Swing sort of put their own spin on the sound, hectic and overstuffed but also jubilant and danceable.
23. Michael Jackson - "Remember the Time" (1992)
The King of Pop never left the R&B charts, even on guitar-driven songs like the Dangerous lead single “Black or White.” But his best post-Thriller attempts to reconnect with the core R&B audience were the Teddy Riley-produced Dangerous singles that followed, especially “Remember the Time.”
24. Faith Evans – “Love Like This” (1998)
“Chic Cheer,” the opening track from Chic’s biggest album, 1978’s C’est Chic, wasn’t a hit at the time, though it was a staple of the band’s live sets (there’s a great story in Nile Rodgers’ memoir about them closing with it at a festival and the crowd continuing to chant its “Chic! Chic!” refrain for minutes until they reluctantly returned to the stage). A 1984 remix charted in the UK, but “Chic Cheer” really finally got its due when it became the driving force of Faith Evans’s biggest solo hit, not long after Bad Boy took samples of other Nile Rodgers productions “Let’s Dance” and “I’m Comin’ Out” to the top of the charts.
25. Ginuwine - "So Anxious" (1999)
100% Ginuwine might be my favorite Timbaland-produced album, he was at the peak of his most inspired run in ’99 and Ginuwine oversang everything perfectly. “So Anxious” is actually kind of restrained for both of them, but it works. And of course Ginuwine through a dance break in the middle of the video because he wasn’t happy just doing a straight-up ballad video with no dancing.
26. 112 f/ Lil' Zane - "Anywhere" (1999)
“Anywhere” is another example of how fake Timbaland gave us some fantastic music in its own right, 112’s Daron Jones killed that beat. And it’s also probably the best example of Slim and Q sharing lead vocal duties on a 112 song in a way that plays to both singers’ strengths. Lil Zane might have the most unnecessary guest rap on a great ‘90s R&B song, though.
27. Aaliyah - "At Your Best (You Are Love)" (1994)
When I write these kinds of lists, looking back on the biggest and best records from a particular point in time, I have mixed feelings about the impulse to avoid artists who we know bad things about now, to write them out of history. And while it’s impossible to talk about ‘90s R&B without mentioning R. Kelly, he’s certainly in this list a lot less than if I’d made it at a point in the past. Aaliyah’s debut album is one of the things he made that’s retained less stigma, but even the title Age Ain’t Nothing But A Number is pretty discomforting, and the one song R. Kelly didn’t write is a cover of his influences and frequent collaborators The Isley Brothers. But Aaliyah’s vocal on “At Your Best” is absolutely sublime and undeniable, and as difficult as it is to grapple with these issues, it’s a piece of music I still wholeheartedly love.
28. Next - "Too Close" (1998)
There’s a lot of ‘90s R&B that’s so horny it’s borderline silly, but nothing has ever been quite as ridiculous as Next hitting #1 with a song about getting a boner on the dancefloor, a song where the context of the bolilerplate lyric “you’re makin’ it hard for me” is that “it” is the guy’s penis. And it’s a big credit to “Too Close” that it’s actually an incredibly catchy, well crafted song that somehow works in spite of all that.
29. Sounds of Blackness – “Optimistic” (1991)
‘90s R&B was dominated by the big voices of performers who learned how to sing in church, and by the end of the decade gospel acts like Kirk Franklin were crossing over on the R&B charts in the big way. Sounds of Blackness, a Minneapolis group that was founded in the ‘60s, released their debut album The Evolution of Gospel in 1991, with Jimmy Jam and Terry Lewis helming singles that wedded their harmonies to cutting edge pop and R&B production trends. I’ll be honest, I didn’t have “Optimistic” on this list until about a week ago, when I heard it on the radio and just remembered how much I love this song and needed to include it.
30. Brandy – “Sittin’ Up In My Room” (1996)
If there was any doubt that Brandy was destined for greatness after releasing her debut album at 15, she erased it by holding her own with Whitney, Aretha, Patti, Chaka, and all the other divas that helped make Waiting To Exhale one of the greatest soundtrack albums of the ‘90s.
31. Montell Jordan - "This Is How We Do It" (1995)
The tradition of turning hip hop hits from 5 or 10 years earlier into new R&B hits was just beginning to solidify when Montell Jordan turned Slick Rick’s 1989 classic “Children’s Story” into his own #1 single while Slick Rick himself was in prison. I just wish Montell Jordan didn’t do that rap verse in an English accent. He was really the prototype for guys who put their height in their Twitter bio, he managed to work the fact that he’s 6’8” into a hit song for no reason.
32. Mark Morrison - "Return Of The Mack" (1997)
I kind of mentally pair “Return of the Mack” with “This Is How We Do It” because they always come up as ‘90s songs that people are nostalgic for, and I just never saw them as that era’s best of the best. Definitely enjoyable enough to be on the list, though.
33. SWV - "Right Here (Human Nature)" (1992)
The original “Right Here” is a pretty good song, but it just doesn’t pop like the remix. It’s funny to think that Teddy Riley, the industry golden boy who’d just produced half of a Michael Jackson album, made the very simple move to put a loop of a song from Thriller under “Right Here” to make it into a major hit, but it just works. It really blew my mind the day I learned that Riley’s protégé Pharrell Williams was the voice chanting “the S, the double, the U, the V” on this, about 5 years before he started producing huge rap and R&B hits of his own with the Neptunes.
34. Boyz II Men - "It's So Hard To Say Goodbye To Yesterday" (1991)
A lot of Boyz II Men’s ballads are schmaltzy and overproduced, but their harmonies and the solemn, sincere sense of grief in this song still get me every time, it’s gorgeous.
35. Mary J. Blige f/ Smif-n-Wessun - "I Love You (Remix)" (1995)
My Life is probably my favorite R&B album of the ‘90s, Puff Daddy and the late Chucky Thompson expanding on the hip hop soul template of Mary J. Blige’s debut and gave her a wider palette for a more emotional set of songs. This song sounds amazing with that glossier take on Biz Markie’s chop of Isaac Hayes pianos and Mary’s haunting melody, and the remix with a couple guys from Boot Camp Clik just takes it to another level.
36. Prince and the New Power Generation - "Diamonds and Pearls" (1992)
The ‘90s were a weird decade for Prince, even before he changed his name to a symbol, went to war with Warner Bros., and began flooding the market with independent albums. And his biggest album of the decade, Diamonds and Pearls, actually threatened to make him seem kind of boring for the first time in his career – that era was basically my introduction to Prince, which is why it took me so long to realize how great he was. But with hindsight I have a lot of fondness for that album, particularly the title track, it’s just a great splashy R&B ballad with rock energy in the arrangement and an excellent vocal counterpoint from Rosie Gaines.
37. Whitney Houston - "It's Not Right But It's Okay" (1999)
Whitney Houston maintained her status as one of music’s biggest stars in the ‘90s despite releasing only two solo albums in the entire decade, mainly by starring in three movies that all had blockbuster soundtracks. And 1998’s My Love Is Your Love really did a great job of situating her in the R&B sound of the moment. “It’s Not Right But It’s Okay” is my favorite Rodney Jerkins production and Whitney brings so much personality and so much drama to the lyric, really shows how much talent she had beyond the range and the high notes.
38. Maxwell – “Ascension (Don’t Ever Wonder)” (1996)
I think the best thing about the so-called ‘neo soul’ genre is that all of its major artists were true individuals. Maxwell’s Urban Hang Suite was finished for over a year before it was released, but Maxwell will be the first to admit that D’Angelo’s success helped give Maxwell’s label the confidence to release and promote his album, even though he doesn’t really sound that much like D’Angelo but in the broadest sense.
39. Usher - "My Way" (1998)
Usher really came into his own into the 2000s, but the title track from his breakthrough second album My Way is still one of my favorites, one of the best early examples of Jermaine Dupri integrating that southern bounce into an R&B track.
40. Janet Jackson - "If" (1993)
A couple months ago I wrote a piece for Billboard about lower charting hits that artists released between #1s, and one of the songs I singled out as a classic was “If,” the second single from Janet. It peaked at #4 at a time when Janet Jackson was topping the chart all the time, and it feels like only she could’ve gotten a song that sounds this hard that high on the Hot 100, such a cool unique-sounding record.
The tradition of turning hip hop hits from 5 or 10 years earlier into new R&B hits was just beginning to solidify when Montell Jordan turned Slick Rick’s 1989 classic “Children’s Story” into his own #1 single while Slick Rick himself was in prison. I just wish Montell Jordan didn’t do that rap verse in an English accent. He was really the prototype for guys who put their height in their Twitter bio, he managed to work the fact that he’s 6’8” into a hit song for no reason.
32. Mark Morrison - "Return Of The Mack" (1997)
I kind of mentally pair “Return of the Mack” with “This Is How We Do It” because they always come up as ‘90s songs that people are nostalgic for, and I just never saw them as that era’s best of the best. Definitely enjoyable enough to be on the list, though.
33. SWV - "Right Here (Human Nature)" (1992)
The original “Right Here” is a pretty good song, but it just doesn’t pop like the remix. It’s funny to think that Teddy Riley, the industry golden boy who’d just produced half of a Michael Jackson album, made the very simple move to put a loop of a song from Thriller under “Right Here” to make it into a major hit, but it just works. It really blew my mind the day I learned that Riley’s protégé Pharrell Williams was the voice chanting “the S, the double, the U, the V” on this, about 5 years before he started producing huge rap and R&B hits of his own with the Neptunes.
34. Boyz II Men - "It's So Hard To Say Goodbye To Yesterday" (1991)
A lot of Boyz II Men’s ballads are schmaltzy and overproduced, but their harmonies and the solemn, sincere sense of grief in this song still get me every time, it’s gorgeous.
35. Mary J. Blige f/ Smif-n-Wessun - "I Love You (Remix)" (1995)
My Life is probably my favorite R&B album of the ‘90s, Puff Daddy and the late Chucky Thompson expanding on the hip hop soul template of Mary J. Blige’s debut and gave her a wider palette for a more emotional set of songs. This song sounds amazing with that glossier take on Biz Markie’s chop of Isaac Hayes pianos and Mary’s haunting melody, and the remix with a couple guys from Boot Camp Clik just takes it to another level.
36. Prince and the New Power Generation - "Diamonds and Pearls" (1992)
The ‘90s were a weird decade for Prince, even before he changed his name to a symbol, went to war with Warner Bros., and began flooding the market with independent albums. And his biggest album of the decade, Diamonds and Pearls, actually threatened to make him seem kind of boring for the first time in his career – that era was basically my introduction to Prince, which is why it took me so long to realize how great he was. But with hindsight I have a lot of fondness for that album, particularly the title track, it’s just a great splashy R&B ballad with rock energy in the arrangement and an excellent vocal counterpoint from Rosie Gaines.
37. Whitney Houston - "It's Not Right But It's Okay" (1999)
Whitney Houston maintained her status as one of music’s biggest stars in the ‘90s despite releasing only two solo albums in the entire decade, mainly by starring in three movies that all had blockbuster soundtracks. And 1998’s My Love Is Your Love really did a great job of situating her in the R&B sound of the moment. “It’s Not Right But It’s Okay” is my favorite Rodney Jerkins production and Whitney brings so much personality and so much drama to the lyric, really shows how much talent she had beyond the range and the high notes.
38. Maxwell – “Ascension (Don’t Ever Wonder)” (1996)
I think the best thing about the so-called ‘neo soul’ genre is that all of its major artists were true individuals. Maxwell’s Urban Hang Suite was finished for over a year before it was released, but Maxwell will be the first to admit that D’Angelo’s success helped give Maxwell’s label the confidence to release and promote his album, even though he doesn’t really sound that much like D’Angelo but in the broadest sense.
39. Usher - "My Way" (1998)
Usher really came into his own into the 2000s, but the title track from his breakthrough second album My Way is still one of my favorites, one of the best early examples of Jermaine Dupri integrating that southern bounce into an R&B track.
40. Janet Jackson - "If" (1993)
A couple months ago I wrote a piece for Billboard about lower charting hits that artists released between #1s, and one of the songs I singled out as a classic was “If,” the second single from Janet. It peaked at #4 at a time when Janet Jackson was topping the chart all the time, and it feels like only she could’ve gotten a song that sounds this hard that high on the Hot 100, such a cool unique-sounding record.
41. Missy Elliott f/ 702 and Magoo – “Beep Me 911” (1998)
Missy Elliott actually sings more than she raps on Supa Dupa Fly (seriously, I analyzed the album once, and her vocals are 56% sung and 44% rapped). And while she’s obviously brilliant at both, her solo hits are mostly rap while she’s had more success writing R&B songs for other artists. But I love “Beep Me 911,” man, Missy’s best R&B banger.
42. Toni Braxton - "You're Makin' Me High" (1996)
Toni Braxton and Babyface had the ballads on lock, but this song and this video, my god, I was 14 at the time so you can imagine how entranced I was by it.
43. Raphael Saadiq f/ Q-Tip - "Get Involved" (1999)
This single from the soundtrack for The PJs is kind of a forgotten footnote from that era between the breakup of Tony! Toni! Tone! and the formation of Lucy Pearl, years before Raphael Saadiq’s first solo album. But man, I loved this song, such a lush groove and beautiful vocal melody.
44. Kelis - "Get Along With You" (1999)
Somehow I missed “Caught Out There” when it came out, so this song was really my introduction to Kelis, and it’s still one of my favorite Neptunes productions, just a really haunting and unique track. MTV only seemed to play it after midnight, so I kind of associate it with the insomnia I used to suffer from back then.
45. Lisa Stansfield - "All Around The World" (1990)
Lisa Stansfield, a Brit from Manchester whose musical hero is Barry White, became the first white woman since Teena Marie to top the R&B chart in 1990, and she even got a warm reception at the Apollo. A few years later Biggie sang the Bad Boyified version of “All Around the World.”
46. Color Me Badd - "I Wanna Sex You Up" (1991)
I found this song pretty embarrassing at the time, everything from the song title to the group's name, but it’s pretty catchy, with a weird mishmash of borrowed hooks from Shuggie Otis, Betty Wright, and Slick Rick. There were so few white R&B singers in the ‘90s that a kid once told me that Jon B. was a member of Color Me Badd and I believed them and just assumed that was true for like 10-15 years until one day I tried to mention it in an article and an editor corrected me.
47. Blackstreet f/ Queen Penn and Dr. Dre - "No Diggity" (1996)
Another song I might have ranked higher if it hadn’t been overplayed for so long that I just never feel like I need to hear it again. That Bill Withers “Grandma’s Hands” loop is still pretty cool, though, Teddy Riley has the official production credit but there’s some talk that Dr. Dre did the beat and gave it away since he was trying to get away from Death Row at that moment.
48. Erykah Badu - "Next Lifetime" (1997)
“On & On” was the big one from Baduizm but this is the track that always stuck with me the most, such a beautiful and bittersweet song.
49. Brownstone – “If You Love Me” (1995)
The ‘90s was such a great time for girl groups, even outside of the big ones like En Vogue and Destiny’s Child there were so many that just had a few hits, including Brownstone, whose debut album went platinum off this song. Sadly, one member of the trio, Charmayne Maxwell, passed away in 2015, a few months before “If You Love Me” returned to the charts when it was sampled in “Say It” by T*ry L*nez.
50. Soul For Real – “Candy Rain” (1995)
I feel like this is such a cliché “’90s R&B song” to inspire nostalgia, but I mean, there is a reason for that. Kind of bridged an era since it was one of the last major hits produced by Heavy D as well as one of the first major hits produced by the Trackmasters. I didn’t realize until just now that the beat is sampled from A Tribe Called Quest’s “Check The Rhime,” I don’t know how I missed that.
Missy Elliott actually sings more than she raps on Supa Dupa Fly (seriously, I analyzed the album once, and her vocals are 56% sung and 44% rapped). And while she’s obviously brilliant at both, her solo hits are mostly rap while she’s had more success writing R&B songs for other artists. But I love “Beep Me 911,” man, Missy’s best R&B banger.
42. Toni Braxton - "You're Makin' Me High" (1996)
Toni Braxton and Babyface had the ballads on lock, but this song and this video, my god, I was 14 at the time so you can imagine how entranced I was by it.
43. Raphael Saadiq f/ Q-Tip - "Get Involved" (1999)
This single from the soundtrack for The PJs is kind of a forgotten footnote from that era between the breakup of Tony! Toni! Tone! and the formation of Lucy Pearl, years before Raphael Saadiq’s first solo album. But man, I loved this song, such a lush groove and beautiful vocal melody.
44. Kelis - "Get Along With You" (1999)
Somehow I missed “Caught Out There” when it came out, so this song was really my introduction to Kelis, and it’s still one of my favorite Neptunes productions, just a really haunting and unique track. MTV only seemed to play it after midnight, so I kind of associate it with the insomnia I used to suffer from back then.
45. Lisa Stansfield - "All Around The World" (1990)
Lisa Stansfield, a Brit from Manchester whose musical hero is Barry White, became the first white woman since Teena Marie to top the R&B chart in 1990, and she even got a warm reception at the Apollo. A few years later Biggie sang the Bad Boyified version of “All Around the World.”
46. Color Me Badd - "I Wanna Sex You Up" (1991)
I found this song pretty embarrassing at the time, everything from the song title to the group's name, but it’s pretty catchy, with a weird mishmash of borrowed hooks from Shuggie Otis, Betty Wright, and Slick Rick. There were so few white R&B singers in the ‘90s that a kid once told me that Jon B. was a member of Color Me Badd and I believed them and just assumed that was true for like 10-15 years until one day I tried to mention it in an article and an editor corrected me.
47. Blackstreet f/ Queen Penn and Dr. Dre - "No Diggity" (1996)
Another song I might have ranked higher if it hadn’t been overplayed for so long that I just never feel like I need to hear it again. That Bill Withers “Grandma’s Hands” loop is still pretty cool, though, Teddy Riley has the official production credit but there’s some talk that Dr. Dre did the beat and gave it away since he was trying to get away from Death Row at that moment.
48. Erykah Badu - "Next Lifetime" (1997)
“On & On” was the big one from Baduizm but this is the track that always stuck with me the most, such a beautiful and bittersweet song.
49. Brownstone – “If You Love Me” (1995)
The ‘90s was such a great time for girl groups, even outside of the big ones like En Vogue and Destiny’s Child there were so many that just had a few hits, including Brownstone, whose debut album went platinum off this song. Sadly, one member of the trio, Charmayne Maxwell, passed away in 2015, a few months before “If You Love Me” returned to the charts when it was sampled in “Say It” by T*ry L*nez.
50. Soul For Real – “Candy Rain” (1995)
I feel like this is such a cliché “’90s R&B song” to inspire nostalgia, but I mean, there is a reason for that. Kind of bridged an era since it was one of the last major hits produced by Heavy D as well as one of the first major hits produced by the Trackmasters. I didn’t realize until just now that the beat is sampled from A Tribe Called Quest’s “Check The Rhime,” I don’t know how I missed that.
51. TLC - "Ain't 2 Proud 2 Beg" (1992)
52. Mista - "Blackberry Molasses" (1996)
52. Mista - "Blackberry Molasses" (1996)
53. Mariah Carey - "Emotions" (1991)
54. Tevin Campbell – “Can We Talk” (1993)
55. Tamia – “So Into You” (1998)
56. SWV - "I'm So Into You" (1993)
57. Tony! Tone! Toni! - "It Never Rains (In Southern California)" (1990)
58. Ginuwine - "Pony" (1996)
59. Monica - "The First Night" (1998)
60. R. Kelly - "It Seems Like You're Ready" (1994)
61. Mary J. Blige f/ Lil Kim – “I Can Love You” (1997)
62. En Vogue - "Giving Him Something He Can Feel" (1992)
63. Vanessa Williams - "Work To Do" (1992)
64. Donell Jones f/ Left Eye – “U Know What’s Up” (1999)
65. Dru Hill - "How Deep Is Your Love" (1998)
66. Whitney Houston - "I'm Your Baby Tonight" (1990)
67. Toni Braxton - "Un-Break My Heart" (1996)
68. Brandy - "I Wanna Be Down" (1994)
69. Jodeci – “Feenin’” (1994)
70. Janet Jackson f/ Q-Tip - "Got Til It's Gone" (1997)
71. H-Town - "Knockin' Da Boots" (1993)
72. Mariah Carey - "Always Be My Baby" (1996)
54. Tevin Campbell – “Can We Talk” (1993)
55. Tamia – “So Into You” (1998)
56. SWV - "I'm So Into You" (1993)
57. Tony! Tone! Toni! - "It Never Rains (In Southern California)" (1990)
58. Ginuwine - "Pony" (1996)
59. Monica - "The First Night" (1998)
60. R. Kelly - "It Seems Like You're Ready" (1994)
61. Mary J. Blige f/ Lil Kim – “I Can Love You” (1997)
62. En Vogue - "Giving Him Something He Can Feel" (1992)
63. Vanessa Williams - "Work To Do" (1992)
64. Donell Jones f/ Left Eye – “U Know What’s Up” (1999)
65. Dru Hill - "How Deep Is Your Love" (1998)
66. Whitney Houston - "I'm Your Baby Tonight" (1990)
67. Toni Braxton - "Un-Break My Heart" (1996)
68. Brandy - "I Wanna Be Down" (1994)
69. Jodeci – “Feenin’” (1994)
70. Janet Jackson f/ Q-Tip - "Got Til It's Gone" (1997)
71. H-Town - "Knockin' Da Boots" (1993)
72. Mariah Carey - "Always Be My Baby" (1996)
73. Tony! Toni! Toné! – “Anniversary” (1993)
74. En Vogue - "Don't Let Go (Love)" (1997)
75. Maxwell – “Sumthin’ Sumthin’” (1996)
76. Ginuwine - "What's So Different?" (1999)
77. Destiny's Child f/ Wyclef Jean - "No, No, No (Part 2)" (1998)
78. D'Angelo - "Brown Sugar" (1995)
79. Mya f/ Sisqo – “It’s All About Me” (1998)
80. Erykah Badu - "On and On" (1997)
81. Mary J. Blige - "I'm Goin' Down" (1995)
82. Prince and the New Power Generation - "Gett Off" (1991)
83. 112 - "Cupid" (1997)
84. K.P. & Envyi – “Swing My Way” (1998)
85. Monica – “Why I Love You So Much” (1996)
86. Janet Jackson - "I Get Lonely" (1998)
87. Usher - "You Make Me Wanna…" (1997)
88. TLC - "Red Light Special" (1995)
89. Aaliyah - "If Your Girl Only Knew" (1996)
90. Raphael Saadiq – “Ask Of You” (1995)
91. Bell Biv DeVoe - "Do Me!" (1990)
92. Freddie Jackson - "Do Me Again" (1991)
93. Mariah Carey f/ Krayzie Bone & Wish Bone – “Breakdown" (1998)
94. Mya f/ Silkk The Shocker – “Movin’ On” (1998)
95. Zhane - "Hey Mr. DJ" (1993)
96. Brandy & Monica - "The Boy Is Mine" (1998)
97. Keith Sweat - "I'll Give All My Love To You" (1991)
98. Jodeci - "Come And Talk To Me" (1992)
99. Mary J. Blige - "Be Happy" (1994)
100. 702 - "Where My Girls At?" (1999)
74. En Vogue - "Don't Let Go (Love)" (1997)
75. Maxwell – “Sumthin’ Sumthin’” (1996)
76. Ginuwine - "What's So Different?" (1999)
77. Destiny's Child f/ Wyclef Jean - "No, No, No (Part 2)" (1998)
78. D'Angelo - "Brown Sugar" (1995)
79. Mya f/ Sisqo – “It’s All About Me” (1998)
80. Erykah Badu - "On and On" (1997)
81. Mary J. Blige - "I'm Goin' Down" (1995)
82. Prince and the New Power Generation - "Gett Off" (1991)
83. 112 - "Cupid" (1997)
84. K.P. & Envyi – “Swing My Way” (1998)
85. Monica – “Why I Love You So Much” (1996)
86. Janet Jackson - "I Get Lonely" (1998)
87. Usher - "You Make Me Wanna…" (1997)
88. TLC - "Red Light Special" (1995)
89. Aaliyah - "If Your Girl Only Knew" (1996)
90. Raphael Saadiq – “Ask Of You” (1995)
91. Bell Biv DeVoe - "Do Me!" (1990)
92. Freddie Jackson - "Do Me Again" (1991)
93. Mariah Carey f/ Krayzie Bone & Wish Bone – “Breakdown" (1998)
94. Mya f/ Silkk The Shocker – “Movin’ On” (1998)
95. Zhane - "Hey Mr. DJ" (1993)
96. Brandy & Monica - "The Boy Is Mine" (1998)
97. Keith Sweat - "I'll Give All My Love To You" (1991)
98. Jodeci - "Come And Talk To Me" (1992)
99. Mary J. Blige - "Be Happy" (1994)
100. 702 - "Where My Girls At?" (1999)
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