Recently, I thought about what people meant in YouTube comment sections when they say “this is REAL R&B” (this is usually under a Leon Bridges or Coco Jones visualizer/video), because it just sounds stupid. In my opinion, I think someone like Bryson Tiller (who others consider hip-hop) is just as talented as a Leon Bridges type artist. The only real difference is the falsetto, note-holding, and the production. Not everyone is “Thinkin’ Bout You”/”Sweet Life” Frank Ocean or Maxwell. R&B is multi-faceted. Anyways, if you’ve read the first part of this series, then you can skip the next paragraph, but for those who haven’t:
Criteria is simple: only one song per year, artists can pop up more than once, and we will be going in backward chronological order (for those who don’t get what that means: Return of The Jedi to Phantom Menace).
2003: “You Don’t Know My Name” – Alicia Keys
Do I really need to explain this pick? Everyone loves this song. The soulful piano sample works perfectly with Alicia’s vocals, and THAT BRIDGE! Alicia’s singing at the beginning is great, but then when she changes the pattern of her vocals to match the drum/horn hits, it feels super pleasing. In conclusion, this song is one of the greatest of all time, and not listening to it should be considered a crime.
2002: “Religious” – Musiq Soulchild
I never thought Musiq could ever make a song like this. When you think of Musiq, you think of songs like “Love” and “Just Friends” – smooth R&B that you could play on a hot summer day. So to hear this song: it seems like Musiq went into Kirk Franklin’s vault of unreleased songs and pulled this one out. The drums are hard, and the organ melody is in your face. But, the funny thing is, the lyrics sound like a normal Musiq Soulchild track. What really changes is the delivery. Musiq’s cadence is unlike anything I’ve ever heard from him – it kinda sounds like Hendrix.
2001: “Soul Sista” – Bilal
If there was one word to describe this song, it would be “beautiful.” The one piano melody is calming and soulful. I love how the drums come in during the intro and chorus, but then it is just the hi-hat during the verse section. The change in percussion draws attention to Bilal’s voice and makes whatever he says more meaningful. Put “Soul Sista” on in any sunset or late night drive scenario, and it will make you love life to a new extent – I promise.
2000: “Feel Like Makin’ Love” – D’Angelo
This was the hardest selection I had to make, because Voodoo is a legendary piece of art. It sports the best horn line in all of R&B (“Playa Playa”), one of the greatest love songs ever written (“How Does It Feel”), the best guitar line of the 2000s (“Chicken Grease”), and a legendary group of musicians (Questlove, D’Angelo himself, Pino Paladino, and Roy Hargrove). So what happens when you get all these amazing musicians to cover an R&B classic? You get “Feel Like Makin’ Love”. And, each musician contributes their part of the song beautifly. “Feel Like Makin’ Love” is still the closest Questlove got to replicating J Dilla’s drums, Paladino’s bass is a walking groove machine, and Roy Hargrove’s trumpet solos add a gut punch of emotion. Not to mention that D’Angelo plays every other instrument, and sings. I would also like to say that in an alternate universe “Didn’t Cha Know” would be the best R&B song of 2000, but D’Angelo had to release Voodoo that year, sorry Erykah.
1999: “So Anxious” – Ginuwine
Usually, Timbaland is known for his futuristic production – specifically his use of synths and random samples. But, “So Anxious” has no futuristic aspect. It sounds more like a neo-soul song than any of Timbo’s most famous works. Also, I have to mention Genuine’s vocals. They are very rough, and at times it sounds like the mic is about to malfunction as he screams “9:00, home alone.” (the live version is even more aggressive.) Most might know this song from Drake’s “Legend” (in my opinion one of his best songs) or “Soul’s Anchored” from the Sunday Service Choir.
1998: “To Zion“ – Lauryn Hill
“To Zion” is just pure joy and gratefulness. Hill decided to write a song dedicated to her first son, and it was one of the greatest things I’ve ever heard. There are three main parts to the song: Lauryn’s verses and hook, the choir, and Carlos Santana’s guitar solo. All three parts are steaming with emotion. And, by the end of the song, you will cry. If you don’t first listen, or for the first two decades of your life, that’s fine. But, I went to a Fugees concert last year, and the amount of 40-year old people who had kids that were crying to this song was mind blowing. Also, I have to shout out “Ex Factor” and “Nothing Even Matters”, as they were my two runners-up (the guitar solo on “Ex Factor” is so underrated, especially compared to the one on “To Zion”).
1997: “Other Side Of The Game” – Erykah Badu
The storytelling on this track is great. Badu pens what it would be like to be a girlfriend of a dopeman, as she says that this life for him won’t work out, and that being his girlfriend puts a bad stigma on her name. I can’t really say anymore things about this song – just go and pay attention to the lyrics: Badu tells you all you need to hear.
1996: “Ascension (Don’t Ever Wonder)” – Maxwell
I know that it says that there are multiple versions of this song, but the only right way to listen to “Ascension” is to listen to the album version (Like how the only way to listen to Stevie Wonder’s “You Are the Sunshine of My Life” is the version with horns). The intro with those iconic drum and basslines that lead into the part when Maxwell harmonizes make the track as good as it is. And then, Maxwell sings. His voice is as smooth as butter – his unique vocal inflections during the verses add some variation to the song, which is needed. But, in the second verse, he goes berserk. Try and sing the second verse – it will never sound as good as Maxwell. Believe me, I’ve tried, and it sounds like sh*t. In other words, Maxwell is undefeated – and I want compensation for the Roots Picnic f*ck up.
1995: “When We Get By” – D’Angelo
I talked about this song already in my D’Angelo post, but to sum it up/add a few new points: this song proves that D’Angelo can make any genre work. “When We Get By” screams jazz fusion, and D’Angelo/ his band play it perfectly. That falsetto during the pre-chorus is beautiful, and the drums and upright bass are even better. Definitely THE highlight off of Brown Sugar.
1994: “My Life” – Mary J. Blige
First of all, let’s talk about the clear elephant in the room for this song: the Roy Aires (R.I.P.) sample. “Everybody Loves the Sunshine” is a classic that is the perfect song to represent ‘70s Soul. And, how Mary used that instrumental, of a very happy song mind you, to talk about her relationship problems, was genius. It is one of the most emotional songs of the 90s, and Mary puts her heart and soul into it.
1993: “Love No Limit (Remix)” – Mary J. Blige
The album version of “Love No Limit” is a fine song, but it felt more like “Every Breath You Take” type love if you get what I’m saying (the f**king Mad Lion version is more pleasing). But the remix version is superior in every way. The remix samples the iconic bassline from Keni Burke’s “Risin’ To The Top” (another Puffy nostalgia sample) and has Mary re-record her lines to sound way more uplifting than in the original, and make it actually sound like she loves you without a limit. I have absolutely no idea why Columbia didn’t use the eventual remix version on the album, but at least we have it on streaming services. But just because I think this song is the best of ‘93, doesn’t mean there was no competition. We have “Your Body’s Callin” by…oh, Jodeci’s “My Heart Belongs To U”, and the cookout classic “Can We Talk” by Trevin Campbell. It honestly sucks that these songs were released in 1993, because they would be the best song in almost any other year of the 90s.
1992: “Real Love” – Mary J. Blige
Yes, we have a MARY J. BLIGE THREEPEAT. I swear to god no one dominated the early 90s like her. She put up prime Larry Bird numbers in terms of hits. If you haven’t listened to “Real Love” at least once in your life, I honestly don’t know what you’re doing. The drums sampled from “Top Billin’” mixed with that gorgeous piano line are so simple but majestic at the same time. I think the reason why “Real Love” feels so great is because it sounds like happiness. A person cannot tell me that “Real Love” sounds sad and be right – it is like the musical definition of not just happiness, but a happy relationship. Also, on another day, “Weak” by SWV might take “Real Love’s” spot (that bridge, and the way it leads to the final chorus, is absolutely beautiful) or Sade’s “Kiss of Life” – 1992 is just so stacked music wise (I didn’t even mention Boyz To Men’s debut).
1991: “Emotions” – Mariah Carrey
“Emotions”gives off a joyful feeling of a bright summer day in the 90s. And, even though it is an R&B staple, NO ONE will ever sing it like Mariah Carrey. In my opinion, the live version is better than the studio one, as it is without pitch correction – so we hear Mariah’s raw voice. We will never hear another Mariah Carrey; she is a 1/1 singer that will never be bested by anyone other than Whitney Houston.
1990: “Poison” – Bell Biv Devoe
“Poison” is not only a new jack swing anthem, but one of the greatest songs of the 90s – and it only came out in the first year of the decade. That drum loop in the beginning is nothing short of iconic (when I first found a drum set in my school, the first thing I played was the beginning bars of “Poison”). And, the pre-chorus can get any family of any race to start singing their hearts out. And then the “wrong move, your dead” adlib before the hook was just so perfectly timed. The whole track is filled with iconic moment after iconic moment, for 4 minutes straight.
1989: “Back to Life” – Soul II Soul
So, R&B songs in the 90s got a lot of flack for pretty much being a hip-hop song with singing on top, but I think “Back to Life” has that perfect mix of the two genres. The drums are for sure hip-hop, but the strings give the track life. “Back to Life” without the strings is not the same song. But, the best version of the track is really the Cupidon Flip from 2023. I consider it to be the greatest Amapiano remix of all time, and I encourage all lovers of African music to give it a listen – it is a masterpiece. I also would like to mention the end of the acapella version with the impeach the president drums and Ab-Soul’s “9 Mile”, they are so fire.
1988: “Paradise” – Sade
Sade is definitely the most underrated band in R&B, because “Paradise” should’ve been a bigger hit. It has the one of, if not the best baseline of the ‘80s, and the bongos are spectacular. And, Sade Adu’s singing takes you to another dimension. “Paradise” is one of those songs where I can’t explain the feeling it gives me (mostly one of joy) , I can just hope and pray that it gives you the same feeling when you listen to it.
1987: “Dirty Diana” – Michael Jackson
“DD” is one of MJ’s most aggressive songs, and if you listen to the lyrics you KNOW why. The song criticizes, in the words of Michael himself, “groupies”. Michael talks about their lifestyles and you can hear the seething anger in his voice, pretty much showing how disappointed he is that there are even women like the ones he describes in the song. And God damn is the guitar work on the song good. In my opinion, I think “Diana” aged the best out of all the songs on Bad, as it could be a number one hit today for sure. The rawness of it draws me – it doesn’t even sound like an MJ song, but yet he pulls it off effortlessly.
1986: “Word Up!” – Cameo
This song is a prime example on why the title says “favorite” and not “best”. Most people, including me, would think that “Nasty”, or any other song from Janet’s Control album is better than “Word Up”. But, “Word Up” is so fun to listen to. It has one of the best basslines in funk, hard-hitting drums, and hilarious vocals from the band. The song is just a vibe through and through. Also, the way they say “uhh, word up” is just so f**king funny for no reason.
1985: “How Will I Know” – Whitney Houston
“How Will I Know” is pure power. Whitney is also a 1/1 singer – and “HWIK” is one of her best vocal performances. The background singers also do their thing beautifly. And that SAX SOLO! 80s synth pop/R&B is unmatched, it was truly one of the best eras of music. Also have to give props to Clean Bandit for making a nice remix out of this track.
1984: “Let’s Go Crazy” – Prince
I’m not going to say anything – just listen to the whole Purple Rain album. But, if you insist.
“Let’s Go Crazy” is the perfect opener to Prince’s best album. It starts off with this hypnotising intro, then jumps into this whole other world of glorious R&B and Rock N’ Roll fusion. The drums: perfect. The electric guitar: one of the best things I’ve heard in music. And then, Prince sings. His voice is so hypnotizing; it is a perfect mix of afraid and assertive. And that chorus feels like a spiritual chant. De-elevator will never bring us down, because we’re still playing this jam like it’s 1984, or better yet 1999.
1983: “Between the Sheets” – The Isley Brothers
One of, if not, the smoothest song of all time. In my opinion, “Big Poppa” is still better (that synth line adds so much flavor to the already incredible Isley Bros bassline), but “Between the Sheets” has more pizazz to it. It has some unexplainable smoothness to it that surrounds the track and makes it even better. Like the chorus has no right to be as smooth as it does – but it KILLS.
1982: “P.Y.T.” – Michael Jackson
This is Michael’s best song. The way the bass and the synth combine for an infectious groove makes me move my body in ways I didn’t know how. But, the real MVP is MJ. His delivery is in-your face, which makes the song even more memorable. Each section, from the verses to the call-and-response part are iconic. “P.Y.T.” is debatably the greatest song of all time, and the fact that I don’t hear this in G.O.A.T. song convos is crazy.
1981: “She’s A Super Lady” – Luther Vandross
While Rick James was talking about how his lady was a “Super Freak” on the pop charts, Luther Vandross was making love ballads that swept all across black homes. The duo of Vandross and Miller is unmatched, as both musicians give it their all on this track. Also, I must give credit where credit is due – this song would not be the same if it wasn’t for Nat Alderly Jr’s piano playing. All three artists make this song one of Luther’s most slept on tracks, and I think it’s time for people to wake the f**k up. By the way, 1981 was stacked in terms of R&B records. It’s crazy that “Never Too Much”, “One Hundred Ways”, “Give It To Me Baby”, “Spinnin’”, “I Can’t Go For That”, “Glow of Love” “Let’s Groove”, and “Get Down on It” were all released within months of each other.
1980: “All I Do” – Stevie Wonder
This is what I consider to be the second song I’d ever heard (the first was Bruce Springsteen’s “Rosalita (Come Out Tonight)” – you could guess where I’m from by that song being my first). And, my parents had some fire a** music taste. One thing you may notice is that Stevie isn’t singing very clearly on the track. It seems like he muffles his words a lot, and most of the song is based on his cadence and vocal inflections. And, you can really feel his emotion, especially in the second verse. And the craziest part of the song is that Stevie isn’t even the best part. The sax solo and the bridge are better than the verses or the hook, which just shows how many talented musicians Stevie had on board for this song. “All I Do” can make a grown man cry, from the raw emotion, to the beautiful electric piano line, to Michael Jackson’s amazing background vocals. Truly another one of Stevie’s undeniable classics.
1979 – “Workin’ Day And Night” – Michael Jackson
In my opinion, 1979 with Off The Wall was just as hard as 2000 with Voodoo, every song on Off The Wall is a bonafide classic – so it really depends on the listener to pick their favorite track. You could pick a calm ballad like “She’s Out Of My Life”, or an introspective song written by Stevie Wonder with mesmerizing chord progressions like “I Can’t Help It”, or you could pick an absolute Disco jam like “Get on The Floor”, “Workin’ Day And Night” or the title track, OR you could pick two of the greatest pop songs ever recorded “Don’t Stop Til You Get Enough” & “Rock With You”. I picked “Workin’ Day And Night”, simply because of its energy. “Workin’ Day And Night” has the energy of Usain Bolt on the strength of a 5 hour energy drink running until he passes out. The piano line feeds families, the bassline is too funky for Earth, and the percussion can get a disgruntled old man to dance. “Workin’ Day And Night” is one of the few songs in MJ’s catalog where he is not the best part of it, and I think that’s good. Sometimes, you have to let your session musicians, for lack of a better word, cook – and they cooked like Bobby Flay on MasterChef.
1978: “On Broadway” – George Benson
“On Broadway” is the one case when the lead artist is the sole factor as to why the song is great. If you have heard the original version of “On Broadway” by The Drifters, you know how absolutely horrible it is. It definitely has great lyrics, but the Drifter’s delivery and the band itself just feels dull. Benson’s composition on the other hand is injected with life. It may not seem that way, because the opening bars only consist of a bass line, a four-bar piano loop, and drums which only have hi-hats and the kick on 1 and 3. But then Benson sings. And it seems like he is playing a role (taking the title of the track literally) of some upstart musician that has some type of optimism, knowing, not hoping that he will make it in the music business. Benson is the clear star of the show here, as none of his band members even dare to try and take his shine.And the best part to me is how he delivers “Not gon’ quit ’til I’m a star, ’cause I know I can, can, can, can now” and how it leads into his solo.
1977: “Got To Give It Up” – Marvin Gaye
“Got to Give it Up” may have the greatest bassline of the ‘70s besides “Stayin’ Alive”. It hops between on and off beat perfectly and it works with the bongos so well. Obviously, “Got To Give It Up” is long, coming in at 12 minutes (which makes it the perfect song to play as a DJ when you have to use the bathroom). The track just has some unmistakable groove that makes it so good. “Got to Give it Up” could be purely instrumental and it would still be amazing. But Marvin puts his heart and soul into singing. Also props to Timbaland, Slick Rick & Aaliyah for making an amazing cover to Marvin’s track.
1976: Pick Any Song From Stevie Wonder’s Songs in The Key Of Life
When SITKOL turns 50 – I’m planning a massive track-by-track review of it – so stay tuned. But, to sum this pick up – this album is such a f**king masterpiece that any song could be the pick for 1976. “As” is wonderful – definitely in contention for greatest song ever made. “Another Star” is bombastic brilliance – all the instruments used form one cohesive track. And the run from “Love’s in Need Of Love Today” to “Black Man” is pure brilliance. Every single song in that run is at worst a 10/10. I have no idea what song to pick. So, for the sake of keeping with the upbeat theme – I think “I Wish” fits it best. The song is about Wonder reflecting on his early years, and his school experiences. Also, that outro with all the horns synchronizing is heavenly.
1975: “Reasons” – Earth, Wind & Fire
Many people are confused about the particular sound of Earth, Wind & Fire – is it Funk? Is it Soul? In my opinion, it varies depending on the song. But, “Reasons” is pure Soul. Maurice White’s falsetto is great, and it sounds, for lack of a better word, luxurious. It gives me sorta the same feeling as OutKast’s “Auqemini” – it feels like it’s own plane of existence.
1974: “Boogie On Reggae Woman” – Stevie Wonder
“Boogie…” has everything you want from a Stevie Wonder track. Harmonica solo: check. Amazing Stevie falsetto: check. Groovy electric piano line: of course a check. In my opinion, besides Stevie, the highlight of the song is the groove. The lyrics describe a desire for this woman to dance and enjoy herself before she and Steviue fall in love. The “I’d like to see…” lyrics from Stevie are also partly hilarious since he is blind – but I feel like that’s what gives the song its charm. Also the Vulfpeck cover is really good.
Ok, so, because I don’t think this song will be beaten any time soon in 2025, I might as well just put it in here.
*2025: “MUTT” – Leon Thomas
Those. Motherf**king. DRUMS. — mixed with that guitar line and Thomas’s excellent singing makes “MUTT” an instant classic. After only three listens, I knew every word, it is so catchy and amazing that it makes Thomas’s new album a must listen. Leon Thomas is who I wanted 4Batz to be and more. I hope Thomas has an excellent career and (maybe) he becomes the best Leon in R&B. I am just going to link every version of the track because they’re all amazing.
Megamix, with both CB and Freddie Gibbs
In my opinion, any version with a guitar solo as the outro is automatically the best. I wish Thomas would put it in the studio version, but I understand why he didn’t (it would scare some pop radio stations if a smooth R&B track has an aggressive guitar solo). Also shout out to Leon Thomas’s dog – as Thomas who served as the inspiration for this breakout hit of a song.
The Music In My Mind 
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