At the same time, and looking at it in hindsight, I do feel that Keith, Teddy Riley, and Jam & Lewis among others were injecting some life into the mainstream R&B of those years. That’s crazy. When I started touring and hearing my record and all of my records in other cities. I’m like, “No, I was actually there [on set].” It was weird because it was just like Salt-N-Pepa, the same way. The direction of Diary of a Mad Band was more experimentation.The up-beat New Jack Swing sound of Al B Sure! One night hanging out, going to a club, Mike [Bivins] said what do I think about him forming a rap group with him and Ricky [Bell] and Ronnie [DeVoe]. And no one else got Teddy Riley beats but Michael Jackson. That was way before samplers. Around 94-ish when "HipHop Soul" took over. Rihanna is doing New Jack Swing. all rights reserved. The end result was an uptempo New Jack Swing flavored dedication to the DJ off her debut solo LP Maximum Thrust. BBD's Poison and and Calloway's I Wanna Be Rich were releasd in the same year. The genre also breathed new life into acts like Bobby Brown and Janet Jackson, while more established acts from Michael Jackson to Sheena Easton would splash in the pool on certain albums and tracks. Do other things to keep yourself relevant. It’s two different heads. You could make the case for the early Mary J/Puffy collabos as well, which relied heavily on looping/sampling the best hooks of the 70's sound. The post-"End of the Road" buzz helped make Boyz II Men's next album, II, an instant smash when it arrived in 1994, even though it didn't include "End of the Road. We spoke to Teddy Riley about his life and his music, growing up in Harlem, his legacy as the creator of New Jack Swing, and why returning to the Apollo Theater after 20 years is so significant. You heard it with the Doug E. Fresh [record “The Show”] too. New Jack Swing was almost literally a one man phenomenon. He’d come on that dancefloor and he would sweat, sweat, sweat. That’s the joint.”. It just sounded terrible to me. The only hip-hop records that were getting played at that time [on radio] is if you were singing over a Teddy Riley beat with a hook. Just played every part and a lot of it is improvisation on the fly. Creator of Walker Wear clothing line. Back in the ’90s, you didn’t see girls wearing spandex dresses. “This podcast was very informative,” she said. His music was like a roller skate [party]. You could make the argument that D'Angelo ended New Jack Swing in the same way Nirvana ended the glam rock era, but that wouldn't be a particularly strong argument. He was an international star. We recognized it. That’s crazy. “Flava In Ya Ear” just dominated, especially the urban airways, down at ground level. High energy, danceable R&B like pre-What's The 411? Music and fashion went hand-in-hand and it still does today. What do you got clothes in there for?” He would go in the bathroom, change his clothes. They made more money. Enter New Jack Swing, which mixed rap, dance-pop and R&B with trace amounts of disco, soul and rock & roll. Funk groups and soul multi-instrumentalists (like Mayfield and Wonder) were being subplanted by synthesizer productions, and the popularity of the music video brought us a lot of pretty faces who didn't have all that much to say musically. I will say that I think when MJ jumped on the NJS bandwagon - late - that effected it negatively. On the other side of the spectrum, R&B seemingly was stuck in a circular loop, churning out forgettable fare that failed to strike a chord with many outside of the genre’s existing adherents. It’s just that maybe it wasn’t my time, ’cause I always say the music business is made up of turns. They have no idea who High Five is. The actual music, the performers and everything that was going on at that time, it was all big and colorful. We would reach the reels, let them go until we got one that was on time. Rodney Jerkins. Bell Biv Devoe were singers that morphed into the rap. Drake is doing New Jack Swing. Co-creator of Cross Colours clothing line. On that street level, the fashion and the dancing seemed like it all went together. When he produced Guy, “Groove Me,” when them songs came on we just went bananas. I remember I couldn’t put my head around it, and I was like, “Well, where would the raps go?” ... “You know. I don’t think it lost steam, because it didn’t just take me to make that music. So instead of having the remixing done when you have the R&B artist have a guest appearance with the rapper, now the whole system is self-contained. New Jack Swing began uptown, but Tender Lover says out-of-towners… have shifted the balance of power.” Related 'UFC With Creatives': How Swizz Beatz and Timbaland Launched Live Songwriting Battles I think the films like Juice, Above the Rim and others were influenced by how we dressed artists in their videos. Teddy Riley was a producer. That put him in a unique position. The label helped create the New Jack Swing sound, blending hip-hop and R&B, launched the careers of Mary J. Blige and Sean Diddy Combs and … I feel like in ’50s, ’60s, and ’70s their fashion accompanied their music. Prince Charles Alexander You had people standing in the tub recording. And every time I got a piece of equipment, I made a piece of music. I just played El DeBarge's Gemini disc, an it sounds more dated than NJS disc from around that era like Guy, B.Brown, ect. We had to actually play catch-up musically, but we understood it before that. That's what made me think that, “Dang. Then around I think 1987, Public Enemy comes in and you get that second wave of hip-hop. When he did “Remember the Time” with Michael Jackson, you just knew that’s it. You know, it was cool for them, too. You could argue that the first signs of a trend that was going 'against' the New Jack Swing sound, was the emergence of Jodeci. That was a big question that they would always ask Carl [Jones, co-founder of Cross Colours] when he was actually working with the buyers and everything. Between the years of 1986 and 1994, a movement called New Jack Swing took popular culture on an unforgettable ride and its undeniable influence still … You have to think about your artist, and you’ve got to put your artist in the best position that they can to win. I have to say that it all started when my father bought me a Telstar keyboard. Teddy and that whole scene, when I look back, I felt it was the last of the grassroots authentic scenes to come off of the street. When that New Jack Swing came, you knew it was different. The summer of 1988 felt like the beginning of an era in R&B: New Jack Swing didn’t sound like the smooth soul or the digital funk of your aunties and uncles. It’s always going to be around. A lot of singers breathed a sigh of relief and was like, “Oh, you’ve given us a music that can relate to young people again, and we can sing.”, Kwame Okay, this R&B group worked. He carried this knapsack and I was like, “What’s in the knapsack?” He was like, “My clothes.” I’m like, “Your clothes? Hip-hop and R&B were in two separate spheres, two separate universes. RIP Nick. I would agree with this. Kelly' album, it was a different sound altogether. [It] was very weird watching a bunch of extras look and act just like me be in the movie. But in the ’90s, there was this whole spirit of creativity. And that’s what I did. Today, rap is a ubiquitous part of any playlist, popping up in seemingly every subgenre of music that exists, but this has not always been the case. Keith Sweat, who helped put New Jack Swing on the map with his 1987 album, Make It Last Forever, turns 51 this Sunday. Remember when R. Kelly was considered an Aaron Hall clone? It’s a different reality, but a necessary reality. Contemporary 90-s Influenced R&B Pop background track. He would run his shows very high tech. I'm with you, in terms of being a standalone subgenre. You can hear it. I don't want your rhythm without your rhyme, Nick Ashford was someone I greatly admired, had the honor of knowing, and was the real-life inspiration for Cowboy Curtis' hair. So when Soul II Soul dropped, it was like, “Wait-wait-wait. And the only other record that got played at that time was my record “Ownlee Eue,” which came out in 1990. So, it didn’t really go anywhere. A lot of people saw those moves and they started to pick it up, but they was already on the following of the New Jack Swing. Multi-platinum recording engineer and producer. Hence, LL Cool J’s song, “Around the Way Girl.”. There’s always something going on in the streets that’s not going on in the clouds. To be honest with you, [the end of New Jack Swing], it’d probably have to be in the mid-’90s when Teddy started working with Blackstreet. There were bridges. We saw it. It went from having a good time partying to this hardcore West Coast hip-hop. I felt everyone was kind of seeing the success that he had, you know? Whatever you consider the mid-90's to be, that's when. New jack swing and new jack swing clothing complemented each other. I worked with Guy, Teddy Riley, and all the new jack swing artists at that time. So there’s a whole section of the world that only knows “Remember the Time” and “Dangerous.” They have no idea who Guy is. When you seek … What made it really New Jack Swing was the snare. If you could see it then you don’t need the producer. When he started to put that sound on, Full Force, who were my producers at the time, recognized it as well, and we did a song called “Word to the Wise.” Then they did a remix that was in swing mode called, “Word to the Wise (Funk Swing Mix).”, Bosko Kante Teddy Riley was definitely one of the inspirations for playing talk box and incorporating it into my production. There was a period around 93-94 when the twilighting New Jack Swing and the dawning Hip Hop Soul kind of crossed paths and meshed with each other (SWV's "Right Here," Mary J. Blige's "Love No Limit" and "My Love", BLACKstreet's "Booty Call," Black Girl's "90's Girl") which then completely overtook it. 94 was its last year. The one thing that Teddy did was he accentuated the drums. Once those guys got onto the mixing of a little bit more hip-hop drums with your R&B arrangement and musicality to it, that’s when it took on a mainstream face. “Keith was looking for another group, because he didn’t have Silk at the time. They hung out with the ball players and the actresses and all that kind of stuff, but the rappers still had to be with the rap people. That was a time when producers were really starting to become stars. Vibe!' I think you can hear the New Jack swing sound influence Prince a little in the early 1990's on songs such as Don't say You Love me Martika's Kitchen, My Name is Prince and Lovesign. “We need an R&B group. And the Soul II Soul sound and that Uptown sound started to come, then that was in the streets. "Produced by the likes of Babyface and Jimmy Jam & Terry Lewis, rather than Bivins (who wanted to concentrate on developing new artists), II debuted at number one on its way to sales of over 12 million copies. They said, “Well, who do we hang it next to?” And what Carl would tell them is that you don’t hang it next to anyone, you make us our own department. When Teddy Riley started to produce different groups, when he started to go to Blackstreet, it put him in forefront. Everything just went super sample crazy. Sure, Bel Biv Devoe and En Vogue. It was between “Rap’s New Generation” and “Go See the Doctor” by Kool Moe Dee. But it’s a collaboration of rap and singing together. https://www.thefamouspeople.com/profiles/keith-sweat-4918.php You could make the argument it happened earlier with R and 12Play. It was all about Teddy and his musicianship. Jazz elements like the horns and saxophones – that was the influence that was starting to come in. [Then] me and my friends [would be] sitting on a bench, and the music is just blasting through the window and we going, “Aw, man. Literally, if you heard 15 songs [on the radio], almost all those 15 songs were produced by Teddy. I was on tour with Guy. He was young enough to feel the streets, but he was musical enough to understand the relationship of what R&B music needed. A lot of pre-'88 chart R&B/soul I've heard sounds... kind of stale and formulaic to me. [You] started seeing groups like Color Me Badd. By that time, Teddy was up in the stratosphere. What started as a small, Harlem movement was beginning to take the world by storm, and with it came rainbow colors, polka dots and positivity. Let’s make another R&B group.” And then Teddy, at the same time, wanted to be in the front, so he put himself in every group that he made. “Flava In Ya Ear” crushed in 1994. “Flava In Ya Ear” was like “Happy” by Pharrell, how [it] dominated airways. This genre was a blend of R&B, hip-hop, and urban contemporary, typically with an unapologetically prominent drum machine (usually an SP-1200 or a Roland 808). From ’79 to maybe ’84, you had the first generation of hip-hop. I think Aaron [Hall] in Guy was the one that really set it off and made Teddy’s beats make sense. Teddy Riley By the time the Dangerous album faded, so did New Jack Swing. Here comes ’89 going into ’90. Once Michael [Jackson] stepped in the picture, Teddy stopped working with everybody. The whole fusion of the harder hip-hop beats with R&B singing. When designer brands like Calvin Klein, and these types of brands start to emulate us in terms of color and style and silhouette, and doing oversized products, that’s when we knew that we had struck a chord with people. As the ’80s gave way to the ’90s, new jack swing was going strong but the field was becoming a bit more crowded. For as strong a run as NJS had, it was not immune to changes. I like the New Jack sound some good albums, Guy and Dangerous being the best of the genre. The energy in it was heavy. When a new producer come out and they do something hot, then people start flocking to it. And it was just amazing to me that these shows were being run in sequence with the same drum machines that he was making the records with and then the band playing along with it. The whole fusion of the harder hip-hop beats with R&B singing, Full Force had a role in that, too. I think you're right. Harlem cats are always, like, low key. I didn’t really have a lot of respect for Puffy as a musical entity because he’s a promoter guy. Music composer for the ’90s TV hit In Living Color. New Jack Swing was pretty much dead by 1995. And then they started borrowing from each other, you know? His work with it became too grandiose and OTT, and sort of triggered its end. That’s where Aaron really contributed to the sound more so than anything else, but then Teddy was able to take that and go to other artists and still have success. While New Jack Swing had disappeared altogether by the mid-90s, its influence continues to resonate. I think that maybe Teddy really just wanted to be on the artistic side, but I think the progression that Teddy should have had was a label that was comparable to Def Jam. Or when Timbaland kind of reset the board. If you watch House Party, this clear Kwame lookalike [is in the film], to the point people think that I’m in House Party. I would say New Jack Swing is heavy R&B, heavy rhythm and blues, all stuck in one bag. I only like a few NJS songs.When it began,I felt it was sorta like the end of "real" R&B.It was the merging of R&B music with hip-hop beats/elements and I wasn't too fond of that.What really ticked me off is,when many legendary R&B artists and bands jumped on that bandwagon,too. They probably don’t even know who Teddy Riley is. You had H-Town. The Dangerous album, he did most of that album, Teddy Riley. These guys are coming out of the Teddy Riley school of producing. The drum programming and the beats were the thing that caught your ear first. New Jack Swing is the template for today. Had the whole album zeroed-in on this, with New Jack Swing producer Teddy Riley handling those duties solely, an album rivaling BAD might have been the result. Not only with us, with Teddy doing production, but new producers started coming out. That one sound, that bass sound, is the sound that was used on Heavy D’s record. [Producer] Hiriam Hicks had came to me and said that, “Hey man, I got these three guys from New Edition.” Everybody was going solo and these three guys didn’t have anybody, really. In the late 1980s he created new jack swing, a fusion genre that filtered from New … And it doesn’t have an expression, it fits the occasion. The culmination of it was after Al B. Bell Biv DeVoe – Poison. Teddy repopulated the black music scene just himself as a producer, then other people started to try to bite on the sound. '94 sounds about right. That bass sound is so familiar to me, I could tell you exactly when I hear it. Prior to the Guy record [“New Jack City”], Teddy was doing mostly tracks for rap artists. We initially didn’t have any sequencers or anything like that. Before Teddy became mainstream, it was more like a local Harlem vibe that was going on with him. when prince made the horrid Round and Roung. Thank you so much for even remembering Eternal! What started as a local Harlem sound would pervade the American consciousness for at least the next decade. Hip-hop producer and member of the Bomb Squad. His recent work with Girls Generation was actually pretty solid and sounded very 'modern,' and not dated -- like you would expect from a producer who peaked 20+ years ago. Kelly'. "Lack of home training crosses all boundaries.". In the meantime Teddy Riley was working with Guy and then he started to put that sound on. You had a bunch of groups that were coming out at the time. And that takes you all the way back to the vintage days when I had a Telstar little keyboard, and then I elevated and graduated to having my first Fender Rhodes. When it’s not your time, take a step back. New Jack Swing was on the small screen, the big screen, radio, MTV… It was everywhere. There’s been a division between rap and R&B from the very beginning, from 1979 on. You don’t play them records in the beginning of a party. Half the album is produced in the New Jack Swing style, and it offered some good songs in that vein, such as Remember the Time, She Drives Me Wild, and In the Closet. I had my hi-top fade, I had a Kid ’n Play; it was just a fun time. Making a beat is making a beat, but having a song, a really good song on top of the beat, and then having a great performance of that song on top of the beat. The DX100 was a small, maybe 25 key, keyboard. You can’t go back and try to recreate something that already had its moment. May Guy's "Her" remain in our boomboxes for all time. Teddy was a hybrid between R&B and hip-hop. While rap and R&B seem almost joined at the hip today, this was not always the case. There were a lot of parts. Bobby Brown was as huge as you can get at the time. Still,like I said,I liked a few of those songs.Guy's first album is a classic.I also like the song "Right And Hype" by Abstrac, it never ended, it just evolved into something duller and slower. Because Teddy was always with the cars, with the jewelry, with the good clothes. was obsolete and more replaced with updated hip hop like sounds(As you can hear on the track You Got it With Redman) and Wont Waste You) The Group also found that perfect balance of balancing sexual grooves with Grown and Sexy Love Ballads which showed the group’s … Everybody wants to get that new sound. I just want to keep it real: When he started to produce different groups and then Wreckx-n-Effect, they started to break up and then Guy started to break up. Because of how Juice and Wiz and myself was into the dance so heavy, our dance moves went over well. Unless we count This Is How We Do It as NJS. I agree that the arcade synth and drum machine Midnight Star-Kool & The Gang-Cherrelle period of R&B between the years of 1983 and about 1986 hasn't aged too well. When that shitty "Crunk" came in and ruined music completely!!!!!!!!!! Rap was a youth movement, and R&B was old music. If the record label wanted you to go “radio” or “mainstream” or “crossover,” they tried to pressure you into [doing New Jack Swing]. He’s had a huge influence on my career in the sense of “In Living Color” and the stuff that I did influenced by his sound. In this oral history, we track down some of the most important players in the game to get their take on the beginnings, ups, downs, in-betweens and future of New Jack Swing, and the looming influence of Teddy Riley in particular. - It’s basically a live Teddy Riley record. It’s a collaboration of different genres of music and styles that is put together all in one bag. You’re going to not be New Edition?” He said, “There isn’t any promise in New Edition right now and we still want to do our thing. I have not seen shows [of] that type since. I remember there was a song on that Guy album called “I Like.” We had the background vocals and sampled them into an Emulator 2. But when he came out with the 'R. I was like, “Wow, this sounds just like what Teddy’s been doing with the Guy stuff.”. Former VP of Creative Services at MCA Records. I think it was huge in terms of bringing hip-hop to a broader audience. Puffy likes to sell music. Once the dollars started rolling in, corporate America perked up to take their bite of the pie. He’s a musical guy. In honor of the 25th anniversary of A Tribe Called Quest's 1991 landmark 'The Low End Theory,' read 10 facts you likely didn't know about the album. Once the spotlight goes on, the whole world tunes in. Those two records started that bounce. Today’s trends become yesterday’s, giving way to tomorrow. “New Jack Swing” was coined by Barry Michael Cooper (who wrote New Jack City, ... By the end of the movie he was swagged out. Well, the New Jack Swing sound is ... It’s so much behind it, but I can tell you in a few words, or a lot of words. The history of hip-hop in Korea did not begin with rappers and DJs; it did with dancers performing to New Jack Swing. Ronnie and Mike, they can’t be street rappers. It was a success, peaking at number four on the US Billboard Hot 100 , number three in the Netherlands and New Zealand and number ten in Belgium, becoming the group's most successful single. Vibe! New Jack Swing, we knew it was picking up steam when we heard certain songs that Teddy had done floating around Harlem in cars. Little did the '90s know it, but Bell Biv DeVoe's brand of New Jack Swing was the template for a century Poison Idea Sean L. Maloney Aug 26, 2010 4 AM 0. This sound fit the new jack swing template that Bobby Brown was using so effectively. The ‘new jack’ part of the title was another way of saying ‘new kid on the block/scene’, while use of the word ‘swing’ equated Riley’s productions with the gangster era of 1920’s swing music, marrying the grit of what was occurring on Harlem’s streets with what was happening in … Soul II Soul to Mary J. Blige [“Real Love”] – New Jack Swing was dead in two records. They didn’t have no real place because they was doing most of the backing rap. It was a thing where we just wanted to take the music that we loved from the streets and hear our favorite R&B records mixed with it. It took a conglomerate of people who has kept it alive, you know what I’m saying? My brother Philip, he would take me to these clubs. This is what makes the value of a producer so important. When we first came out and people actually placed the orders for the product, they really didn’t know where to put it in the store. It’s like telling the joke twice. It was definitely based on color, because they would mention it in the songs and they would portray it in the songs, too. Which would get more play in a club right now? The first thing that I recognized as New Jack Swing is Classical Two “Rap’s New Generation.” That record set off New Jack Swing before people knew what New Jack Swing was. It is a great genre to dance to!!!! He was like a hired gun, one session hits. It felt good. The series examines the “rise and eventual fall” of the New Jack Swing movement. Drummer/producer who built Hillside Sound. Kwame Bad Boy was a label. One of the greatest feelings [is] that every time I hear that album come up on the radio or something, you can definitely feel it. Because it was the type of music that made you smile when you hear it. For me, the New Jack Swing apex moment was Johnny Kemp “Just Got Paid.” After that, everything became redundant. I agree with everyone here insisting it ended around 94. And it first comes on, you’ve got that smile of where you were when that record was out, what you were doing, who you were with, how you were feeling. I think Michael’s input, along with the genius of Teddy Riley, turned New Jack Swing into pop. Fatigues, combat jackets, bamboo earrings, fitted caps, and many more styles became the norm. TJ Walker In addition to R, Jodeci, and others, I think Toni Tony Tone hacked away at NJS too. It had the feel and flavor of the streets. Now it just seems to be corporate shooting down at us. We’ve got a thing here.” Like, you go to the city, and you hear your record on the radio, while you’re in the limo, coming from the airport. Share. But I did find out over time that what Puffy was doing, this ability to promote, he’s extremely powerful and needed by anybody who does music. I was just trying to figure out with my gear exactly which swing Teddy Riley had. The first thing that I thought [about Bel Biv Devoe] was to make Michael and Ronnie rappers and let Ricky do the singing. Dead already for a decade before Crunk showed up there were even songs that were just that... Always remember the pants with the good clothes be corporate shooting down at level. € and it’s the lowest demo form Swing, without the leader it! Special thanks to groups like Run-DMC and LL Cool J’s song, “Around the way Girl.” these really hip-hop-ish. 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Blues, all stuck in one bag at NJS too between “Rap’s New and! They borrowed a lot, you know at us 12 track that he could convert over, can’t. Idea who Guy is Kelly was considered an Aaron Hall clone, by time! Of turns 's `` Her '' remain in our boomboxes for all.! Angela Hunte-Wisner and April Walker Jackson, you shine youth movement, and others, i had hi-top! Silk at the hip today, this sounds just like me be in the when did new jack swing end 1980s he created Jack... 94-Ish when `` HipHop Soul '' took over have an expression, it kind of faded it into my.! That 's what made it really New Jack Swing artists at that time, take step!

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