#laface records

[sbrown82]

TLC - “No Scrubs” (1999).

[kemetic-dreams]

[tha-wrecka-stow]

The Album

The Single(s)

[nineteenfiftysix]

Donell Jones - U Know What's Up (Feat. Left Eye) (Where I Wanna Be, 1999)

[surra-de-bunda]

Toni Braxton photographed by Nick Vaccaro for YSB Magazine (September 1996).

In June 1996, Braxton released her second album ‘Secrets’. Motivated "to include a little bit of everything," Braxton reteamed with Babyface, but also worked with R. Kelly, Tony Rich, and David Foster on the album, which she co-produced. A major success, it peaked at number two on the Billboard 200 and reached the top ten on most international charts. After 92 weeks in the charts, ‘Secrets’ was certified 8× platinum, becoming Braxton's second straight 8 million-seller. Internationally, Secrets sold more than 15 million copies, further cementing Braxton's superstar status. The album's first single, "You're Makin' Me High", marked Braxton's first number-one hit on the US Billboard Hot 100, while follow-up "Un-Break My Heart", a ballad written and composed by Diane Warren, became the biggest hit of Braxton's career yet. It spent eleven consecutive weeks at number one on the Hot 100 and enjoyed worldwide top five success. As a result, Braxton topped several of Billboard's year-end charts, and won two Grammy Awards; one for Best Female Pop Vocal Performance for "Un-Break My Heart" and Best Female R&B Vocal Performance for "You're Makin' Me High" as well as two American Music Awards for Favorite Female Soul/R&B Artist and Favorite Soul/R&B Album. Still waiting on her financial rewards, Braxton eventually launched an unsuccessful lawsuit against Arista and LaFace Records. Soon after, she filed for chapter 7 bankruptcy. Public reaction to these events were very harsh, having been expressed most clearly in an interview on The Oprah Winfrey Show.

[retropopcult]

"No Scrubs" is a song recorded by American group TLC from their third studio album, FanMail, released on February 2, 1999, by LaFace Records and Arista Records. The song was written by producer Kevin "She'kspere" Briggs, former Xscape members Kandi Burruss and Tameka "Tiny" Cottle, and TLC member Lisa "Left Eye" Lopes. Rozonda "Chilli" Thomas sang the lead vocals for the first time on a TLC single.

"No Scrubs" was commercially released on March 23, 1999, after it was distributed to radio.  It peaked at #1 on the Billboard Hot 100 on April 9, 1999 where it remained for four weeks and was the second biggest selling single of the year, behind Cher's "Believe".

The music video was directed by Hype Williams and is set in a futuristic space station, where the trio wear silver and blue metallic outfits. Thomas initially felt apprehensive about going on the swing, constantly practicing before the shoot until she did not want to get off afterwards. The scene at the end showing the three fighting each other and being silly was a result of the tube moving and the group attempting to fight against the moving set, with Thomas and Lopes hitting each other by accident. TLC went on to win the Video Music Award for Best Group Video at the 1999 MTV Video Music Awards.

[chefboyar-zeee]

Idlewild - Roundtable Jukebox

Idlewild is a musical drama film released in 2006, directed by Bryan Barber and starring the hip-hop duo OutKast, which consists of André 3000 (André Benjamin) and Big Boi (Antwan Patton). The film is set in the Prohibition-era South and blends elements of music, drama, and crime with a jazz and hip-hop-infused soundtrack.

This was a beautiful film and very aesthetic. I have not seen another musical quite like this one and it’s for a reason. Here's why...

What are the social aspects within the film’s narrative that align with the film’s songs? 

The characters in "Idlewild" demonstrate resilience in the face of adversity, a theme echoed in the film's music.  Many songs highlight the characters' determination to overcome obstacles and fight for their dreams, reflecting the broader struggle for justice and equality.

The film's love songs align with these themes, expressing the joy, passion, and challenges of love.

Rooster's involvement in the criminal underworld is depicted through intense and energetic musical numbers that convey the danger and excitement of his lifestyle.

The film's songs reflect their desires for a better life and their struggles to achieve their dreams. Percival's introspective ballads, for instance, convey his longing to break free from his small-town life and pursue his passion for music.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

Most of the songs in Idlewild had already been featured on the OutKast albums Big Boi and Dre Present...OutKast and Speakerboxxx/The Love Below, essentially making it a jukebox musical. Seven of the songs from the film, along with several unreleased songs, were released by LaFace Records as an OutKast album entitled Idlewild at the time of the film's release.

This is such an interesting question for my film considering all the film’s score was performed and produced by the lead actors, Andre 300 and Big Boi, with a few credited features in the film. Obviously it isn’t just circumstance that the leads were a famous Hip-Hop duo, so it isn’t hard to assume that the actors/artists were chosen specifically to star in this film for their transformative and notable music style and sound. Without their unique sound and talent for performing, the film could not, and would not be what it is. 

The historiography of this film is unique in the way that the character actors are also the creators of the featured soundtrack. On one hand, the audiences may feel more compelled to the characters and their narrative because they are in support of their music exclusive to the film, as well as some of their originals. In general though, I think historiographies definitely inform the audience’s relationship to a narrative. It can make you more engaged with the characters and their conflicts if you personally feel the music is fitting, or on the other hand, it can make you understand and better comprehend the narrative you're following because you may be familiar with the meaning and significance of the music. I also think about people’s ability to see artists they like and songs they love being performed in a different medium. In a way, your brain might see the visuals from the first time they heard it; or maybe the song originally had a music video. It’s up to directors to build the narrative strongly around the music.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

The hip-hop, funk, and soul stylings of the song score are intentionally anachronistic, a choice made to complement the film being set in 1935. Elements of 1930s-era blues and jazz music are, however, featured prominently in many of the musical numbers. The film's dance numbers, choreographed by Hinton Battle, also feature many period dances, primarily the jitterbug and showgirl moves, like featured in the above video.

The film does a lot of blending hip-hop with jazz, blues, and gospel influences.

Idlewild is known for its visually stylized and innovative approach to storytelling, incorporating musical numbers, fantasy sequences, and animation. 

The film defines itself by taking place in the 1930s, in addition to casting vetted performers and songwriters as your leads. The musical simply wouldn't have the same storytelling element had anyone else written the soundtrack, whether prior to the film or not.

#oxyfilmmusical #disguisedmusical @theuncannyprofessoro

[dandyads]

LaFace Records / Waterfalls by TLC, 1995

Theme Week: Music 🎤

[mymelodic-chapel]

TLC- CrazySexyCool (Hip Hop Soul, Contemporary R&B) Released: November 15, 1994 [LaFace Records/ Arista Records] Producer(s): Dallas Austin, Babyface, Sean "Puffy" Combs, Jermaine Dupri, Jon-John, Organized Noize, Chucky Thompson

[pink-history]

On This Day in Pink History, 14th December 2010, Fuckin' Perfect was released

On This Day in Pink History, 14th December 2010, Fuckin’ Perfect was released Fuckin’ Perfect was released by LaFace Records and RCA Records as the second single from The Greatest Hits… So Far! The song was written by Pink with Max Martin and Shellback, and it was also recorded as a radio-friendly edit – ‘Perfect’. The song received mostly positive reviews from music critics, and it also received…

[myxbacktrax]

Un-Break My Heart - Toni Braxton (1997)

“Un-Break My Heart” is Toni Braxton’s 2nd single released via LaFace Records off of her second studio album, Secrets, with Diane Warren as the writer of this ballad. Braxton, however, expressed dislike for this song, explaining that she didn’t want another “heartbreak track” even though it was a worldwide success, and won her a Grammy Award for “Best Female Pop Vocal Performance” in 1997. Producer L.A. Reid was able to convince Toni Braxton in the end to record and feature “Un-Break My Heart” in her album.

“Un-Break My Heart” peaked at number one on the Billboard Hot 100 in the United States, and stayed there for eleven weeks, while achieving similar success on the Hot Dance Club Songs and Adult Contemporary Charts. In 1998, when Billboard celebrating their forty years of charting from 1958 to 1998, “Un-Break My Heart” was declared the most successful song by a solo artist in the history of the Billboard Hot 100 Chart.

“Un-Break My Heart”, expectedly, achieved success in Europe as well. By topping the charts in Austria, Sweden, Belgium (Wallonia), and Switzerland, and reaching the top number fives in more than ten countries.

The corresponding music video was directed by Bille Woodruff and premiered on September 10, 1996 via MTV. “It portrays Braxton mourning the death of her lover, while remembering the good times they had together.”

Toni Braxton’s live performances of “Un-Break My Heart” include the ones at the Opening Ceremony of the Billboard Music Awards in 1996 and as the closing number of the Libra Tour of 2006.

A Spanish version of the song was featured as a bonus on the album, titled “Regresa a Mi”.

[lboogie1906]

Clifford Joseph Harris Jr. (born September 25, 1980), known by the stage names T.I. and Tip (often stylized as TIP or T.I.P.), is a rapper, actor, record producer, and entrepreneur. He signed his first major-label record deal with Arista Records subsidiary LaFace. He released his debut album and only project with the label, I'm Serious, and formed the southern hip hop group. He is known as one of the pioneers of the hip-hop subgenre trap music. He, a three-time Grammy Award winner, has released 11 studio albums, with seven of them reaching the top five of the US Billboard 200 chart. He has released several highly successful singles, including Billboard Hot 100 number-one hits "Whatever You Like" and "Live Your Life". He earned more prominence with the release of Trap Muzik, which included the Top 40 songs "Rubber Band Man" and "Let's Get Away". His albums, King and T.I. vs. T.I.P., generated high record sales and were supported by popular singles, such as "What You Know" and "Big Shit Poppin' (Do It)". His sixth album, Paper Trail, became his most successful project, with the album being certified gold for first-week sales of over 500,000 copies in the US, making it his third consecutive number one album. He branched out into entrepreneurship with his label, Grand Hustle Records, which he co-founded in 2003 with longtime business partner Jason Geter. Prominent industry acts have been signed to T.I. through the label, including Travis Scott, B.o.B, and Iggy Azalea. He has starred in the ATL, Takers, Get Hard, Identity Thief, Ant-Man, and its sequel. He is a published author of two novels, Power & Beauty and Trouble & Triumph, both of which were released to moderate success. He has starred in the American reality television series T.I.'s Road to Redemption, T.I. & Tiny: The Family Hustle, and The Grand Hustle. Billboard ranked him as the 27th best artist of the 2000s decade. He married Xscape member Tameka "Tiny" Cottle, they have two sons and one daughter. He has two sons with Lashon Dixon and a daughter from a relationship with R&B singer Ms. Niko. He has one stepdaughter. #africanhistory365 #africanexcellence https://www.instagram.com/p/Ci7jXlSrR7D/?igshid=NGJjMDIxMWI=

[boricuacherry-blog]

Debra Killings is notable for her extensive session and background vocal work for LaFace Records and artists like TLC. The Atlanta native is also a bassist.

She appears on the majority of recordings in TLC's catalogue and on Monica's first two albums, and has performed both background vocals and bass on several Outkast albums, including ATLiens and Aquemini. She also plays bass on Carlos Santana's album All That I Am album.

In the 90s, she was a singer in the R&B group Modest Fok.

In 2002, Killings signed to Verity Records and released her debut solo album, a gospel LP entitled Surrender, in 2003.

[thesinglesjukebox]

USHER FT. SUMMER WALKER AND 21 SAVAGE, "GOOD GOOD"

Song title *handshake emoji* score...

[6.64]

TA Inskeep: I love the lyrical conceit of this. It's a bit off-brand for Usher, who even admits in the first verse, "Usually my exes turn to enemies" -- and who's recorded more songs about their exes? But this is so positive, across Usher's, Walker's, and 21's verses; it's also quite buoyant for a defiantly midtempo record (that bass thump is doing a lot of work). Walker sounds great alongside one of the great R&B artists and singers of the past 30 years. Even 21, whom I usually scorn, fits right in here. Genuinely superb R&B.  [9]

Dave Moore: A solid breakup jam, albeit a little Madame Tussauds -- but I would pay to see Usher's likeness there and maybe, if the guards aren't looking, touch his abs. Diminishing returns for collaborators, though; I wish 21 Savage would just start licensing his name for songs without feeling obligated to rap on them.  [6]

Jeffrey Brister: Love changes as you grow older, and sometimes saying what you feel can be a little goofy. But being vulnerable and honest and direct can transform corniness to earnestness. The lyrics are silly but affecting, mature and heartfelt. There’s history behind them, lessons learned from pain. And it’s also got a pitch perfect sex-jam production, which is the kind of delightful irony that I can get behind. [8]

Alfred Soto: Usher's best album since 2004 has stronger jams, the mid-tempo ones especially. His forked tongue of a falsetto flicks at this by-the-numbers breakup jam. Summer Walker's fine. 21 Savage offers to help her pay for a salon. That's generosity, folks. [7]

Daniel Montesinos-Donaghy: The key figure behind this sweet mid-tempo jam is Nija Charles, a Grammy-nominated songwriter that’s also behind some other songs you may know. On her Youtube account, there’s a video from summer 2022 showing her working through the creative process in a studio. At one point, the video mutes and the subtitle "NIJA FINALIZING AN USHER RECORD" pops up; with no other credits on Usher’s latest LP, let’s assume "Good Good" was being developed at this point. Moments later, a snippet plays with Charles’ voice: “kissing the past goodbye […] / we can’t be friends.” (Internet sleuths believe this song will be on Ariana Grande’s upcoming album.) "Good Good" is a warm handshake that sounds genuinely sincere coming from Usher and Summer Walker (21, not so much), but it’s also interesting in the wider context of Charles’ career, exploring both sides of an emotional situation. Sometimes you stay friends, and sometimes you just don’t. [7]

Nortey Dowuona: LA Reid started as a drummer for Pure Essence, then a drummer for The Deele, which led him to form a label with Kenneth Edmonds called LaFace co-funded by Clive Davis. And then he signed 14 year old Usher Raymond IV, held onto him after he lost his voice, then sent him to Diddy. After the mixed success of Usher's self-titled debut, co-executive produced by Diddy, Reid relaunched Usher's career with My Way, his partner Kenneth an executive producer. I'm saying this to say, there's a reason I am rating this pretty solid 8 song a 0, I hope you look up Antonio Reid and Drew Dixon and I will say no more on the matter. [0]

Aaron Bergstrom: Producers Mel & Mus stretch out a pleasantly nuanced tightrope of simultaneous attraction, heartbreak, and nostalgia, and one at a time Usher, Walker, and Savage step out onto it. Usher can't make it through the first two lines of the hook without equivocating, and even though you probably ain't getting back together, he's going to leave the door open a crack. (Come on, remember how much your parents love him? What, are you just going to start from scratch with some new guy?) Walker wants that door shut but she wants you to shut it, and honestly the sooner you find someone new and move on, the better. (Now, has she found someone new? That's none of your business.) Savage is taking big swings all over the place, and while they don't all hit (I've never paid for a woman's plastic surgery before, but I'm pretty sure you're supposed to keep that to yourself) you have to give him credit for exploring new dimensions of partnership (If you can't go halves on a baby, why not go halves on a salon?). Honestly, I'm rooting for all three of them. [7]

Oliver Maier: One of those collaborations where the whirr of corporate gears seems almost to drown out whatever nice things might be happening underneath. As far as I can make out: Usher is Ushering pleasantly, Summer Walker is SZAing adequately, 21 Savage is... starting to feel something like this decade's Big Sean? I really want to do a qualitative adjective (qualitative adjective) line here but that's obviously going to be the subheader joke and everyone else is probably going to do one too. [5]

Katherine St. Asaph: Usher's Dorian Gray painting must be found and studied. [7]

Brad Shoup: I had to do a triple-take at the end of Walker's verse -- I thought she was singing "lovers & friends." That's the power of Confessions, I guess: twenty years later, a slow-jam single that I thought was a sly inversion of "Yeah!" still has legs.  [7]

Will Adams: Usher in confessional mode still works; "Good Good" captures the bittersweetness of quashing feelings for an ex in favor of taking the high road and being okay with that. It's not until 21's verse where the "haha just kidding... unless?" subtext surfaces, but the placement following Usher's and Summer's verses serves as that dormant yearning that adds an additional dimension. [7]

Jacob Sujin Kuppermann: A total masterpiece of guys lying to you -- perhaps the finest example of the form since “Suspicious Minds.” When Usher says he’ll be happy when you find another? A lie. When Summer Walker says she doesn’t do drama? A misdirection. When 21 Savage promises to fund your small business? A total fabrication. [8]

Ian Mathers: This is easily the most I've ever related to Usher. I told my ex that last sentence would probably be most of my blurb and she agreed I should go with that. [9]

Isabel Cole: I have in fact long believed that there should be more songs about being on decent terms with an ex. [6]

[Read, comment and vote on The Singles Jukebox]

[retropopcult]

"No Scrubs" is a song by American pop/R&B group TLC released as the lead single from their third studio album, FanMail, by LaFace and Arista Records. The song was written by producer Kevin "She'kspere" Briggs, former Xscape members Kandi Burruss and Tameka "Tiny" Cottle, and TLC member Lisa "Left Eye" Lopes.  Rozonda "Chilli" Thomas sings the lead vocals for the first time on a TLC song.

"No Scrubs" became TLC's third number-one single on the US Billboard Hot 100, where it peaked for four consecutive weeks in June 1999.  It was the #2 single of the year by sales, and went on to win “Best R&B Performance by a Duo or Group” and “Best R&B Song” at the Grammy Awards.