1998 Rewind: Remembering Faith Evans, 112, Total and Dru Hill on Oct. 27’s R&B Day

I’ve been very vocal about my love for the year 1998 – I believe it’s one of the last great years in R&B and hip-hop history. Since 2023 marks 25 years since those magical 12 months, 1998 Rewind will look back at some of the best (and most underrated) albums of that time.

October 27, 1998 was massive day for R&B. All three of Bad Boy Records’ R&B acts – 112, Faith Evans and Total – all dropped their sophomore projects on the same day. And that’s not all – Dru Hill’s highly anticipated sophomore effort also landed on that special day.

Four great sophomore albums ON THE VERY SAME DAY. Y’all see why I celebrate 1998 so much?

This week I’m joined by the one and only Brandon O’Sullivan – we call him Theo round here – to revisit four projects that have stood the test of time.

Share your overall thoughts on hearing all four projects for the first time.

Brandon: Ironically, these are all sophomore efforts from each artist, and three of them are Bad Boy releases, which I now own on wax thanks to Rhino re-issuing them. For those new to this, I wasn’t born into the world until two months and three weeks later. The first album I heard from the bunch was Room 112 because of my Dad’s CD collection. My introduction to 112 was the remix to “Only You” on the radio. We have a pop station that plays ‘90s classics, but of course, shout out to BET; they played “Anywhere,” which led me to listen to that album (and listen to their discography later), home to some of my favorite 112 songs.

With Dru Hill, “How Deep Is Your Love” was the first time I heard them, but on the other hand, at the current time, “I Should Be…” and “I Love You” were on music video rotations. With Enter the Dru (and other albums down the line), my parents don’t own these CDs, but I did. My initial reaction as I got older was that this was a dope album, and I praised the harmonies and actual singing (a time when an era was started to lean on moodiness), but then I went back and listened to the debut, and I prefer the tightness and cohesion there.

I’ve heard Faith Evans through the Fatman Scoop and Crooklyn Clan remix of “Love Like This,” which gets me hyped when I listen to it on DJ mixes. I admit, listening to the single/album version, it didn’t hit the same, but it’s good for what it was. I had an older friend who put me onto much music when I got tired of mainstream and stopped listening to the radio. He helped me get into the Bad Boy discography, and when I got to Faith, I got to know her through singles and features, but then the albums were excellent. While not to the level of her debut (because I still have it on rotation), Keep the Faith showcased her ability to convey strength and vulnerability, which I appreciate.

Lastly, “What About Us” was the first track I heard from Total. It’s still my jam. Although I was put onto Bad Boy’s discography, as mentioned, I was in no rush to listen to their projects because I wasn’t overly blown away until I saw the credits that Missy Elliott had a hand in some of the tracks with their second album. While they’re not top-tier vocalists, I like how they showcase their unique vocal styles with a knack for catchy tunes.

Edd: Nothing like these anniversary posts to make me feel like an old head. While our boy Brandon was negative 2 years old at the time, these albums dropped the day before my 19^th birthday and I was very excited to get my teenage hands on the sophomore efforts of my favorite R&B artists.

While I’d eventually purchase all four albums (heh, paying for music, what a time…) the only one of the four I clearly remember copping release day was 112. I was infatuated with their debut and I was a fan of the Lutha-sampling first single “Love Me,” so a purchase was a given – and I was NOT disappointed. Room 112 veered from its ballad-heavy predecessor to give us more diverse sounds, more intriguing samples and more mature themes.  It still stands as one of my favorite albums of the era.

Like 112’s debut, I was a huge fan of Dru Hill’s first album. But unlike 112’s first single, I wasn’t as enamored with Dru’s first single “How Deep is Your Love” – probably because it borrowed its title from the superior Keith Sweat song of the same name, and you can’t steal from the KANG. The album itself, though, was excellent, filled with album cuts that should have been singles.

Honestly, I was a little underwhelmed with Keep the Faith on first listen. Faith Evans’ debut is one of the best albums of its era, and the follow up couldn’t escape the large shadow cast by its predecessor. But thanks to some sturdy album cuts (shout out to “No Way,” “My First Love” and the title track) the album quickly grew on me and I appreciate it much more today than I did when I first ripped the plastic from the CD.

Kima, Keisha, Pam was the last album I copped – I think I got it from my Columbia House subscription months later. And YES I paid the $4.99 or whatever for it – I didn’t steal all my CDs from them like you heathens. Although my girl Missy Elliott was all over KKP, I was a little disappointed that the album cuts weren’t as strong as their earlier Missy/Timbaland collaborations. But that didn’t stop me from wearing the album out on those long road trips to my parents’ house or to my gig at the video game store. I still randomly recite Mase’s verse on “If You Want Me” – it’s engrained in my soul for some reason. The magic of 1998, I guess.

Name the best song on all four albums.

Brandon:

Enter the Dru: “Beauty”

Keep the Faith: “Caramel Kisses”

Kima, Keisha, and Pam: “Trippin’”

Room 112: “Crazy Over You”

Edd:

Enter the Dru: “Beauty”

Keep the Faith: “Never Gonna Let You Go”

Kima, Keisha, and Pam: “Trippin’”

Room 112: “Love You Like I Did”

Which song should have been a single on all four projects?

Brandon:

Enter the Dru: “The Love We Had (Stays On My Mind)”

Keep the Faith: “Caramel Kisses”

Kima, Keisha, and Pam: “If You Want Me”

Room 112: “For Awhile”

Edd:

Enter the Dru: “The Love We Had (Stays On My Mind)”

Keep the Faith: “Keep the Faith”

Kima, Keisha, and Pam: “If You Want Me”

Room 112: “For Awhile”

And what’s the most underrated song on each project?

Brandon:

Enter the Dru: “One Good Reason”

Keep the Faith: “My First Love”

Kima, Keisha, and Pam: “The Most Beautiful…”

Room 112: “Funny Feelings”

Edd:

Enter the Dru: “Holding You”

Keep the Faith: “My First Love”

Kima, Keisha, and Pam: “Press Rewind”

Room 112: “The Only One”

Let’s talk Total! Which song features the best production:

Brandon: “Trippin’”

That beat for “Trippin’” was ahead of its time. The song’s production is a melting pot of diverse influences, blending R&B, hip-hop, and electronic music elements. Timbo’s signature syncopated rhythms and unconventional instrumentation are evident. Missy Elliott’s mark brings a playful edge to the track by bringing her intrepid creativity, which includes unexpected transitions and layered harmonies. Her knack for crafting catchy hooks is also evident, making the song a technical marvel—also, much love to Darryl Pearson and Mario Winans.

Edd: “Trippin'”

“Trippin'” is peak Timbaland production – a beat that on paper has no business working but, in the right hands, becomes an instant hit. What sounds like sneakers squeaking across a soapy kitchen floor becomes the perfect compliment for Total’s frantic, head-over-heels emotions. Like Theo said, shout out to Missy, Mario Winans and  Darryl Pearson as well – there were a lot of cooks in the kitchen but the results were satisfying.

This was the final album from Total. Should they have given us more, and if so, what direction should they have taken?

Brandon: Yes. Leaving the stage with a solid final act can be wise. The music industry is fickle, and the pressures to adapt or conform can sometimes dilute an artist’s original vision. However, outside of Pamela Long’s self-titled EP from last year, I would love for them to give us one more album. Their unique blend of R&B, hip- hop, and soul samples (aka, The Bad Boy Sound) had already significantly impacted, and further observation could have been rewarding. They might have delved into more experimental sounds, incorporating neo-soul or electronic music elements (not mainstream trap or cut-and-paste Afrobeats), gaining prominence then. This could have allowed them to evolve while staying true to their roots, attracting old and new fans.

Edd: It absolutely felt like Total left money on the table by not giving us a third album. Their peers 112 and Faith both went on to drop incredible albums in 2001, and it’s not a stretch to think Total would have done the same. Theo makes a good point though – as architects of the Bad Boy Sound, it would have been cool to see the ladies branch out. Electronica might have been a little too ahead of the curve in 2001, but a warmer, neo-soul type sound could be interesting. We got brief glimpses of a more subtle approach on both “Kissing You” on their debut and “Sittin’ Home” on the follow up album, and both worked very well. Total definitely deserved one more round.

Let’s turn to Keep the Faith. How does this stack up to Faith’s legendary debut?

Brandon: When Keep the Faith arrived in 1998, it faced the unenviable task of living up to its predecessor, especially after Biggie’s untimely passing. While it is a strong album in its own right, several factors contribute to it not quite reaching the heights of her debut. Faith Evans’ debut was groundbreaking in its fusion of soul, R&B, and hip-hop elements. It arrived when the R&B landscape was ripe for innovation, and Evans seized the opportunity. By contrast, Keep the Faith didn’t break new ground in the same way; it was more of a continuation than a revolution. A few of the beats pale in comparison and lack the oomph from her self-titled, and her vocals are still strong, but they don’t always capture the same level of emotional nuance.

Edd: As I said above, I think it’s several steps behind that landmark debut, but that doesn’t mean Keep the Faith is a bad album. It’s biggest sin is that it lacks the grit and edge that made the debut so memorable. Instead, Faith is much softer and reflective. Again, that’s not a negative – when done well, that’s when the album really shines. But there are times when the album is a little too gentle and breezy, making some songs nondistinctive. Keep the Faith’s message is growth through adversity. Though it lacks of the highs of Faith, her journey is still memorable.

What’s the best written song on Keep the Faith?

Brandon: “Life Will Pass You By”

One song that stands out for its lyrical depth and emotional resonance is “Life Will Pass You By.” Lyrically, the song opens with a reflection on the passage of time, noting how quickly life can change. Faith Evans opens the song, “I’ve got three children to think about first/I’ve got so much to do/Little time to work.” But the song’s bridge offers a moment of introspection for me, as Evans sings, “Time flies when you’re with someone you love/But love seems to stop when you’re far apart.” The bittersweet nature of love and time, how they can both be a source of joy and pain. I miss good songwriting.

Edd: “My First Love”

I don’t know if it was ever confirmed, but in my head cannon, “My First Love” served as Faith’s final farewell to her estranged husband:

To fall in love was something that my heart was dreaming of
And then there came the day when I found you
Then heaven came to earth and you were my angel
I fell in love with you
No one but you
And suddenly I saw the change that came into your eyes
I feel you were afraid to tell me why
I thought this thing called love would be forever
I thought our love was true
And now the pain of losing you

It’s a story of love found, love tested, and eventually, love lost. And Faith’s delivery aches with sorrow. Faith, my girl Kelly Price, the legendary Chucky Thompson (and Puff too, allegedly…) all deserve credit for this emotional rollercoaster.

112 time! What’s the best interlude on Room 112?

Brandon: “Don’t Go Away (Interlude)”

One thing about 112 is that they’re excellent with interludes. Shoutout to Stevie J for producing three of the four. It was a toss-up between “So Much Love” because it sets the tone and “Don’t Go Away,” where everybody goes off. I’m leaning toward the latter—so much passion in the singing (yes, including Slim). This emotional weight adds depth to the album, countering the more upbeat or sensual songs.

Edd: “Don’t Go Away (Interlude)”

I kinda forgot how many interludes were on this record until I worked on this post, and each one succeeds in their own right. I ALMOST gave the dub to the “Anywhere” interlude – I LOVE the production but the homie Slim goes a little overboard. We hear you playa, yes, y’all can make love in the shower if you want, YOU DON’T HAVE TO SCREAM AT US LIKE MEEK MILL. “Don’t Go Away,” though, deserves to be a full song, thanks to the guys’ brief but stirring performance.

And what’s the album’s best vocal performance?

Brandon: “Crazy Over You”

In “Crazy Over You,” the vocal performance is marked by a sense of urgency and passion. The group’s harmonies are tight, and the lead vocals are delivered with avidity that captures the song’s central theme of being overwhelmingly in love. While not overly elaborate, the vocal runs and riffs are executed precisely, adding flair without overshadowing the song’s emotional core. The song’s arrangement allows each member to shine, offering moments where individual voices break from the harmonious collective to deliver lines imbued with personal emotion; that is what’s missing in mainstream R&B, where most sound sleepy with no feelings attached. I hope we return to that if we, as modern fans, give new music like this a chance.

Edd: “Crazy Over You”

When Theo’s right, he’s right. I’ve complained for years about the lack of passion in modern R&B. Younger fans don’t get it because, well, they haven’t heard it. When you’ve been fed a steady diet of Summer Walker and Jhene Aiko, every song sounds like you’re snoozing through history class. But here, 112’s passion explodes through every note. They aren’t just telling you they’re crazy in love, they’re showing you. And you FEEL it. It’s not the only example of impassioned vocals on this album, but it’s easily the most memorable.

And finally, let’s get to the Dru boys. Which member is the MVP of Enter the Dru?

Brandon: Sisqó

This LP was the coming out party for Sisqó. While the group’s self-titled debut album showcased Jazz as a standout with his velvety vocals and delicate delivery, Enter the Dru was a different narrative altogether, where Sisqó seized the reins and emerged as the most valuable player. In Enter the Dru, Sisqó’s vocal dynamism and charismatic stage presence became the focal point. His voice, capable of both tender falsettos and robust belts, added a layer of versatility to the group’s sound.

Most of the album’s songs showcased his ability to navigate complex emotional terrains, from passionate love to introspective vulnerability. His vocal acrobatics were imbued with emotion, making the songs resonate deeper. Sisqó’s flair for theatrics and his knack for memorable hooks made him a magnetic figure. His showmanship was evident in the vocal delivery, music videos, and live performances, where his energy was often the driving force. This album was a precursor to his solo career, giving audiences a glimpse of the star he was destined to become.

Edd: Jazz

Let me make it clear – Sisqo is the star of this project. If it wasn’t already clear from his performances on Dru’s debut, it was absolutely evident by this second album. But Enter the Dru cemented Jazz as Dru’s secret weapon. From standout performances on “Holding You,” to his stirring contribution to  “These Are the Times,” Jazz always brought a gentle elegance to tracks, while Sisqo was yelling about tearing up some poor woman like Reese’s Pieces. Sisqo is the sizzle, Jazz was the steak.

Does this Enter the Dru beat the group’s debut?

Brandon: While both albums showcase the group’s vocal excellence and knack for emotive writing, Enter the Dru doesn’t quite surpass the debut effort. The debut album had a more cohesive feel in terms of production and thematic depth. “Tell Me,” “In My Bed,” “Never Make a Promise,” and “5 Steps” were not just hits but also thematically interconnected. Enter the Dru, while ambitious, sometimes feels like the songs run together rather than a unified narrative. The album loses some of the focused R&B essence that made the debut compelling, even though I appreciate some variety. The production on the first album was more restrained, allowing the group’s vocal harmonies to take center stage. The album has a somewhat jarring sequence, with upbeat tracks abruptly followed by ballads, which can disrupt the listening experience. While it’s still strong, the lyrics on Enter the Dru don’t always reach the poetic heights of those on the debut album, occasionally veering into cliché territory.

Edd: This seems to be a contentious subject on the Innaents – like almost every subject, actually. Although I’d say it’s close, nah, Dru’s debut album boasts a bit more consistency than its predecessor. Their 1996 album is expertly sequenced – every track flows perfectly and there are no dead spots. Enter the Dru, on the other hand, takes awhile to get going. Things truly don’t take off until track 5, a slight issue that could have been remedied with better sequencing. Honestly though, that’s just Unbiased Album Reviewer nitpicks. Both albums are incredible – the debut just has fewer holes.

Overall, how would you rank all four albums, and why?

Brandon:

Room 112
Enter the Dru
Keep the Faith
Kima, Keisha, and Pam

I can’t even lie; it was easy to rank these four albums. Now, don’t get me wrong. Total’s album is a solid R&B album but perhaps lacks the standout qualities that make the other albums on my list more memorable. Keep the Faith is a deeply personal album that resonates on emotional and vocal levels but might lack the stylistic diversity of the other albums mentioned above. Enter the Dru is a great album, but it has some skips (“Real Freak,” for example), and that’s why Room 112 reigns supreme — the album showcased vocal versatility and harmonic suitability along with cohesiveness within various production styles that deviated a ballad- heavy approach from their debut.

Edd:

Room 112
Enter the Dru
Keep the Faith
Kima, Keisha, and Pam

Agreed, this list kinda ranks itself. Total was great at making catchy singles but they never reached their potential to deliver top-tier albums like their peers Faith, 112 and Carl Thomas. I’ve already shared the pluses and minuses of Keep the Faith – a very solid album by 2023 standards, probably even an R&B album of the year contender if released today. But 1998 was a much more competitive landscape and it was often too nondistinctive to hang with the big dogs. That just leaves Dru and 112 – it’s a close race but, as I mentioned above, sequencing issues and a couple of so-so tracks put it a step behind the winner. Those 112 boys had 1998 on lock, and Room 112 is their best album to date.

Are any of these albums R&B classics?

Brandon: While I don’t think Total, Faith Evans, and Dru Hill albums are classics, I struggled with 112 the most, despite what I consider their best and a damn-near- perfect album. The late ‘90s were a golden era for R&B, with numerous classic albums released. In such a competitive landscape, Room 112 was excellent but didn’t necessarily redefine the genre; it was a product of Bad Boy. While influential, the album hasn’t maintained the same level of cultural relevance over time as some other works from the era. A “classic” often transcends its initial context and continues to be discovered and appreciated by new generations, a criterion that Room 112 hasn’t fully met.

Edd: At the risk of infuriating the FayeHive or whatever they’re called, let’s go ahead and eliminate Total and Faith off the bat. I enjoy both albums but to be deemed a classic, you have to bring more to the table than “album I kinda liked 25 years ago.” Enter the Dru and Room 112 both boast the quality and career impact needed to be in the running for the cherished “classic” label, but here’s the true test – did they make an impact on the genre of R&B itself? I can’t say either did, certainly not in the way albums like The Miseducation of Lauryn Hill or Brandy’s Never Say Never broke ground in the same calendar year and influenced generations to come. It might be a stretch to call Kima, Keisha, Pam, Keep the Faith, Room 112 and Enter the Dru classics, but you absolutely should call them headliners during one of R&B’s last great eras.

Whew, that was a lot. Share your memories of these four great albums below.