Nineties R&B continues to thrive, whether through samples or major tours. The R&B group 112 is gearing up to kick off their “Room 112” tour, joined by fellow nineties acts Case, special guests, and their former label mates Total. While I plan to appreciate all the acts, I want to spotlight the ladies first and their sophomore album, “Kima, Keisha & Pam.”
Released in stores on October 27, 1998, the album’s momentum began a year earlier when Total appeared on the “Soul Food” soundtrack with the Timbaland-produced hit “What About Us,” featuring Missy Elliott. The trio would reunite with Timbaland and Missy for the album’s first single, “Trippin’.”
With Missy Elliott adding her unique flair and Puff Daddy guiding the vision, the track pulsed with that unmistakable Bad Boy swagger—glossy, seductive, and ready for radio. Missy’s off-kilter bounce gave “Trippin’” a futuristic groove, while the ladies’ harmonies kept it rooted in R&B tradition. It wasn’t just a hit; it was a statement that Total hadn’t missed a beat.
Next came “Sitting Home,” a slow-burning anthem that captured the ache of love and loneliness with raw emotion. The song’s simplicity—a tender melody and heartfelt vulnerability—resonated deeply. It proved that Total could hold down the soulful side of the Bad Boy roster without relying on any rap verses.
By the time “I Tried” was released, the group was showcasing its maturity. The track shimmered with themes of heartbreak and reflection, reminding listeners that even in a label known for flash and bravado, there was room for depth.
The guest appearances rounded out the album’s energy, with label mates Mase, Carl Thomas, and Black Rob contributing that signature Bad Boy chemistry that defined the late ’90s. It was more than collaboration; it was a sense of community. The album’s biggest misstep is the Diane Warren-penned “I Don’t Wanna Smile,” a song the group doesn’t have the powerful vocals to deliver truly.
While “Kima, Keisha & Pam” may not have reinvented the wheel or solidified Total’s status as one of R&B’s most essential girl groups, it was unapologetically sensual, stylish, and a quintessential slice of nineties Bad Boy R&B.
Final Grade: B
“Kima, Keisha & Pam” is available on all streaming platforms.
For this week’s Second Listen Sunday, I want to revisit 2004 and highlight Romeo’s debut solo album, formerly of Immature. Titled “Food for Thought” and released on June 22nd, this project marked the singer’s change of name to Young Rome in an effort to distance himself from the youthful sound of his group, much like his bandmate Marques Houston had done a year earlier.
In the nineties, Hip-Hop reigned supreme, and every label CEO wanted a share of the lucrative R&B market. One strategy was to keep singers on their roster who could deliver catchy hooks, keeping everything in-house and saving money. Bad Boy had Carl Thomas, Death Row had Danny Boy, and Roc-A-Fella had Rell, our featured artist for this week’s Slow Jam Saturday
Growing up in the eighties, I was surrounded by incredibly talented male R&B singers who could deliver unforgettable love songs. Artists like Luther Vandross, Jeffrey Osborne, and Peabo Bryson dominated the airwaves, but Freddie Jackson was another voice that truly deserved recognition.