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.
I’ve always been a fan of Eric Bellinger. My admiration stems not only from the records he has released under his own name but also from the impressive career he built behind the scenes. Long before casual R&B listeners recognized his face, they were already familiar with his songwriting through tracks he penned for artists like Chris Brown, Usher, Justin Bieber, and Wale.
As many of you know, I had the opportunity to visit Paisley Park earlier this week while vacationing in Minnesota. During the tour, our guide shared that an expanded edition of Prince’s album “Parade” is expected to be released to celebrate its 40th anniversary. After spending the day exploring the Twin Cities, it felt like the perfect excuse to revisit one of the most fascinating and underrated albums in Prince’s legendary catalog.
One of the reasons I’ve always considered Prince to have the edge over Michael Jackson is his remarkable collection of ballads and