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.
My introduction to Nate Dogg goes back to Dr. Dre’s 1992 debut, The Chronic, and the song “Deeez Nuuuts.” Even then, something about Nate’s voice set him apart from everybody else. He wasn’t just singing on rap records. He was bringing soul, gospel, street knowledge, and West Coast cool into the same space. He set the standard for hook singers in hip-hop, and dare I say, he’s still vastly underrated.
For this week’s Slow Jam Saturday, I wanted to give Stevie Wonder his due as he prepares to celebrate the 50th anniversary of his masterpiece, “Songs in the Key of Life,” on tour. While the easy choice could have been “Knocks Me Off My Feet”—a classic that still resonates fifty years later—I chose “From the Bottom of My Heart,” the second single from his twenty-third studio album, “A Time to Love,” released in 2005.
It’s hard to believe that an iconic singing competition like American Idol has produced only two Black male winners in its more than two-and-a-half-decade history. Jamal Roberts made history last year when he won the show, following Ruben Studdard’s well-deserved victory in Season Two.