louiesmixtape

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the spice girls know how to craft a great pop song. the iconic quintet is best known for their empowering anthems and distinct personas, but hardcore fans are more than aware that the group not only wrote every original song they released but mastered the art of storytelling.

when founding member geri “ginger spice” halliwell sent shockwaves through the universe when she announced her departure from the group at the zenith of the group’s success, the spice girls were set to release the double-A sided single for the brilliant disco-tinged “never give up on the good times” and the emotionally moving and exquisite ballad “viva forever.” (give these tracks a listen now if you have not already!) but with halliwell’s departure, only “viva forever” would be released as a single in july 1998. it was the last single lifted from their sophomore effort, “spice world.”

in december 1998, the spice girls released yet another brilliant and poignant ballad. “goodbye” was originally conceived while geri was still part of the group, but during the US leg of their world tour, the remaining four members reworked and recorded the song.

“goodbye” showcased the group’s beautiful harmonies, especially during the “no, no, no, no” refrain. and whew!, the lyrics!

the songs’s hook:

“goodbye my friend

(i know you're gone, you said you're gone,

but i can still feel you here)

it’s not the end

(you gotta keep it strong

before the pain turns into fear)”

victoria aka posh spice shines with her bridge:

“the times when we would play about,

the way we used to scream and shout,

we never dreamt you’d go your own sweet way”

but my fave is mel b’s delivery:

“look for the rainbow in every storm,

find out for certain,

love’s gonna be there for you,

you’ll always be someone’s baby”

released as the first single after geri halliwell's departure, “goodbye" symbolized both an end and a new beginning for the iconic girl group. released in december 1998, “goodbye" became the group's third consecutive #1 christmas song in the UK. in the US, the single peaked at #11.

this song just gets me. not because it allows a kind of mourning for fans who were still processing geri’s sudden exit, but because the song captured the pain of saying farewell to someone you love while also walking into the future.

#90s music #music history #louiesmixtape #1990s #1990s music #lgbtq #storytelling #spice girls #Youtube

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sometime in 1986, my mother moved me and three younger brothers into a rented room about three blocks away from my grandmother. my uncle cisco lived with my grandmother and the woman he was dating at the time, dimples (isn’t that the quintessential 80s same), also rented a room with her daughter annette in the same house as us.

annette was around my age - 9 years old—and was a huge fan of boy george. a lot of friends were. i was more of an irene cara fan, but i appreciated the boy george’s aesthetic. anywho, annette was so much of a fan that for halloween that year, she dressed as boy george. she had the hat, the long coat, her hair braided, and her face adorned with the most colorful make-up. it was glorious!

my brothers and i didn’t dress up that year. that was most halloweens, but annette’s costume was creative and so well executed that if my costume couldn’t match her energy, - i didn’t want to dress up.

fronted by the charismatic and visually striking boy george, culture club became one of the most iconic bands of the 1980s MTV era. their 1982 single “do you really want to hurt me” was the group’s first international hit and solidified the band’s presence in the popular consciousness.

written by all four band members, “time (clock of the heart)” was released as their second US single in march 1983. the song is distinguished by its melodic richness, emotional resonance and boy george’s unique r&b tinged vocal delivery.

“time” reached #2 in the US in the spring of 1983 and its success was emblematic of the broader shift of music during the early MTV era.

annette and her mother moved out into their own apartment some time that winter. i never saw them again. from conversations i remember hearing from adults in my family (i was a nosey child) that dimples and my uncle cisco dated on and off for the next couple of years until his death in 1988.

in my adult years, my appreciation of culture club and boy george has grown exponentially. but every time i listen to a culture club song, i think of annette. i hope she is well.

#louiesmixtape #music history #culture club #boy george #1980s #80smusic #storytelling #lgbtqia #Youtube

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bobby brown’s “don’t be cruel” pointed to the future of r&b music. a genre that would merge hip-hop, crossover marketing of a black artist who had an unapologetic hip-hop sensibility during the era of video stars like michael jackson, prince, madonna and george michael. brown’s "don’t be cruel" placed him on that very list of international megastars, and he broke every crossover/mainstream rule while doing it.

brown’s charismatic personality and explosive performances not only shifted the notion of the male r&b/pop star but broke ground for hip-hop-oriented r&b at radio and mtv. a sound that now reigns supreme across multiple genres.

released in june 1988, “don’t be cruel” was such an extraordinary success that it not only produced five consecutive top 10 pop hits, including the chart-topper “my prerogative,” but it was also the best-selling album of 1989.

brown was slated to release the follow-up in late 1990 but the album was scrapped along with the single “tap into my heart,” which he had performed at the 1990 MTV VMAs. it would be an entire two years before brown released an album of new songs.

“bobby” was released in august 1992. the album’s first two singles, “humpin’ around” and “good enough,” reached top 10 on the hot 100. follow-up singles, the teddy riley produced “get away” and “that’s the way love is,” while great songs failed to connect with radio.

the album’s final single was the brilliantly riley-produced and LA reid remixed “something in common.” released in december 1993, the duet with then-wife whitney houston was a jubilant and funky gem that showcased both their voices.

“something in common” was not released as a commercial single and due to billboard chart rules of the time, it was ineligible to chart on the hot 100. however, the song was a success on the hot 100 and r&b airplay charts, reaching #32 and #30, respectively.

“bobby” went on to sell two million copies in the US. the album was largely seen as a failure compared to the 7x platinum “don’t be cruel.” but “bobby” was a cohesive and remarkable album in its right. perhaps the decline of new jack swing during this era contributed to the level of the album’s success, but in retrospect, “bobby” holds up. give it a listen, and if you feel the way i do, then we have something in common.

#90s music #music history #louiesmixtape #1990s music #1990s #whitney houston #bobby brown #new jack swing #lgbtq #Youtube

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with holidays albums, movies and tv specials going back as far as 30 years, rupaul is another queen of christmas.

rupaul emerged from the fringe of new york’s drag scene to the mainstream in early 1993 with the seminal dance tune “supermodel (you better work).” the topped billboard’s dance chart and garnered crossover success with mass exposure on MTV.

signed to tommy boy records, rupaul’s debut album, “supermodel of the world” arrived in june 1993 to commercial and critical praise. rupaul sashayed into mainstream consciousness, bringing drag culture with him. He wasn’t just a performer; he was a revolutionary in heels, challenging gender norms and societal expectations with every fierce strut.

in november 1993, rupaul released his cover of “little drummer boy” that was later featured in his first tv christmas special a month later. rupaul transformed “little drummer boy" from an earnest song into a vibrant upbeat r&b/pop track that showcased his voice.

rupaul later released his first christmas album “ho, ho, ho” in october 1997 along with a christmas special of “the rupaul show” that aired on VH1. rupaul’s influence reshaped the landscape of pop culture. his blend of humor, glamour, and wisdom made conversations about sexuality, gender identity, and drag accessible and jolly!

#louiesmixtape #90s music #music history #1990s #1990s music #lgbtq #rupaul #christmas music #Youtube

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1984 is considered one of the greatest and most influential years in music history. madonna and prince were pushing the envelope on sexuality in both music and visual presentation. michael jackson was biggest star on the planet. run dmc was helping to expand the reach of hip-hop, and tina turner had mounted the greatest musical comeback. all this happened with the backdrop of the ongoing cold and the growing AIDS epidemic. the latter may have been a probable reason why queen’s music video for “i want to break free,” which featured band members in drag, faced immense resistance from MTV and US radio. so much so that the band didn’t begin to regain traction at US radio until the early 1990s.

how does this all relate to queen’s late 1984 holiday release, “thank god it’s christmas?” well, i think the lyrics kind of describe the sh*t show that was 1984 while also giving a slice of hope for the future.

the song opens with:

“oh, my love, we’ve had our share of tears

oh, my friend, we’ve had our hopes and fears

oh, my friends, it’s been a long hard year”

by the end of 1984, more than 5,000 people, mainly gay men, had died from AIDS complications.

by the release of "thank god it's christmas" on november 27, 1984, queen had established itself as one of the world's most iconic and enduring bands. with a string of hits and groundbreaking albums, the band garnered a reputation for its eclectic musical style and theatrical performances.

queen's rare foray into holiday music, "thank god it's christmas" was written by lead guitarist brian may and drummer roger taylor. the melancholy song, anchored by freddie mercury's emotional vocal, does not emphasize the commercial aspects of the holiday. the song instead centers on the joy, reprieve and peace that people aspire for the holiday season to provide.

the hook is an emotional pleading of reprieve:

thank god it’s christmas, yeah

thank god it’s christmas

thank god it’s christmas

can it be christmas?

let it be christmas

everyday.”

the final verse delivers a hard truth wrapped in a tinge of hope:

“Oh, my love, we live in troubled days

Oh, my friend, we have the strangest ways

all my friends on this one day of days

thank god it’s christmas

yes it’s christmas

thank god it’s christmas

for one day”

freddy mercury was diagnosed with AIDS in 1987 and died on november 25, 1991. he was 45 years old.

“thank god it’s christmas” resonates today as much as it did almost 40 years ago. we are still hoping for reprieve, peace, and rest—even for just one day.

#louiesmixtape #music history #queen #christmas music #1980s #80smusic #AIDS #lgbtqia #Youtube

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We didn’t grow up celebrating the holidays the way I saw on TV sitcoms. My mother didn’t bake cookies, and we didn’t drink coquito. We didn’t decorate a tree or put up colorful lights. Chyle, I didn’t even know what a Parranda was until I was well into my 20s. My mother, who was essentially estranged from her family, didn’t have any traditions to pass down. So Christmas and every damn holiday were like Tuesdays and Thursdays—we just got through them. The saving grace was that we got through them together.

But what was constant in our house was music, and by default, Christmas songs were in the background. Songs like Alexander O’Neal’s “My Gift To You,” RUN DMC’s “Christmas In Hollis” or New Edition’s “It’s Christmas (All Over the World.)”

Released in December 1985, “It’s Christmas (All Over the World)” was a cover of sorts. The song was originally written with Freddy Mercury in mind and recorded by Sheena Easton for the 1985 motion picture “Santa Claus: The Movie.” But it is New Edition’s rendition (that rhymes) of “It’s Christmas (All Over The World),” that became the seminal version.

As a parent and adult, I still struggle with holiday traditions. I decorate a tree, and by that, I mean I bring the one I purchased with lights back upstairs from the basement and just plug it in. I watch Hallmark Christmas movies and play the songs that remind me of my mother and brothers. I suppose that is the tradition my mother passed down. A tradition that I now share with my son.

#music history #louiesmixtape #new edition #1980s #80smusic #storytelling #lgbtq #christmas #christmas music #Youtube

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sylvester was more than the beloved literal queen of disco, he was a prophet, a visionary, and a savior. literally. sylvester believed that god was found on the dance floor and sylvester’s ability to transform a stage performance into a full-on religious experience, was proof that god herself said, “let there be sylvester!”

sylvester set international dance floors on fire in 1979 with the now-classic “you make me feel (mighty real).” originally penned as a mid-tempo piano gospel-tinged ballad, it was queer electronic-music-pioneer patrick cowley, that transformed the song into a pulsating synth masterpiece that not only cemented sylvester and patrick as legends but laid the groundwork for electronic dance music that still dominates pop culture today.

during the first half of the 1980s, sylvester’s hits were regulated to the dance chart but that changed in 1987 with “someone like you.” released in late 1986 and distributed by warner. bros, “someone like you” topped billboard’s dance chart in january 1987. it also reached top 20 on billboard’s r&b chart, sylvester’s highest showing in almost a decade.

the song’s music video featured legendary choreographer debbie allen as well as jasmine guy and janet hubert. the “someone like you” single sleeve artwork was designed by artist and social activist keith harring.

“someone like you” is also notable due to sylvester’s appearance and performance on the new year’s eve 1986 episode of the joan river’s show. during the interview segment, joan identifies sylvester as a drag queen. sylvester quickly corrects her. after some awkward laughter and banter, sylvester thanks joan for being one of the first celebrities to participate in AIDS fund raisers during the onset of the epidemic in the early 1980s.

on december 16, 1988, sylvester, the black queer visionary who bent gender, musical genres and time, became an ancestor when he died of AIDS complications. his mother and sister were by his side.

#music history #louiesmixtape #sylvester #80smusic #lgbtq #1980s #Youtube

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there i was in my bedroom in the summer of 1998 when a friend of mine says, “play this CD. i just bought it but i haven’t listened it to yet.” it was the “touch it” single. admittedly, i did not want to play it. i had associated monifah with mid-tempo songs, and i didn’t want to bring the tempo down, but i relented. BAYBEE! we were just 8 bars into the song when we looked at each other with eyes wide open 👀. we could not believe what we were hearing! miss monifah had gifted the gurls a track that was beyond fire!

“touch it,” which brilliantly samples laid back’s 1983 hit “white horse,” is a track that blends dance, pop, funk, and soul. chyle, as soon as you hear “jack knight and dakoda house, all we wanna do is make you bounce,” you are running to the dance floor. asthma where!? monifah’s seductive vocal, which recalls vanity 6’s 1982 classic “nasty girl,” had the power to make everyone a seductress on the dance floor. trust me, this is all true.

monifah emerged in 1996 and quickly established herself as a voice of both power and subtlety with gold-certified her debut album “mood… moments.” the album included the two heavy d. co-produced gold-selling singles, “i miss you (come back home),” and the moody pop top 40 hit “you.”

monifah was signed to uptown records during its last days. by the release of her 1998 sophomore effort, “mo’hogany,” the label had gone through radical changes, and monifah found herself having to champion the project with little support. so much so that when “touch it” was released as a single, it wasn’t even a priority for the label. it wasn’t until the song began to take off at pop radio that the label began to put some muscle behind it.

released in july 1998, “touch it” exploded across multiple formats in the US topping the rhythmic top 40 chart and peaking at #9 at both r&b and pop. it would reach top 30 in multiple countries throughout the world.

“touch it” went on to sell over a million copies in the US alone and propelled monifah’s sophomore album to gold status.

#louiesmixtape #90s music #music history #1990s #1990s music #monifah #lgbtq #Youtube

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patterson, new jersey’s own adeva’s rise to prominence in the late 1980s and early 1990s coincided with the global ascendance of house music.

adeva, a seminal figure in the house music scene, is particularly celebrated for her 1989 single her soulful and disco-tinged “i thank you.”

“i thank you,” released as the third single from her 1989 self-titled debut album “adeva!”, encapsulated the energy and spirit of the late 1980s house music. the song showcased powerful voice, which soars over a backdrop of synthesized beats and a hypnotic rhythmic bassline. her gospel-infused vocal style brought a depth and emotion is a testament that church can be found on the dance floor.

released in 1989, and produced by the new jersey house collective smack productions, “i thank you” became adeva’s fourth consecutive UK top 25 hit when it reached #17 in october 1989. in the US, the song and it’s parent album garnered a legion of black queer fans and made adeva one of the first queens of house music.

adeva didn’t achieve the crossover success in the US but she helped softened the soil for the roots of house music internationally. her international success inspired a generation of artists and helped to shape the trajectory of house music in the US and UK.

#louiesmixtape #90s music #music history #1990s #1990s music #queer music history #house music #90s house music #Youtube

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in the early 1990s, eurodance/pop began making its mark on US radio with an influx of eurodance songs including haddaway’s “what is love”, real mccoy’s “another night” and la bouche’s “be my lover.” the songs blended catchy melodies and infectious hooks with pulsating productions. one of the songs from this era that masterfully blended these elements was amber’s “this is your night.”

released in may 1996 and written primarily by amber, “this is your night” quickly caught fire at radio in new york and chicago. dance songs often had to generate a buzz at the club level before going to radio. but the response to “this is your night” was so immediate that it debuted on billboard’s hot 100 just one more after its release.

written primarily by amber and produced* by the berman brothers, “this is your night” was a massive hit internationally reaching #1 in isreal, top 5 in japan and spain, and top 30 in several other countries

in the US, “this is your night” proved to have legs. the song spent an astonishing 40 weeks on billboard’s hot 100 and peaked at #24 in early 1997. the song also found an even broader audience after being featured in the 1998 comedy film “a night at the roxbury” starring will ferrell and chris kattan.

by the late 90s, eurodance lost steam at radio and amber successfully transitioned into one of the decade’s house/pop queens with a string of hits that included “one more night,” “sexual” and “if you could read my mind!”

#louiesmixtape #90s music #music history #1990s #1990s music #lgbtq #amber #europop #Youtube

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imagine it’s the summer of 1990. you are a puerto rican gay boy who stays inside all day because outside doesn’t play music videos. and it is music videos that give you an entry into a world of music that radio often times doesn’t. it’s a time before the internet was widely available and 15 years before the advent of youtube. it was a time when you had to watch videos when they aired. and baybee, it was an art form to master the algorithms of BET and MTV. that sh*t required a f*ckin’ skill. but with nothing but time on your hands, it was more than a hobby; it was how you spent quality time with yourself.

in a two-bedroom house with five brothers, i’d wait until everyone was asleep. late night was playtime for me! i’d go back and forth from listening to the beat-up pink alarm clock radio (that i had to hit in order to get it to work) in our living room to watching the 2 a.m. rerun of “video soul” on BET. any and every outlet for music was like oxygen.

i’d lip sync and dream up video scenarios in my head. and one of those scenarios included “quiet storm” slow dancing in either a museum lobby or a mansion as i seductively dance and sang to my main squeeze. do people still say that?

before singing in the rain while dressed in white became the r&b music video thing to do, mansion performances were the go-to for fancy r&b music videos. and i loved them so. they were simultaneously decadent and understated. they were glorious. and the visual for barbara weather’s debut solo single, “master key” was just that.

formerly the female lead singer for r&b atlantic star, who scored pop top success with “secret lovers” (1985) and the #1 “always” (1987), barbara struck out on her own in 1990.

released in early summer 1990, “the master key” was my muthafuggin’ song! the rhythmic r&b ballad not only had a killer hook, but the way barbara layered her vocals and harmonies—baybee! mother wasn’t playing!

the song cracked the r&b top 20, but with no major push for the label, the song didn’t make a dent on the pop charts. two more singles followed, but by the end of 1990, barbara was off the grid.

#louiesmixtape #barbara weathers #atlantic starr #music history #90s music #1990s #lgbtq #storytelling #1990s music #Youtube

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freestyle music reached it’s peak in 1988. as crossover radio, what later became known as dance radio, grew in popularity, so did freestyle music. many of the genre’s most popular artists quickly went from being on independent labels to majors. this should have guaranteed the genre’s mainstream reach but many labels fumbled on marketing the artists. this was because freestyle music was a genre without a category. was it pop? was it dance? was it latin pop? because of this, labels visually promoted many freestyle groups as bands - rock bands. it also made groups like linear palatable for the masses.

i was living with my aunt janet and in the process of dropping out of middle school when this song was all over radio. i wasn’t a fan of freestyle music then but i did like this song. it was melodic, catchy and the synths irresistible.

linear was a group out of fort lauderdale, florida. their debut single “sending all my love” was released on an independent label in 1989. after becoming a regional hit, the group signed to atlantic records and the song was rereleased in february 1990 to massive success.

“sending all my love” was a staple on mtv’s then daily countdown show “dial mtv” and reached #5 on the billboard hot 100. linear would score one more top 40 hit in 1992 before fading into obscurity. just as well because by late 1992, rock bands and freestyle music were declared “dead” and pulled from all radio station playlists.

#louiesmixtape #music history #90s music #1990s #latin freestyle #freestyle music #lgbtq #storytelling #Youtube

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shawn christopher’s 1990 breakout success of “another sleepless night” emerged during a pivotal to dance music, particularly house music. at the time the genre was undergoing a significant transformation, transitioning from underground clubs to mainstream music charts.

“another sleepless night” and shawn’s equally slamming’ follow-up “don’t lose the magic,”both produced by mike “the hitman” wilson, exemplified the inroads house music was making at top 40 radio and major record labels. released on arista records, both singles struck a chord with house music purists and a broader pop-loving audience.

released at the top of 1992, “don’t lose the magic” not only a showcased the genre’s growing versatility but christopher’s powerful and beautifully emotive voice. backed by remixes by todd terry and david morales, the song became christopher’s second #1 on billboard’s dance chart. it was also reach #71 on billboard’s main chart, the ever coveted hit 100. a respectable showing for a song from a genre that was still edging its way to radio playlists nationally.

shawn christopher released her debut album on arista records in late 1992. she was released stand alone singles throughout the 90s including another dance chart topper, her 1998 cover of michael mcdonald’s “sweet freedom.” shawn now records and releases inspirational songs.

shawn christopher’s one-two punch of “another sleepless night” and “don’t lose the magic” were a statement about the potential and direction of house music in the early 90s and pointed it the dominance it would later achieve at pop radio. both singles were great pop songs and remained deeply rooted in the foundations of the rhythmic innovations of house music.

#louiesmixtape #house music #shawn christopher #90s music #music history #1990s #lgbtq #storytelling #Youtube

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let’s make one thing crystal clear - it is robin s’ voice and only robin’s voice on the 1993 ubiquitous hit “show me love.” this has confirmed by the producers of the song and andrea martin’s friend and long time collaborator ivan matias. ok, lets carry on.

robin s. emerged in 1993 and achieved international success with the emblematic and still influential pop-house hit “show me love.” the queens native then released the sonically “luv for luv” in august 1993 and topped the US dance chart for a second time. the sweeping and lush pop/r&b ballad “what i do best” served as the third single form robin’s debut album “show me love.”

every sunday night in the early 1990s, i listened to the syndicated radio show “future hits” hosted by joel denver. the show played newly released singles of all genres that had strong potential at becoming CHR (crossover hits radio) and top 40 radio. it was this show that i first heard mariah’s “vision of love.” and it was this show that discovered robin s’ sweeping ballad, “what i do best.”

released in november 1993, “what i do best” is a lush ballad with a polished and sophisticated arrangement that was a hallmark of the era’s production of climatic power ballads. the song had all of the ingredients of a crossover hit. but sadly, that was not the case.

i was in awe after just one listen to this song. i was rushed to tower records and purchased the cassette single. as a chart watcher even then, i knew the release of a ballad by a dance artist sometimes resulted in crossover success. freestyle/dance artists stevie b, safire, sweet sensation, timmy t, and the cover girls all scored their biggest hits with ballads. but for some reason, “what i do best” didn’t make a dent on any US chart. i remember being puzzled by this. in retrospect, i think the massive success of “show me love,” which reached the top 5 on billboard’s hot 100, pigeonholed robin s as just a dance diva. i didn’t even know a music video had even been commissioned until recently.

“what i do best,” although perhaps less commercially celebrated than her powerhouse hit “Show Me Love”, is a testament to robin s’ soaring vocals, enduring talent, and her ability to shine on any song, no matter the genre or tempo.

#louiesmixtape #robin s #music history #90s music #1990s #lgbtq #storytelling #Youtube

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in 1995, i got my first job. it was the july and after a series of circumstances, i got hired by a latinx queer AIDS org to do peer youth education. i was excited because, at age 17, I had no idea that lgbtq organizations existed. while i was more than aware of what HIV was, i didn’t know that people actually went into schools to provide information on prevention. just prevention. in july 1995, treatment was still limited to the very toxic AZT. i remember being taught that plants could have the power to extend the lives of people with AIDS. how so? because it was believed that people who were in the dying stage of AIDS would will themselves to leave another day so they could see the plant grow. that’s where we were before the advent of HIV treatment.

i was one of three peer youth educators. the other two were puerto rican gay teen boys around my age who were raised in pentecostal church. “june” had been excommunicated after coming out and was a brilliant artist full of rage. “sergio” was still attending church, was not “out” to his family and did drag. and they were always going at it. “june” was always going at it with everyone. he was really, really mean. but the director of the organization loved him, but i digress.

so what does this story have to do with ruffneck’s “everybody wants to be somebody?” well, “june” often stated that “sergio” was a “fake” and would do and say whatever he needed to “fit” in. so to antagonize “sergio,” “june” would sing the lyric, “everybody wants to be somebody” to imply that “sergio” was a nobody seeking an identity. mean? yes. clever? yup.

i always thought it was interesting that “everybody wants to be somebody” resonated with “june” the way it did. i experienced the song, which pretty much repeats the “everybody wants to be somebody” refrain throughout the entire song, as an inspirational reminder that everyone deserves and yearns to be seen.

i worked with “june” for just one year. “sergio” and i stayed in touch for a few years. i haven’t seen either one of them in years. i hope they are both being seen and heard, because we all deserve it.

#louiesmixtape #90s music #music history #1990s #house music #storytelling #lgbtq #Youtube

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the late 1990s are without a doubt my fave era of dance/house music. artists like amber, deborah cox, kim english, barbara tucker, ultra nate and somerville’ new jersey’s own kimara lovelace were all delivering masterfully crafted dance songs. whew, what a time it was to be alive.

in the late 1990s, dance music had seamlessly integrated into mainstream music allowing dance songs to leap from clubs to pop radio. it was against this backdrop that kimara scored her biggest hit.

house music vocalist kimara lovelace charted a string of top 20 hits on billboard’s dance chart in the late 1990s including her cover of atlantic starr’s 1982 hit “circles.”

released in late 1997, kimara’s version combined elements of house, disco and soul injecting a new level of energy into an already great song. “circles” topped billboard’s club chart in january 1998 helping it to garner extensive play on radio stations specializing in dance music.

i was driving on some route in south jersey in the spring of 1998 when i heard kimara’s “circles.” i was immediately captivated by her vocal and the song’s production. it stayed true to the atlantic starr version - which is brilliant, while also showcasing kimara’s talent.

i bought the cd single at the now-defunct legendary sound of market record store in philadelphia. i lost the cd single during my move to DC but thanks to discogs, i now have it again.

#louiesmixtape #90s music #house music #music history #1990s #1990s music #storytelling #lgbtq #Youtube

[louiesmixtape]

i had a friend who absolutely loved this song. i remember him calling me and asking me if i had heard “no one but you” by veronica. and i had. i think the video played on either BET’s video vibrations or i may have watched the video on the box. i can’t i remember but i do recall being blown away by veronica’s beauty and vocal prowess. but the song was just okay for me.

a few weeks later while frequenting a record store, i came across the promo CD of her soon-to-be-released album “rise.” so i purchased it out of curiosity and baybee!

veronica’s sophomore effort “rise” is without a doubt one of the most solid r&b albums of the 1990s - and no i am not exaggerating. i was so impressed by the album that i purchased the official version when it was released. i hoped that great things would happen for veronica but a puerto rican woman r&b artist may have been a challenge for radio programmers who still associated latinos with latin freestyle music.

"no one but you" featuring craig mack was released as the album's lead single in october 1997 and was featured in the halle berry film "B*A*Ps. the "no one but you" music video garnered minor exposure on BET but without radio support, the song was left to languish.

perhaps if the single and her album had dropped closer to the “latin explosion” of the late 1990s, veronica would have found an audience at both r&b and crossover radio.

veronica did manage to find success as a dance artist when remixed version of her songs “release me,” “someone to hold,” and “i’m in love” peaked inside the top 5 on billboard’s dance chart in 1998 and 1999.

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