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In the mid 90s, young Atlanta crooners Marvin “Slim” Scandrick, Daron Jones, Quinnes “Q” Parker and Michael Keith caught the ear of Sean Combs, who was mesmerized by their vocal prowess.
Y’all know the formula by now – ’90s Diddy talented artists = $$$$.
By 1998, even though Bad Boy Records had lost Biggie, they were still the hottest label in urban music.
It was then when 112 released the second album in their holy R&B trinity, Room 112.
A year or so later, it was clear that 112 was ready to move on.
You can’t blame them – Puffy had just beat his shooting case, leaving poor Shyne to rot away in jail in his stead, and he was more concerned with clothing and reality shows than promoting music.
As far as I know, only two of those projects actually materialized.
I can’t recall any other group or solo artist who had three back-to-back-to-back mind-blowing releases.
The timing couldn’t have been more perfect – Puffy was dominating the musical landscape and 112 had an unstoppable juggernaut (word to the X-Men) in their corner. Singles like “Cupid,” “Only You” and its remix are still fondly remembered, thanks to lines like this, from the Notorious B. G.: Those singles are certainly memorable but the album cuts were even better – “Pleasure & Pain,” “Can I Touch You,” “Throw It All Away,” “In Love With You,” all classics in their own right.
The double-platinum debut is easily a 5-star classic.
4 on the pop charts, becoming their most successful release.
Surprisingly, (or not surprisingly, if you know me), that was probably my least favorite cut on the album.
The hater in me celebrates that I got the girl, but the music fan in me will always show 112 the utmost respect.