Five 2010 R&B Albums That Marked a Turning Point for Their Artists
You can hear artists fighting through circumstances—scandal, reinvention, label grind, or lineup changes—but the records stay grounded in the songs. They sketch out a picture of where the genre stood.
Five 2010 R&B Albums is a time-capsule series that revisits five distinct projects from a year when R&B was in flux—still tethered to radio cycles, but already bracing for streaming shifts, digital edits, and a changing industry pulse. Fifteen years later, these albums read less like trends (well, depending on the list) and more like blueprints for how artists held on to emotional directness, full-album ambition, and layered vocal craft in an era that was quietly reshaping what R&B would become.
Fantasia, Back to Me
Fantasia once duetted with Jennifer Hudson on “I’m His Only Woman,” the spiritual sequel to Shirley Brown’s “Woman to Woman,” a cheating song about two women fighting over the same man, on Hudson’s album Jennifer Hudson. But an incident that made that song no joke at all happened in early August, right before the release of this album—her third, coming about four years after the last one. It was the scandal of an affair with a married man and an attempted suicide. Her reality show, Fantasia For Real, broadcast on VH1, had been well-received, and everything seemed to be moving smoothly toward the album’s release—until the scandal erupted. It must have been a heavy blow. But to conclude: this album is packed with enough power to blow that scandal away. Of course, the album was made before the scandal, so its content has no direct trace of the incident (though feelings of turmoil over an affair may be reflected). Still, the colorful sound, beautiful melodies, and emotional singing create good music that’s impossible not to feel moved by. It’s safe to call this one of her best works to date.
Chuck Harmony, Rykeyz, and Ne-Yo from the Compound camp back the opening three songs. The searing vocal on the lead single “Bittersweet” is moving enough to make your chest tighten. Aside from the recent scandal, she also survived sexual assault by a classmate in middle school, became an unwed mother at 17, and faced a house foreclosure issue due to debt in 2009—a turbulent life. Yet unlike, say, early Mary J. Blige, her music never really carried a sense of despair or “collision.” But hearing her voice here, realizing her life has been reflected in her voice all along. On the surface, you knew she was a singer who could sing, but this might be the first time her music actually shook me this deeply. “Collard Greens & Cornbread,” which samples Marvin Gaye & Tammi Terrell’s “Your Precious Love,” is one of the album’s strongest moments. Thanks in part to the original sample, it carries a blissful atmosphere from start to finish, and you can just surrender yourself to its happy energy. Produced by Andre “Pop” Wansel and Oak, with Oak also handling “The Worst Part Is Over,” which grows into a grand slow-burner whose chorus suddenly opens into a bright, expansive world.
“Trust Him,” produced by Novel (who once signed to Rawkus and Rowdy) with Tiffany Villarreal contributing songwriting and chorus, has a warm, gentle feel. “The Thrill Is Gone,” featuring CeeLo Green, is a rootsy soul mid-tempo cut. There are many other strong tracks as well. After everything she’s been through, it’s unclear what kind of project she’ll deliver next, but we can only hope she continues releasing albums of this caliber, and we believe she can. — Phil
Zo!, SunStorm
From the artwork—a collage of landmarks from his hometown, Detroit, and his base of operations in Washington, D.C.—the new album by Zo! (Lorenzo Ferguson) already feels rich with character. A multi-instrumentalist releasing music for nearly a decade, he expanded his output through collaborations with the Little Brother crew, gaining major recognition with Love the 80’s alongside Phonte (aka Tigallo). He is now part of the Foreign Exchange family and recently contributed to YahZarah’s new album. This project is a luxurious producer’s album, with FE singers and MCs—including Phonte and YahZarah—laying vocals over tracks Zo! produced and performed himself.
Last year, he gave away the EP …Just Visiting Too, a set of ’70s-soul covers, and the ‘70s-influenced atmosphere here seems rooted in that project, including the guest selection. The elegant, dreamy sound world—like club-ready reconstructions of George Duke or the Mizell Brothers—also recalls 4hero. “Greatest Weapon of All Time,” featuring Sy Smith, is a groovy soul track that feels exactly like that lineage. Later, Lady Alma sings the beautiful ensemble house track “Free Your Mind.” Jesse Boykins III provides vocals on the jazzy, stylish “If I Could Tell You No.” Eric Roberson, Darien Brockington, and Big Pooh trade microphones on the smooth mid-tempo dancer “This Could Be the Night.” The flow up to the finale—“MakeLuv2Me,” sung by Monica Blaire, a jazzy number—is thoughtfully crafted. Among recent neo-soul releases, this is a standout work. — Keziah Amara Reid
Aloe Blacc, Good Things
If you approach this album expecting something like the previous one, Shine Through, you’ll be in for a shock. Aloe Blacc’s second album in four years abandons the cool, jazzy numbers and world-music-like tracks of its predecessor, turning instead into an earthy, vintage-soaked soul record. Naturally, this album is a collaboration between Stones Throw and Truth & Soul, the powerhouse New York soul label that released Lee Fields’ masterpiece last year. It’s produced by Jeff Silverman and Leon Michels, who also worked on Lee’s album, and the backing band is Truth & Soul’s signature group, El Michels Affair. Just that alone makes it a “must-buy,” and in fact, buying it for those reasons alone would not disappoint.
He’s not necessarily a technically great singer, so some may be divided. But his characterful vocals fit well with the dry, Southern-tinged sound, and the songs carry a lo-fi, collector-friendly aesthetic similar to Mayer Hawthorne. The serious “I Need a Dollar,” the falsetto-driven deep-soul track “Life So Hard,” and the Velvet Underground’s “Femme Fatale,” reimagined as earthy Southern soul, are all irresistible for serious music fans like the readers of this magazine. The final instrumental, “Politician (Reprise),” is gorgeous and seems to reaffirm the album’s fullness. — Tai Lawson
Dondria. Dondria vs. Phatfffat
Dondria is a female singer discovered by Jermaine Dupri through YouTube, who has now been released from his label for the first time in a while. As expected, JD is involved in nearly every track, with protégés like Bryan-Michael Cox also contributing. “Shawty Wus Up,” featuring Johntá Austin, has her singing nastily over a heavy Southern beat. “Making Love,” which uses the same sample as Big Boi’s “Shine Blockas” but creates a completely different dreamy mood despite similar drum patterns, stands out. So does “No More,” which directly uses 50 Cent’s “21 Questions.” Overall, though, the album avoids flashy gimmicks or trendy excess, focusing instead on songs that showcase Dondria’s voice.
“You’re the One,” drenched in Southern-soul feeling and reminiscent of Xscape’s early JD-produced masterpiece “Understanding,” is irresistible. “Saving Myself,” structurally simple but filled with well-crafted vocal work, shines. The ballad “Where Did We Go Wrong,” with its shadowy melody and perfect interplay of lead and chorus, is another highlight. Her vocal style shows the influence of the Beyoncé generation, still developing but already able to hit the heart. There’s a remix of “You’re the One” that feels like a separate version, and at just 11 tracks totaling around 38 minutes, the album also recalls the classic JD approach of the ‘90s. Even if it doesn’t become a major hit, it’s the kind of album you genuinely want to see succeed. — Seraphina Joy Clarke
Dru Hill, InDRUpendence Day
After putting their activities on hold that led up to their years-long hiatus, Dru Hill reunited in 2008 and went on tour. Two years after the reunion, they return with this long-awaited new album—their first original album in eight years—released through the recently active Kedar Entertainment. Woody, who had left, did not return, and Scola, who had joined on the previous album, also departed; instead, a new singer, Tao, joined the lineup. Still, their gritty male vocals and beautiful harmonies remain unchanged, as does their uniquely rough-edged charm. “Shut It Down,” the opener, uses a modern synth sound that may divide listeners, but the harmonies in the B-section and chorus are exhilarating, and the catchy hook naturally makes your body move. “Do It Again,” produced by the same Nate Merring as the opener, is also gripping from the opening harmonies.
“Remain Silent,” with labelmate Keith Sweat participating in the songwriting, carries the syrupy, sticky melodies characteristic of Keith. “Back to the Future,” written by Wirlie Morris (who worked on Keith’s material and Dru Hill’s previous album), is a bit of a cliché ballad, but the expansive sound and bold harmonies still pull you in. “Rule the World,” a cover of Tears for Fears’ “Everybody Wants to Rule the World,” doesn’t necessarily showcase their harmonies in the best way, but its inherent pop quality makes it pleasant to listen to. — Imani Raven