Milestones: The Writing’s On the Wall by Destiny’s Child
The second Destiny's Child album may have had its tabloid moments, but it also significantly impacted the R&B genre as the 2000s began.
The evolution of mainstream music from 1993 to 1999 is accurately reflected in the transformations undergone by particular bands and R&B ensembles during that time. A notable shift occurred from the relegation of post-grunge bands, such as the one popularized on Star Search, to the emergence of pioneering R&B artists crafting a unique sound tagged as “futuristic.” The revival of skilled girl groups, such as TLC, En Vogue, and SWV, illustrates this change, with Destiny’s Child eventually standing out as the torchbearers.
Their second album, The Writing’s On the Wall, has a fascinating story behind its creation. The group’s original members, LeToya Luckett and LaTavia Roberson, were fired in the early months of 2000 by their manager, Mathew Knowles, also the father of Beyoncé. Knowles had taken over the management position from the late Andretta Tillman. Luckett and Roberson claimed that Knowles had kept most of the group’s earnings and had given a disproportionate amount of attention and promotion to Kelly Rowland and Beyoncé, who were increasingly featured as lead singers and in promotions. In response to these claims, Mathew Knowles stated in an interview with the Houston Chronicle that all members were paid equally, even though Beyoncé and Kelly provided ninety percent of the album’s vocals.
Upon initial anticipation, the two members-only expected minor changes like a shift in management or mediation. However, the release of the “Say My Name” music video unveiled their new bandmates—Michelle Williams, previously a backup singer for Monica, and Farrah Franklin, who debuted in Destiny’s Child’s “Bills, Bills, Bills” video. The video, directed by Joseph Kahn, quickly gained popularity and became a signature trend of the TRL era. Despite the lack of time for rehearsals, the video’s necessity led to its creation, as Luckett and Roberson’s departure happened hastily.
The aftermath of the accusations surrounding the group’s turbulent times did not dampen their momentum. Their album still sold nine million copies, as Knowles herself revealed in the album’s namesake track. The controversy, however, received extensive coverage in both sensationalist and reputable media outlets. Beyoncé, Rowland, and Williams spent 18 years rectifying and incorporating the experiences into their personal narratives. The album’s title served as Beyoncé’s first comeback to the press due to some commentators’ assumption that the group’s ever-changing lineup resembled a popular reality show.
The innovative concepts for this album were primarily influenced by the new production team, consisting of Kandi Burruss, a former member of Xscape and a successful songwriter, and Kevin “She’kspere” Briggs, who recently experienced a major hit with TLC’s comeback single, “No Scrubs.” Initially hired for a single track, Burruss and Briggs ended up producing five songs and were responsible for creating the album’s distinct sound: sharp, cutting guitar riffs like stiletto heels, punctuated with precise, intricate percussion arrangements, record scratches, bubbles, and breaking glass combined into a complex web; and brass undertones and layered vocals.
In “Say My Name,” Rodney “Darkchild” Jerkins revisits the thick, anxious sound of his biggest hits, and Briggs and Burruss create a distinct style that is highly elaborate compared to the basic arrangements of today. The group discarded at least one early version of “Say My Name” for being too detailed, an opinion many critics expressed at the time. The track now serves as a fascinating sonic Rube Goldberg machine. Even the more straightforward tracks, like the instrumental of “Bug a Boo,” were relentless and intimidating, with a sample of “Child’s Anthem.”
Destiny’s Child’s rapping days were not a struggle, as their early Star Search stint proved they were equally skillful as singer-rappers. The group’s sophisticated take on rapping—fusing it with melodic R&B and their staccato vocals, can be heard in their successful hit “No, No, No (Pt. 2),” thanks to Wyclef Jean’s influence. In the meantime, R&B was heavily influenced by Timbaland, notably with Aaliyah’s “Are You That Somebody” from 1998. Although Timbaland and Destiny’s Child collaborated on “Get On the Bus,” which was part of a soundtrack, Why Do Fools Fall In Love, their partnership was unsuccessful (although it was a perfect segue into the second album), but the song became a cult favorite. Missy Elliott produced one track on The Writing’s On the Wall, filling in for Timbaland on “Confessions.”
The fingerprints of Timbaland’s sound can be found throughout The Writing’s On the Wall, with the quiet, artistic style of Aaliyah’s singing evident in the faint harmonies of Luckett’s soprano. Destiny’s Child’s vocals are bold and lively, and they subtly demonstrate their technical skills. The verses of “Say My Name” showcase the group’s impressive technical abilities, with the shifting tempo between double and triple time showcasing their skill without being overly showy.
The theme of The Writing’s On the Wall by Destiny’s Child has a subtle religious undertone, with each track presented as a Commandment, and the album concludes with a prayer, “Amazing Grace,” dedicated to late manager Andretta Tillman. The album primarily focuses on the idea of confession, exploring different relationships and their various shortcomings. Despite the album’s release over two decades ago, the group has faced accusations of man-hating.
The Writing’s On the Wall is an eclectic mix of pop and R&B styles that showcase Destiny’s Child’s growth and experimentation. The group was still relatively young when they recorded the album but delivered distinct and confident performances in both genres. The pop side includes “Jumpin’ Jumpin’,” a single highlighting Beyoncé’s early production skills before becoming a successful solo artist. Meanwhile, the R&B tracks showcase sensuality and emotional depth inspired by Destiny’s Child’s musical influences. Collaborations with respected R&B artists like D’Wayne Wiggins of Tony! Toni! Toné! and Next, give tracks like “Temptation” and “If You Leave” added depth.
This album can be considered a victim of its immense success. The album received modest critical reviews, failed to get an Album of the Year Grammy nomination, and Beyoncé admitted it was not a simple sell. The album’s sound was initially met with skepticism from the record company, who questioned the popularity of R&B music in Europe. Since then, the album’s sound has significantly influenced pop and R&B music, as well as the individual work of each band member. To put it in perspective, the music of 1999 was not remarkable, and it was marked by the early Max Martin sound, which was soon abandoned, soft-rock, and a weak version of the “Latin invasion” trend. However, R&B music stood out due to its innovation.
The intersection of pop and rock with R&B has been a recurring phenomenon in the history of popular music. In 1999, the environment was especially conducive to cross-genre pollination. The music industry had ample financial resources, facilitating the blending of styles. Currently, Top 40 and Urban Radio playlists are so fragmented that a song can reach No. 1 while getting scant attention from pop radio. On the other hand, Destiny’s Child dominated all the major charts in 1999. They positioned themselves as the quintessential girl group and laid the groundwork for popular music’s future sound and narratives.
Standout (★★★★½)