Aaliyah ¦ One In A Million

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1996

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One in a Million is the second studio album by American singer Aaliyah. It was released on August 13, 1996, by Blackground Records and Atlantic Records.

After facing allegations of illegal marriage with her mentor R. Kelly following the success of her debut studio album Age Ain't Nothing but a Number (1994), Aaliyah severed all ties with him as Blackground ended its contract with Jive Records and signed a new distribution deal with Atlantic. Throughout this period of turmoil and media scrutiny, Aaliyah began recording her second studio album with Sean Combs, who soon abandoned the project, prompting Aaliyah and her management to seek new collaborators. She subsequently began recording with producers such as Jermaine Dupri, Vincent Herbert and Craig King, before meeting previously unknown Timbaland and Missy Elliott, who quickly became the album's primary contributors.

One in a Million is an R&B, pop and hip hop record experimenting with genres such as trip-hop, electronica, funk and jungle music. Its lyrical themes predominantly address relationship circumstances, such as commitment, abstinence and heartbreak. Upon its release, the album garnered generally positive reviews from music critics, mostly directed towards its innovative production and Aaliyah's progressed vocal performance. It debuted at number 20 on the US Billboard 200 with first-week sales of 40,500 copies, before reaching number 18. Within several months, the album was certified double platinum by the Recording Industry Association of America (RIAA). By 2011, it had sold over three million copies in the United States and eight million worldwide.

One in a Million was heavily and extensively promoted with media appearances and live performances. It produced six singles—"If Your Girl Only Knew", "Got to Give It Up", "One in a Million", "4 Page Letter", "The One I Gave My Heart To" and "Hot Like Fire"—with "The One I Gave My Heart To" becoming the album's highest-peaking single at number nine on the US Billboard Hot 100. Following its 2021 reissue, the album peaked at number ten on the US Billboard 200. Retrospectively, it has been listed among the best albums of its era and genre by numerous publications and has been credited for re-establishing Aaliyah's image, elevating careers of Timbaland and Elliott, and influencing mainstream music trends of the decades since its release.

Background and development

After Aaliyah's uncle Barry Hankerson obtained a distribution deal with Jive Records, he signed her to his label Blackground Records when she was 12 years old.[1][2] He introduced her to R. Kelly, who became her mentor, as well as the lead songwriter and producer for her debut studio album Age Ain't Nothing but a Number (1994).[2][3][4] A commercial success, the album was certified double platinum by the Recording Industry Association of America (RIAA),[5] selling three million copies in the United States and six million worldwide.[6][7] To promote the album, Aaliyah embarked on a 1994–1995 world tour throughout the US, Europe, Japan and South Africa.[8][9][10] She soon faced allegations of an illegal marriage with Kelly, consequently ending her contract with Jive and severing ties with Kelly.[3][11] According to Aaliyah's cousin and Blackground executive Jomo Hankerson, the music industry "villainized" Aaliyah for the scandal, which caused difficulty with enlisting producers for One in a Million "except for a couple of relationships with Jermaine Dupri and Puffy".[12] Aaliyah reflected: "I faced the adversity, I could've broken down, I could've gone and hid in the closet and said, 'I'm not going to do this anymore.' But I love singing, and I wasn't going to let that mess stop me. I got a lot of support from my fans and that inspired me to put that behind me, be a stronger person, and put my all into making One in a Million."[13]

Following her departure from Jive, Aaliyah transferred to Atlantic Records in June 1996, as Blackground signed a new distribution deal with the label.[14][15] In a press release surrounding One in a Million, Aaliyah admitted to being "a little anxious about jumping from Jive to Atlantic and changing up her sound".[12] However, considering the label switch and a new team of collaborators, the album was intended to re-establish Aaliyah's fanbase and broaden her mainstream appeal, as it featured contributions from a wider range of producers–unlike Age Ain't Nothing but a Number, which was produced solely by Kelly.[16] While speaking with the Associated Press, Aaliyah claimed One in a Million showcased her growth over the prior two years, especially in her vocal range, adding: "I took a lot of risks on this album. I tried different things. And that's the main change from the two albums."[17] She further explained her shift in musical direction by saying: "I love all kinds of music, and I want to be known as the kind of singer that can do all of that. So, that's why I wanted the different varieties on the album to showcase that—showcase each part of my personality".[17]

Recording and production

To create One in a Million, Aaliyah principally collaborated with Timbaland (left) and Missy Elliott.

Production for One in a Million dates back to August 1995, when Billboard reported Aaliyah was starting work on a new album; initially, it was slated for an early 1996 release and was to be produced by Sean Combs, J. Dibbs and Dave Hall.[18] The album was executive produced by Atlantic Records' then-executive vice president Craig Kallman,[a] Aaliyah's cousin and Blackground executive Jomo Hankerson, and Aaliyah's father and manager Michael Haughton.[21] While speaking with Billboard about its development, Atlantic Records' product development director Eddie Santiago mentioned: "We wanted Aaliyah to keep growing, so we didn't want to have the same suspects on her new project". In the same interview, Aaliyah discussed the record's direction: "I wanted to maintain my smooth street musical image but wanted to be funky and hot yet sophisticated".[16] With One in a Million, Aaliyah became more involved with crafting the material by taking co-writing credits and assisting in the creative direction.[16] Of the original producers tapped for the album, Dibbs' songwriting and production effort "Giving You More" was included on the final track listing.[21] Hall's contributions never materialized, and she recorded songs with Combs at his studio in Trinidad for a week but their collaborative material was never finished as Aaliyah abandoned her session with Combs in favor of recording with Jermaine Dupri in Atlanta.[13] "I Gotcha' Back" was the sole track created during sessions with Dupri to be included on the album; it was written and produced by Dupri and Carl-So-Lowe within "three to four days".[22]

Vincent Herbert and Craig King were also approached to work on One in a Million; being among the earliest collaborators, they were allowed to "build a sound" for the record.[22] Aaliyah recorded approximately eight songs with the pair at the Vanguard Studios in Detroit, two of which–"Choosey Lover (Old School/New School)" and "Never Givin' Up"–made the final track listing.[22] "Never Givin' Up" was written by King and Monica Payne on the floor of the house he had just moved in, which inspired the first line "Sitting here in this empty room". King wrote the song to show appreciation to The Isley Brothers and The Clark Sisters.[22] Tavarius Polk's earlier demo impressed Aaliyah and the producers so much he was kept on the track, which was originally conceived as Aaliyah's solo song. She recorded the song in a single session, with the lights completely turned off in the recording booth so her face could not be seen.[22] The Herbert–King sessions also produced a cover of Marvin Gaye's 1977 song "Got to Give It Up" and "No Days Go By".[13] Aaliyah elaborated on covering "Got to Give It Up" saying: "I wanted some real party songs, so when my uncle played me that [original track], I thought of how I could make it different. Slick Rick [who had been incarcerated] was on work release at the time, so Vincent got him on the song".[13] She co-wrote and did vocal arrangements on "No Days Go By", along with King and Rheji Burrell. The song is the album's sole track in which Aaliyah received writing credits, and it was included only on the Japanese edition of One in a Million.[22] Diane Warren became a part of the albums production cycle, after reaching out to Kallman and expressing her desire to collaborate with Aaliyah. Warren's intention in working with Aaliyah was to have her perform a song she would not have usually performed to showcase another side of her artistry, which included displaying a wider vocal range.[22] She wrote "The One I Gave My Heart To", which was originally set to be produced by Babyface. However, he was unable to finalize the work due to unforeseen circumstances, so he enlisted Daryl Simmons as his replacement.[22]

Aaliyah and Kallman promptly concluded it was important to find innovative producers who were not widely known to produce One in a Million, as the ultimate goal was to find Aaliyah her individual, artistry-defining sound. Kallman therefore started meeting with numerous obscure songwriters and producers including Timbaland. During his meeting with Timbaland, Kallman said: "He started playing me beats and it was a really obvious meeting of, 'This doesn't sound like anything that's out there and really had its own super exciting and electric, just dynamic properties."[22] Previously, Atlantic had received a demo from him and Missy Elliott, titled "Sugar and Spice". The label felt the track was too juvenile lyrically but enjoyed its structure and melody, hence it was sent to Aaliyah, who was impressed. Consequently, Timbaland and Elliott were flown to Detroit to work with her.[23] On her initial meeting with the duo, Aaliyah stated: "At first, Tim and Missy were skeptical if I would like their work, but I thought it was tight, just ridiculous. Their sound was different and unique, and that's what appealed to me", adding: "Before we got together, I talked to them on the phone and told them what I wanted. I said, 'You guys know I have a street image, but there is a sexiness to it, and I want my songs to complement that'; I told them that before I even met them. Once I said that, I didn't have to say anything else. Everything they brought me was the bomb."[13] Thereupon, the trio spent a week recording at the Vanguard Studios, with the first songs recorded being the title track and "If Your Girl Only Knew", before flying to Ithaca, New York to record at the Pyramid Studios.[13] As primary collaborators on One in a Million, Timbaland and Elliott contributed to nine out of 17 tracks on the final track listing, providing ad-libs and rap vocals on their tracks in addition to songwriting and production.[21]

Music and lyrics

In critical commentaries, One in a Million is classified as predominantly an R&B, pop and hip hop record.[24][25] According to Micha Frazer-Carroll from The Independent, it "had a bold, expansive vision, with tracks effortlessly bouncing from trip-hop to sensual slow jams to jungle beats".[26] BET described the album as "a unique fusion of R&B, hip-hop, and electronic beats that was light-years ahead of its time".[27] The album opens with the jungle-inspired intro "Beats 4 Da Streets", on which Missy Elliott invites Aaliyah and the listeners into "the new world of funk", as echoing amid bells, blippy synths, and heavy bass are heard in the background.[28][29][12] The trip hop track "Hot Like Fire" was described as a suggestive-themed "panting minimalist controlled-blaze baby-maker".[30][12][31] On "Hot Like Fire", Aaliyah "hums and moans promises to her new bae that his patience will be rewarded".[32] The album's title track is an ethereal club ballad with "seductive" trip hop, funk, electronica, and drum and bass influences.[33][34][29] It incorporates "shimmering" synths and cricket noises within its instrumentation.[35] Lyrically, the song sees Aaliyah expressing affection and devotion to her partner.[36]

"A Girl Like You" is a hip hop track with a "standard 90s boom-bap beat", on which Aaliyah "holds her own" against featured rapper Treach from Naughty by Nature.[33][12] During the chorus, Aaliyah and Treach engage in a "cute back-and-forth".[32] The fifth track "If Your Girl Only Knew" is a funk, pop and hip hop song described by Connie Johnson from Los Angeles Times as "teasingly witchy".[38][39][40][41] On the track, Aaliyah "chides a man for hitting on her when he already has a girlfriend",[38] against heavy keyboard and organ instrumentation interspersed with live drums and a thumping bassline.[16] The sixth and seventh tracks "Choosey Lover (Old School/New School)" and "Got to Give It Up" are both covers, of songs originally performed by The Isley Brothers and Marvin Gaye, respectively.[16] The former "mimics the 1983 original faithfully" for the first four minutes before transitioning into a contemporary-styled remix outro.[33] On the latter, Aaliyah places her falsetto "toe to toe against the liquid overlapping rhyme scheme of hip hop's ultimate storyteller Slick Rick".[42] On "4 Page Letter", Aaliyah tells her "crush to keep an eye out for the mailman" because she has sent him a love letter, while recalling and following her parents' advice.[12][36]

Dean Van Nguyen from The Independent described the ninth track "Everything's Gonna Be Alright" as a "carefree anthem for the summertime block party".[28] Subsequent tracks "Giving You More" and the Tavarius Polk-assisted duet "Never Givin' Up" lyrically see Aaliyah portraying a "reassuring lover".[12] "I Gotcha' Back" is a "jeep-friendly" mid-tempo G-funk song containing an interpolation of "Lean on Me" by Bill Withers.[12][31][32] The track showcases Aaliyah promising devotion to her potential boyfriend: "When no one else is there / With me you can chill".[31][32] The jungle-inspired ballad "Heartbroken" features "drums fill[ing] out the space surrounding the low, shifting two-tone synth hum that serves as the song's backbone".[29][31][32] Like its successor "Never Comin' Back", it depicts Aaliyah opposing a negligent lover.[32][36] The latter features Timbaland "aping the sound of a live band vamping on a laid back groove" as Aaliyah performs a "call-and-response harmony routine with an imaginary concert audience over canned crowd noise".[33] "The One I Gave My Heart To" is a pop-R&B power ballad highlighting the protagonist's vulnerability over heartbreak and betrayal.[43][32]

Marketing

Imagery

The cover artwork and overall packaging for One in a Million were photographed by Marc Baptiste, who had previously photographed Aaliyah's cover shoot for Seventeen. After the Seventeen shoot, the two crossed paths again, after mutual friend Kidada Jones introduced them at The Mercer Hotel.[22] A month later, they met to discuss possible concepts for the artwork and after hearing his ideas, Aaliyah decided that she wanted to work with him.[22] The 14-hour photo shoot for One in a Million occurred at various locations throughout New York City, with the cover itself being photographed at the Canal Street station late into the session.[22] On the concept for the artwork, Baptiste said: "I wanted to keep her real. The fact that she grew up in Detroit and was born in Brooklyn, I wanted to give the album cover a street-chic vibe so that she's more approachable to an audience. I didn't want to bring her in a Bentley or anything like that. That wasn't her. She was a down to Earth person. I wanted to keep it street chic and play off her beauty".[22] The finished product saw Aaliyah "defiantly staring down the camera, dressed in a power jacket and silver-rimmed glasses that once again hid her eyes from ours. The look is pissed-off and unbreakable, not unlike the aggrieved spouse of a politician caught in a sex scandal."[44]

Throughout the promotional cycle for One in a Million, Aaliyah adapted a more mature and feminine image as opposed to her previous tomboy style, a switch quickly noticed by the public.[45][46] She incorporated slimmer garments, such as bra tops, into her style alongside her signature "sweeping deep-parted bang" hairstyle, which heavily contrasted the loose-fitting, baggy and masculine clothing she sported while promoting Age Ain't Nothing but a Number.[46] Furthermore, she became the face of Tommy Hilfiger's Tommy Jeans advertising campaign upon the release of One in a Million, and frequently wore the label's clothing items while promoting the album.[47] In an April 1997 article discussing the accompanying music video for its title track, MTV staff felt that Aaliyah was getting "all grown up and steamy in the video", to which Aaliyah responded by stating: "[As] far as it being sexy, I would prefer to say sensual. Sensual is being in tune with your sensual self. Sexy, I mean that's in the eye of the beholder, such as beauty is in the eye of the beholder."[45]

Release

In an effort to generate visual awareness for One in a Million, Blackground Records ran advertisements on cable channels such as BET and The Box from June 24 to August 6, 1996.[16] The accompanying music video for the album's lead single "If Your Girl Only Knew" was serviced to both local and national video shows on July 8.[16] Immediately after the video's premiere, the label launched a vigorous print advertisement campaign, featuring Aaliyah in publications such as Hits, Seventeen, The Source, Sister 2 Sister and YSB.[16] Due to Aaliyah's outstanding academic performance in high school, Blackground planned to run advertisements in React, an educational teen publication inserted in various daily and weekly papers across the US.[16] Since Aaliyah was an advocate for breast cancer screenings and crusades against Alzheimer's disease, Blackground also planned for her to do a series of public service announcements on those topics.[16]

One in a Million was first released in France on August 13, 1996,[48] before being released in the United States two weeks later, by Blackground Records and Atlantic Records.[49] In order to support it, Aaliyah embarked on an international promotional tour from August to September, touring the US, the United Kingdom, Germany, South Africa and Japan.[16] Years after its release and Aaliyah's death, the album was reissued across Europe alongside its 2001 successor, starting February 2004 in Germany and including the bonus track "Come Over".[50] In August 2021, it was reported that Aaliyah's post-Jive recordings would be re-released on physical and digital formats–and be made available on streaming services for the first time–in a deal between Blackground (since rebranded as Blackground Records 2.0) and Empire Distribution. One in a Million was reissued on August 20,[51][52] despite Aaliyah's estate issuing a statement in response to Blackground's announcement, denouncing the "unscrupulous endeavor to release Aaliyah's music without any transparency or full accounting to the estate".[53] In addition, the album was reissued on vinyl on August 5, 2022.[54]

Live performances

On September 14, 1996, Aaliyah made an appearance at MTV's sixth annual Rock N' Jock event, which aired on October 26.[55] During the event, she participated in a celebrity basketball game and performed "If Your Girl Only Knew" during the halftime show.[55][56] On October 11, she performed the song on Soul Train.[57][58] To promote the album in the United Kingdom, Aaliyah made an appearance on The O-Zone on October 24,[59] and on Sky One's "The Hit Mix" on November 2.[60] She made an appearance on the Fox television series New York Undercover's January 16, 1997-dated episode as a musical guest, performing "Choosey Lover (Old School/New School)".[61][62] She performed "One in a Million" on Live with Regis and Kathie Lee on February 14,[63] and on The Tonight Show with Jay Leno on February 18.[64][65] On February 21, she performed "If Your Girl Only Knew" and "One in a Million" on Showtime at the Apollo.[66] In March, Aaliyah made an appearance at the annual MTV Spring Break event in Panama City, Florida; during the event, she performed "One in a Million" and hosted a segment from The Grind, where she interviewed the Spice Girls before their performance.[67][68][69] Aaliyah was also planning a 1997 tour co-headlined with Az Yet and Foxy Brown, but the plans never materialized.[45]

On July 25, 1997, it was announced that Aaliyah was performing at KUBE 93 FM's Summer Jam '97 concert at The Gorge Amphitheatre in Grant County, Washington.[70][71] In August, MTV News reported that she was going on a nationwide tour with Dru Hill, Ginuwine, Bone Thugs-n-Harmony and Mary J. Blige; the tour commenced on August 28 in Buffalo, New York, and ended on October 5 in Phoenix, Arizona.[72] In August, Aaliyah made a televised appearance on the short-lived talk show Vibe, where she performed "Hot Like Fire" and gave the show's host a gift basket filled with promotional items.[73][74] She also performed at KKBT's annual Summer Jam concert at the Irvine Meadows Amphitheatre the same month.[75] In September, Aaliyah performed "One in a Million" on the Nickelodeon sketch comedy show All That.[76][77] She performed "The One I Gave My Heart To" on The Keenen Ivory Wayans Show on October 6,[78] and at Nickelodeon's fourth annual The Big Help event in Santa Monica, California on October 19.[79] She additionally performed the song on the BET show Planet Groove on November 26,[80] and at the UNICEF Gift of Song benefit gala, which aired live on TNT on December 10.[81][82] In December, she performed on the annual Christmas in Washington television special.[83] Aaliyah also co-headlined the B-96 B-Bash, hosted by the Chicago radio station B96, in January 1998.[84]

Singles

"If Your Girl Only Knew" was released as the lead single from One in a Million on July 15, 1996.[16] It received critical acclaim both upon its release and in retrospective commentaries, mostly directed towards its production and Aaliyah's matured vocal performance.[39][85] A commercial success, the song peaked at number 11 on the US Billboard Hot 100 and atop the US Hot R&B/Hip-Hop Songs, selling over 600,000 copies in the United States by the end of the year.[86][87][88] Internationally, it reached the top 20 in New Zealand and the United Kingdom.[89][90] The song's accompanying music video was directed by Joseph Kahn and depicts Aaliyah and her entourage arriving to a party on motorcycles, wearing dark leather outfits, and subsequent events at the party.[91] Following the 2021 reissue of One in a Million, "If Your Girl Only Knew" debuted and peaked at number 15 on the US Digital Song Sales.[92][93]

"Got to Give It Up" was released as the second international single from One in a Million on November 4, 1996,[94] reaching the top 40 in New Zealand and the UK.[95][90] Its accompanying music video, directed by Paul Hunter, shows Aaliyah performing the song alongside a hologram of its original artist Marvin Gaye.[96] Simultaneously, "One in a Million" was released as the second US single on November 12.[97] It peaked at number 25 on the US Radio Songs and atop the US R&B/Hip-Hop Airplay.[b][99][100] Internationally, the song reached the top 20 in New Zealand and the UK.[90][101] Its Hunter-directed accompanying music video was credited with establishing Aaliyah's signature image through a progressively provocative styling, as compared to her previous visuals.[102] Following the 2021 reissue of its parent album, "One in a Million" debuted and peaked at number seven on the US Digital Song Sales,[92][93] and was certified gold by the Recording Industry Association of America (RIAA).[5]

"4 Page Letter" was released as the fourth single from One in a Million on April 8, 1997,[103] peaking at number 59 on the US Radio Songs and at number 12 on the US R&B/Hip-Hop Airplay.[b][104][105] Its accompanying music video was directed by Daniel Pearl and follows the song's lyrical theme in a forest setting.[106] A reworked, Guy Roche-produced version of "The One I Gave My Heart To" was released as the fifth single on August 25.[107] It peaked at number nine on the US Billboard Hot 100, becoming the highest-peaking single from One in a Million, and at number seven on the US Hot R&B/Hip-Hop Songs.[86][87] The single was certified gold by the RIAA on October 21, and had sold 900,000 copies in the US by the end of 1997.[5][108] "Hot Like Fire" was released as a double A-side single with "The One I Gave My Heart To" on September 16, peaking at number 31 on the US R&B/Hip-Hop Airplay.[b][105] The Darren Grant-directed accompanying music video for the former sees Aaliyah emotionally perform the song in different settings, including a rain shower,[109] which heavily contrasts her energetically performing on a pyrotechnics-infused stage in the Lance Rivera-directed music video for the latter.[110]

Critical reception

Professional ratings
Review scores
SourceRating
AllMusic[49]
Cash Box(favorable)[25]
Christgau's Consumer Guide(choice cut)[111]
The Encyclopedia of Popular Music[112]
Los Angeles Times[113]
Muzik[114]
Q[115]
The Rolling Stone Album Guide[116]
Slant Magazine[37]
Sputnikmusic3/5[117]

One in a Million received generally favorable reviews from music critics. Writing for AllMusic, Leo Stanley viewed the album as a significant improvement over Age Ain't Nothing but a Number, noting a larger variety of material and producers, and described Aaliyah's vocal performance as "smoother, more seductive, and stronger than before".[49] Her vocal progression was also met with acclaim from MTV, whose editor noted she "glides easily between vocal ranges".[118] Peter Miro from Cash Box praised Aaliyah for her equal ability in executing different musical styles, listing "A Girl Like You", "If Your Girl Only Knew" and the title track as highlights.[25] Connie Johnson of the Los Angeles Times shared Miro's sentiments, commending the range "from the teasingly witchy "If Your Girl Only Knew" to the gently poignant "4 Page Letter"", further praising Aaliyah's self-assurance and the record's diverse production.[41] An editor of People also exalted the album's sonic heterogeneity and Aaliyah's vocal performance, ultimately declaring she managed to live up to the album's title.[29] Dream Hampton agreed, writing in her review for Vibe that Aaliyah's "deliciously feline" voice had the same "pop appeal" as Janet Jackson's and is complemented by the "solid and supportive" production.[31]

Bob Waliszewski from Plugged In gave One in a Million a mixed review as he felt its lyrical messages of loyalty and commitment got overshadowed by sexually suggestive content.[36] Sputnikmusic's Nick Butler deemed it a "strange" record with an overemphasis on "unusually good" ballads but plagued by underwhelming up-tempo tracks, with the exception of "Hot Like Fire".[117] J.D. Considine from The Baltimore Sun felt the tracks rarely gave Aaliyah a chance to exhibit her vocal strengths, but praised her performance on "Choosey Lover (Old School/New School)", which she "handles with precisely the sort of suave assurance the song demands."[119] A reviewer for Q wrote: "With her smooth, sweetly seductive vocal firmly to the fore, [Aaliyah] works through a set of predominantly slow and steamy swingbeat numbers, all clipped beats, luxurious melodies and dreamy harmonies".[115] The Source wrote that the album "resides on a different plane than the legion of sophomore attempts that produce only one or two gold singles".[115] Writing for The Village Voice, Robert Christgau was less enthusiastic and cited only "Got to Give It Up" as a "choice cut", calling it "a good song on an album that isn't worth your time or money".[120][121]

Accolades

Commercial performance

In the United States, One in a Million debuted at number 20 on the Billboard 200 chart dated September 14, 1996, selling 40,500 copies during its first week.[133][134] It registered its highest single-week sales during the Christmas week of 1996, when it sold 71,000 copies,[134] before reaching its original peak of number 18 on February 1, 1997.[135] The album debuted at number four on the Top R&B/Hip-Hop Albums,[136] peaking at number two in its 22nd week and spending a total of 72 weeks on the chart.[137][138] It eventually went on to be certified double platinum by the Recording Industry Association of America (RIAA) on June 16,[5] selling 1,100,000 copies that year alone.[139] According to Nielsen SoundScan, the album had sold over three million copies by July 2001;[6] it also sold 756,000 units via BMG Music Club, which were not counted by Nielsen SoundScan.[140] After Aaliyah's death on August 25, 2001, One in a Million debuted atop the US Top Catalog Albums, spending four weeks at the summit.[141][c] Following its 2021 reissue, the album reached the top ten on the Billboard 200 for the first time ever, peaking at number ten with 26,000 album-equivalent units;[d] it has spent a total of 68 weeks on the chart.[144]

In Canada, One in a Million debuted at number 35 on RPM Top Albums/CDs chart on September 9, 1996, reaching its peak at number 33 the following week.[145][146] In total, the album spent nine consecutive weeks on the chart.[147] On May 28, 1997, it was certified gold by Music Canada for shipments of 50,000 copies in the country.[148] In the United Kingdom, the album debuted and peaked at numbers 33 and three on the UK Albums Chart and the UK R&B Albums Chart, respectively, on September 7, 1996.[149][150] It was eventually certified gold by the British Phonographic Industry (BPI) for 100,000 copies shipped in the UK.[151] Following its 2021 reissue, the album re-entered the UK R&B Albums Chart at number eight.[152] In Japan, the album peaked at number 36 on the Oricon Albums Chart and received a gold certification from the Recording Industry Association of Japan (RIAJ).[153] As of August 2011, One in a Million has sold over eight million copies worldwide.[154][155]

Impact and legacy

"Aside from its clever combination of electronica and R&B, [One in a Million] also heralded the arrival of Aaliyah [the] Music Video Star. Similar to Madonna and Janet, Aaliyah's brand of masculine appeal laced with feminine sensuality came to life in a deluge of MTV [visuals] that played out like sci-fi epics. "

Idolator writer Jordan Simon discussing the multifaceted impact of One in a Million.[156]

One in a Million has been listed among the best recordings of its era and genre by numerous publications.[127][125][126][129][131] Music journalists have credited the album for continuously influencing R&B and pop music decades after its release.[157][28][158] Sal Cinquemani from Slant Magazine called it "undoubtedly one of the most influential R&B albums of the '90s".[37] Tom Breihan from Stereogum stated that "it helped introduce a whole new herky-jerk electronic take on R&B that marked a near-complete break from everything that had come before".[159] Briefly discussing the album, Kelefa Sanneh of The New York Times said Timbaland's "computer-programmed beats fitted perfectly with her cool, breathy voice to create a new kind of electronic music."[160] In 2016, Jordan Simon from Idolator wrote: "It's clear the album's deft combination of electronic and R&B set a precedent for the music of this decade, sitting comfortably on a shelf alongside recent releases from Kelela, FKA twigs and Nao".[156] Simon also considered "the foresight and risk-taking" on the album as a precursor to the experimentation found on Aaliyah's eponymous third and final studio album (2001).[156] Refinery29's Kenneth Partridge said One in a Million had "a spacey, sexy vibe that influenced a generation of soul singers and indie rockers alike".[161] Ross Scarano from Complex noted the expansion of its influence expanding to contemporary hip hop and electronic dance music as well.[129] Slate writer Dee Lockett stated the album "was unlike anything on the radio at the time, and it inspired a major redirection throughout R&B, helping to bring the genre into the spotlight once again"; she further credited the album for introducing experimental R&B, thus influencing artists such as Drake, Frank Ocean, SZA and Jhené Aiko.[162]

In retrospective commentaries, critics have emphasized the impact One in a Million had on Aaliyah's artistry and career. Brandon Caldwell from Entertainment Weekly wrote that she managed to create a singular identity detached from past controversies and become "the face of a new generation of effortlessly cool performers" with the album.[163] Writing for the music website Albumism, Steven E. Flemming Jr. claimed the album cemented Aaliyah's status as a viable recording artist alongside peers Brandy and Monica, and called it "a transitional effort that marked a move toward artistic independence and a renewed, worldly purview."[164] Flemming, like some other critics, also compared Aaliyah's trajectory surrounding One in a Million to that of Janet Jackson.[164][31][157] The album has also been credited with elevating Missy Elliott and Timbaland's respective careers, as they both enjoyed immense commercial success, as well as influencing mainstream music trends, in the years following the album's release.[158][159] Cinquemani stated the album established "Aaliyah and the Timbo family as undeniable hip-hop forces."[37]

Track listing

One in a Million – Standard edition[21]
No.TitleWriter(s)Producer(s)Length
1."Beats 4 da Streets" (Intro) (featuring Missy Elliott)
Timbaland2:10
2."Hot Like Fire"
  • Elliott
  • Mosley
Timbaland4:23
3."One in a Million"
  • Elliott
  • Mosley
Timbaland4:30
4."A Girl Like You" (featuring Treach)
  • KayGee
  • Lighty
4:23
5."If Your Girl Only Knew"
  • Elliott
  • Mosley
Timbaland4:50
6."Choosey Lover (Old School/New School)"7:07
7."Got to Give It Up" (featuring Slick Rick)
  • Herbert
  • Craig King
4:41
8."4 Page Letter"
  • Elliott
  • Mosley
Timbaland4:52
9."Everything's Gonna Be Alright"Jerkins4:50
10."Giving You More"J. DibbsDibbs4:26
11."I Gotcha' Back"
  • Dupri
  • Carl-So-Lowe
2:54
12."Never Givin' Up" (featuring Tavarius Polk)
  • Monica Payne
  • King
  • Herbert
  • King
5:11
13."Heartbroken"
  • Elliott
  • Mosley
Timbaland4:17
14."Never Comin' Back"
  • Elliott
  • Mosley
Timbaland4:06
15."Ladies in da House" (featuring Missy Elliott and Timbaland)
  • Elliott
  • Mosley
Timbaland4:20
16."The One I Gave My Heart To"Diane WarrenDaryl Simmons4:30
17."Came to Give Love" (Outro) (featuring Timbaland) Timbaland1:40
Total length:73:10
One in a Million – Japanese edition (bonus track)[165]
No.TitleWriter(s)ProducerLength
18."No Days Go By"
  • King
  • Rheji Burrell
  • Aaliyah
  • Herbert
  • Burrell
  • King
4:41
Total length:77:51
One in a Million – European limited edition (bonus track)[166]
No.TitleWriter(s)ProducerLength
18."Come Over" (featuring Tank)Johntá Austin3:55
Total length:77:05
One in a Million – 2021 digital edition (bonus track)[167]
No.TitleWriter(s)ProducerLength
18."Hot Like Fire" (Timbaland's Groove Mix)
  • Elliott
  • Mosley
Timbaland4:38
Total length:77:48

Notes

  • ^a also an additional and remix producer
  • ^b signifies an additional and remix producer

Sample credits

Personnel

Credits are adapted from the liner notes of One in a Million.[21]

  • Aaliyah – backing vocals (all tracks), lead vocals (all tracks), vocal arrangement (track 7)
  • Marc Baptiste – photography
  • Carlton Batts – mastering
  • Thomas Bricker – art direction
  • Ricky Brown – mixing (track 10)
  • Carl-So-Lowe – production (track 11), songwriting (track 11)
  • Al Carter – project coordination
  • Paulinho da Costa – percussion (track 7)
  • David de la Cruz – styling
  • J. Dibbs – mixing (track 10), production (track 10), songwriting (track 10), vocal arrangement (track 10)
  • Pat Dillett – engineering (track 4)
  • Jimmy Douglas – engineering (tracks 2, 3, 5, 8, 14 and 15), mixing (tracks 2, 3, 5, 8 and 13–15)
  • Jermaine Dupri – mixing (track 11), production (track 11), songwriting (track 11)
  • Missy Elliott – backing vocals (tracks 1–3, 5, 8, 13 and 15), lead vocals (tracks 1 and 15), songwriting (tracks 1–3, 5, 8 and 13–15), vocal arrangement (tracks 2, 3, 5, 8, 13 and 15)
  • Ronnie Garrett – bass (track 16)
  • Ben Garrison – engineering (tracks 6, 7 and 12), mixing (tracks 6, 7 and 12)
  • Marvin Gaye – songwriting (track 7)
  • Mark Goodman – remix engineering (track 6)
  • Franklyn Grant – mixing (track 9)
  • Barry Hankerson – creative consultation, management consultation
  • Dianne Hankerson – hair styling
  • Jomo Hankerson – executive production
  • Shanga Hankerson – project coordination
  • Melanie Harris – make-up
  • Xavier Harris – backing vocals (track 12)
  • Demetrius Hart – backing vocals (track 12)
  • Michael Haughton – executive production
  • Pierre Heath – backing vocals (track 12)
  • Vincent Herbert – additional production (track 6), mixing (tracks 7 and 12), production (tracks 6, 7 and 12), remix production (track 6)
  • Ernie Isley – songwriting (track 6)
  • Marvin Isley – songwriting (track 6)
  • O'Kelly Isley Jr. – songwriting (track 6)
  • Ronald Isley – songwriting (track 6)
  • Rudolph Isley – songwriting (track 6)
  • Chris Jasper – songwriting (track 6)
  • Rodney Jerkins – backing vocals (track 9), instrumentation (track 9), mixing (track 9), production (track 9), songwriting (track 9)
  • Craig Kallman – executive production
  • KayGee – mixing (track 4), production (track 4), songwriting (track 4)
  • Thom "TK" Kidd – engineering (track 16), mixing (track 16)
  • Carol Kim – project coordination
  • Craig King – engineering (track 12), production (tracks 6, 7 and 12), remix vocal arrangement (track 6), songwriting (track 12), vocal arrangement (tracks 6, 7 and 12)
  • Darren Lighty – mixing (track 4), production (track 4), songwriting (track 4)
  • Renee A. Neufville – songwriting (track 4)
  • Chuck Nice – engineering (track 7)
  • Monica Payne – songwriting (track 12)
  • Tavarius Polk – backing vocals (track 12), lead vocals (track 12)
  • Michael J. Powell – guitar (track 6)
  • Mike Rew – engineering (track 9)
  • Daryl Simmons – acoustic guitar (track 16), drum programming (track 16), keyboards (track 16), production (track 16)
  • Ivy Skoff – production coordination (track 16)
  • Slick Rick – backing vocals (track 7), lead vocals (track 7)
  • Rashad Smith – production (track 6), remix production (track 6)
  • Sound Boy – engineering (track 13)
  • Sebrina Swaby – project coordination
  • Phil Tan – engineering (track 11), mixing (track 11)
  • Tann – backing vocals (track 16)
  • Japhe Tejeda – songwriting (track 9)
  • Timbaland – backing vocals (tracks 2, 3, 5, 8 and 13), lead vocals (tracks 15 and 17), mixing (tracks 2, 3, 5, 8, 13 and 14), production (tracks 1–3, 5, 8, 13–15 and 17), songwriting (tracks 1–3, 5, 8 and 13–15)
  • Treach – backing vocals (track 4), lead vocals (track 4)
  • Diane Warren – songwriting (track 16)
  • Freddie Washington – bass (track 7)

Charts

Certifications

Certifications and sales for One in a Million
RegionCertificationCertified units/sales
Canada (Music Canada)[187]Gold50,000^
Japan (RIAJ)[189]Gold160,000[188]
United Kingdom (BPI)[151]Gold100,000*
United States (RIAA)[190]2× Platinum3,756,000[e]
Summaries
Worldwide8,000,000[154][191][192]

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

Release history

Release dates and formats for One in a Million
RegionDateEdition(s)Format(s)Label(s)Ref.
FranceAugust 13, 1996 (1996-08-13)StandardCDEast West[48]
United KingdomAugust 26, 1996 (1996-08-26)[193]
United StatesAugust 27, 1996 (1996-08-27)
  • Cassette
  • CD
[194]
JapanSeptember 10, 1996 (1996-09-10)CDEast West[153]
GermanyFebruary 23, 2004 (2004-02-23)LimitedEdel[50]
FranceOctober 16, 2007 (2007-10-16)Geffen[195]
VariousAugust 20, 2021 (2021-08-20)Reissue
[196][197][54][52]
August 5, 2022 (2022-08-05)Vinyl[54][198]

See also

References

Notes

  1. ^ During the time Aaliyah was signed to Atlantic Records, Kallman was the label's executive vice president, overseeing its artists and repertoire (A&R) division.[19] In 2005, he was named chairman and chief executive officer (CEO) of Atlantic.[20]
  2. ^ a b c Prior to Billboard's issue dated December 5, 1998, singles were not eligible to enter the Billboard Hot 100 and the Hot R&B/Hip-Hop Songs unless they were released on a commercially available format.[98] "One in a Million" and "4 Page Letter" were both radio-only singles, thus were eligible to enter only airplay charts. "Hot Like Fire" was also ineligible to enter the Billboard Hot 100 and the Hot R&B/Hip-Hop Songs due to being inferior to its counterpart "The One I Gave My Heart To" airplay-wise, which helped determine which song from a double A-side single would be eligible to chart at the time.
  3. ^ Billboard's rules at the time forbade albums older than 18 months, such as One in a Million, to re-enter the Billboard 200, hence it was eligible to enter only the Top Catalog Albums.[142]
  4. ^ The album-equivalent units included pure album sales of 13,000 units, streaming-equivalent albums (SEA) of 11,000 units (equaling 14.29 million on-demand streams of the album's tracks), and track-equivalent albums (TEA) of 2,000 units.[143]
  5. ^ One in a Million had sold three million copies in the United States by July 2001, according to Nielsen SoundScan.[6] However, Nielsen SoundScan does not count sales through clubs such as BMG Music Service, through which the album sold additional 756,000 units.[140]

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Bibliography

External links

Artist(s)

Veröffentlichungen von Aaliyah die im OTRS erhältlich sind/waren:

One In A Million ¦ I Care 4 U

Aaliyah auf Wikipedia (oder andere Quellen):

Aaliyah (2000)

Aaliyah Dana Haughton (* 16. Januar 1979 in Brooklyn, New York City; † 25. August 2001 in Marsh Harbour, Abaco, Bahamas) war eine US-amerikanische R&B-Sängerin und Schauspielerin. Ihren Durchbruch hatte sie mit Try Again, dem Titellied des Films Romeo Must Die, in dem sie die weibliche Hauptrolle spielte. Mit weltweit über 30 Millionen verkauften Tonträgern gehört sie zu den erfolgreichsten R&B-Sängerinnen der letzten 30 Jahre.[1][2] Im Alter von 22 Jahren kam sie bei einem Flugzeugabsturz ums Leben.

Leben

Jugend

Aaliyah Dana Haughton kam am 16. Januar 1979 als zweites Kind der Eheleute Michael und Diane Haughton in Brooklyn, New York City, zur Welt. Sie verbrachte jedoch den Großteil ihrer Kindheit nach einem Umzug im Alter von fünf Jahren gemeinsam mit ihrem älteren Bruder Rashad in Detroit, Michigan.

Als Teenager besuchte Aaliyah zunächst die Detroit High School, wo sie neben Tanz- und Schauspiel- auch Gesangsunterricht erhielt. Angetrieben von ihrer Mutter, einer ehemaligen Sängerin, bewarb sie sich 1989 für die Teilnahme an der Talentshow Star Search. Obwohl sie mit ihrer Darbietung von My Funny Valentine nicht als Gewinnerin aus dem Wettbewerb hervorgehen konnte, steigerte der Auftritt im landesweiten Fernsehen ihr Interesse an der Unterhaltungsbranche; so sprach die damals Zehnjährige noch im selben Jahr für die TV-Sitcom Alle unter einem Dach vor und trat im Alter von elf Jahren mit ihrer berühmten Tante Gladys Knight in Las Vegas auf.

Karriere

1990er-Jahre

1993 unterzeichnete Aaliyah Haughton im Alter von 14 Jahren[3] einen Plattenvertrag mit Blackground Records, dem Label ihres Onkels Barry Hankerson. Im Jahr darauf begann sie gemeinsam mit R. Kelly an ihrem Debütalbum Age Ain't Nothing But A Number bei Jive Records zu arbeiten. Nicht zuletzt dank seiner erfolgreichen Singleauskopplungen Back & Forth und At Your Best (You Are Love) konnte das Album, veröffentlicht im Mai desselben Jahres, im Laufe der Monate weltweit mehr als fünf Millionen Kopien absetzen.

Über das Verhältnis von Aaliyah zum 12 Jahre älteren R. Kelly gibt es einige Kontroversen,[4] hauptsächlich ausgelöst durch eine Heiratsurkunde vom 31. August 1994. Das Alter der damals 15-jährigen Aaliyah wird darin fälschlich mit 18 Jahren angegeben. Die folglich illegale Eheschließung wurde im Februar des folgenden Jahres annulliert.[5] Beide Seiten dementierten jedoch später, jemals verheiratet gewesen zu sein.[6]

Aaliyah wechselte Ende 1995 zu den Nachwuchsproduzenten Timbaland und Missy Elliott über. Das gemeinsam erarbeitete Album One In a Million, das im Sommer 1996 veröffentlicht wurde, übertraf den Erfolg des Debüts mit acht Millionen verkauften CDs bei weitem und brachte mit If Your Girl Only Knew, One In a Million, der Diane-Warren-Komposition The One I Gave My Heart To, der Ballade 4 Page Letter, dem Marvin-Gaye-Cover Got To Give It Up und der Radio-Single Hot Like Fire sechs äußerst erfolgreiche Auskopplungen hervor.

Anschließend gelang es der Sängerin 1997 mit Journey to the Past, dem Oscar-nominierten Titelsong zum Zeichentrickfilm Anastasia, ein weiteres Mal auf sich aufmerksam zu machen. Im selben Jahr hatte sie einen Gastauftritt in der Fernsehserie New York Undercover. Mit der 1998 veröffentlichten Single Are You That Somebody?, dem Titelsong zur Eddie-Murphy-Komödie Dr. Dolittle, konnte Aaliyah im Folgejahr zudem schließlich auch europaweit musikalisch Fuß fassen. Trotz des anhaltenden Erfolges entschied sie sich nach der Veröffentlichung dazu, dem Showgeschäft vorübergehend den Rücken zu kehren, um ihren High-School-Abschluss zu machen.

2000–2001

Aaliyah in Berlin (2000)

Nach intensivem Schauspieltraining bekam Aaliyah 2000 ihre erste Rolle in dem Martial-Arts-Film Romeo Must Die an der Seite von Jet Li. Sowohl der Film, der sich mit 90 Millionen US-Dollar zu einem der erfolgreichsten Filme des Jahres entwickelte, als auch der von Aaliyah und Timbaland co-produzierte Soundtrack konnten sich in den vorderen Rängen der Charts etablieren. Nachdem bereits die vorab veröffentlichten Songs Come Back In One Piece mit Rapper DMX und I Don’t Wanna sehr erfolgreich waren, konnte Aaliyah sich mit dem Titelsong Try Again sogar erstmals an der Spitze der US-amerikanischen Billboard Hot 100 platzieren. Sie wurde außerdem für einen Grammy nominiert.

Nach weiteren Aufnahmen für die Anne-Rice-Verfilmung Königin der Verdammten in Australien begannen die Dreharbeiten zu Matrix Reloaded und Matrix Revolutions. Dafür kehrte Aaliyah im Frühjahr 2001 in die USA zurück, um die Veröffentlichung ihres dritten Albums vorzubereiten. Während die erste Auskoppelung We Need a Resolution lediglich mittelmäßige Erfolge in den Charts erzielte, stieg die selbstbetitelte LP bis auf Platz 2 der US-amerikanischen Albumcharts.

Tod

Am 21. August 2001 begannen Aaliyah und ihr Team in Los Angeles die Dreharbeiten zum Musikvideo der Single Rock The Boat. Am darauffolgenden Tag entschied man sich schließlich dazu, für zwei weitere Tage auf die Bahamas zu fliegen, um dort mit einigen Außenaufnahmen weiter am Video arbeiten zu können. Während ein Teil der Gruppe nach Ende der Dreharbeiten am 25. August 2001 auf den Inseln zurückblieb, traten Aaliyah und sieben ihrer Crew-Mitglieder in einer Cessna 402B die Heimreise in Richtung Miami an. Unmittelbar nach dem Start stürzte das Flugzeug gegen 18:45 Uhr Ortszeit nur wenige hundert Meter hinter der Landebahn zu Boden. Alle Insassen kamen dabei ums Leben. Wie man später feststellte, war das Flugzeug um etwa 320 kg überladen, da die Passagiere trotz der Warnungen des Piloten auf der Mitnahme aller Gepäckstücke bestanden hatten.[7] Eine spätere Autopsie deckte zudem auf, dass der Pilot unter Einfluss von Kokain und Alkohol gestanden hatte.

Vermächtnis

Nach Aaliyahs Tod schossen ihre Plattenverkäufe in die Höhe. Ihr Album Aaliyah kam auf Platz 1 der US-Billboard-Charts. Es wurden weitere Singles aus Aaliyah veröffentlicht. More Than A Woman wurde ein postumer Nummer-1-Hit in Großbritannien. Die Ballade I Care 4 U wurde dank massiver Radiounterstützung in den USA veröffentlicht und schaffte es dort ohne weitere Promotion in die vorderen Ränge der Charts. In Deutschland war das Album Aaliyah 42 Wochen erfolgreich in den Charts platziert.

Die Dreharbeiten zum Film Königin der Verdammten konnten vor Aaliyahs Tod beendet werden, jedoch mussten einige Tonaufnahmen von ihrem Bruder Rashad nachsynchronisiert werden. Premiere feierte der Film aber erst 2002. Er erreichte auf Anhieb Platz 1 der US-Kinocharts und kam bis auf Platz 4 in Deutschland.

Ihre Rolle als Zee in den Matrix-Fortsetzungen wurde mit Nona Gaye umbesetzt, da zum damaligen Zeitpunkt nur wenige Szenen mit Aaliyah fertiggestellt waren. Das Rohmaterial ist auf einer Special Edition der Matrix-DVDs zu sehen.

Das erste Greatest Hits-Album I Care 4 U wurde im Winter 2002 veröffentlicht, es enthielt ihre bekanntesten Songs sowie einige unveröffentlichte Tracks. Dazu kam eine DVD mit ihren Musikvideos und Behind-The-Scene-Interviews auf den Markt. Das Album sowie die Vorab-Single Miss You wurden Bestseller. Im dazugehörigen Video zollten prominente Freunde (u. a. Missy Elliott, Lil’ Kim und DMX) Tribut an die verstorbene Sängerin. Es folgte die nur in Europa veröffentlichte Maxi-CD Don't Know What To Tell Ya. In den USA entschied man sich hingegen für Come Over.

Aaliyah wurde auch nach ihrem Tod für zahlreiche Awards nominiert und ausgezeichnet, unter anderem für den Grammy und den American Music Award. In Deutschland wurde sie für ihr letztes Album Aaliyah für den Echo nominiert.

2005 wurden in Großbritannien und Japan weitere Best-of-Alben von Aaliyah veröffentlicht: Ultimate Aaliyah (UK) und Rare Tracks And Visuals (JP), jedoch wurden diese kaum beworben.

Sonstiges

  • Aaliyah war während ihrer Karriere auf vielen Alben anderer Künstler und weiteren Film-Soundtracks zu hören.
  • Sie bekam für ihre Single Try Again und ihr letztes Album Aaliyah Gold in Deutschland.
  • In den vergangenen Jahren wurden zahlreiche ihrer bislang unbekannten Songs ins Internet gestellt.
  • Aaliyah war für die Hauptrolle im Remake des Films Sparkle vorgesehen. Nach ihrem Tod wurde der für 2002 geplante Produktionsbeginn für mehrere Jahre ausgesetzt; der Film erschien schließlich 2012 mit Jordin Sparks in der Hauptrolle. Eine weitere Hauptrolle sollte Aaliyah im Kinofilm Honey spielen.
  • Aaliyah war die erste Sängerin, die einen posthumen Nummer-1-Hit in Großbritannien hatte.
  • Ihr Hit Try Again war der erste Song in der Geschichte der US-Charts, der nur basierend auf Radio-Airplay Platz 1 erreichte.
  • Aaliyah wurde 22 Jahre alt.
  • Aaliyahs Grab ist auf dem Ferncliff Cemetery in Hartsdale (Ortsteil von Greenburgh), New York.
  • Im Video zu Miss You verabschieden sich u. a. DMX, Missy Elliott, Toni Braxton, Queen Latifah, Jamie Foxx und ihre Familie.

Diskografie

Studioalben

JahrTitel
Musiklabel
Höchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen
(Jahr, Titel, Musiklabel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
Anmerkungen
 DE AT CH UK US R&B
1994Age Ain’t Nothin’ but a Number
Blackground Records • Jive Records
UK23
Gold
Gold

(13 Wo.)UK
US18
Doppelplatin
×2
Doppelplatin

(37 Wo.)US
R&B3
(41 Wo.)R&B
Erstveröffentlichung: 24. Mai 1994
Verkäufe: + 6.000.000[8][9]
1996One in a Million
Atlantic Records • Blackground Records
UK33
Gold
Gold

(3 Wo.)UK
US10
Doppelplatin
×2
Doppelplatin

(68 Wo.)US
R&B2
(71 Wo.)R&B
Erstveröffentlichung: 5. August 1996
Verkäufe: + 8.000.000[10]
2001Aaliyah
Blackground Records
DE9
Gold
Gold

(41 Wo.)DE
AT21
(11 Wo.)AT
CH6
Gold
Gold

(33 Wo.)CH
UK5
Platin
Platin

(36 Wo.)UK
US1
Doppelplatin
×2
Doppelplatin

(69 Wo.)US
R&B2
(77 Wo.)R&B
Erstveröffentlichung: 13. Juli 2001
Verkäufe: + 13.000.000[11]

Filmografie

Filme

Cameoauftritte in Musikvideos

Auszeichnungen

  • American Music Awards
    • 2001: in der Kategorie „Favourite Female R&B Artist“
    • 2002: in der Kategorie „Favorite Soul/R&B Female Artist“
    • 2002: in der Kategorie „Favorite R&B/Soul Album“ (Aaliyah)
    • 2003: in der Kategorie „Favorite Female R&B Artist“
  • Billboard Music Awards
    • 1996: in der Kategorie „Top R&B Single of the Year, Female“ (One in a Million)
    • 1998: in der Kategorie „Top Hip-Hop/R&B Single Airplay Single of the Year“ (Are You That Somebody?)
    • 2000: in der Kategorie „Top Hip-Hop/R&B Artist of The Year, Female“
    • 2003: in der Kategorie „Top Hip-Hop/R&B Artist of The Year“
    • 2003: in der Kategorie „Top Hip-Hop/R&B Album of The Year, Female“ (I Care 4 U)
    • 2003: in der Kategorie „Top Hip-Hop/R&B Single of The Year, Female“ (Miss You)
  • Icon Israeli Musical Artist Award
    • 2004: in der Kategorie „Best Selling International Female Artist of the Year“
  • MOBO Awards
    • 2002: in der Kategorie „Best Video“ (More Than a Woman)
    • 2002: in der Kategorie „Best Dance Video“ (More Than a Woman)
    • 2002: in der Kategorie „Best International Act“
    • 2002: in der Kategorie „Best Video“ (Rock the Boat)
    • 2002: in der Kategorie „Best Video Female R&B Vocals“ (We Need a Resolution)
  • MTV Movie Awards
    • 1999: in der Kategorie „Best Movie Song“ (Are You That Somebody?)
  • MTV Video Music Awards
    • 2000: in der Kategorie „Best Female Video“ (Try Again)
    • 2000: in der Kategorie „Best Video From Film“ (Try Again)
  • New Musical Express
    • 2002: in der Kategorie „Record of The Year“ (More Than a Woman)
  • Pakistan Music Awards
    • 2001: in der Kategorie „Best Song From a Female Artist“ (Try Again)
  • Rolling Stone
    • 2001: in der Kategorie „Best R&B Album“ (Aaliyah)
  • Soul Train Lady of Soul Awards
    • 2002: in der Kategorie „Best R&B/Soul Single“ (Rock the Boat)
    • 2002: in der Kategorie „Best R&B/Soul or Rap Song of the Year“ (Rock the Boat)
  • World Music Awards
    • 2002: in der Kategorie „World’s Best Selling Female R&B Artist of the Year“

Weblinks

Commons: Aaliyah – Sammlung von Bildern

Einzelnachweise

  1. Aliyah. myvideo.de, archiviert vom Original (nicht mehr online verfügbar) am 6. August 2014; abgerufen am 29. Januar 2017.
  2. Gary Trust, Keith Caulfield, Rauly Ramirez: The Top 50 R&B / Hip-Hop Artists of the Past 25 Years. In: Billboard. 18. November 2010, abgerufen am 29. Januar 2017 (englisch).
  3. Aaliyah telegraph.co.uk, abgerufen am 11. März 2019 (englisch)
  4. vgl. The Real Reason R Kelly Married Aaliyah…, abgerufen am 14. Januar 2014
  5. „R. Kelly: Indecent Proposal“ (Memento vom 19. September 2008 im Internet Archive), abgerufen am 14. Januar 2014
  6. Aaliyah biopic to discuss underage marriage to R. Kelly (Memento vom 16. Januar 2014 im Internet Archive), abgerufen am 14. Januar 2014
  7. Flugzeugabsturz: Soulstar Aaliyah tot, Die Welt vom 27. August 2001
  8. Age Still Ain’t Nothing But A Number: Aaliyah’s Debut Turns 20. In: revolt.tv. Archiviert vom Original (nicht mehr online verfügbar) am 17. April 2015; abgerufen am 17. Mai 2021.
  9. What Millennials Should Know About… Aaliyah’s ‘Age Ain’t Nothing But A Number’ LP. In: vibe.com. 26. August 2014, abgerufen am 17. Mai 2021.
  10. Aaliyah Died 10 Years Ago Today: What Fans Say. In: hollywoodreporter.com. 25. August 2011, abgerufen am 17. Mai 2021.
  11. Drake unveils new Aaliyah duet ‘Enough Said’ – listen. In: nme.com. 6. August 2012, abgerufen am 17. Mai 2021.