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Songs in A Minor
2001 studio album by Alicia Keys From Wikipedia, the free encyclopedia
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Songs in A Minor is the debut studio album by American singer-songwriter Alicia Keys. It was released on June 26, 2001, by J Records. A classically trained pianist, Keys wrote, arranged and produced the majority of the album herself, though she frequently worked with her then-partner Kerry "Krucial" Brothers. The efforts resulted in a neo soul record fusing contemporary classical music with traditional and modern R&B, soul, jazz, hip-hop, blues, and gospel styles. Its lyrical themes center on love, perserverence, self-worth, survival, and introspection. Despite the album's title, only two of its tracks are composed in the key of A minor.
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Keys began writing songs for her debut studio album in 1995, aged 14, before signing a record deal with Columbia Records in 1996. Dissatisfied with Columbia's attempts to control her artistry and diminish her own creative inputs, she began recording Songs in A Minor independently in 1998. Upon being presented with finished recordings, Columbia rejected them. Around that time, Keys met Clive Davis, founder and then-president of Arista Records, who was impressed with her, and bought out her contract with Columbia in order to sign her at Arista, and later J Records, on which Keys finished the album in 2001. Further collaborative efforts included those with Jermaine Dupri, Kandi Burruss, Brian McKnight, and Jimmy Cozier. Autobiographical allusions to past relationships and the album's tumultuous creation are also interspersed throughout its lyricism.
Upon release, Songs in A Minor received widespread critical acclaim, primarily for its musical style and Keys' artistic maturity, though its lyricism elicited criticism. A commercial success, it debuted at number one on the US Billboard 200, with first-week sales of 236,000 units. Though a sleeper hit internationally, it went on to become one of the best-selling albums of 2001 worldwide. At the 44th Annual Grammy Awards (2002), Keys tied Lauryn Hill's record for most awards won by a woman in a single night with five wins, including the Grammy Award for Best R&B Album. Songs in A Minor produced four singles, including the US Billboard Hot 100 number one and worldwide hit "Fallin'", and the US top-10 hit "A Woman's Worth". To further promote the album, Keys embarked on her headlining debut Songs in A Minor Tour (2002).
Songs in A Minor is widely regarded as an idiosyncratic, yet influential, album of the early 2000s; numerous publications have included it among the best albums of its era. Its immediate critical acclaim went on to be sustained with retrospective commentaries, which unanimously emphasized the record's timeless quality. Furthermore, Songs in A Minor is credited with solidifying Keys as a viable and ubiquitous recording artist. Based on its "cultural, historical or aesthetic importance", the album was inducted in the 2022 class of the National Recording Registry in the Library of Congress. In 2020, the album was certified septuple platinum by the Recording Industry Association of America (RIAA), for combined sales and album-equivalent units of seven million in the US. As of 2011, it has sold over 12 million copies worldwide.
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Writing and recording
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In 1995, then-14-year-old Keys, a classically trained pianist, began writing songs which would eventually constitute Songs in A Minor, with "Butterflyz" and "The Life" being among the first compositions.[d] At the time, she was a member of the girl group EmBishion, through which she was noticed by vocal coach Conrad Robinson. Robinson subsequently introduced Keys to his brother Jeff, who became her manager after the disbandment of EmBishion.[9][12] Jeff Robinson and artists and repertoire (A&R) executive Peter Edge helped Keys assemble demo recordings and arrange showcases for record label executives.[13][14] After a bidding war ensued between labels, Keys signed a record deal with Columbia Records and Jermaine Dupri's So So Def Recordings in 1996.[14][15] Around that time, she began working with Kerry Brothers Jr.[9] After graduating from the Professional Performing Arts School in 1997, aged 16, Keys was accepted into Columbia University; however, she dropped out after four weeks to pursue her music career.[9][14] Keys had already recorded the Rodney Jerkins-produced "Little Drummer Girl" for Dupri's 12 Soulful Nights of Christmas (1996), and co-wrote and recorded "Dah Dee Dah (Sexy Thing)" for the soundtrack to the 1997 film Men in Black.[12] However, she grew frustrated with recording sessions for Columbia, whose executives aimed to diminish her creative inputs, instead bringing established producers in order to construct her image into that of "the next teen pop idol".[9][12] Brothers consequently advised Keys to purchase her own equipment and to record without Columbia's interference.[9]
Keys thus began producing and recording Songs in A Minor herself in 1998,[16] after moving out of her mother's apartment into an apartment in Harlem, where she recorded inside her bedroom. Afterwards, Keys and Brothers moved into a house in Queens, transforming its basement into the KrucialKeys Studios.[9] In the studio, Keys completed the record by the end of 1998. However, upon being presented with the demo, Columbia rejected it for lacking radio-friendly material.[17][9] As she felt her creativity was being disrespected, Keys desired to terminate her contract with Columbia.[14] Upset by the situation, she wrote "Troubles", retrospectively stating: "Everything that I said in the verses was exactly how I felt, and what was said in the chorus was what I felt like God would be saying to me. I almost wanted to call it 'Conversations with God'."[9] According to Keys, as she wrote "Troubles", Songs in A Minor "started comin' [sic] together. Finally, I knew how to structure my feelings into something that made sense, something that can translate to people."[18] Soon thereafter, Edge introduced Keys to Clive Davis, founder and then-president of Arista Records.[13] Davis, who sensed a "special, unique" artist in Keys upon first hearing her,[8] bought out her contract with Columbia,[15] and Keys left the label to sign with Arista in early 1999.[12] Keys was also able to keep her recordings created under Columbia.[14]
As Davis encouraged Keys to take creative control over her career,[8] she continued writing and recording songs for Songs in A Minor, also learning how to produce recordings by consulting with producers and audio engineers.[17][19] While recording, Keys sought permission from Prince to cover his 1982 song "How Come U Don't Call Me Anymore?". Prince, notoriously reticent to his songs being covered and sampled by other artists, invited Keys to his estate Paisley Park. After Keys performed the song in front of Prince's close associates, he allowed her to cover the song, and the two established a rapport.[20][21] As Songs in A Minor neared completion in 2000, Davis was ousted from Arista and founded a new record label, J Records. Keys consequently left Arista and signed a record deal with J,[14] under which she completed the album by early 2001.[22] A total of 32 tracks were recorded for Songs in A Minor, 16 of which made its final track listing.[23] Apart from the KrucialKeys Studios, the album was also recorded at the Battery Studios, The Hit Factory and the Unique Recording Studios in New York, the Doppler Studios and Dupri's Southside Studios in Atlanta, and the Backroom Studios in Glendale, while a substantial amount of tracks was mixed at the Electric Lady Studios and the Sony Music Studios in New York.[24] A largely self-written, self-arranged and self-produced effort, 14 of the album's tracks were written and 15 were produced by Keys, some in collaboration with contributors such as Brothers, Dupri, Kandi Burruss, and Brian McKnight.[24] Prior to its inclusion on the album, "Rock wit U" was featured on the soundtrack for Shaft (2000),[25] while the eventual Japanese edition bonus track "Rear View Mirror" was included on the soundtrack for Dr. Dolittle 2 (2001).[26]
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Music and lyrics
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Songs in A Minor is a neo soul album with classical piano references and arpeggios,[32] fusing contemporary classical music with R&B, soul and jazz.[15][17][33] Influenced by classical music, traditional soul and East Coast hip hop,[15] Keys described the record as a "fusion of my classical training, meshed with what I grew up listening to [...] things I've been exposed to and drawn from and my life experiences".[34] She cited Frédéric Chopin as the primary classical influence, and Marvin Gaye, Earth, Wind & Fire, Curtis Mayfield, and Stevie Wonder as soul-R&B influences.[35] Jane Stevenson of Jam! described the musical style as "old-school urban sounds and attitude set against a backdrop of classical piano".[36] USA Today's Steve Jones wrote that Keys "taps into the blues, soul, jazz and even classical music to propel haunting melodies and hard-driving funk".[37] John Mulvey of Dotmusic called the album "a gorgeous and ambitious melding of classic soul structures and values to hyper-modern production technique".[38] Despite its title, only two tracks on Songs in A Minor are composed in the key of A minor—"Jane Doe" and "Mr. Man".[39] The record opens with "Piano & I", which begins with a rendition of Ludwig van Beethoven's Piano Sonata No. 14, before transitioning into a contemporary hip-hop beat.[40] Hip-hop influences are further present on "Girlfriend", a new jack swing-infused R&B track sampling Ol' Dirty Bastard's "Brooklyn Zoo".[15][12] Reflecting Prince's original counterpart, "How Come You Don't Call Me" incorporates a funk-influenced sound,[12][41] as does "Jane Doe".[42] Also a funk track, "Rock wit U" is based on an elaborate orchestral instrumentation, including strings and flute played by Isaac Hayes,[12][30][f] alongside bass, conga and snare drums, and light synths.[12][11] Sonically containing "the urgency of a New York minute", "The Life" received comparisons to Curtis Mayfield's "Gimmie Your Love",[15] as well as work of Sade.[43] "Swirling" string-driven "Mr. Man" is a duet with Jimmy Cozier,[12] and is infused with reggae and Latin music styles.[44][43] The "stripped-down" interlude "Never Felt This Way" segues into the piano and acoustic guitar-driven ballad "Butterflyz".[43][36][25] Meanwhile, "Fallin'" and "A Woman's Worth" explore traditional soul and gospel-influenced elements;[41][43] the former contains a sample of James Brown's "It's a Man's Man's Man's World".[15] Similarly, the closing hidden track "Lovin' U" is an organ-driven gospel-soul song influenced by the Supremes.[12][43]
Songs in A Minor explores lyrical themes such as love, perseverence, self-worth, survival, and introspection.[12] Some songs, such as "Troubles" and "The Life", are autobiographical and contain allusions to Keys' tumultuous, yet stagnant, period at Columbia Records.[35] "The Life" further discusses universal adversities: "'Cause when it rains, it pours, isn't life worth more? / I don't even know what I’m hustlin' for / You got to do what you gotta do just to make it through all the hard times that are gonna face you".[15] On the spoken-word "Piano & I",[45] Keys explicitly addresses difficulties of the creative process preceding Songs in A Minor.[28] For "How Come You Don't Call Me", Keys was inspired by a previous long-term relationship.[35] "Girlfriend" is a female protagonist's admission of jealousy of her partner's friendship with another woman,[46] while the lyrics of "Jane Doe" condemn a woman attempting to seduce the protagonist's partner.[12] Songs such as "Fallin'" lyrically describe vicissitudes of romantic relationships.[34] "Troubles" follows a woman concerned over her partner's potentially illicit activities.[15] Keys later revealed she wrote the song as a conversation with God, with the chorus representing what she perceived as God's answer to her apprehension.[18] Feminist-themed "A Woman's Worth" urges male listeners to show adequate affection and respect to their female partners.[12][42] Keys felt inspired to write it after seeing a televised L'Oréal commercial using the slogan "Because I'm worth it".[47] "Butterflyz" describes "the sweet ascent into love with childlike brevity", while its successor "Why Do I Feel So Sad" is contrarily a "clear-eyed meditation on familiarity of heartbreak".[12] Songs in A Minor closes with "Caged Bird", which pays homage to Maya Angelou's autobiography I Know Why the Caged Bird Sings (1969), reinterpreting the book's theme to describe quelling isolation and denigration with music.[44] "Caged Bird" is followed by the hidden track "Lovin' U", which sees Keys simultaneously feel enraptured and anxious over a committed relationship.[12] Christian Ward of NME and Clover Hope of Pitchfork emphasized Keys' expressive vocal performance and ability to convey different emotional themes,[43][12] despite singing in a restrained style.[44][12] Keys demonstrates distinct "shades of fatigue" throughout "Fallin'", ranging from a "swelling" falsetto to a hoarse alto.[12] On "How Come You Don't Call Me", she uses crescendoed ad-libs to convey despair, while singing in a "hauntingly" low register on "Rock wit U" to express feeling captivated by her love interest.[12]
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Marketing and touring
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Regarding the "grass-roots" marketing campaign for Songs in A Minor, J Records' then-executive vice president of A&R Jeff Edge remarked that it was based on exposing Keys "in terms of performing in front of people in every way possible, because it wasn't just about listening to her record—to see her was to believe in her".[11] Originally titled Soul Stories in A Minor, the album was retitled to expand its marketability, and not to cater exclusively to R&B and hip-hop radio stations and retailers.[17] In advance of the album's lead single, "Girlfriend" was serviced to urban contemporary radio as a promotional single in early 2001 to "introduce" Keys to the general public.[15] Keys first performed "Fallin'" live at Davis' pre-43rd Annual Grammy Awards gala on February 20, 2001.[48] "Fallin'" was released as the lead single from Songs in A Minor on March 28,[22] going on to peak atop the US Billboard Hot 100,[49] and becoming a worldwide top-10 hit and the second-best-performing single of 2001 in the US.[50][51] Keys further promoted the album through print media, having been interviewed for the spring 2001 issue of The Fader,[52] and photographed for the cover of the June 2001 issue of Dazed.[53] Davis subsequently booked Keys for The Tonight Show with Jay Leno, and wrote a letter to Oprah Winfrey, persuading her to allow Keys to perform on The Oprah Winfrey Show.[23] Winfrey agreed, and Keys performed on the show, alongside Yolanda Adams, India Arie, Mary Mary, and Jill Scott, on June 21.[54] The performance led to the album's pre-orders to double.[17] Having been postponed from its original June 12 release at the last minute,[55] Songs in A Minor was released on June 26, 2001, by J Records.[g] Although originally set for a June 11 international release,[22] it would be progressively issued worldwide in subsequent months, starting with the UK on July 23.[h]
Despite "Jane Doe" receiving heavy unsolicited airplay,[67] "A Woman's Worth" was released as the second single from Songs in A Minor on October 2,[68] peaking at number seven on the Billboard Hot 100.[49] Keys continued promoting the album with televised performances on Good Morning America on July 13,[69] on Saturday Night Live on September 29,[70] and on Last Call with Carson Daly on January 8, 2002.[71] Interpolating Ludwig van Beethoven's "Für Elise", she performed "Fallin'" at the 2001 MTV Video Music Awards on September 6, 2001,[72] later performing it as a medley with "A Woman's Worth", accompanied by flamenco dancer Joaquín Cortés, at the 44th Annual Grammy Awards on February 27, 2002.[73] She additionally performed at the VH1/Vogue Fashion Awards on October 23, 2001,[74] and at the 2001 Billboard Music Awards on December 4,[75] Internationally, she promoted the album by performing on Later... with Jools Holland in the UK on November 5,[76] on Wetten, dass..? in Germany on November 17,[77] and during the Sanremo Music Festival 2002 in Italy on March 8, 2002.[78] Having toured as a supporting act on Maxwell's Now Tour from August to October 2001,[79] Keys embarked on her debut concert tour, the Songs in A Minor Tour, on January 22, 2002, initially touring North America until March 10.[80] On March 11, "How Come You Don't Call Me" was released as the third single from Songs in A Minor,[81] failing to replicate the success of its predecessors by peaking at number 59 on the Billboard Hot 100.[49] Afterwards, Keys commenced Good Morning America's annual Summer Concert Series on May 31.[82] The Songs in A Minor Tour resumed with the second North American leg on July 2.[83] Its August 10 concert at KeyArena in Seattle was partly recorded, with the live performances included on the Remixed & Unplugged edition of Songs in A Minor, released in select countries in October.[c] The tour was then expanded with a leg in Europe, from September to November 2002,[84][85] and ended with an Oceanian leg in December.[86] "Girlfriend" was released as the fourth and final single from Songs in A Minor outside North America on November 25, 2002,[87] peaking at number 24 on the UK Singles Chart.[88]
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Critical reception
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Upon release, Songs in A Minor received widespread critical acclaim, with critics predominantly hailing it as an auspicious and accomplished debut.[i] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, it received an average score of 78, based on 10 reviews.[96] Reviewing the album for NME, Sam Faulkner described the balance between classical music and R&B as "an act of pure genius".[90] Q praised Keys as "a prime candidate to head up the nu-soul revolution ... with a voice that challenges Mary J. Blige's",[91] while Steve Jones of USA Today said that "Keys already has a musical, artistic and thematic maturity that many more experienced artists never achieve".[37] The Washington Post's Richard Harrington shared those sentiments, further directing praise towards Keys' musical influences.[95] In his review published via PopMatters, Mark Anthony Neal called the album "a distinct and oft-times brilliant debut from an artist who clearly has a fine sense of her creative talents".[15] Robert Christgau, writing in The Village Voice, commended it for its first half and closing tracks, despite some "bores that threaten to sink the project midway through".[94] Keys' vocal performance was lauded;[j] Sal Cinquemani from Slant Magazine declared that Keys' displayed a "powerful range, proving she can belt along with the best of them".[44] Uncut called the album "frequently stunning" and compared Keys' vocal performance to a young Aretha Franklin.[98] However, some critics found Keys' lyricism to be subpar to her singing and musical abilities.[97][92] The New Zealand Herald's Russell Baillie stated that Keys "might indicate abundant talent aligned to neatly reverential vintage soul style", but expressed that the songs "don't add up to anything particularly memorable".[30] Beth Johnson of Entertainment Weekly called the second half of the album slacked with "sad sack teen themes", but called it a promising album.[41] Rolling Stone's Barry Walters perceived her singing as more mature than her songwriting, but commended Keys for her "commanding presence" on the album.[92] Los Angeles Times writer Robert Hilburn said that the album "makes a convincing case that's she's going far—in both a commercial and creative sense".[89]
Critical plaudits for Songs in A Minor persevered in retrospective commentaries, with numerous critics concurring that the record had aged well by its 10th anniversary.[k] Accordingly, George Lang of The Oklahoman felt the reissue was "oddly premature",[45] while Walters opined that "excepting a drum-machine beat or two, [the album] feels timeless".[31] In a review for AllMusic, Stephen Thomas Erlewine further perceived the sonic quality as "rich enough to compensate for some thinness in the writing" and called the album "a startling assured, successful debut that deserved its immediate acclaim".[97] In The Encyclopedia of Popular Music (2007), Colin Larkin called it an "exotic" fusion of urban R&B, hip hop, and blues on "a minor classic of modern soul".[100] Lloyd Bradley, via BBC, hailed the record as "a masterpiece of contemporary soul songwriting and arrangement".[102] Stephen Deusner wrote for American Songwriter that the original album's "resourceful musicality extends to the bonus tracks" on the collector's edition.[99] Preezy of The Boombox praised the album for being a "phenomenal debut" and "quite sophisticated for a 20-year-old piano prodigy". Dissecting its structure, he concluded: "One positive of the deeper cuts on Songs in A Minor is that they reveal a bit of the woman sitting behind the piano, as opposed to showcasing her immense talent, a mission the opening tracks on the accomplished."[11] Ahead of the 20th anniversary of Songs in A Minor, Clover Hope also exalted it as an outstanding debut, and—despite dismissing tracks such as "Girlfriend" and "Jane Doe", which she perceived as thematically dated—she praised Keys' self-sufficient musicianship and "incredibly persuasive" vocal performance.[12] Like Preezy,[11] Justin Chadwick of the website Albumism noted a loss of consistency throughout the record's second half, but nonetheless declared the album a "masterfully executed hybrid of classic and contemporary soul with an acute streetwise sensibility to balance its creator's musical intelligence and passion".[25]
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Accolades
Awards
Listings
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Commercial performance
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In the US, Songs in A Minor sold over 50,000 copies on its first day of release.[137] It sold 236,000 copies in its first week, debuting atop the Billboard 200 and Top R&B/Hip-Hop Albums charts dated July 14, 2001; it thus became the first number-one for J Records on both charts.[54][138] The number-one debut for then-new artist Keys in a highly competitive week was largely attributed to the critical acclaim the album received, the burgeoning performance of its lead single "Fallin'", and Keys' appearance on The Oprah Winfrey Show upon the album's release.[54] Selling 174,000 units in its second week, the album descended to number two to Devil's Night by D12; the albums were separated by margin of merely 0.17 percent, equalling to 306 copies.[139][140] Keys' performance on Good Morning America prompted Songs in A Minor to return to the summit in its third week,[141] where it remained the following week for a final week atop the chart.[142][18] On the Top R&B/Hip-Hop Albums, it spent six consecutive weeks at number one.[143] The album registered its best-selling week during the holiday season of 2001, with sales of 241,000 units.[144] It became the sixth best-selling album of 2001 in the US, selling 4,100,000 copies by the end of the year,[145] having placed at number 13 on the Billboard 200 year-end chart.[146] Following its 10th anniversary reissue in June 2011, the album re-entered the Billboard 200 at number 69;[147] it has spent a total of 70 weeks on the chart.[148] For combined sales and album-equivalent units amounting to seven million in the country, the album was certified septuple platinum by the Recording Industry Association of America (RIAA) in August 2020.[59]
Internationally, Songs in A Minor was a sleeper hit. For over two months, it progressively ascended towards its peak of number two on the Canadian Albums Chart,[149] and went on to be certified quintuple platinum by then-Canadian Recording Industry Association (CRIA) in July 2002, for shipments of 500,000 units in Canada.[150] Across Europe, the album generally debuted at low positions but gradually reached the top 10 in 13 countries,[151][152] peaking at number one in the Netherlands, within the top three in Germany and Switzerland,[151] and at number five on the European Top 100 Albums.[153] By selling three million copies in Europe, it earned a triple-platinum certification from the International Federation of the Phonographic Industry (IFPI) in 2004.[154] Debuting at number 75 on the UK Albums Chart, the album peaked at number six in its 28th week on the chart,[152] having spent two non-consecutive weeks atop the UK R&B Albums Chart.[155] In November 2002, it was certified triple platinum by the British Phonographic Industry (BPI), for sales of 900,000 units in the UK.[63] Songs in A Minor debuted at number 57 on the Australian Albums Chart,[156] reaching its number-three peak six months later in March 2002.[157] It was certified triple platinum by the Australian Recording Industry Association (ARIA) in 2019, for combined sales and album-equivalent units of 210,000 in Australia.[158] Similarly, the album fluctuated within the New Zealand Albums Chart for six months before peaking at number four,[159] being certified platinum by then-Recording Industry Association of New Zealand (RIANZ) in August 2002, for shipments of 15,000 units in the country.[160] Songs in A Minor was the seventh best-selling album in the world of 2001, having sold 6,700,000 units by the end of the year.[161] As of 2011, it has sold over 12 million copies worldwide.[m]
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Legacy
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"I'm so honored and grateful that 'Songs in A Minor,' the entire album, gets to be recognized as such a powerful body of work that is just going to be timeless. What is it about [the album] that I think resonates with everybody for so long? I just think it was so pure. People hadn't quite seen a woman in Timberlands and cornrows and really straight 100% off of the streets of New York performing classical music and mixing it with soul music and R&B. And people could find themselves in it. And I love that."
—Keys ahead of the induction of Songs in A Minor into the National Recording Registry in 2022[162]
Released during the early-2000s period of heightened creativity in contemporary R&B and the upsurge of neo soul, Songs in A Minor is widely regarded as an idiosyncratic, yet influential, album of its era.[n] According to J'na Jefferson in USA Today, it largely influenced subsequent contemporary R&B trends and "set the new millennium's artistic bar sky high".[46] Numerous critics accentuated the record's distinction from 2001's pop music landscape, predominantly due to its earnest and sensible lyricism, and fusion of classical and modern musical styles.[o] The self-produced Songs in A Minor was further placed in juxtaposition with more elaborately produced concurrent recordings of other R&B artists, largely produced by Timbaland, Rodney Jerkins, and Bryan-Michael Cox, such as Aaliyah's eponymous third and final studio album and Usher's 8701.[46] Including Songs in A Minor on their listing of best debut albums of all time, Rolling Stone concluded: "In an increasingly digitized pop age, this album was a reminder that history still lived and talent still mattered."[136] Erlewine further credited it for eliciting a rise of not only fellow neo soul musicians, but also "ambitious yet classicist" singers-songwriters of other genres—such as Nelly Furtado and Norah Jones—to ubiquitous prominence.[165] The Library of Congress selected Songs in A Minor for inclusion in the 2022 class of the National Recording Registry, based on its "cultural, historical or aesthetic importance".[168]
In August 2001, Margena A. Christian of Jet classified Keys as one of the fastest-rising recording artists,[169] while Touré regarded her as "the next queen of soul" in the November 8, 2001 issue of Rolling Stone's cover story.[18] Upon the release of her second studio album The Diary of Alicia Keys (2003), Kris Ex of Blender declared Keys "the first new pop artist of the millennium who was capable of changing music", which he attributed to Songs in A Minor.[170] A later Billboard article reflected on Songs in A Minor introducing Keys as "a different kind of pop singer. Not only was she mean on the ivories, but she showed true musicianship, writing and performing her material."[167] Hope observed how its background and structure separated Keys from her contemporaries, namely Destiny's Child, Britney Spears, NSYNC, and Usher, and ultimately led to Keys being positioned at the forefront of popular music, alongside India Arie, as "new ambassadors of neo-soul".[12] Gail Mitchell of Billboard shared those sentiments, adding that the album exhibited Keys' multifaceted talents.[166] With five wins at the 44th Annual Grammy Awards, Keys tied Lauryn Hill's record of most Grammy Awards won by a woman at a single ceremony;[171] the record would eventually be broken by Beyoncé, who won six awards at the 52nd Annual Grammy Awards (2010).[172] Keys was also among the most nominated and awarded artists at numerous award ceremonies between 2001–2002, including the American Music Awards,[105] the Billboard Music Awards,[104] and the Soul Train Music Awards.[110] In an essay published by the Library of Congress, author Jene Roswell emphasized the significance of Keys' record-breaking Grammy Award wins and performance on the 2001 Billboard Year-End charts with her debut effort, as those achievements helped her solidify her status among leading recording artists of the time.[39] Songs in A Minor was thus credited with setting high expectations for The Diary of Alicia Keys, regarding both artistic merit and commercial performance.[165][173] However, the latter exceeded first-week sales of the former, becoming Keys' second consecutive Billboard 200 number-one entry with 618,000 units sold,[144] and won Keys her second Best R&B Album award at the 47th Annual Grammy Awards (2005).[73]
In April 2011, Keys announced plans to commemorate the 10th anniversary of Songs in A Minor, with reissues in multiple formats and Piano & I: A One Night Only Event with Alicia Keys, originally intended as a singular concert at the Beacon Theatre in New York City on June 30.[175] In a statement, Keys said: "This album is possibly the most precious to me as your first album only happens once, and so Songs in A Minor will always hold a special place in my life that's filled with amazing memories. I'm so proud the songs are still being enjoyed, and I'm crazy excited to share songs never heard before."[176][175] However, the concert was swiftly expanded into a promotional tour, with additional dates in Paris, London and Los Angeles throughout June.[177][178][179] During the shows, Keys performed the album in its entirety and told stories of its recording.[176] Double-disc deluxe and box set collector's editions of Songs in A Minor were released on June 28. Both included previously unreleased material, while the collector's edition bonus DVD featured a documentary chronicling the making of the record. The original album was simultaneously made available on vinyl for the first time.[175] Furthermore, Keys performed a medley of "Typewriter", "Fallin'", "A Woman's Worth" with Bruno Mars, and "Maybach Music" with Rick Ross at the BET Awards 2011 on June 26,[180] as well as performing "Fallin'", "Butterflyz", and "Empire State of Mind (Part II) Broken Down" on Good Morning America on June 28, the same day a wax figure of her was revealed at Madame Tussauds New York.[181] BET aired The Story So Far, a special highlighting Keys' ten-year career through her BET performances and interviews, on June 29.[182] On June 4, 2021, was again reissued in commemoration of its 20th anniversary, including the previously unreleased "Foolish Heart" and "Crazy (Mi Corazon)".[183] To promote the release, Keys performed a medley of "Piano & I", "A Woman's Worth", "How Come You Don't Call Me", and "Fallin'" at the 2021 Billboard Music Awards on May 23; the performance was introduced with a speech from Michelle Obama.[184] Keys also appeared on the cover of the May 26, 2021 issue of Bustle, which featured a story on the creation of Songs in A Minor and its subsequent impact.[185] Furthermore, Sony Music launched an interactive website dedicated to fan letters regarding the album.[186]
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Track listing
- Notes
- All live tracks were recorded at KeyArena in Seattle, on August 10, 2002.[7][5]
- The 20th anniversary edition excludes the Ali version of "Fallin'" and "I Won't (Crazy World)" from vinyl pressings.[190]
- In 2023, the digital deluxe edition was updated to include all additional tracks from the collector's and 20th anniversary editions.[4]
- ^[a] signifies an additional producer
- ^[b] signifies a co-producer
- ^[c] signifies a producer and an additional producer
- Sample credits
- "Girlfriend" contains an interpolation of "Brooklyn Zoo" by Ol' Dirty Bastard.[24]
- "Fallin'" contains an uncredited sample of "It's a Man's Man's Man's World" by James Brown.[15]
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Personnel
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Credits adapted from the liner notes of Songs in A Minor.[24]
- A&C Productions – strings (track 16)
- Alli – art direction, creative direction
- Arden Altino – additional keyboards (track 11), production (track 11)
- Miri Ben-Ari – additional strings (track 16), keyboards (track 11), production (track 11), violin (tracks 4 and 11)
- Brandon Barnes – songwriting (track 12)
- Kerry "Krucial" Brothers – additional production (tracks 5 and 10), digital programming (tracks 4–6, 8, 10, 14, and 16), drum programming (tracks 1 and 3), engineering (tracks 3–6, 10, and 13–16), production (1, 3, 6, and 14), songwriting (tracks 5, 6, and 10)
- Gerry Brown – engineering (track 1), mixing (tracks 1, 5, 6, 13, and 14)
- Kandi Burruss – background vocals (track 8), production (track 8), songwriting (track 8)
- Ralph Cacciurri – engineering (track 8)
- Warryn Campbell – songwriting (track 14)
- Cato – guitar concept (track 13)
- Brian Cox – keyboards (track 2)
- Jimmy Cozier – production (track 11), vocals (track 11), songwriting (track 11)
- Clive Davis – executive production
- Jermaine Dupri – production (track 2), songwriting (track 2)
- Tony Duran – photography
- Peter Edge – executive production
- Russ Elevado – mixing (tracks 3, 4, and 16)
- Gerald G. Flowers – guitar (tracks 6, 13, and 14)
- Reggie Flowers – additional fills (track 14)
- Vic Flowers – bass (tracks 6 and 14)
- Brian Frye – engineering (track 2)
- Richie Goods – bass (track 16), upright bass (track 13)
- Paul L. Green – background vocals (tracks 5 and 7)
- Andricka Hall – background vocals (track 4)
- Isaac Hayes – flute arrangement (track 6), Rhodes piano (track 6), string arrangement (track 6)
- The Isaac Hayes Orchestra – flute arrangement (track 6), string arrangement (track 6)
- Norman Hedman – percussion (tracks 6 and 10)
- Rufus Jackson – bass (track 10)
- Acar Key – engineering (track 12)
- Alicia Keys – arrangement (tracks 4, 5, 7–13, 15, and 16), background vocals (tracks 1–3, 5–10, 13, 14, and 16), digital programming (tracks 7 and 10), executive production, instrumentation (tracks 3, 4, 5, and 8), keyboards (tracks 1, 6, 11, and 16), piano (tracks 1, 2, 6, 11–14, and 16), piano concept (track 9), production (tracks 1–8 and 10–16), songwriting (tracks 1, 2, 4–11, and 13–16), string arrangements (track 16), vocals (all tracks)
- Manny Marroquin – mixing (tracks 7 and 10)
- Tony Maserati – mixing (track 11)
- Brian McKnight – instrumentation (track 9), production (track 9), songwriting (track 12)
- Cindy Mizelle – background vocals (track 4)
- Anthony Nance – drum programming (track 9)
- Nowhere – design, logo design
- John Peters – organ (track 16)
- Herb Powers Jr. – mastering
- Prince – songwriting (track 3)
- Jeff Robinson – executive production, management
- Erika Rose – songwriting (track 7)
- Tammy Saunders – background vocals (track 4)
- Tim Shider – bass (track 5), bass concept (track 14)
- Rick St. Hillaire – engineering (track 11)
- Mary Ann Souza – engineering assistance (track 9)
- Taneisha Smith – songwriting (tracks 6 and 10)
- Phil Tan – mixing (track 2)
- Joshua Thompson – songwriting (track 2)
- Dionne Webb – hair
- Patti Wilson – styling
- Kéla Wong – makeup
- Chris Wood – engineering (track 9)
- Arty White – guitar (tracks 7 and 10)
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Charts
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Certifications
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Release history
See also
- Alicia Keys discography
- List of best-selling albums by women
- List of Billboard 200 number-one albums of 2001
- List of Billboard number-one R&B albums of 2001
- List of UK R&B Albums Chart number ones of 2001
- List of top 25 albums for 2002 in Australia
- New Zealand top 50 albums of 2001
- New Zealand top 50 albums of 2002
References
External links
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