Monica - Boy Is Mine
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CD Details
Artist: MonicaEdition: Music CD
Audio: English (Original Language)
Published: 1998
CD Release Date: 1998-07-14
Music Label: Arista
Soundtracks:
- Street Symphony
- The Boy Is Mine (Duet With Brandy)
- Ring Da Bell
- The First Night
- Misty Blue
- Angel Of Mine
- Gone Be Fine (Featuring OutKast)
- Inside
- Take Him Back
- Right Here Waiting (Featuring 112)
- 'Cross The Room
- I Keep It To Myself
- For You I Will
Music reviews of Boy Is Mine
Music Review: The Masterpiece is Hers (4.5 Stars)
Rating: 4 Stars
While the average listener of R&B today enjoy the new sounds, many remain nostalgic for the classic 90s style, spawning several memorable albums. This becomes a double-edged sword, where artists are expected to constantly recreate their old masterpieces, yet receive complaints about "rehashing" the same old material. Many attempt to branch out, and then "return to their roots" if the album doesn't play out as intended. However, if these roots are anything like Monica's sophomore effort, this is certainly a good thing. The Boy Is Mine is a true 90s classic, which sounds just as fresh today as it did when it was first released just over a decade ago. As with her debut, her voice sounds mature beyond her years, allowing for her to avoid the childish material that many young artists get stuck with. Both the success as well as the quality of this album firmly establish its place in R&B as a classic.
The stunning album opener, "Street Symphony", captures attention immediately with its orchestral background, quite a unique style. Monica sings about loving a man who is deeply involved in street life. She tells him he must choose between the streets and his relationship with her, singing "if I can't get you out of the streets, then you don't need to be with me". Monica's passionate vocals and the originality of the use of the orchestra make this an immediate highlight. This is followed by one of the most memorable tracks of the 90s, "The Boy Is Mine", a duet with Brandy. Brandy and Monica complement each other's voices beautifully, and the lyrics are strong. The song gives ample room for both of them to shine. "Ring da Bell" is a very adult song for such a young singer, as Monica was only seventeen at the time of this album. Monica sings about her boyfriend cheating, getting another woman pregnant, yet she handles the situation with great maturity. Monica lets her man know that she's put up with too much from him, so much so that it's time for her to leave. This is a solid album track, but not the most memorable that it has to offer.
"First Night", on the other hand, is another standout (and a personal favourite) that sounds just as fresh today. This was one of Monica's biggest successes, and with good reason. Monica's voice sounds incredible here, and it combines beautifully with the production. On top of this, it also has a positive message about taking things slow in a relationship yet delivers it in a very realistic way. She is able to inject this kind of message without coming across like she's preaching, but more as though she is leading by example. "Misty Blue", a remake, is one of a few songs that may need to grow on you. However, Monica's powerful voice sells it beautifully. This is one of the songs that makes Monica sound beyond her years, as it is not your typical teenage love ballad, although this is certainly a good thing. "Angel of Mine" is another personal favourite, and debatably one of Monica's most recognizable tracks to date. This song features stunning instrumentation, perfectly complementing a beautiful vocal delivery. She sounds a little more subdued here than on other ballads, but it works to her favour, allowing both her voice and the production to shine.
"Gon' Be Fine" is another grower, featuring Outkast. This track shows Monica confused about how she feels about a guy ("You say you love me/I come back with I hate you/Only takes me a day to/Realize I'm in love with you"). Yet at the same time, Monica is letting him know that no matter what happens, she'll be fine. Outkast's appearance neither hurts nor helps the track. It's another solid song, but far from the best. "Inside", in contrast, shows Monica at her best with a passionate and emotive performance. The instrumentation here is kept to a minimum, allowing plenty of room for Monica's vocals to shine. This song talks about keeping up a mask during an encounter with an ex, so he won't know how much he's hurt her. The track was written by Diane Warren in her prime, showcasing emotion without becoming overwrought or sappy. "Take Him Back" is another of many highlights, yet one of the most overlooked tracks. Here, Monica debates taking back a guy who has hurt her in the past. Again, Monica tackles the issue with maturity and class, yet keeps it very relatable for the listener. "Right Here Waiting" is another cover, and shows off Monica's abilities beautifully. The track features male group 112, who complement her voice to great effect. This is another song that is more mature than one would expect from a singer of Monica's age, however she has the vocal ability to make it convincing.
"Cross the Room" is one of the more dated tracks the album has to offer, and seems to be attempt to show off another side to Monica. While it works to an extent, this style is not really where Monica seems most comfortable. She manages the track well, but at times seems to get lost among the production. The song seems a little out of place compared to the rest of the album, although it may have been an attempt to bring a little more variety to the styles. "I Keep It To Myself" is almost a companion piece to "Inside", as both deal with keeping feelings to oneself. However, in this case, Monica sings about falling in love with a friend, a song that at once sounds mature and yet can be seen as describing a teenage crush. The bridge in particular sounds beautiful. Finally, the album ends off with another track that shows Diane Warren's writing at its best, the stunning "For You I Will", which also appeared on the Space Jam soundtrack. This is another classic 90s track, and one of Monica's most recognizable works. While the lyrics may be a little sappy, Monica's passionate and sincere delivery pull it together to end the album off with a highlight.
Overall Mark: 4.5/5
Listening to this album, it is very easy to overlook the fact that Monica was only seventeen at the time of its release. She injects such passion and maturity into all of the tracks that she could easily sounds older than her years. It's a shame today's young artists are often not given such freedom to sing more mature material. However, for Monica the tracks provided here certainly play to her strengths. Although it is beginning to sound slightly dated in places (the more uptempo tracks in particular), it nevertheless has stood as a classic example of 90s music at its finest. Even the weaker tracks are not enough to mar the album as a whole, as they are all enjoyable individually, only appearing weak in comparison to other material. Listening to this album also shows how far Monica has come vocally, as her voice has noticeably matured in recent years, becoming even more powerful. If people suggest Monica should stick to her roots for new music, this album seems to be a prime example of just how strong those roots can be.
Description of Boy Is Mine
24bit K2 digitally remastered Japanese limited edition special issue of the album classic. Includes the bonus tracks "First Nite" (So So Def Mix) and Razor N.Mix.Brandy may have scored the first hit with the infectious catfight "The Boy Is Mine," but make no mistake: Monica owns that song. In the battle of the cute teenage soul songbirds, Monica Arnold wins hands down because she can sing her ass off and because she has better songs. Monica's corner includes the vastly underrated producer Dallas Austin, who kicks in with edgy, moody cuts like "Street Symphony," a cautionary tale set to an orchestral groove, and "Ring da Bell," which plain-out flows. Unfortunately, this being the big-bucks world of '90s R&B, Monica is also saddled with de rigueur Diane Warren-David Foster exercises in ersatz soul and overwrought hokum. Why anyone would want to remake Richard Marx's "Right Here Waiting" is a mystery, but let's just say that Monica also has the smarts to cover Dorothy Moore's classic remake of the adult ballad "Misty Blue," thereby evening the score a bit. It's a tribute to Monica's voice, a womanly alto of real shading and substance, that she can transform schlock into something that comes close to emotion. All of which makes The Boy Is Mine easy on the ears and secures Monica's further ascension. --Amy Linden
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