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| | Label: 101 DISTRIBUTION
Salesrank: 8205
Released: January 1, 2009 |
| Our Price: $8.83 |
| Used Price: $8.98 |
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| Media: Audio CD |
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One in a Million (incl. Bonus Track) Track Listing:
1. Beats 4 da Streets (Intro)
2. Hot Like Fire
3. One in a Million
4. Girl Like You
5. If Your Girl Only Knew
6. Choosey Lover (Old School/New School)
7. Got to Give It Up
8. 4 Page Letter
9. Everything's Gonna Be Alright
10. Giving You More
11. I Gotcha' Back
12. Never Givin' Up
13. Heartbroken
14. Never Comin' Back
15. Ladies in da House
16. One I Gave My Heart To
17. Came to Give Love (Outro)
18. Come Over
Editorial Review:
Out of print in the U.S.! Originally relased in 1996, One In A Million was Aaliyah's second album that saw her sound develop with a new maturity, partly through her collaborations with producers like Timbaland. Includes the singles 'One In A Million', 'If Your Girl Only Knew', 'Got To Give It Up' and '4 Page Letter'. Long out-of-print in the US. Features the same 17 tracks that graced the original pressing.
One in a Million (incl. Bonus Track) Reviews:
Great Album 
2009-11-16 - One of the best albums I have ever heard from any genre of music. Every song is a hit!!
The Blueprint for Modern R&B : An Underrated Masterpiece
2007-05-02 - First of all, let me just say that this my favorite R&B Record of all Time. Nothing else even comes close. Aaliyah did with this one album what generations of women after her have tried and failed (Ashanti, Tweet, Amerie, even Lauryn Hill to an extent) - and not even Aaliyah could top this album in her later career.
Note that this album was the first album to ever feature Missy Elliot and Timbaland, and its because of this CD that they were even noticed by the music industry. Credit Aaliyah for that.
We're talking music history here, so please take the time to go through this review in detail.
As an RnB teen star, Aaliyah is, or at least was, a more intruiging proposition than the other light-skinned, thin-voiced females who pose for men's magazines and sing hooks for young men more prone to enthusiastic bursts of offputting elitism than actually making good music. But just why is unclear and difficult to articulate. She may have possessed a slightly superior voice than her (more popular, until her immortalisation due to a tragic death) successors and contemporaries, but her beats-orientated songs rarely proved testament to this fact (exception: "At Your Best"- see her first album). She is often said to have had an intangible air of mystique and intruige- she rarely shed clothing in her videos (exception#2: "We Need A Resolution"), and this seeming modesty, coupled with an uncommonly mesmerising charisma and the moody, Timbaland-led production infused in her last two records, is perhaps why. Or maybe it's just the unshakeable R Kelly (commercial RnB's sinister answer to the Pied Piper) rumour and her premature death.
Either way, if you're looking for a rarely demanding, enjoyable slice of millenial RnB, look no further. This will please the MTV crowd and more discerning listeners simultaneously. As long as you don't go in expecting a Miseducation-style sonic revelation, you won't go far wrong.
"One In A Million", Aaliyah AKA Babygirl's sophomore effort, begins not with the titular chanteuse's vocals, but with "Beats for da Streets", a track rapped by Missy Elliott, at this stage a behind-the-scenes entity and not the rump-shaking, unlikely but loveable icon of 2003. This is highly appropriate (as is the fact that, in her own intro, Aaliyah is reduced to bit-part singing about beats). Once "One in A Million" is over, you'll have enjoyed some songs and skipped others, but you will not have got a feel of what Aaliyah is capable of or truly about, who she is as an artist. You will, however, be hugely familiar with the preoccupations, talents, and scope of the star's producers. The songs are frequently structured around the admittedly stellar production as opposed to the lyrics and vocals. Indeed, such considerations often feel like afterthoughts: the non-Beyonce components of Destiny's Child, the other parts of Assifer Lopass (you mean there are other parts!?!). Aaliyah is her producer's sidekick, and not vice versa (as it arguably should be). However, the production is so seductive it's doubtful you'll care.
The first 'proper' song on "One In A Million" is "Hot Like Fire" (2.5/5), a catchy but meaningless piece of fluff, again notable only for the production. The more famous remix is better.
Next up is the mid-tempo "One In A Million" (4/5)- often said to be the ultimate Aaliyah song, though at first I found it mediocre. I didn't understand the hype until I heard it on big, bassy speakers: and, miraculously, it transformed, Cinderella like, before my ears. Her voice suddenly sounded richer, the beats more vital. The plain Jane became the belle of the ball. I think I've wasted this somewhat redundant metaphor, and so will swiftly move on :D. Anthemic.
Fourth is "A Girl Like You" (4/5). Despite the presence of a generic, utterly irritating rapper, her voice is sweet and likeable, the chanty chorus addictive, and the production expertly smooth and langorous. Ignore the annoying rap intro and discover one of the most listenable songs on the album. It also changes as it progresses. One for the repeat button.
Fifth is "If Your Girl Only Knew" (4/5), another of the many singles from the album, the others being "Hot Like Fire (remix)"; "One In A Million"; "4 Page Letter"; "Got To Give It Up" and "One I Gave My Heart To". Backed by a kickier beat than the last few songs, this sassy but contained little number again doesn't get stale, has a great beat, and is very addictive.
"Choosey Lover (Old School/New School" (4/5) is the next track. The song has the virtue of neat but obvious gimmick- the first half is produced like a Toni Braxton power ballad, complete with histrionic guitar solo, and the second half is backed by an altogether more slinky hip hop beat. Expanding on the sound of the previous tracks yet retaining the winning formula, this is less addictive, perhaps due to the six minute running time. It has the virtue of both parts working (though oddly I personally prefer the first section despite the awesome but redundant beat of the second. Good and clever, but too repetitive- you are SICK of the simplistic chorus by the end of it. Outstays it's welcome.
The single and Marvin Gaye cover "Got To Give It Up" (3/5) is next, and despite having quite possibly one of the most cringeworthy rap lyrics this side of P-Diddy ("Like everyone was chasin' my fine a*s; but when Aaliyah walked in the whole place went bananas"- um, there's a reason they're called 'RHYMES', fellas), this is pretty mediocre despite Aaliyah putting in a good vocal. Ironically, considering this is the designated 'par-tay' track, it's a bit wet and too mid-tempo. The production is also pretty generic in the context of the tracks surrounding it. Gets old fast.
Like "One In A Million", I didn't understand why "4 Page Letter" (4/5), a seemingly bland effort had been chosen as a single when I first heard it. Big, bassy speakers sang back the answer. The production, with the haunting, synthesised 'vocal' at the end. However, it's a bit too similar to "One In A Million" and once again relies more on production gimmicks than vocals and lyrics.
"Everything's Gonna Be Alright" (2/5) is enjoyable when I listen to it, but as I type, having heard it about five seconds ago, I genuinely can't remember it. Doesn't stand out and has inane lyrics, but is more up-tempo than the other songs. I'm listening to it again and it DOES sound good, just bland. Again, gets old quick and screams filler.
The same can be said of "Givin' You More" (2/5) and "I Gotcha' Back". Both sound nice, but simply don't stand out, or keep interest for more than a minute. It's boring, redundant background music- too much chorus, not enough, song.
The sensual "Never Givin' Up" (4/5) is better. Aaliyah's vocals SHOULD shine on this, but don't for three reasons. Firstly, her guest singer is better than her, or at least sounds it on this. Secondly, she still isn't changing her range- her voice still stays the same as it has in the past songs- it works, but it gets dull. Thirdly, when she actually DOES go for it on this song about three quarters of the way through, breaking away from her normally very reserved vocals and warbling Mariah style, she simply doesn't sound all that. It's not that her voice is bad, it's just that she's clearly used to singing a certain way, and isn't yet trained for a more melodramatic approach.
"Heartbroken" (2/5) again sounds nice, and her vocals are allowed to shine more than usual, but the song itself is forgettable in the long term.
"Never Comin' Back" (2.5/5), a faux live track, is better, but not good enough. The beat, despite the mediocrity of the song, feels a little too `experimental' to be listenable.
"Ladies In The House" (3.5/5) features lovely, laid back production and is catchy and quite addictive, but by this point in the album a set formula is all too clear, and so the listener begins to feel dj vu ever so slightly.
"One I Gave My Heart To" (2.5/5) is the sort of song I normally LOATHE- trite, unspectacular production (one of the few songs clearly NOT produced by Timbaland and crew), but on this album it actually stands out as it sounds so different from everything around it. It's also without a doubt Aaliyah's best vocal performance on the album, making it better than it should be. Had this been sung by, say, Beyonce Knowles, or Christina Aguilera, they would have overdone it with superfluous warbling and unnecessary stressing of every other syllable. Aaliyah, however, puts in an admirably assured performance, proving she genuinely does have the talent- it's just the type of music she's gone with, good as it is, doesn't show it off to it's full extent.
And so, after an unmemorable outro, "Came To Give Love", "One In A Million" is over. I've used several words quite a lot over the course of this review, and they pretty much sum up the album: addictive; listenable; samey; great production; inhibited vocals. The main problem is simply a lack of variety- this is corrected on the less fatty, superior follow-up "Aaliyah". While not one song when individually picked out is bad, only one song vastly stands out from the rest (One I Gave My Heart To)- and it's not a particularly good song. While Aaliyah's sweet but sultry vocals, and Timbaland's ultra smooth production, is the perfect marriage in relaxed chic, this admittedly effective formula allows neither to show what they are fully capable of. Aaliyah herself cannot do anything other than sing-by-numbers until she is released from his production. Equally, Timbaland never goes all out and produces the hot club track he is capable of on this album, seemingly wanting to keep to an overall "feel" of mid-tempo chilled grooves. Don't expect variety.
This is a great album to play while hanging out with friends; as a pre-night-out singalong or a post-night-out relax; or for going to sleep. However, don't expect any ear catching, vital, shake-that-a*s standouts like "We Need A Resolution" or "Try Again", or shimmering ballads like "I Refuse" or "At Your Best" (with the possible exception of "One In A Million"). Just gloriously, if rather numbingly by the time it comes to an end, calm and confident RnB. If you're looking for an Aaliyah album, buy her eponymous follow up first- it's perhaps less consistent, but when it's good, it's better than this. If you're looking for some commercial RnB, this is definitely one of the more sophisticated offerings from that most plastic of genres. However, this is good only because of how it sounds- the lyrics are average at best in terms of commercial fare, and poor in comparison to more demanding "urban" genres like neo-soul or underground hip-hop. Overall though, solid and recommended.
A Timeless Classic, this album is the Blueprint for our Entire Generation of Hip-Hop/R&B Artists - get this original and be blown away. More than a decade after its' first release, this still is just as amazing!
This edition SUCKS! 
2006-05-24 - This Gremany 2004 re-release of Aaliyah 2nd album "One in a million" Is a RIP OFF. It is copy protected which means I can't put it onto my I Pod. I Sofa King Hate That! If I wanted a way to own this album without being able to transfer it onto my I Pod, I would have purchased the US Cassette edition. Music piracy is wrong but so is copy protection. STOP COPY PROTECTION RIP AALIYAH
the REAL princess of hip hop and R&B
2006-03-17 - The one and only returns on this sophomore set minus R. Kelly (we all know why), sporting a new sound via Timbaland and Missy Elliott and a more mature image.
Gone is the "street but sweet" girlie girl who sang of love and life beyond her 15 years on debut LP "Age Ain't Nuthin' But a Number."
On followup "One in a Million," Aaliyah's song is that of a woman, lending smooth vocals to the sometimes bouncy, pulsating and hypnotic "If Your Girl Only Knew" and title track (Your Love is)"One in a Million."
Her standout love ballad, perhaps the biggest of her career, was "The One I Gave My Heart To."
And I don't know an around the way girl who didn't think "4 Page Letter" circa late 1996-early 1997 wasn't THE female anthem at the time.
Aaliyah's forthcoming album "Aaliyah" (2001) blew up for a variety of reasons, but I think hardcore Aaliyah fans will always hold onto this LP as vintage Aaliyah -- her best stuff.
Aaliyah had a charm, a beauty and a spirit all her own.
Like Mary J. Blige in the hip hop community, Aaliyah was a true entertainer and innovated a new sound.
She continues to occupy a lane that e'erybody's still try'na get all up in (Ciara, anyone?).
aaliyah forever missed
2005-03-11 - i looooove everything about aaliyah....its been almost 4 years since shes been gone and i still think about her..!
this cd has amazing songs like hot like fire, come over, if your girl only knew 4 page letter....i love them'll
AALIYAH I LOOOOOVE YOOUUUUUUUU YOU ROOOCKKKKKKKK BABY !!!!!!
