10 Years Later, We're Still Addicted To Ne-Yo's 'Because Of You'

To commemorate Ne-Yo's 'Because of You' turning 10, we took a track-by-track trip down memory line.

It’s 2007, and R&B crooner Ne-Yo is seemingly an addict. Maybe not in the literal way the term might suggest, but in a more figurative sense; in which his appetite for love, sex and salacious desires require an intervention. The man born Shaffer Chimere Smith paints these schmaltzy, sometimes raunchy romance-infused vignettes with his sophomore effort, Because of You.

Ten years ago today (May 1), Because of You made its debut and was named after its catchy first single. The track reached No. 2 on the Billboard Hot 100 chart two and a half weeks after the album’s release. In 2006, his debut album, In My Own Words rose to No.1 on the Billboard 200 and its ubiquitous first single “So Sick” garnered the coveted No.1 spot on the Billboard Hot 100.

While his sophomore record didn’t achieve the same chart-topping accolades his first project did, it was a continuation to the heartfelt dialogue he introduced to the world. “Much like its predecessor, Know Me is seductively laced with a gentle, insistent longing. You can hear it on songs like ‘Do You,’ which, Ne-Yo explains, picks up where ‘So Sick’ left off, or the playful ‘Crazy,’ with its breathless vocals,” Amy Linden wrote for VIBE in 2007.

[Editor’s Note: the album was named Know Me before he decided on Because of You.]

Eventually, Because of You went on to win a Grammy for Best Contemporary R&B album. Additionally, the Las Vegas native also won two other Grams the following year for Best R&B Song and Best Male R&B Vocal Performance with “Miss Independent.” Awards and charts aside, the album will always be coveted as an R&B staple. With his lyrical prowess and insightful ear for production, he took us on a trip through all the trials and stages that come with deep love or shallow sexual relations. It’s the aftermath after the feels. It’s complex and at times simple. “I got a problem and I don’t know what to do about it/ Even if I did, I don’t know if I would quit but I doubt it,” he admits on “Because of You.”

To say the least, he excels at conveying a not-so-subtle message into subtle interesting wordplay. “The art of songwriting is not saying ‘f**k me’ but finding a more clever way of saying something instead of just going right in,” he told VIBE 10 years ago.

Amid the bliss, there is painful introspection: “Maybe this decision was a mistake/You probably don't care what I have to say/ But it's been heavy on my mind for months now,” he ponders on “Do You.” On the album, he creates a catalogue of hits designed for those in love, helplessly trapped inside the seductions of sex, seeking vindication or contemplating their mistakes of the past.

In efforts to commemorate Because of You’s 10th anniversary, we took a track-by-track trip down memory line to decipher Ne-Yo’s love-fixated mind.

1. “Because of You”

Over sweet melodies, smooth percussive bangs and with soothing piano keys, Ne-Yo creates an ode to his dangerous desires with a special girl that has that sexual “It” factor. In it, he professes there is nothing more deliciously intoxicating than enjoying a good romp session. He admits he may have some issues, but the gravitational pull the object of his addiction has on him is far greater than any resolution. After all, “she’s the sweetest touch.”

2. “Crazy” feat. Jay Z

With a braggadocious co-sign from Jay Z, Ne-Yo is still obsessed with an out of this world intriguing love interest. Once again, nothing else matters. He admits to writing her name on the wall 3,000 times, and also admits every song he’s writing is about this special young lady. Infatuation here is an understatement. It’s smooth and reminiscent of the late Michael Jackson.

3. “Can We Chill”

Ne-Yo hit the club for this one. With an upbeat feel and an infectious pulsating rhythm, he’s presumably pleading the object of his desire to go to a more discreet destination than the dance floor. Amid the salacious offer, he attempts to add a small shot of chivalry: “Don't wanna rush, let's take it slow/Enjoy the night babe/Then you decide if you want to/Get to know me on a physical side.”

4. “Do You”

After the tempting obsessions comes the inevitable depressive introspection. It seems like in between the mischief, Ne-Yo caused a certain someone some pain. Now, he’s left wondering if he has some type of presence in her heart or mind. Like many of us, he regrets the misbehavior that unfortunately happens at times in our romantic relationships.

5. “Addicted”

Beneath jazzy beats, the Sin City native teases that he isn’t as fazed by sex because of how easy he can get it. He is worried about how enthralled you might be after you get a taste. “Welcome to Fame,” he confidently places in the song’s opener, almost to foreshadow that if you were to sleep with him, your mind might get caught up. But if you slip, “It's a gift and a curse/Don't mess around/find my number in your girlfriend's purse,” he warns.

6. “Leaving Tonight” feat. Jennifer Hudson

There’s an intruder meddling in Shaffer Chimere Smith and Jennifer Hudson’s relationship. He wants to assure her nothing is wrong, but with crucial hard evidence his claims are hard to believe. The love gone wrong ballad seems more in conjunction with “Do You” than the rest of Because of You’s offerings to this point. But one thing is for sure: the R&B crooner is “Not Leaving Tonight,” whether an infidelity happened or not.

7. “Ain’t Thinking About You”

Through a series of speedy production keys and a percussive mixture of drums as its backdrop, Mr. Smith confesses he’s had enough. He’s seemingly at that stage in a relationship where one has done everything they possibly can to salvage the partnership, and still it’s never enough. It’s relatable and frustrating, but like in all matters of the heart, it’s necessary…to grow apart that is.

8. “Sex With My Ex”

It doesn’t matter what happened in the past anymore. One thing is for sure, if the bedroom play becomes boardroom consensus between the two parties involved, it’s on. Because, “Sex with my ex-girlfriend” is tempting: “I... really like the way you go/Begging me to not kiss right there/And you, suddenly just lose control/
Begging me to smack it and pull your hair.” Even when it might be wrong, it still feels right.

9. “Angel”

Through a heavenly sunny mix of soothing beats and sweet lyrics, Ne-Yo is in love with perhaps someone whose love is unrequited. Its wordplay makes you question whether or not the singer songwriter is in love with someone who has passed on to the other life: “I sit around so anxious for you to call my phone/She went up to heaven said she'll be back later on.” It’s part of the confusion that makes the track that more intriguing and beautiful.

10. “Make It Work”

There’s always going to be conflict in a relationship, and this schmaltzy little love note expresses just that. It has a relaxing sound to it, matched with a hint of all the reality that comes with the four-letter word.

11. “Say It”

It’s back to the bedroom, and now the singer-songwriter is seeking some validation, or perhaps wants his sex partner to up the ante. Through a slow, dissolving beat and monotone-like tone, he’s letting his girl know he’s aiming to please. Her wish is his command. “Anything that you want, baby, tell me you want it/No more hoping and wishing/Name your position.”

12. “Go On Girl”

Someone has done Ne-Yo wrong, and he’s had enough. A melancholic beat dominates the track, as his heartbreaking soliloquy resonates with us. The man who has professed his infatuation with a certain young woman, is now maybe lamenting he gave that same girl the time of day.

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Derrel Todd

Music Sermon: Forget The King of R&B, Raphael Saadiq Is The Son Of Soul

#MusicSermon is a weekly series by Naima Cochrane that highlights the under-acknowledged and under-appreciated urban artists and sub-genres from the '90s and earlier. The series seeks to tell unknown and/or forgotten stories that connect the dots between current music, culture and the foundations of the past.

This week, Cash Money artist Jacquees set off an internet firestorm when he proclaimed himself to be the “King” of R&B “for (his) generation.” The comment led artists, executives, music fans and #BlackTwitter in general to debate: who is the King of R&B? (Spoiler alert - it’s not Jacquees.)

While a consensus was never reached, the heated discussion illustrated how much the definitions and ideas of R&B and R&B stars varies between age groups. Ironically, one name that seldom appeared in the convo belongs to one of the most consistent and prolific presences in soul and R&B music for the last 30 years: Raphael Saadiq.

Saadiq has become like a stealth superhero of soul for the last several years of his career, moving to the background as more writer/composer/musician, so the impulse for many might be to label him as an “old school” artist. But that’d be a misnomer, as he’s still had his hand in some of the most influential music for the current generation. Perhaps he transcends a simple R&B conversation as a self-identified Son of Soul (the difference between R&B and Soul is a topic for another day), but however you want to categorize him, he is not widely-enough acknowledged for how he’s kept us jamming, constantly, for three decades.

Let’s explore the iterations through which “Ray Ray” has blessed us over the years.


During the birth and rise of New Jack Swing and then the subsequent evolution to Hip-Hop Soul, Tony! Toni! Toné! was one of the last of a dying R&B breed: the band. They – and a few years later Mint Condition - were standouts as live musicians in an R&B landscape turning to sample-based production. This set both groups apart, establishing them early on as serious soul acts, and making them forerunners of the neo soul sound to come in the late ‘90s.

Like almost every black musician and/or producer of note in his peer group, Saadiq developed and honed his musical chops in the church. Exposure to Motown and Stax by his blues singer father led him to the bass and served as inspiration for his future style. But he, brother Dwayne and cousin Timothy Christian received their formal Tony! Toni! Toné! training on the road: Raphael and Christian toured as part of Sheila E’s band on Prince’s Parade Tour and Dwayne with gospel great Tramaine Hawkins.

Having been properly trained, educated and tested in blues, soul, gospel, and funk, the three formed Tony! Toni! Toné!. Their first album was a modest success, achieving gold status from the RIAA, but wasn’t a standout. The trio started taking the reins on writing and production on their sophomore effort, and the Tonys as we now know them showed up. They announced both their musical background and intentions with their album titles: The Revival, Sons of Soul, House of Music. They were not there for catchy, formulaic R&B. They developed a signature blues, soul, gospel and funk hybrid, rolled up in modern R&B and hip-hop fusion.

The Revival is arguably a new jack swing album – “Feels Good” is a must-have on any new jack playlist – but they were taking the existing marriage of R&B and hip-hop and adding an even deeper soul element, reaching back to ‘70s sonic roots. It was the sonic equivalent of taking new jack swing chicken and shaking it in a paper bag of old-school musically-seasoned flour.

The group still had the kind of jammin’ uptempos found on their debut, Who?, but started to establish themselves as producers of some of the greatest R&B ballads of the ‘90s.

When you think of the Tonys’ music, aside from “Feels Good,” the first song that comes to mind is probably a slow jam. Most acts are fortunate to get one true signature song in their career. Tony! Toni! Toné! has several, and they’re timeless. Put them on today and see if you don’t hit a body roll.

They also established themselves as formidable soundtrack players (as any 90s act worth their salt did. Remember soundtracks, by the way?). They had cuts on the House Party II and Boyz in the Hood albums.

By Sons of Soul they’d found their pocket, and they pushed the sonic limits of contemporary R&B to the extent that some outlets classified the album as jazz, it was such an outlier. Saadiq recognized that they were doing something important for genre. Something that was connecting old style and new. In an interview about the album in 1994, he expressed what he saw as the group’s role in music. "We've been very blessed to be able to be a group that writes our own songs and people have accepted us from both sides, hip-hop and the R&B…I feel very fortunate to be able to do that here in 1993-94, because like you know, it was starting to be a dying thing that was happening. But I guess we were like the bridge between hip-hop and soul and R&B.”

Going back to the aforementioned King of R&B discussion, Diddy chimed in the conversation (he knows a little something about the topic) to run down some criterion to even be considered. His list included vulnerability and adoration in the lyrics and subject matter, the ability to sing a woman’s “draws” off, and the pen game to write hits. Check, check and check. Sons of Soul deservedly landed at or near the top of a gang of 1994 year-end lists and the Tonys continued to raise the bar for the ballad game. Real talk, the last four and a half minutes of the “Anniversary” album cut are better than some entire R&B albums.

With House of Music, the group sought to even more fully showcase all their influences and inspirations: the Al Green-esque “Thinking of You;” the Stylistics-inspired “Holy Smokes & Gee Wiz;” the Bay Area connect with DJ Quik for some G-Funk with “Let’s Get Down;” the straight-up church moment of the “Lovin’ You” reprise closing out the album, with Christian putting all that good anointing on the Hammond B3 organ. This was our clearest glimpse what Saadiq had in store for the future.


When Tony! Toni! Toné! broke up and Saadiq put together supergroup Lucy Pearl, we realized he was on some other sh*t. First, the very idea to bring En Vogue’s Dawn Lewis, A Tribe Called Quest’s Ali Shaheed Muhammad and Saadiq together was genius. Then, oh…what’s this sound? Tony! Toni! Toné! with a little somethin’ extra on it? Saadiq revealed his ability to reinvent himself, stylistically and sonically, and play in different music spaces. Successfully. Hits, check.


After Lucy Pearl, Saadiq embarked on his first solo projects. We’ll get to those, but the more remarkable part of this era was his expansive work as a writer, producer and session musician for others. As mentioned earlier, Tony! Toni! Tone! was an inspiration for neo soul (a term Saadiq loathes), which pulled from ‘60s and ‘70s influences, paired with the return to live instrumentation, mixed with hip-hop swag. Saadiq was a sometime member of Q-Tip, Ali Shaheed Muhammad and J Dilla’s Ummah production collective, but had also been working on outside projects since the Tonys were active. Through either the Ummah or alone, Ray was behind hits you may have attributed to someone else.

-D’Angelo, "Lady:" Saadiq co-wrote, co-arranged and co-produced the still-perfect ode to #WCEs (Women Crush Everydays) with D’Angelo.

-Bilal, "Soul Sista:" Soul and R&B great Mtume on the pen, Saadiq on production.

-Angie Stone, "Brotha:" OK, who’s gonna create the 2018 “Unproblematic” edit of the “Brotha” video?

-Total, "Kissing You:" No, this wasn’t Stevie J. Now, imagine this as a Tony! Toni! Toné! song. You can absolutely hear it, right?

-Erykah Badu and Common, "Love Of My Life (An Ode To Hip Hop):" Saadiq again proving he’s a master of the perfect fusion of hip-hop and an old soul groove.

-D’Angelo, "Untitled (How Does It Feel):" Saadiq has admitted he later realized he was channeling Jay Dee’s style throughout the D’Angelo session.


As a solo artist, Saadiq has accomplished what few can: continuously evolving his sound and aesthetic while yet managing to still always sound like himself. The retro-influence has been a constant in his work, but that influence ranges between decades and musical eras. He’d given us a taste of solo Ray through “Ask of You” from the Higher Learning soundtrack, but that could easily pass as a Tony! Toni! Toné! song.

With Instant Vintage (again letting you know what he came to do with the title), Saadiq expanded on his existing signature sound of soul, funk, gospel and R&B; a sound he coined “Gospaldelic.”

With Ray Ray, he delivered a modern blaxploitation soundtrack. But then, in 2008, he went all the way back to Motown and the purest soul sound for The Way I See It. Saadiq was committed to an authentic return to ‘60s soul for the entire process. He eschewed slick, modern production techniques for old-school practices, including vintage equipment, all live instrumentation and single-take recordings. He donned slim-cut suits and classic frames for his look, and delivered a retro soul package via the 45 inch LP box set. But it still sounded incredibly fresh and modern, and that is his gift.

His last solo album, 2011’s Stone Rolling, was a progression of The Way I See It, staying in the same retro soul pocket, bringing some funk and rock’n’roll back into.

Or did he?


The thing about Saadiq is that he doesn’t just look a perpetual 30 years old (he’s 52. It don’t crack.). Unlike a lot of “old heads,” he keeps his ear current, as well. Kendrick Lamar, Kamasi Washington, Anderson Paak, and BJ the Chicago Kid are his musical nephews. He praises them and their music often in interviews, heralding them as the current bridge-builders between eras and urban genres. Labelmate Leon Bridges adapted his The Way I See It and Stone Rolling formulas - from the sound to the ‘60s-style dress and imaging - for his own, and had Saadiq’s enthusiastic blessing. He listens to SZA, PJ Morton and Daniel Caesar. And he still has his finger on the pulse of current urban musical movements.

Saadiq was an executive producer on Solange Knowles’ 2016 A Seat at the Table, garnering a Grammy for the anthemic “Cranes in the Sky.”

He’s also helped to bring the full authenticity of the West Coast to Insecure for the past three seasons, serving as the show’s composer.

And he hasn’t abandoned his peers and contemporaries, garnering a “Best Song” Oscar nomination last year with Mary J. Blige for Mudbound’s “Mighty River,” and just recently executive producing John Legend’s first Christmas album, A Legendary Christmas. Only time will tell what he brings on the forthcoming solo album he told VIBE about, titled Jimmy Lee.

Whether his name is included in King of R&B conversations or not, Saadiq has been booked and busy in every area of black music since before 1988, keeping both aunties and nieces grooving, with no signs of slowing or stopping.

RELATED: Raphael Saadiq Talks New Music, 'Insecure,' And Why Tony! Toni! Toné! Won't Reunite

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Nick Rice

25 Hip-Hop Albums By Bomb Womxn Of 2018

The female voice in hip-hop has always been present whether we've noticed it or not. The late Sylvia Robinson birthed the hip-hop music industry with the formation of Sugar Hill Records (and fostering "Rapper's Delight"), Roxanne Shante's 55 lyrical responses to fellow rappers were the first diss tracks and Missy Elliott's bold and striking music and visuals inspired men and women in the game to step outside of their comfort zones.

These pillars and many more have allowed the next generation of emcees to be unapologetically brash, truthful and confident in their music. Cardi B's Invasion of Privacy and Nicki Minaj's Queen might've been the most mainstream albums by womxn in rap this year, but there was a long list of creatives who brought the noise like Rico Nasty, Tierra Whack, Noname and Bbymutha. Blame laziness or the heavy onslaught of music hitting streaming sites this year, but many of the artists on this list have hibernated under the radar for far too long.

VIBE decided to switch things up but also highlighting rap albums by womxn who came strong in their respectively debut albums, mixtapes, EPs. We also had to give props to those who dropped standout singles, leaving us wanting more.

READ MORE: 15 R&B Songs We Obsessed Over Most In 2018

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VIBE / Nick Rice

10 Most Important Hip-Hop Artists Of 2018

We’ve reached another end to an eventful year in hip-hop. From rap beefs to new music releases and milestones, 2018 has been forged in the history books as a year to remember. But more important than the events that happened over the span of 12 months are the people who made them happen.

While fans received a large dose of music from our favorite artists and celebrated some of the most iconic album anniversaries, there are a few names that stood out as the culture pushers, sh*t starters, and all-around most significant artists of the year.

For your enjoyment, VIBE compiled a list of the top 10 most important hip-hop artists of 2018 based on a series of qualifications: 1) public actions - good, bad, and ugly; 2) music releases; 3) philanthropic/humanitarian work; and 4) trending moments.

Be clear: This list isn’t about the most influential, the most talented, who had the best music or tours. While we are commemorating artists for the work they’ve contributed to this year’s music cycle, we’re looking beyond that and evaluating how these particular artists have shaped conversations and pushed hip-hop culture forward.

READ MORE: 15 R&B Songs We Obsessed Over Most In 2018

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