112 was released on August 27, 1996 by Bad Boy Records.
112 arrived on a musical landscape where R&B music was at its peak for mainstream audiences. During this juncture, there were a plethora of R&B groups making their mark on the industry and opening doors for new acts to breakthrough. The opportunity to capitalize on this momentum was made available and 112 seized the opportunity in the stellar fashion.
Bad Boy Records was the newest label on the scene and their youthful exuberance shined through with the hot acts they were signing in both the R&B and Hip Hop genres respectively. 112 became the second R&B act signed by
Sean “Puff Daddy” Combs and he clearly saw something in the quartet ages ranging from 17-19. The group failed to disappoint with their debut offering and left quite the impression on the multitude of music fans worldwide.
This album would introduce the group as an alternative choice from the other R&B groups on the music charts. Their style of rhythm and blues was reminiscent of
Boyz II Men and many of the forefather R&B groups throughout the history of R&B music. Each of the 19 songs on the album highlighted the four part harmonies of
Michael Keith and
Daron Jones and lead singers
Marvin “Slim” Scandrick and
Quinnes “Q” Parker. It would also showcase the production talents of group member Daron Jones, up and coming Bad Boy Hitmen producer,
Steven “Stevie J.” Jordan, Tim & Bob, Wanya Morris of Boyz II Men and Sean “Puff Daddy” Combs. All of these elements proved to be explosive once the album hit stores in the late summer of 1996.
The concept for the group was formulated by Daron Jones and Michael Keith when they were in 7th grade. 112 formed as a group in 1994 in Atlanta, Georgia while attending the same high school. They were originally a quintet and their group name was
Forte, which was an acronym for
Forever On Route to Excellence.
After various line up changes with different group members, co-founders Daron Jones and Michael Keith recruited Marvin “Slim” Scandrick and Quinnes “Q” Parker to become part of the group. The group began to build a legendary reputation around their hometown of Atlanta by winning consecutive singing competitions. They eventually gained the attention of producers Tim & Bob and managers Courtney Sills and Kevin Wales.
As the story goes, the group was brought in to perform for Sean “Puff Daddy” Combs at the famous Buckhead 112 Club in Atlanta, Georgia. It would be here where they would obtain the name for their group. After receiving a co-sign from
Faith Evans and
Chucky Thompson, Combs signed the quartet to his label to become his first male R&B collective. A year later, the group would release their debut album and the rest would be history.
Between the months of February 1995-January 1996, 112 was recorded at Daddy's House studios in New York, New York.
SoulCulture recently sat down with co-founder Daron Jones and producer Steven “Stevie J.” Jordan to discuss how the album developed from beginning to end.
Q Parker, for those unfamiliar with the name, is one part of the hugely successful R&B foursome 112. Originating from Atlanta, Georgia and signed to Diddy’s Bad Boy Records, the group had five albums between the years of 1996 and 2005. Also Grammy winners for their contribution to the Notorious B.I.G. tribute record "I’ll Be Missing You," Q, Daron, Slim, and Michael are often referred to as one of the better R&B groups of the golden era by fans and critics alike. With that said, and a reunion apparently on the cards, the time has come for Q to go it alone and reignite the type of R&B that not only plays the soundtrack to a couple’s romantic evening but also provides the backdrop to many a passionate person’s everyday life.
It’s hard to select a Commissioned album for classic review. Formed at the cusp of the 1980s, the standard of this Gospel super-group’s back catalogue is so high, any one of their pre-1999 albums could be analysed in depth for their timeless appeal.
Nevertheless, 1994’s Matters of the Heart is noteworthy for a few reasons. It was the first album recorded without erstwhile mainstay Keith Staten; he of the operatic style that should have been out of place in a soul outfit but somehow strangely fitted in.
It was the last studio album that Gospel legend Fred Hammond, one of the original and most pre-eminent members of the line up, recorded with his old band. Hammond had already released at least one solo project at this stage-‘I am persuaded’-but joined his soul brothers one more time for his Commissioned swan song.