It’s About Time | warungku - Warungku Terkini

Much of It’s About Time has the kind of crunchy snares and nearly subliminal basslines that nonetheless characterized the sound of the day, but the productions are crisp and spacious enough to retain their freshness. There’s not really a slow spot on this collection of hits and shoulda-beens—several album cuts, including the title track, would have worked well on radio. Morgan seeded his productions with unique signatures—the hi-hat on “I’m So Into You” is a sample from the ’60s that the producer declined to specify, while “Weak” has a bending bass line inspired by uptempo hits from Zapp & Roger and Tom Browne’s “Funkin’ 4 Jamaica.”

The album was just the jumping-off point. SWV were nothing if not savvy, and so they were fully invested in the power of the remix at a time when the form was gaining a foothold on the charts. That was apparent in further hits—the smoothed out “Right Here (Human Nature Remix)” (by Allen “Allstar” Gordon and Teddy Riley) that was tacked onto subsequent pressings of It’s About Time offered a glimpse into the future as a near mash-up that combined a rerecorded version of the group’s first single (a minor R&B hit) and Michael Jackson’s Thriller-era “Human Nature.” It also features an early recording of Pharell Williams, who spits the tag “S…Double…U…V” and whose falsetto sails in the background. In 1994, “Anything” was transformed (again by Allstar) into a stomping hip-hop track featuring Wu-Tang Clan members Ol’ Dirty Bastard, Method Man, and U-God (and over a year before Mariah Carey would release the “Fantasy” remix with ODB). Even single versions would have minor tweaks—the “Weak” video version did away with the echo on Coko’s lead vocal and added even sweeter harmonies and more robust ad libs, achieving the impossible: It made a perfect song more perfect.

Coko did eventually find love in her heart for “Weak.” “We will forever work just ’cause of that one song,” she said. So far, that’s been the case. In the ensuing decades, SWV would make more hits, break up, reform, and do a whole lot of reality TV, but they remain a touring act largely based on the phenomenal success of their hit-laden debut. Even taking into account the grown-up subject matter and the many edges that the group members were rough around, there’s an innocence on It’s About Time that would be, by definition, impossible to replicate. We can only return to it and marvel at how three young women had the drive, confidence, talent, and taste to stroll right into the music industry, as though it were some building in New York. The hits, the union of hip-hop and soul, the allegiance to the remix, the street style, and conscious elegance all contribute to their status as a quintessential ‘90s R&B group, but more than anything, it was their ability to make it all look easy–attainable, even. It’s About Time is as much a relic as it is a model for projecting cool, at once very much of its time and timeless.

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