When he started on the music, he didn't do the tracking until after Combs came to hear the song and gave him the go ahead to track it. Thompson said it was influenced by the song "Can't Let Her Get Away" by Michael Jackson from his 1991 album Dangerous. The third single from the album was the song "Ain't Nobody". Kelly was the primary inspiration for the musical arrangement, according to Thompson. Īnother song on the album, "You Don't Understand", was primarily influenced by Evans' marriage to The Notorious B.I.G. Thompson said the song was finished and he didn't add any other touches to it. Evans later left a message on Thompson's answering machine- which was the song she wrote and recorded. As he was about to leave, he received a call from Combs insisting he record the music Evans heard him play before he got on the plane. The second single "Soon As I Get Home" was done to pass the time at the studio because Thompson had a flight to catch later that day. Thompson said Evans' first single "You Used To Love Me" was originally planned for her labelmates Total, but Evans wrote to the track after hearing the music and it was the first song finished for her album. Sure!'s, she eventually signed to Bad Boy and insisted on Thompson producing her entire album after hearing him playing music on the piano in the studio. Though she initially was a protégé of Al B.
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Producer Chucky Thompson- who helmed most of the album- recalls meeting Evans for the first time by her doing vocal production work on Usher's album. Blige's My Life (1994) and Usher's self-titled debut album (1994) prior to starting work on her debut record album Faith. Newly contracted to Bad Boy Records, Evans was consulted by executive producer Combs to contribute backing vocals and writing skills to Mary J. Faith contains a cover of the Rose Royce's single " Love Don't Live Here Anymore" which featured an appearance from Mary J.
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The album, which spawned the gold-certified hits " You Used to Love Me" and " Soon as I Get Home", was certified Platinum by the RIAA in March 1996. A collaboration with the label's main producers The Hitmen, including members Sean "Puff Daddy" Combs and Chucky Thompson, as well as Mark Ledford, Herb Middleton, and Jean-Claude Olivier, among others. It was released by Bad Boy Records on Augin the United States.
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On the overall Billboard 200 albums chart, the highest a Billboard-branded title has charted is No. Andrae Crouch: Remembering the Gospel Great’s Immense Influence
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Most notably, Billboard-branded Latin titles have infused Latin album charts, with the 2012 Billboard Latin Music Awards Finalists release rising as high as No. 1 for a Billboard-branded title on a list measuring current releases in a long line of albums that sport the Billboard name (spearheaded by Billboard’s licensing department in conjunction with retail partners). In a design that avid chart-watchers will surely appreciate, the CD’s back-cover art even looks like a Billboard chart, listing all 20 songs in a title/artist grid, with peak positions, peak dates and weeks at No. 1 on Billboard’s Gospel Airplay chart, including Ricky Dillard & New G‘s recent 30-week leader “Amazing,” the late Andrae Crouch‘s “Let the Church Say Amen,” with Marvin Winans, and Hezekiah Walker‘s “Every Praise.” Befitting its title, each of the album’s 20 tracks spent time at No. Subtitled The Greatest Gospel Songs of All Time!, the compilation (released on the eOne label) starts with 2,000 sold, according to Nielsen Music. 1 on a Billboard chart for the first time on a current-based ranking, as Billboard #1 Gospel Hits enters at the Top Gospel Albums summit. In a very meta achievement, a Billboard-branded album is No.