Still in the Game
Still in the Game is the sixth studio album by American R&B singer Keith Sweat, released on September 22, 1998, by Elektra Records.[1] The album incorporates Sweat's signature blend of smooth slow jams and mid-tempo grooves, focusing on themes of love and romance, with notable guest appearances from Snoop Dogg on the lead single "Come and Get with Me," as well as Playa, Too Short, Erick Sermon, and Free.[2] It includes 12 tracks, such as "Rumors," "Can We Make Love," and "I'm Not Ready," many of which feature production emphasizing sensual vocals and contemporary R&B production elements from the late 1990s.[1] Commercially, Still in the Game debuted at number six on the Billboard 200 chart and reached number two on the Top R&B/Hip-Hop Albums chart, eventually earning platinum certification from the RIAA for one million units sold in the United States on October 14, 1998.[3][1] The singles "Come and Get with Me" peaked at number 12 on the Billboard Hot 100 and number six on the Hot R&B/Hip-Hop Songs chart, while "I'm Not Ready" reached number 16 on the Hot 100.[4][5][6] Critics gave the album mixed to positive reviews, appreciating its consistency with Sweat's established sound and the energy brought by hip-hop collaborations, though some noted it lacked innovation compared to his earlier work like the self-titled 1996 album.[7]Background and recording
Album conception
Still in the Game represented a significant career milestone for Keith Sweat, serving as his sixth studio album and arriving over a decade after his debut Make It Last Forever in 1987, which had established him as a key figure in R&B with its new jack swing sound.[8] The project's conception was motivated by Sweat's intent to affirm his enduring relevance in the evolving music industry, as reflected in the album's titular declaration of persistence amid changing trends.[8] To achieve this, Sweat deliberately sought collaborations with younger producers and hip-hop artists to infuse fresh energy and appeal to a broader, newer audience while maintaining his signature sensual R&B style. Notable partnerships included rapper Snoop Dogg on the lead single "Come and Get with Me," which blended Sweat's smooth vocals with West Coast hip-hop flair, and producer Jermaine Dupri, who helmed tracks like "Too Hot".[9] These choices marked a strategic evolution from Sweat's earlier solo efforts, aiming to sustain his commercial momentum after previous multi-platinum successes.[8] The album drew direct influences from Sweat's foundational work in new jack swing, a genre he helped pioneer on albums like I'll Give All My Love to You (1990), but adapted it here with more pronounced hip-hop crossovers to reflect the late-1990s musical landscape.[10] This conceptual shift emphasized Sweat's adaptability, prioritizing timeless themes of romance and seduction while updating production techniques for modern radio play.[8]Recording process
The recording sessions for Still in the Game occurred primarily during 1997 and 1998 at multiple studios in New York and Los Angeles, including Battery Studios in New York City and A&M Studios in Hollywood, California.[8] Additional work took place at Oakland City Studios in California and the Sweat Shop in Atlanta, Georgia, allowing for a collaborative environment across key music hubs.[8] These sessions extended over several months, enabling Keith Sweat and his production team to refine the album's sound ahead of its September 22, 1998, release on Elektra Records.[8] The extended timeline facilitated experimentation with guest features and arrangements, contributing to the project's polished execution. Key production choices emphasized blending R&B vocal layering with hip-hop elements, particularly evident in the lead single "Come and Get with Me," which incorporates Snoop Dogg's rap verse over Sweat's signature smooth harmonies to bridge genres.[8] This approach, co-produced by Sweat alongside collaborators like Kevin "KJ" Johnson and Darryl Adams, maintained the album's sensual core while incorporating urban rap influences for broader appeal.Music and lyrics
Musical style
Still in the Game is classified primarily as contemporary R&B, blending elements of soul and hip hop soul.[11][8][12] The album draws on new jack swing influences from Keith Sweat's earlier career, fusing them with hip-hop elements to create a modern R&B sound.[7] The production emphasizes smooth, seductive tracks built around mid-tempo grooves and slow tempos, evoking intimacy and sensuality.[2] Synth-heavy arrangements provide a lush, atmospheric backdrop, characteristic of late-1990s R&B production techniques.[11] These elements contribute to the album's cohesive sonic palette, prioritizing emotional delivery over high-energy beats. A notable stylistic shift appears in collaborations with hip-hop artists, particularly Snoop Dogg's feature on "Come and Get With Me," which infuses West Coast rap vibes into the R&B framework.[2][13] This fusion highlights the album's innovative bridging of genres, appealing to both R&B and hip-hop audiences.[14]Themes and songwriting
The lyrics of Still in the Game center on romance, seduction, and the intricacies of relationship dynamics, with tracks like "I'm Not Ready" illustrating emotional vulnerability through pleas to prolong a passionate connection, as in the chorus: "I'm not ready to end this freaky affair / I'm not ready to go nowhere."[15] Similarly, "Can We Make Love" delves into seduction and rekindling past intimacy, with the narrator reminiscing about shared history and urging a former lover to "make love for old time's sake," highlighting the pull of unresolved desire.[16] Sweat's songwriting credits reflect his substantial personal input, co-authoring key songs that emphasize maturity in love and introspection, such as "I'm Not Ready" with Willie Jones and Joe Little III, and "Can We Make Love" with Curtis Jefferson and Bobby Crawford.[17][18] These collaborations allow for nuanced explorations of emotional depth, blending Sweat's signature smooth delivery with relatable narratives on commitment and longing. Compared to his earlier work, Still in the Game shows an evolution in Sweat's approach, shifting toward more introspective R&B narratives on love and relationships from the high-energy New Jack Swing of his 1987 debut Make It Last Forever, reflecting greater emotional vulnerability as his career progressed into the late 1990s.[19]Release and promotion
Singles
The lead single from Still in the Game, "Come and Get with Me" featuring Snoop Dogg, was released on October 6, 1998, by Elektra Records.[20] Produced by Keith Sweat and Lee McCallum, the track blends smooth R&B vocals with West Coast rap elements, peaking at number 12 on the Billboard Hot 100 chart after debuting at number 13.[21] It also reached number 6 on the Hot R&B/Hip-Hop Songs chart, benefiting from strong urban radio airplay that emphasized its crossover appeal to both R&B and pop audiences.[22] The music video for "Come and Get with Me," directed by Christopher Erskin, features Keith Sweat and Snoop Dogg in a nightclub setting, intercutting performance shots with scenes of romantic pursuit and dancing couples to capture the song's seductive theme.[23] Single formats included CD editions with radio edits (4:09 and 4:55 durations) and a Clarksworld remix featuring N.O.R.E. (3:58), which served as a B-side to boost club and remix radio play.[24] Cassette and 12-inch vinyl versions were also issued, supporting strategies like targeted rhythmic radio promotion to extend its chart run.[25] The follow-up single, "I'm Not Ready," was released on February 23, 1999, continuing the album's focus on emotional R&B ballads.[20] Written and produced by Sweat, it peaked at number 16 on the Billboard Hot 100 and number 12 on the Hot R&B/Hip-Hop Songs chart, driven by airplay on adult contemporary and urban stations.[26][27] An official music video depicts Sweat reflecting on a faltering relationship in intimate, dimly lit interiors, underscoring the song's themes of reluctance and vulnerability. Remix versions, including a radio edit with rap (4:17) and a standard remix, appeared on CD and 12-inch singles, aiding remix-focused radio campaigns to maintain momentum post-album release. Formats encompassed CD, cassette, and promo editions, with B-sides limited to instrumental or edited variants for DJ and radio use.[28]Marketing and media
Elektra Records handled the marketing for Still in the Game, positioning the album as a continuation of Keith Sweat's signature R&B sound for urban contemporary audiences through targeted radio airplay and video rotations on MTV.[8] Keith Sweat supported the album's rollout with live performances and TV appearances in late 1998 and 1999. His tour schedule that year included arena shows across the U.S., blending new material with career hits to engage fans.[29] The album's packaging featured a jewel case with a 16-page booklet containing liner notes and photography, while the artwork depicted Sweat in a sleek black suit seated confidently, underscoring his veteran status and lasting relevance in the R&B landscape.[11]Critical reception
Professional reviews
Upon its release, Still in the Game received mixed to positive reviews from critics, who appreciated its consistency with Keith Sweat's established sound and the energy brought by hip-hop collaborations, though some noted it lacked innovation compared to his earlier work like the self-titled 1996 album.[7]Fan and retrospective views
Fans of Keith Sweat's signature romantic R&B sound demonstrated strong loyalty to Still in the Game, propelling the album to gold certification by the RIAA for 500,000 units sold shortly after its September 1998 release, a testament to his dedicated audience in the genre. This fan support extended to live performances, where Sweat's late-1990s tours featured prominent tracks from the album, attracting enthusiastic crowds and reinforcing his status as a staple in R&B concert lineups. The enduring devotion of his fan base is evident in ongoing engagements, with Sweat maintaining a robust touring schedule that highlights the album's songs as enduring favorites among listeners. Retrospective assessments in the 2010s and beyond have positioned Still in the Game as a transitional work in late-1990s R&B, blending Sweat's smooth ballads with emerging hip-hop influences to bridge new jack swing and hip-hop soul eras. A 2021 ranking by Soul In Stereo gave the album 3.5 out of 5 stars, commending its experimental edge following Sweat's prior commercial peak while preserving his core appeal to romantic R&B enthusiasts.[7]Commercial performance
Sales figures
Still in the Game debuted with 96,000 units sold in the United States during its first week of release on September 22, 1998.[30] The album's strong initial performance contributed to its overall commercial success in the domestic market. By October 14, 1998, the album had shipped over one million copies in the US, earning a Platinum certification from the Recording Industry Association of America (RIAA).[31] Internationally, sales were more modest, with estimates placing worldwide totals at around one million units, primarily driven by the US figures. This marked a decline compared to Keith Sweat's previous self-titled album from 1996, which sold over four million copies globally.[32]Chart performance
"Still in the Game" debuted at number 6 on the US Billboard 200 chart in October 1998.[33] On the Top R&B/Hip-Hop Albums chart, it climbed to number 2 and maintained a presence for 21 weeks, reflecting strong genre-specific appeal driven by singles like "Come and Get with Me."[34] Internationally, the album experienced moderate success in select markets. It entered the UK Official Albums Chart at number 62, holding the position for one week before dropping off.[35] In the Netherlands, it peaked at number 19 on the Dutch Album Top 100 after debuting lower, spending a total of 8 weeks on the chart and demonstrating sustained interest in European R&B audiences.[36]| Chart (1998) | Peak Position | Weeks on Chart |
|---|---|---|
| US Billboard 200 | 6 | — |
| US Top R&B/Hip-Hop Albums | 2 | 21 |
| UK Albums (OCC) | 62 | 1 |
| Netherlands (Album Top 100) | 19 | 8 |
Track listing
Standard edition
The standard edition of Still in the Game, released on September 22, 1998, by Elektra Records, features 12 original tracks blending smooth R&B vocals with hip-hop elements and guest appearances.[20]| No. | Title | Featured artist(s) | Writer(s) | Producer(s) | Length |
|---|---|---|---|---|---|
| 1 | "Come and Get with Me" | Snoop Dogg | Keith Sweat, Calvin Broadus, Lee "Wiz" McCallum | Keith Sweat, Lee "Wiz" McCallum | 4:56 |
| 2 | "Rumors" | None | David McPherson, Tonyatta Martinez, Keith Sweat | Keith Sweat, Kevin Briggs | 3:45 |
| 3 | "Can We Make Love" | None | Bobby Crawford, Keith Sweat | Bobby Crawford, Keith Sweat | 4:09 |
| 4 | "Let Me Have My Way" | None | Lance Alexander, Charles Dorsey, Keith Sweat | Lance Alexander, Keith Sweat | 3:50 |
| 5 | "What Goes Around" | None | Eric McCaine, Keith Sweat | Eric McCaine, Keith Sweat | 4:49 |
| 6 | "Love Jones" | Erick Sermon, Playa, Too Short | Lance Alexander, Charles Dorsey, Erick Sermon, Phillip Martin, Todd Shaw | Lance Alexander, Erick Sermon | 4:14 |
| 7 | "Too Hot" | Free, Jermaine Dupri | Lance Alexander, Charles Dorsey, Keith Sweat | Lance Alexander, Keith Sweat | 3:50 |
| 8 | "I'm Not Ready" | None | Bobby Crawford, Keith Sweat | Bobby Crawford, Keith Sweat | 4:20 |
| 9 | "Show U What Love Is" | Ol' Skool | Lance Alexander, Charles Dorsey, Keith Sweat | Lance Alexander, Keith Sweat | 4:20 |
| 10 | "Just Another Day" | None | Eric McCaine, Keith Sweat | Eric McCaine, Keith Sweat | 4:19 |
| 11 | "You Know I Like" | None | Bobby Crawford, Keith Sweat | Bobby Crawford, Keith Sweat | 4:16 |
| 12 | "In Your Eyes" | None | Bobby Crawford, Keith Sweat | Bobby Crawford, Keith Sweat | 4:10 |
"Rumors" delivers a mid-tempo groove exploring relationship drama through Sweat's emotive falsetto and subtle hip-hop influences.
"I'm Not Ready" stands out as a heartfelt ballad showcasing Sweat's vulnerability in themes of love and commitment, backed by minimalistic production.
The remix edition adds a bonus track expanding on the lead single, but the standard version focuses on the core R&B sound.[20]