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The Writing's on the Wall

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The Writing's on the Wall
Standard edition cover[a]
Studio albumby
Destiny's Child
ReleasedJuly 14, 1999(1999-07-14)
RecordedOctober 1998 – April 1999
Studio
Genre
Length64:52
LabelColumbia
Producer
Destiny's Childchronology
Destiny's Child
(1998) 		The Writing's on the Wall
(1999) 		Survivor
(2001)
SinglesfromThe Writing's on the Wall
  1. "Bills, Bills, Bills"
    Released: May 31, 1999
  2. "Bug a Boo"
    Released: July 7, 1999
  3. "Say My Name"
    Released: October 14, 1999
  4. "Jumpin', Jumpin'"
    Released: July 17, 2000

The Writing's on the Wallis the second studio album by American girl groupDestiny's Child.It was released on July 14, 1999, byColumbia Records.Dissatisfied with their 1998eponymous debut studio album,Destiny's Child sought transition from the record'sneo soul-influenced sound. Hence, the group took more creative control and enlisted an almost entirely different array of collaborators, includingKevin "She'kspere" Briggs,Kandi Burruss,Missy Elliott,Rodney Jerkins,andLaShawn Daniels,among others.

A result of the substantial artistic change,The Writing's on the Wallis anR&B,pop,hip hop,andsoulrecord. Furthermore, it incorporates unconventional sonic elements, complex arrangements andstaccatorap-singing vocals. Lyrically, the album is constructed as aconcept album,with each track representing aTen Commandments-inspired "Commandment of Relationships". Its themes include infatuation, dependency, infidelity, and separation, while a loose religious theme is maintained throughout. The production and innovative approach earned critical acclaim, while lyrical content initially elicited criticism. However, retrospective critical commentaries saw praise directed towards the album's feminist undertones.

The Writing's on the Wallis widely considered Destiny's Child's breakthrough album. It debuted at number six on the USBillboard200,with first-week sales of 133,000 units, and later peaked at number five. The album went on to be certifiedoctuple platinumby theRecording Industry Association of America(RIAA) for shipments of eight million units in the US. Four singles were produced— "Bills, Bills, Bills","Bug a Boo","Say My Name"and"Jumpin', Jumpin'"."Bills, Bills, Bills "and" Say My Name "became Destiny's Child's first two USBillboardHot 100number-ones, with the latter winning the group their first twoGrammy Awards.With worldwide sales of 13 million copies,The Writing's on the Wallis one of thebest-selling girl group albumsand best-selling R&B albums of all time.

The Writing's on the Wallwas largely overshadowed by the controversy surrounding its promotional cycle as a result of the group's internal conflicts. The music video for "Say My Name" saw original membersLeToya LuckettandLaTavia Roberson–who had attempted to split with their managerMathew Knowles–unexpectedly replaced withFarrah FranklinandMichelle Williams.Luckett and Roberson filed a lawsuit against Knowles and former bandmates, and Franklin departed from Destiny's Child a mere five months after joining, leaving it as a trio. Regardless of the turmoil, a multitude of publications has listed the album among the best records of its time and genre, noting the immense influence on numerous artists.

Background and development

[edit]

In 1995,Destinywas signed toElektra RecordsbySylvia Rhone.However, they were dismissed from the label eight months into their contract, without having even released an album, for being "too young and undeveloped".[3]Changing their name to Destiny's Child, the group was signed toColumbia RecordsbyTeresa LaBarbera Whitesin 1996, after negotiations fromBeyoncé's fatherMathew Knowles,who became their manager.[4]Destiny's Child made their recording debut with the inclusion of the track "Killing Time" on theMen in Blacksoundtrack in July 1997.[5]Three months later, their debut single "No, No, No"was released,[6]eventually going on to peak at number three on the USBillboardHot 100and atop theHot R&B/Hip-Hop Songs.[7][8]Theneo soulandR&B-infusedeponymous debut studio albumfollowed in February 1998, to a mixed critical reception.[9]

Commercially,Destiny's Childwas a slow seller, peaking only at number 67 on the USBillboard200,[10]but managed to earn aplatinumcertification from theRecording Industry Association of America(RIAA) two years after its release.[11]It produced one more single, "With Me",which failed to replicate the success of its predecessor.[12]Beyoncé would retrospectively label the album "successful but not hugely successful", as it was "a neo-soul record and we were 15 years old. It was way too mature for us."[13]In September, the group's contribution to theWhy Do Fools Fall in Lovesoundtrack, "Get on the Bus"–a collaboration withTimbaland–was released to moderate commercial success. Around this time, Destiny's Child–partly dissatisfied with their debut–began conceiving ideas for its follow-up. As they were preparing to write and record new material, they sat together and listed what they liked and disliked aboutDestiny's Childin order to improve.[14]

Recording and production

[edit]

"WithThe Writing's on the Wall,we did the whole album in about three weeks. Sometimes we did two songs a day. Some songs might take two days but we're very, very quick in the studio. "

–Beyoncéreflecting on the fast-paced recording process forThe Writing's on the Wall.[15]

The recording ofThe Writing's on the Wallcommenced in October 1998.[15]Beyoncé later recalled that Destiny's Child was not nervous about asophomore slumpand had many ideas for the album, as they were not entirely satisfied with their debut.[16]Compared toDestiny's Child,The Writing's on the Wallsaw group members take more creative control; Beyoncé co-wrote 11 out of 16 tracks,Kelly Rowlandco-wrote ten,LeToya Luckettnine, andLaTavia Robersoneight.[17][18]They would rewrite lyrics they received to adjust them into suitable songs.[19]Beyoncé sought inspiration for her songwriting from the customers at her motherTina Knowles' hair salon, namely their grievances and complaints over men, relationships, and financial hardships.[15]She additionally produced four tracks from the album, while participating in vocal production and arrangement of several tracks as well.[18]

Whites suggested Destiny's Child to consult producerKevin "She'kspere" Briggs.[15]Upon arriving to Houston, where the majority ofThe Writing's on the Wallwas recorded, Briggs and his then-girlfriend, singer-songwriterKandi Burruss,were told there was space for only one more track on the album. However, after the pair presented "Bug a Boo",the group decided to structure the entire record around it. Briggs ended up producing four additional songs–" So Good ","Bills, Bills, Bills","Hey Ladies "and" She Can't Love You "–co-writing them with Burruss.[19][18]Burruss would reveal in 2011 that at the time of production, one of the group members was dating her former boyfriend on whom "Bills, Bills, Bills" was based.[20]Being promoted to executive producer alongside Mathew Knowles, Briggs introduced skittering quadruple-time beats while encouraging stuttering vocal phrasing, both of which defined the sound ofThe Writing's on the Wall.[15]

Rodney Jerkinsproduced "Say My Name",which was recorded at thePacifique Recording StudiosinNorth Hollywood, Los Angeles.He co-wrote it with his brotherFred Jerkins III,LaShawn Daniels,and the group members.[18]Daniels, who helmed its vocal production, based the song on a relationship he had experienced, noting that Beyoncé was able to relate as she was also in a relationship at the time.[21]However, the group rejected the song's original mix, and the track was almost left unused; Beyoncé later described the original mix as a "jungle".[13]Jerkins then introduced a new mix to Knowles, and the track was subsequently included onThe Writing's on the Wall.[13]According to Daniels, Destiny's Child equally contributed to the track, stating that their creative input would consistently increase throughout the production process.[21]

Missy Elliottwrote and produced "Confessions", on which she made a guest appearance; the track was recorded atThe Hit Factoryin New York City (NYC) and The Enterprise in Los Angeles.[18]D'Wayne Wigginsproduced and co-wrote "Temptations" and "Sweet Sixteen", which were both recorded at the Digital Sound in Houston and the House of Music inOakland, California.[18]"Stay" was solely written and produced byDaryl Simmons,being recorded at the Silent Sound Studios in Atlanta.[18]Nextwere featured on "If You Leave", which was written by their memberR.L. Huggar;it was co-written and produced byChad Elliott,who also co-wrote and produced "Jumpin, Jumpin".The former was recorded atElectric Lady Studiosin NYC and the Dallas Sound Lab, while the latter was recorded at the 353 Studio in NYC and the 24/7 Studio in Atlanta.[18]Meanwhile,Ken FambroandDonnie Boyntonco-wrote and produced "Now That She's Gone". By April 1999,The Writing's on the Wallhad been completed.[15]

Music and lyrics

[edit]
Missy Elliott(pictured) is featured on the 1970s-influenced "Confessions", which she wrote and produced.

The Writing's on the Wallis predominantly anR&B,pop,hip hop,andsoulrecord.[17][22][23]Its production incorporates sounds such as record scratches, bubbles, and breaking glass, while the instrumentation is based on sharp guitarriffs,complex percussion arrangements, and orchestral brass.[17]Constructed as aconcept album,each track onThe Writing's on the Wallrepresents aTen Commandments-inspired "Commandment of Relationships", which is stated at the end of each track in reference to the following one.[24][18]Lyrically, the album has been described as having a "cynical, jaded, sometimestransactionalview of love ".[19]It opens with a titular intro inspired byThe Godfatherscene in the 1996 filmSet It Off,which sees Rowland, Luckett, and Roberson gathering to meet their "godfather" Beyoncé and to discuss their "Commandments of Relationships". As the members mention betrayal from different men, the tone forThe Writing's on the Wallis immediately set as "a tale of empowerment and vengeance".[25]The first commandment "Thou shalt not hate" announces "So Good", which sees the protagonist flaunting her success to a hateful and jealous former lover.[15]Its instrumentation consists of sped-upacoustic guitarloops.[15]The "sassy", "playful" and "jittery" R&B track "Bills, Bills, Bills"features instrumentation led byharpsichord-synthesizers.[26][27]Lyrically, the song confronts a boyfriend for his lack of accountability overcredit cardand phone bill charges while following the "Thou shalt pay bills" commandment. Numerous critics drew parallels between the track andTLC's "No Scrubs",also written by Briggs and Burruss around the same time.[28][15]Burruss revealed it was written based on her own personal experience with a former boyfriend.[15]On the 1970s-influenced soul track "Confessions", featuring a spoken-word performance by Missy Elliott, Beyoncé admits to infidelity.[25][15]"Bug a Boo"speaks against an overly-attached boyfriend.[25]

The "coy, pillowy" sixth track "Temptation" discusses abstinence from having sex with a virtual stranger while already being involved in a relationship.[17][25]"Now That She's Gone" showcases a female protagonist's refusal to rekindle the relationship with a former boyfriend who has returned after abandoning another woman.[25]"Where'd You Go" sees the group members pleading their partners to stay after noticing a loss of interest towards them.[25]The upbeat "Hey Ladies" encourages women to take a stand against their deceitful boyfriends.[25][15]The "late night, slow-jam" tenth track "If You Leave" is a collaboration with Next. Lyrically, the song centers around a couple debating over whether they should leave their respective partners and begin a relationship together.[15]The uptempodance-poptrack "Jumpin, Jumpin"encourages women to" leav[e their] men at home "in favor of going to a nightclub filled with rich men.[29]"Say My Name",singled out by multiple publications as the album's highlight,[25][15]reprises the "thick, paranoid mix" of Jerkins' prior production "The Boy Is Mine",the 1998 duet betweenBrandyandMonica.[17]It "hopscotches" through different sonic elements, shifting from a "slow, sexy" bass to syncopated, synth-infused strings and record scratches.[21]Lyrically, the song features a female protagonist suspecting her boyfriend of cheating.[15]"She Can't Love You" is a guitar-drivenLatinandboleroballad.[25]The ballad "Stay" discusses a relationship which is deteriorating due to the female protagonist not wanting toconsummateit, much to her boyfriend's dissatisfaction.[25]"Sweet Sixteen" lyrically follows a girl named Jackie, who is eager to grow up.[25]The Writing's on the Wallcloses with ana cappellacover of "Amazing Grace",which acts as the outro and is dedicated to the late Andretta Tilman, Destiny's Child's original manager.[25]

Marketing

[edit]

Title and packaging

[edit]

In a May 2000 interview forJet,Rowland revealed that, while deliberating over the album's title, Destiny's Child was choosing betweenThe Writing's on the Walland another, undisclosed title. They consultedWyclef Jean,who preferred the former, and advised the group to incorporate the narrative of the revelation of the Ten Commandments toMosesatMount Sinaiinto their "Commandments of Relationships".[16]Similarly, biographer Daryl Easlea noted the title was taken from theBook of Danielfrom theBible'sOld Testament;in the book, supernatural writing foretold the demise ofBabylonia.[15]

In reference to the title, all 14 "Commandments of Relationships" displayed throughoutThe Writing's on the Wallare listed on the front of its CD copies.[18]Thecover artworkfor the album was photographed by Hide Olda and depicts the members wearing whitehalter topsand facing directly into the camera. The light grey wall behind them features the group's name and the title written in a blurry manner, signifying "the writings on the wall".[18]Jaelani Turner-Williams fromStereogumdescribed the cover as "futuristic".[30]

Release and promotion

[edit]
Destiny's Child performing "Say My Name" during their tourDestiny Fulfilled... and Lovin' Itin May 2005

In the US,The Writing's on the Wallwas released on July 27, 1999, byColumbia Records,[31]having been released in Japan on July 14.[32]Initial US pressings featured the music video for "No, No, No Part I" as anenhanced CDbonus feature,[33]whereas international editions included "Get on the Bus" as a bonus track.[34]To supportThe Writing's on the Wall,Destiny's Child embarked on TLC'sFanMail Touras an opening act during its October–December North American leg.[35]Their televised performances at theSoul Train Lady of Soul Awardson September 3, 1999,[36]the2000 Soul Train Music Awardson March 4, 2000,[37]duringMTV Spring BreakinCancúnon March 16,[38]at theTMF AwardsinRotterdamon April 15,[39]and onBritney Spears'free concertinHonoluluon April 24, further promoted the album.[40]In July 2000, Destiny's Child joinedChristina Aguileraas an opening act on her tourChristina Aguilera in Concert,touring North America until October.[41]While on tour, the group performed a 45-minute set atThe Big Eon September 17,[42]and performed "Say My Name" at theMuchMusic Video Awardson September 21.[43]

In November 2000,The Writing's on the Wallwas reissued in Europe, being packaged with a bonus disc including "Independent Women Part I".[44]At theBillboardMusic Awardson December 5, Destiny's Child performed a medley composed of "Independent Women Part I", "Say My Name", and "Jumpin', Jumpin'".[45]They subsequently performed nominated songs "Independent Women Part I" and "Say My Name" at the43rd Annual Grammy Awardson February 21, 2001, when they won their first twoGrammy Awards,both for "Say My Name".[46]In honor of the 20th anniversary ofThe Writing's on the Wallin July 2019,Sony Musiclaunched "Destiny's Child 2019 Dating Commandments". Similar toTinder,the interactive dating app modernized the 14 "Commandments of Relationships".[47]Furthermore,The Writing's on the Wallwas made available on a limited-editionvinylexclusively atUrban Outfitterson November 1.[48]

Singles

[edit]

"Bills, Bills, Bills" was released as thelead singlefromThe Writing's on the Wallon May 31, 1999.[49]A commercial success, it became Destiny's Child's first USBillboardHot 100number-one single,[7]also topping the USHot R&B/Hip-Hop Songsfor nine consecutive weeks.[8]The single was certified platinum by the RIAA in July 2020, denoting sales of one million units in the US.[11]Internationally, the song reached the top 10 in Belgium, Canada, Iceland, the Netherlands, and the UK.[50][51][52][53]Critically acclaimed, it was nominated forBest R&B Performance by a Duo or Group with VocalsandBest R&B Songat the42nd Annual Grammy Awards(2000).[54]An accompanyingmusic videowas directed byDarren Grantand was a tribute to Destiny's Child's then-stylist Tina Knowles, as it depicts group members as hair salon employees frustrated with men.[55]"Bug a Boo"was released as the second single fromThe Writing's on the Wallon July 7, 1999.[56]It failed to replicate the commercial success of its predecessor, peaking only at number 33 on the USBillboardHot 100 and number 15 on the US Hot R&B/Hip-Hop Songs.[7][8]The song fared better internationally, peaking within the top 10 in the Netherlands and the UK.[57][53]The Grant-directed accompanying music video shows the group members fleeing from aggravating boyfriends, and features cameo appearances fromKobe Bryantand Wyclef Jean.[55]

"Say My Name" was released as the third single fromThe Writing's on the Wallon October 14, 1999.[58]It became Destiny's Child's second USBillboardHot 100 and third US Hot R&B/Hip-Hop Songs number-one single.[7][8]The single was certified triple platinum by the RIAA in July 2020, denoting sales of three million units in the US.[11]Internationally, the song reached the summit in Australia,[59]and the top 10 in Belgium,[59]Canada,[51]France,[59]Iceland,[60]the Netherlands, New Zealand, Norway,[59]Poland,[61]and the UK.[53]Critically acclaimed, it won the group's first two Grammy Awards–for Best R&B Performance by a Duo or Group with Vocals and Best R&B Song–while also being nominated forRecord of the YearandSong of the Year,in 2001.[62]AJoseph Kahn-directed accompanying music video was a subject of controversy, as it sawLeToya LuckettandLaTavia Robersonbe replaced–without their knowledge or consent–withFarrah FranklinandMichelle Williams.[29][63]The video won Destiny's Child their firstMTV Video Music Award,forBest R&B Videoin2000.[64]"Jumpin', Jumpin'"was released as the fourth and final single fromThe Writing's on the Wallon July 17, 2000.[65]A commercial success, it peaked at number three on the USBillboardHot 100 and became the group's first USMainstream Top 40number-one single.[7][66]The single was certified platinum by the RIAA in July 2020, denoting sales of one million units in the US.[11]Internationally, the song attained top 10 positions in Australia, Canada, Iceland, the Netherlands, New Zealand, and the UK.[67][51][68][53]Its music video was Destiny's Child's second consecutive to be directed by Kahn, and shows the members going out to a nightclub.[55]"So Good" was serviced torhythmic contemporary radioin the US as the solepromotional singlefromThe Writing's on the Wallon January 16, 2001.[69]

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusic[70]
The Encyclopedia of Popular Music[71]
Entertainment WeeklyB[72]
The Guardian[73]
NME6/10[24]
Pitchfork9.0/10[17]
Q[74]
Rolling Stone[28]
The Rolling Stone Album Guide[75]
The Village VoiceB+[76]

Upon its release,The Writing's on the Wallwas met with mixed to positive reviews frommusic critics.Stephen Thomas ErlewinefromAllMusicwrote that, regardless of "uneven" songwriting, the album was an improvement for Destiny's Child in comparison to their debut, further complimenting the production and selection of collaborators.[70]In a review forNME,Dele Fadelepraised the record's contemporary sound, citing "Confessions" and "If You Leave" as its highlights.[24]Rob Brunner fromEntertainment Weeklypraised Destiny's Child for being able to surpass their contemporaries with an innovative sound, but dismissed the "banal balladry" of "Stay" and "Sweet Sixteen".[72]Writing forThe Village Voice,Robert Christgaucommended the group for sounding mature but criticized the album's lyrical content.[76]Rob SheffieldfromRolling Stonewas, however, more negative towardsThe Writing's on the Wall,writing: "Despite OK moments like the 'Waterfalls' sequel 'Sweet Sixteen', the Destiny children never find that one money tune that turns ano-no-noscrubinto a yeah-yeah-yeah paying customer. "[28]

Retrospective commentaries saw critical acclaim forThe Writing's on the Wallprevail over initial criticism. InThe New Rolling Stone Album Guide(2004),Nathan BrackettandChristian Hoardreferenced Sheffield's negative 1999 review forRolling Stoneby writing that the singles "Say My Name" and "Jumpin', Jumpin'" were, indeed, "catchy enough to turn any no-no-no scrub into yeah-yeah-yeah paying customer".[75]Katherine St. Asaph fromPitchforkpraisedThe Writing's on the Wallfor its impact and influence on R&B artists, remarking that its musical style codified contemporary R&B trends at the turn of the millennium.[17]Taryn Finley ofHuffPostshared St. Asaph's sentiments, labelingThe Writing's on the Wall"the quintessential 1999 album".[77]Wren Graves fromConsequencedrew attention to standout non-single tracks, but dismissed "Temptation" and "If You Leave" as "dull spots".[78]

Accolades

[edit]
For the complete list of awards won by Destiny's Child and the singles fromThe Writing's on the Wall,seeList of awards and nominations received by Destiny's Child.

Listings

[edit]
Listings forThe Writing's on the Wall
Year Publication List Position Ref.
1999 The Face Recordings of the Year
9
[79]
2002 Q 100 Women Who Rock the World
77
[80]
2007 Rock and Roll Hall of Fame Definitive 200
160
[81]
Vibe The 150 Albums That Define theVibeEra
—
[82]
2008 Entertainment Weekly The New Classics: Music
92
[83]
2013 NME The 500 Greatest Albums of All Time
454
[84]
2017 Complex The 50 Best R&B Albums of the '90s
31
[22]
NPR The 150 Greatest Albums Made By Women
61
[85]
2019 Okayplayer The 19 Most Influential R&B Albums of '90s
—
[86]
2020 PopMatters The Most Memorable Albums of 1999
—
[87]
Rolling Stone The 500 Greatest Albums of All Time
291
[88]
2022 Pitchfork The 150 Best Albums of the 1990s
45
[89]

Awards and nominations

[edit]

The Writing's on the Wallwon the Soul Train Lady of Soul Award for Best R&B/Soul Album in 2000.[90]In addition, it was nominated forBest R&B/Soul Album – Group, Band or Duoat the 2000 Soul Train Music Awards,[91]and forFavorite Soul/R&B Albumat theAmerican Music Awards of 2001.[92]

Commercial performance

[edit]

In the US,The Writing's on the Walldebuted at number six on theBillboard200 chart dated August 14, 1999, with first-week sales of 133,000 copies.[93]On theTop R&B/Hip-Hop Albums,it debuted and peaked at number two the same week.[94]The album was the 42nd best-selling album of 1999, selling 1.6 million copies by the end of the year.[95]Theheavy rotationof its third single "Say My Name" and increased promotional activities reinvigorated the album's sales. Seven weeks after "Say My Name" reached the summit of theBillboardHot 100,The Writing's on the Wallregistered a new single-week sales high with 157,000 units.[93]It subsequently went on to ascend towards a new peak on theBillboard200 at number five on May 6, 2000.[96]During the Christmas week of 2000, the album achieved its highest single-week sales with 163,000 units, while remaining stable within the top 40 in its 74th week of charting.[97][98]On the year-endBillboard200 for 2000, it placed at number 13, and was the 10th best-selling album of the year with sales of 3.8 million copies.[99][100]In total,The Writing's on the Wallspent 99 consecutive weeks on theBillboard200, exiting from the chart in July 2001.[47]On November 6, the album was certified octuple platinum by the RIAA, for shipments of eight million units in the US.[101]As of 2015,The Writing's on the Wallhas sold over seven million units in the country, being thesecond best-selling girl group album ever in the US.[o]

Internationally,The Writing's on the Wallwas asleeper hit.It debuted at number 13 on theCanadian Albums Chartdated August 14, 1999,[102]peaking at number five after a year of charting on August 26, 2000.[103]The album was certified quintuple platinum by theCanadian Recording Industry Association(CRIA) on February 28, 2001, denoting shipments of 500,000 units in Canada.[104]In Australia,The Writing's on the Walldebuted at number nine on theARIA Top 100 Albumsand peaked at number two in its third week.[105]It was certified triple platinum by theAustralian Recording Industry Association(ARIA) in February 2001, for shipments of 210,000 units in the country.[106]In New Zealand,The Writing's on the Walldebuted at number 30, peaking at number six nine weeks later.[107]Recording Industry Association of New Zealand(RIANZ) certified it triple platinum in November 2000, denoting shipments of 45,000 copies in the country.[108]In the United Kingdom,The Writing's on the Walldebuted at number 12 on theUK Albums Chartand atop theUK R&B Albums Chart.[109][110]In August 2000, it was certified platinum by theBritish Phonographic Industry(BPI) for shipping 300,000 units in the UK.[111]After 70 weeks of fluctuations, the album peaked at number 10 on the UK Albums Chart on January 6, 2001.[112]The Writing's on the Wallpeaked at number 23 on theEuropean Top 100 Albumsafter being reissued,[113]and was certified double platinum by theInternational Federation of the Phonographic Industry(IFPI) for selling two million copies across Europe.[114]In addition, it eventually ascended to the top 10 in Belgium, Ireland, the Netherlands, Norway, and Portugal after debuting at lower positions.[105][115]With worldwide sales of 13 million copies,The Writing's on the Wallis the fourth best-selling girl group album of all time, also being one of the best-selling R&B albums of all time.[116][17][117]

Controversy

[edit]
Michelle Williams(pictured) andFarrah Franklinjoined Destiny's Child as replacements forLeToya LuckettandLaTavia Roberson,amidThe Writing's on the Wall's promotional cycle.

The promotional era ofThe Writing's on the Wallwas infused with controversy and conflicts within Destiny's Child's members and management. In December 1999, Luckett and Roberson attempted to split with their manager Mathew Knowles, stating that he kept a disproportionate share of the group's profits and unfairly favored his daughter Beyoncé and Rowland.[118]While they never intended to leave Destiny's Child, they found out that two new members were joining Beyoncé and Rowland once the music video for "Say My Name" premiered on February 15, 2000.[118]Prior to its premiere, Beyoncé announced onTotal Request Livethat Luckett and Roberson had left the group.[119]They were replaced by Williams, a former backing vocalist to Monica, and Franklin, an aspiring singer-actress.[120]On March 15, 2000, Roberson and Luckett filed a lawsuit against Knowles and their former bandmates for breach of partnership and fiduciary duties.[15]Following the lawsuit, both sides were disparaging towards each other in the media.[118]

Mere five months after joining, Franklin left Destiny's Child. The remaining members stated that this was due to missed promotional appearances and concerts. According to Williams, Franklin could not handle stress.[120]Franklin, however, disclosed that she left because of the negativity surrounding the strife and her inability to assert any control in the decision-making.[118]Her departure was seen as less controversial. Williams, on the other hand, felt pressured and later revealed that her inclusion in the group resulted in insecurity, as she was comparing herself to fellow members.[120]Towards the end of 2000, Roberson and Luckett dropped the portion of their lawsuit aimed at Beyoncé and Rowland in exchange for a settlement, though they continued the action against Knowles. As part of the agreement, both sides were prohibited from speaking about each other publicly.[118]Roberson and Luckett formed another girl group, named Anjel, but it ultimately disbanded in 2003 without having released an album.[121]

Impact and legacy

[edit]
The Writing's on the Wallhas been credited for allowing Beyoncé (pictured in 2019) to launch her solo career. Several critics have also noted its lyrical influence on her sixth solo studio albumLemonade(2016).

The Writing's on the Wallhas been declared Destiny's Child's breakthrough album by numerous music critics, as it spurred their career and introduced them to a wider audience.[120][13]Chris Malone fromBillboardretrospectively credited the album with quickly establishing Destiny's Child among the most iconic girl groups of all time.[25]Regardless of the controversy surrounding its promotional activities,The Writing's on the Wallemerged unaffected and became one of the best-selling R&B albums of all time.[117]Although members were agitated by the turmoil, Destiny's Child's success continued, with the years following the controversy seen as the most substantial stretch of their career,[118]and them becoming a pop culture phenomenon.[119]Their third studio albumSurvivor(2001) and itstitle trackare considered responses to the media for the scrutiny the group was placed under throughout the promotional era ofThe Writing's on the Wall.[122]Multiple critics have also noted the album for being the platform upon which Beyoncé would launch her solo career.[117][17]Tom Breihan fromStereogumshared those sentiments, adding that Beyoncé managed to successfully recognize sounds reshaping R&B aesthetics and acquire technical skills to recreate it in an idiosyncratic manner. He additionally noted that the album would creatively pave the way for her sixth solo studio albumLemonade(2016), as its lyrical themes evoked those ofThe Writing's on the Wall.[19]

Despite initial skepticism towardsThe Writing's on the Wall,various critics went on to acknowledge its immense impact on R&B and pop music in retrospective commentary, crediting it for having defined the sound of mainstream music at the turn of the millennium.[77][17]Music industry writer Naima Cochrane called the album one of the most important recordings of the transitional phase between the 1990s and 2000s, adding that it set the tone for mainstream R&B trends of the then-forthcoming decade and helped popularizeurban adult contemporary music.[77]Its feminist lyrical undertones have also received recognition.[123][117]In a 2019 interview withVice,Burruss–one of the key contributors onThe Writing's on the Wall–said the influence of its feminist themes was evident even two decades following its release, citingwomen's empowerment-themed efforts by artists such asRihanna,Lizzo,andMegan Thee Stallion.[123]Furthermore, the album is credited with introducing and popularizingstaccatorap-singing, most distinguishably via "Bug a Boo" and "Say My Name".[13]Canadian rapperDrakewas cited as one of the artists who sought vocal inspiration from the album, most notably on his 2013 track "Girls Love Beyoncé", on whichJames Fauntleroysang the chorus of "Say My Name".[17][21]Artistic influence ofThe Writing's on the Wallhas expanded into imagery as well, as the music videos forKehlani's 2016 song "Distraction"andTove Styrke's 2017 song "Say My Name"have been described as homages to the music video for" Say My Name ".[17]

Track listing

[edit]
The Writing's on the Wall– Standard edition
No.TitleWriter(s)Producer(s)Length
1."Intro (The Writing's on the Wall)"
  • Knowles
  • Donald Holmes
  • Gerard Thomas
  • Anthony Hardy
2:05
2."So Good"
3:13
3."Bills, Bills, Bills"
  • Knowles
  • Rowland
  • Luckett
  • Burruss
  • Briggs
4:16
4."Confessions" (featuringMissy Elliott)
4:57
5."Bug a Boo"
  • Knowles
  • Rowland
  • Luckett
  • Roberson
  • Burruss
  • Briggs
3:32
6."Temptation"
  • Wiggins
  • Terry T[c]
4:05
7."Now That She's Gone"
  • Fambro
  • Boynton
5:35
8."Where'd You Go"
  • Knowles
  • Rowland
  • Luckett
  • Roberson
  • Marques Houston
  • Kelton Kessee
  • Tony Scott
  • Chris Stokes
  • Knowles
  • Platinum Status
  • Stokes
4:15
9."Hey Ladies"
  • Knowles
  • Rowland
  • Luckett
  • Roberson
  • Burruss
  • Briggs
4:16
10."If You Leave" (featuringNext)
  • Elliott
  • Hunter
4:35
11."Jumpin, Jumpin"
  • Elliott
  • Knowles
  • Jovonn Alexander
3:50
12."Say My Name"
  • R. Jerkins
  • Daniels[b]
4:31
13."She Can't Love You"
  • Knowles
  • Rowland
  • Luckett
  • Roberson
  • Burruss
  • Briggs
4:04
14."Stay"Daryl SimmonsD. Simmons4:51
15."Sweet Sixteen"
  • Knowles[c]
  • Wiggins
4:12
16."Outro (Amazing Grace... Dedicated to Andretta Tillman) "[e]Knowles2:38
The Writing's on the Wall– US enhanced edition (bonus video)[33]
No.TitleDirector(s)Length
17."No, No, No Part I"(music video)Darren Grant4:31
The Writing's on the Wall– International edition (bonus track)[34]
No.TitleWriter(s)Producer(s)Length
17."Get on the Bus"(featuringTimbaland)
  • Timbaland
  • Elliott
4:44
The Writing's on the Wall– Japanese edition[1]
No.TitleWriter(s)Producer(s)Length
16."Get on the Bus" (featuring Timbaland)
  • Mosley
  • M. Elliott
  • Timbaland
  • Elliott
4:44
17."Bills, Bills, Bills" (Digital Black-N-Groove Club Mix)
  • Knowles
  • Rowland
  • Luckett
  • Burruss
  • Briggs
7:16
The Writing's on the Wall– European limited edition (bonus disc)[124]
No.TitleWriter(s)Producer(s)Length
1."Bills, Bills, Bills" (remix featuringSporty Thievz)
  • West
  • Poke and Tone[c]
4:00
2."No, No, No Part II"(featuring Wyclef Jean)
  • Herbert
  • Fusari
  • Brown
  • Gaines
3:33
3."Say My Name" (Timbaland Remix)
  • Knowles
  • Rowland
  • Luckett
  • Roberson
  • F. Jerkins III
  • R. Jerkins
  • Daniels
  • Mosley
  • Sean Garrett
Timbaland7:33
4."No, No, No Part II" (featuring Wyclef Jean) (music video)
5."Get on the Bus" (music video)
The Writing's on the Wall– European reissue (bonus disc)[2]
No.TitleWriter(s)Producer(s)Length
1."Independent Women Part I"
3:42
2."Independent Women Part II"
  • Knowles
  • Stewart
  • Seats
3:46
3."8 Days of Christmas"
  • Knowles
  • Errol McCalla
3:31
4."No, No, No Part II" (featuring Wyclef Jean)
  • Herbert
  • Fusari
  • Brown
  • Gaines
3:28

Notes

  • ^asignifies a producer and vocal producer
  • ^bsignifies a vocal producer
  • ^csignifies a co-producer
  • ^dsignifies an additional vocal producer
  • ^esignifies the lyrics being credited topublic domain
  • Tracks 1–15 end with brief interludes spoken by the group members, each of which relates to the following track. Each interlude represents aTen Commandments-inspired "Commandment of Relationships".

Sample credits

Personnel

[edit]

Credits are adapted from the liner notes ofThe Writing's on the Wall.[18]

  • Charles Alexander– mixing (track 11)
  • Jovonn Alexander – production (track 11)
  • Steve Baughman – mixing assistance (track 3)
  • Chris Bell – engineering (track 10)
  • Donnie "D-Major" Boynton– production (track 7), songwriting (track 7)
  • Kevin "She'kspere" Briggs– engineering (tracks 2, 3, 5, 9 and 13), executive production, instrumentation (tracks 2, 3, 5, 9 and 13), Midi & Sound (tracks 2, 3, 5 and 13), production (tracks 2, 3, 5, 9 and 13), songwriting (tracks 2, 3, 5, 9 and 13), vocal production (tracks 2, 3, 5, 9 and 13)
  • Joe Bruer – engineering (track 8)
  • Kandi Burruss– songwriting (tracks 2, 3, 5, 9 and 13), vocal production (tracks 2, 5, 9 and 13)
  • Michael Calderon – engineering (tracks 1, 3 and 6)
  • LaShawn Daniels– engineering (track 12), songwriting (track 12), vocal production (track 12)
  • Kevin "KD" Davis – mixing (tracks 2, 3, 5, 9 and 13)
  • Andre DeBaurg – engineering (tracks 10 and 11)
  • David Donaldson – engineering (track 11)
  • Jimmy Douglass– engineering (track 4)
  • Blake Eiseman – engineering (track 7)
  • Chad "Dr. Ceuss" Elliott– mixing (track 11), production (tracks 10 and 11), songwriting (tracks 10 and 11)
  • Missy Elliott– production (track 4), songwriting (track 4), vocals (track 4)
  • Ken "K-Fam" Fambro– production (track 7), songwriting (track 7)
  • Ronnie Garrett – bass (track 14)
  • Jon Gass – mixing (track 14)
  • Tara Geter– songwriting (track 7)
  • Brad Gildem – engineering (track 12)
  • Anthony Hardy – instrumentation (track 1), production (track 1)
  • Donald "Lenny" Holmes – instrumentation (track 1), production (tracks 1 and 4), songwriting (track 4)
  • James Hoover – engineering (tracks 7, 15 and 16)
  • Jean Marie Horout – mixing (track 12)
  • R.L. Huggar– songwriting (track 10)
  • Oshea Hunter – production (track 10), songwriting (track 10)
  • Fred Jerkins III– songwriting (track 12)
  • Rodney Jerkins– production (track 12), songwriting (track 12), vocals (track 12)
  • Thom "TK" Kidd – engineering (track 14)
  • Kiko – art direction, design
  • Beyoncé Knowles– additional vocal production (track 9), arrangement (track 16), backing vocals (all tracks), lead vocals (all tracks), production (tracks 1, 8, 15 and 16), songwriting (tracks 1–3, 5, 6, 8, 9, 11–13 and 15), vocal arrangement (tracks 6 and 16), vocal production (tracks 3 and 13)
  • Mathew Knowles– executive production, mixing (track 16)
  • Mike Kopcha – mixing assistance (tracks 2, 5, 9 and 13)
  • Sonny Lallerstedt – guitar (track 14)
  • Vincent Lars – saxophone (track 15)
  • Kevin Lively – engineering assistance (track 14)
  • LeToya Luckett– backing vocals (all tracks), lead vocals (track 1), songwriting (tracks 1–3, 5, 6, 8, 9, 12 and 13)
  • Steve McCauley – mixing assistance (tracks 4 and 15)
  • Raymond McKinley – bass (track 15)
  • Rufus Moore – songwriting (track 11)
  • Ramon Morales – engineering (tracks 5, 9 and 13)
  • Vernon Mungo – engineering (track 3)
  • Next– vocals (track 10)
  • Hide Olda – photography
  • Bill Ortiz – trumpet (track 15)
  • Lance Pierre – mixing assistance (track 8)
  • Platinum Status – drum programming (track 8), keyboards (track 8), production (track 8), songwriting (track 8)
  • Claudine Pontier – engineering assistance (track 3)
  • Anthony Ray– songwriting (track 6)
  • Ted Regier – mixing assistance (tracks 4, 6, 7 and 15)
  • Byron Rittenhouse – vocals (track 11)
  • LaTavia Roberson– backing vocals (all tracks), lead vocals (tracks 1, 8 and 15), songwriting (tracks 1, 2, 5, 6, 8, 9, 12 and 13)
  • Kelly Rowland– backing vocals (all tracks), lead vocals (tracks 1–5, 7, 8, 10, 13, 15 and 16), songwriting (tracks 1–3, 5, 6, 8, 9, 12, 13 and 15)
  • Albert Sanchez – photography
  • Aleese Simmons– songwriting (track 7)
  • Daryl Simmons– drum programming (track 14), keyboards (track 14), production (track 14), songwriting (track 14)
  • Dexter Simmons – mixing (tracks 4, 6, 8, 10 and 15)
  • Latrelle Simmons– songwriting (track 7), vocal arrangement (track 7)
  • Ivy Skoff – production coordination (track 14)
  • Charles Spikes – guitar (track 6)
  • Brian Springer – engineering (track 4)
  • Kenny Stallworth – engineering assistance (track 7)
  • Chris Stokes – production (track 8), songwriting (track 8)
  • Joey Swails – engineering (tracks 6 and 15)
  • Terry-T – bass (track 6), drum machine (track 6), keyboards (track 6), production (track 6)
  • Gerard Thomas – instrumentation (track 1), production (tracks 1 and 4), songwriting (track 4)
  • Tyvette Turman– songwriting (track 10)
  • Stephanie Vonarx – engineering assistance (track 14)
  • Chuck Walpole – engineering (track 6)
  • Jody Watley– songwriting (track 15)
  • Carl Wheeler– songwriting (track 6)
  • Teresa LaBarbera Whites– A&R
  • D'wayne Wiggins– bass (track 6), drum machine (track 15), guitar (tracks 6 and 15), production (tracks 6 and 15), songwriting (tracks 6 and 15), synthesizer (track 15)
  • Tony Williams – additional drum programming (track 14)
  • Dan Workman – engineering (tracks 2 and 5)

Charts

[edit]

Certifications

[edit]
Certifications and sales forThe Writing's on the Wall
Region Certification Certified units/sales
Australia (ARIA)[106] 3× Platinum 210,000^
Belgium (BEA)[164] Platinum 50,000*
Brazil — 20,000[165]
Canada (Music Canada)[104] 5× Platinum 500,000^
Denmark (IFPI Danmark)[166] 2× Platinum 40,000‡
France (SNEP)[167] 2× Gold 200,000*
Germany (BVMI)[168] Gold 250,000^
Netherlands (NVPI)[169] 2× Platinum 200,000^
New Zealand (RMNZ)[170] 3× Platinum 45,000^
Norway (IFPINorway)[171] Gold 25,000*
Norway (IFPINorway)[172]
Reissue 		Platinum 20,000*
Sweden (GLF)[173] Gold 40,000^
Switzerland (IFPISwitzerland)[174] Gold 25,000^
United Kingdom (BPI)[111] 3× Platinum 1,120,878[175]
United States (RIAA)[101] 8× Platinum 7,100,000[o]
Summaries
Europe (IFPI)[114] 2× Platinum 2,000,000*
Worldwide — 13,000,000[116]

*Sales figures based on certification alone.
^Shipments figures based on certification alone.
‡Sales+streaming figures based on certification alone.

Release history

[edit]
Release dates and formats forThe Writing's on the Wall
Region Date Edition(s) Format(s) Label(s) Ref.
Japan July 14, 1999 Standard CD Sony Music Japan [32]
Germany July 23, 1999 Sony Music [44]
United Kingdom July 26, 1999
Columbia [178][179]
United States July 27, 1999
[25]
France August 3, 1999 CD
[180]
Poland September 13, 1999 Sony Music
[181]
United Kingdom November 13, 2000 Reissue Double CD Columbia
[182]
Germany November 27, 2000 Sony Music [44]
United States November 1, 2019 Standard Vinyl(Urban Outfittersexclusive) Legacy [48]

See also

[edit]

References

[edit]

Notes

[edit]
  1. ^Japanese edition and European reissue covers feature blue backgrounds.[1][2]
  2. ^abTrack 11
  3. ^abTrack 10
  4. ^Track 3
  5. ^Tracks 1 and 7
  6. ^Tracks 3, 13 and 16
  7. ^abTracks 6 and 15
  8. ^Track 7
  9. ^abTrack 4
  10. ^Track 15
  11. ^Track 8
  12. ^Track 12
  13. ^Track 14
  14. ^abTracks 2, 5, 9 and 13
  15. ^abAccording toNielsen SoundScan,The Writing's on the Wallhas sold 6,400,000 copies in the United States as of 2015.[176]Nielsen SoundScan did not count sales through music clubs such asBMG Music Service,through which the album sold around 700,000 additional units by February 2003,[177]bringing its sales total to 7,100,000 units.

Citations

[edit]
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Bibliography

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Further reading

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