Happy 30th Anniversary to CeCe Peniston’s second studio album Thought ‘Ya Knew, originally released January 10, 1994.
From the moment you heard “Dun-dun-mmm, dun-dun-mmm, hey-yeah-ee, owww” beginning CeCe Peniston’s “Finally,” it was certain some cardio was about to get done. The addictive tune—penned by the singer herself—could make any place a dancefloor. So how does one follow such an international smash?
Fortunately, the genre sprawl on her 1992 debut album, also titled Finally, offered clues. Where Crystal Waters’ “Gypsy Woman (She’s Homeless)” largely chained her to clubland, Peniston diversified early. Her first three singles (“Finally,” “We Got a Love Thang,” and the breakbeat-borrowing “Keep on Walkin’”) all topped US dance charts, while another two (“Inside That I Cried” and “Crazy Love”) mined urban and pop adult contemporary sounds, and all five became R&B Top 40 entries. She was about to lean heavily into her Black fanbase—and I’d like to think this is where the fighting started.
Most artists want to chase their progressive muses, but after a megahit like “Finally,” the only thing a label wants is another one just like it. Frankly, A&M Records rather needed it, still reeling from the loss of Janet Jackson who signed with Virgin in 1991. It made sense to invest in a young star who could maximize the R&B inroads they built. Out of soul acts on their roster like Angie Stone-led trio Vertical Hold and promising quartet For Real, CeCe Peniston was the obvious talent to bet on.
Upon completion, Thought ‘Ya Knew pushed against the expected house music tide, pulling Peniston waist-deep into hip-hop soul and pop-burnished R&B where she could kick shoes off and be herself. Only former collaborators Steve “Silk” Hurley and David Morales were invited to rejoin her on this second disc. Largely eschewing samples in favor of fresh grooves, this sophomore LP leans on the universality of heavy rhythm and bass to assure radio accessibility. This strategy began winning in late 1993 with the frisky lead-off “I’m in the Mood.”
“I’ve never been more ready for your love,” Peniston sirens on this lively firestarter that gave fans something to do the Butterfly to. This Soulshock and Karlin-produced R&B Top 10 strengthened Peniston’s standing at a time when peers like SWV, Jodeci, Xscape, and Aaliyah were cementing their future careers. Despite the original mix being used for the music video, Hurley’s more street remix supplants it on the album proper. To serve her dance audience, “I’m in the Mood” gets a bump in BPM on Morales’ Bad Yard Club remixes that ascended to the US Dance #1 spot. This proficiency appealing to both audiences gave her a singular edge over competing acts of the ‘90s.
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Vocally, Peniston can alter her timbre to create a distinct persona and bring character to her songs without resorting to runaway emotionality. She demonstrates this well on her next radio releases “I’m Not Over You” (#10 R&B, #2 Dance) and “Hit By Love” (#47 R&B, #1 Dance). Like “Keep on Walkin’,” the former overlays lovelorn, torch lyrics atop an upbeat track guaranteed to elicit shimmies and smiles, whereas the latter is the type of four-on-the-floor club stomper she can deliver in her sleep.
And if they’re that easy, why not make another? Peniston and Morales mine their synergy on the straight-ahead house cut “Keep Givin' Me Your Love.” Though it was her second single in the UK, it was a Dance Top 5 in the US, aided by its inclusion on the 1994 soundtrack of fashion comedy Prêt-à-Porter (Ready to Wear).
Aside from the aforementioned hitmen, her finest project to date was co-created with Sir Jinx, Mark Dubuclet, Andres Levin, Camus Celli, Brian McKnight, and Richard Wolf. The cohesive listen splits its time between bustling new jill swing, brightside pop-soul, unadulterated house, and sentimental downtempo exploration.
Peniston shines brightest with uptempos like the yearning, Hurley-helmed opener “Searchin’.” Its catchy whistle, Gap Band-inspired drums, and jazzy piano chords reach her sweet spot. Soulshock and Karlin’s bombastic, hard-swung “Let My Love Surround You” optimally frames the singer’s unique, snarling delivery. The ragga-pop kiss-off “Through Those Doors” also wins, an early composition from songwriter Andrea Martin ramping up for a hit streak including Monica’s “Before You Walk Out of My Life” and En Vogue’s “Don’t Let Go (Love).”
Among the ballads on Thought ‘Ya Knew, Peniston is at her best on body-winding slow jam “If You Love Me, I Will Love You” and the paternal, saxophone-toned “Maybe It’s The Way.” Surprisingly, the latter was helmed by unlikely collaborator Sir Jinx. Peniston saves all of her co-writes for Jinx who typically fashions west coast, trunk-rumbling gangsta rap for Ice Cube, Yo-Yo, Tone Loc, and Too $hort. This pairing allows both to play against type. His beefy, junkyard beats stand up well to her sassy vocal on “Give What I’m Givin’.” But no one expected airy, layered pads, and amorous key bass from him on “Maybe It’s the Way.” It’s a pleasurable subversion.
Stabilized by its slant toward Black listeners, Thought ‘Ya Knew wasn’t likely to make much noise on the Billboard 100. The combined pull of its four singles, however, spurred Thought ‘Ya Knew to #20 on the R&B chart. In successfully straddling these genres across two standout albums, the former Arizona pageant queen did her small but significant part in rebuilding the bridge that Disco Demolition Night set aflame long ago.
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Her role as club ambassador earned her an invitation to join Thelma Houston, Phoebe Snow, Lois Walden, and Albertina Walker at Woodstock ’94, later recording the 1995 gospel effort Good News in Hard Times. Their collective known as The Sisters of Glory was soon invited also to sing for Pope John Paul II at the Vatican. While on that adventure though, both R&B and the label that helped her conquer it were dramatically changing. Specific factors unduly hobbled her next and final release I’m Movin’ On (1996) before it could break through.
As a music industry newbie, she wasn’t quite ready to assert herself during the creation of Finally. And though I’m Movin’ On made mature leaps forward, it withered under waning support. Though Peniston couldn’t top “Finally,” neither could many of her peers whose best recordings pale against its sales. Independent of prejudiced comparison, Thought ‘Ya Knew stands easily as the zenith representation of the artist Peniston truly is. Never was she more empowered and visible as her vibrant, soulful self than in this moment—with nothing holding her back.
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