Heart Break Reimagined: Celebrating 35 Years of New Edition’s Best Album
Delving into the album’s appeal and its continued influence on music today.
In the twilight days of November 1986, the youthful R&B vocal phenomenon New Edition presented their fourth musical collection, Under the Blue Moon, to the world. This anthology marked a turning point for Ricky Bell, Ralph Tresvant, Ronnie DeVoe, and Michael Bivins. Notably, it was their debut venture as a quartet following the departure of the fiery Bobby Brown in December of the previous year. Additionally, save for the track “Bring Back the Memories,” the album was a daring and ambitious homage to the male vocal rhythm and blues heritage of the 1950s and 1960s. Drawing from revered compositions by Gene Chandler, The Penguins, Eddie Holman, and Little Anthony and The Imperials, New Edition embarked on a mission to assert their credibility.
Under the Blue Moon was conceived as the initial stride towards casting off the boyish charm that had characterized their first three albums. The reworked classics, unfortunately, rendered by Freddie Perren and Ric Wyatt Jr., fell short of their potential, bending towards the black pop and R&B trends of the era instead of honoring the layered richness of the originals. Retrospectively, the missed opportunity to collaborate with producers who could truly capture the essence of the classics is glaring. Consequently, the album floated on the modest chart success of its single “Earth Angel.”
However, the lackluster performance of Under the Blue Moon brought with it the liberation of New Edition from its contract with Jump & Shoot Productions. The resulting freedom allowed New Edition and MCA Records to forge ahead toward more fruitful prospects. Still, internal discord among Bell, Tresvant, DeVoe, and Bivins threatened to undermine potential advancements. Tresvant’s inclination towards a solo career left the remaining members pondering a suitable replacement.
Enter Johnny Gill, who had made his mark at 16 under Cotillion Records, a subsidiary of the larger Atlantic Records. Having released three albums between 1983 and 1985, one of them being a duet album with Stacy Lattisaw titled Perfect Combination, Gill brought technical ability and camaraderie with Bivins, Bell, and DeVoe, making him an ideal addition. Amidst negotiations to incorporate Gill, the group found themselves at a creative crossroads, needing to refresh their musical style. Enter the talented duo, James “Jam” Harris III and Terry Lewis.
The Minneapolis-born pair had evolved from supporting Prince’s side project, The Time, to writing, arranging, and producing music for artists like Klymaxx, the S.O.S. Band, Change, Alexander O’Neal, and Cherelle. Their collaboration with Janet Jackson in 1986 on her album Control established a long-lasting, creative synergy. That year, they also ventured into the broader pop scene, undertaking production for The Human League’s fifth album, Crash.
With shared admiration and enthusiasm, New Edition and the producer duo agreed to collaborate on the fifth New Edition album, Heart Break. New Edition was also to contribute to their writing and co-production for some tracks. The project was further bolstered when Tresvant decided to stay and welcomed Gill, restoring the group to a quintet.
The decision to adopt New Jack Swing, the cutting-edge blend of hip-hop beats, black dance rhythms, and infectious R&B melodies, as the primary musical style for Heart Break was unanimous. This energetic genre had burst onto the scene a year prior and found its way into the core of Heart Break. The album boasted booming rhythms of the New Jack Swing era, with the first single, “If It Isn’t Love,” leading the charge with its unique blend of a military-style drumroll, jangling synth effects, and Tresvant’s striking lead vocal.
The album starts strong with the vibrant “That’s the Way We’re Livin’,” positioning New Edition as one of the leading R&B forces of their time. Other noteworthy tracks, such as “You’re Not My Kind of Girl” and “Can You Stand the Rain”-highlighting leads and/or prominent ad-libs from Tresvant, Gill, and Bell-underscore New Edition’s lofty standard.
Throughout Heart Break, New Edition oscillates between romantic declarations on tracks like “Superlady” and suave cool expressions on “Where It All Started.” This playful duality is best exhibited in the funky “N.E. Heart Break,” which showcases Bivins and DeVoe’s affinity for hip-hop. This vibe was a precursor to the successful New Edition spin-off Bell Biv DeVoe, which gained prominence two years later.
Debuting on June 20, 1988, the same day as Bobby Brown’s sophomore album Don’t Be Cruel, Heart Break accomplished what Under the Blue Moon could not. It revitalized New Edition both critically and commercially. This double platinum record spawned five hit singles and sparked an extensive tour reinforcing their status as proficient entertainers.
Heart Break stands out in New Edition’s discography, serving as an influential source for other artists in music and visuals. Artists such as Boyz II Men (whose name was directly inspired by Heart Break’s closing track “Boys to Men”), Chris Brown, Beyoncé, and Bruno Mars have drawn from it for their creations. More importantly, Heart Break proved that New Edition could successfully shift to a mature sound without sacrificing its core identity. It showcased a unified group, passionate about their art and the joy of singing.
Originally published at https://shatterthestandards.substack.com.
