112 discography

The discography of 112, an Atlanta-based American R&B vocal quartet formed in 1996 and initially signed to Bad Boy Records, consists of six studio albums and more than 15 singles, several of which achieved top-10 positions on the Billboard Hot 100 and Hot R&B/Hip-Hop Songs charts.^[1][2][3] The group's self-titled debut album, 112, released in 1996, marked their breakthrough with the singles "Only You" and "Cupid," both of which became staples of late-1990s R&B radio.^[4][2] Follow-up efforts like Room 112 (1998), certified double platinum, expanded their sound with tracks such as "Love Me" featuring Mase, while Part III (2001) delivered their biggest hit, "Peaches & Cream," which topped Billboard's Mainstream R&B/Hip-Hop Airplay chart and earned a Grammy nomination for Best R&B Performance by a Duo or Group with Vocals.^[5][2] Subsequent releases, including Hot & Wet (2003) and Pleasure & Pain (2005), maintained their momentum on Def Jam Recordings with singles like "Na Na Na" and "U Already Know," though chart peaks began to wane amid label transitions.^[3] After a 12-year hiatus from full-length projects, 112 returned independently with Q, Mike, Slim, Daron in 2017 via eOne Music, followed by the EP Forever in 2020, reflecting the duo of remaining members Slim and Mike amid lineup changes. The group has continued releasing singles, including "No Love" in 2022.^[6][7][8]

Albums

Studio albums

112's debut studio album, titled 112, was released on August 27, 1996, through Bad Boy Records. The album peaked at number 37 on the US Billboard 200 chart and number 5 on the US Top R&B/Hip-Hop Albums chart.^[9] It was certified 2× Platinum by the RIAA on June 21, 2000, for shipments of 2,000,000 copies.^[10] The group's second album, Room 112, arrived on October 27, 1998, also via Bad Boy Records.^[11] It reached number 20 on the Billboard 200 and number 6 on the Top R&B/Hip-Hop Albums chart.^[9] The project earned 2× Platinum certification from the RIAA for over 2 million units shipped.^[12] Part III, 112's third studio effort, was issued on March 20, 2001, under Bad Boy Records in association with Arista.^[13] The album achieved a high of number 2 on the Billboard 200 and topped the Top R&B/Hip-Hop Albums chart.^[9][14] It was certified Platinum by the RIAA on May 16, 2001.^[15] Following a label transition in early 2002, when 112 departed Bad Boy Records to join Def Jam's Def Soul imprint, the group released Hot & Wet on December 9, 2003, through a joint Bad Boy/Def Soul venture.^[16][17] It peaked at number 22 on the Billboard 200 and number 2 on the Top R&B/Hip-Hop Albums chart.^[9] Pleasure & Pain, the fifth album, came out on March 29, 2005, exclusively on Def Soul.^[18] The release climbed to number 4 on the Billboard 200 and number 2 on the Top R&B/Hip-Hop Albums chart, while earning gold certification from the RIAA on July 15, 2005.^[19][20] After a 12-year hiatus from full-length releases, 112 returned with Q, Mike, Slim, Daron on October 27, 2017, distributed by eOne Music.^[21] The album entered the Billboard 200 at number 106 and reached number 14 on the Top R&B/Hip-Hop Albums chart.^[9]

Extended plays

In the post-major label phase of their career, 112 transitioned to independent releases, beginning with their sole extended play, Forever (also stylized as 112 Forever: Slim & Mike), issued on September 4, 2020.^[22][23] This 9-track digital project, clocking in at 25 minutes, marked the group's first independent endeavor and featured only the duo of Marvin "Slim" Scandrick and Michael "Mike" Keith following the 2018 departure of Q. Parker and Daron Jones.^[24][7] Released via their own label, it was distributed exclusively through streaming platforms such as Apple Music and Spotify, reflecting a shift to direct-to-fan digital delivery.^[22][23] The duo continues to tour worldwide as 112 Forever.^[25] The EP served as a duo-era statement, building on the lineup evolution seen in their 2017 self-titled album while emphasizing streamlined R&B production without external label constraints.^[24] Despite its release, Forever did not achieve notable peaks on major charts like the Billboard 200 or Hot R&B/Hip-Hop Albums, consistent with its limited promotional reach as an independent digital-only offering.^[2]

Singles

As lead artist

112's singles as the lead artist primarily emerged from their studio albums, achieving notable success on the Billboard Hot 100 and Hot R&B/Hip-Hop Songs charts during the late 1990s and early 2000s. Their debut single, the Bad Boy remix of "Only You" featuring the Notorious B.I.G. and Mase, marked their breakthrough, peaking at number 13 on the Hot 100 and number 3 on the R&B chart in 1996.^[26] Subsequent releases built on this momentum, blending smooth R&B harmonies with hip-hop influences, often featuring guest artists. The following table lists 112's singles that charted on the Billboard Hot 100, presented chronologically by release year, including peak positions on the Hot 100 and Hot R&B/Hip-Hop Songs charts, as well as the associated album. Chart data is sourced from Billboard archives.^[26] These singles represent 112's core commercial output as leads, with no additional Hot 100-charting releases following 2005.^[26]

As featured performer

112's contributions as featured performers primarily occurred during their affiliation with Bad Boy Records in the late 1990s, where they provided backing vocals and harmonies on several high-profile singles by labelmates and associates, enhancing the tracks' R&B appeal within hip-hop contexts.^[2] These collaborations helped solidify 112's role in the Bad Boy sound, blending smooth group vocals with rap verses to achieve commercial success on the charts. No major featured singles have been released by 112 since 2005.^[1] Key featured singles include: These tracks exemplify 112's signature style, often providing melodic hooks that complemented the lead artists' narratives, such as the tribute elements in "I'll Be Missing You" and the romantic introspection in "All Cried Out." The group's involvement in these Bad Boy-era hits not only boosted their visibility but also contributed to the label's dominance in late-1990s urban music.

Collaborations

Guest vocals

112's guest vocal contributions, often in the form of background or supporting vocals, were most prominent during their early years with Bad Boy Records in the late 1990s, reflecting their role within the label's collaborative ecosystem. These appearances typically involved uncredited or minor harmonic support on album tracks rather than lead features. As the group transitioned to independent projects post-2005, such contributions became less frequent but continued sporadically. In 1996, 112 provided backing vocals on multiple tracks from Tevin Campbell's album Back to the World, including "You Don't Have to Worry," enhancing the R&B harmonies with their signature smooth layering. Their involvement underscored the interconnected Atlanta and New York music scenes at the time.^[27] By 1998, 112 contributed vocals to Faith Evans' sophomore album Keep the Faith, notably on the track "Caramel Kisses," where they delivered supporting harmonies that complemented Evans' lead performance. This collaboration highlighted their frequent Bad Boy-era synergies with labelmate Evans.^[28] The group's guest work tapered after leaving Bad Boy in 2005, with occasional appearances on later projects. In 2005, Slim of 112 provided guest vocals on Young Gunz's Brothers from Another, appearing on "Don't Keep Me Waiting (Come Back Soon)." Similar minor vocal roles followed on Ebony Eyez's 2006 album 7 Day Cycle ("Take Me Back," featuring Slim and Q of 112)^[29] and Frankie J's Priceless (2006, with Slim on "Top of the Line").^[30] In 2007, Slim again contributed to 8Ball & MJG's Ridin' High on "Cruzin'." These later efforts maintained 112's reputation for versatile R&B support into the 2000s. A notable return came in 2017 on Faith Evans and The Notorious B.I.G.'s posthumous album The King & I, where 112 supplied vocals and background vocals on the interlude "Crazy," evoking their Bad Boy roots. No major guest vocal credits have been documented since, aligning with 112's focus on their own catalog up to 2019.^[31]

Production and writing credits

Members of 112, notably Daron Jones and Marvin "Slim" Scandrick, have made notable contributions to songwriting and production for other artists, particularly during the group's affiliation with Bad Boy Records in the late 1990s and early 2000s. Daron Jones co-wrote "I Just Can't," a track from the High School High soundtrack (1996), performed by Faith Evans, blending smooth R&B harmonies with introspective lyrics that aligned with the label's signature sound.^[32] Similarly, Jones penned "The Things That You Do" for Gina Thompson's debut Nobody Does It Better (1996), a mid-tempo ballad that highlighted his knack for crafting emotive, radio-friendly compositions.^[32] The group also handled vocal arrangements on select tracks from Keep the Faith, including the 112-featuring "Caramel Kisses," produced by Chucky Thompson, where their layered harmonies added depth to Evans' lead performance.^[33] This Bad Boy era involvement extended the collective production style of the label, though specific credits remained member-driven.^[33] By the early 2000s, 112's writing scope broadened internationally with co-credits on "Turn Me On" by soca artist Kevin Lyttle from his self-titled 2003 album. Daron Jones, Michael Keith, Quinnes Parker, and Slim co-wrote the track alongside Arnold Hennings and Lyttle himself, resulting in a global hit that topped the UK Singles Chart for five weeks and earned multi-platinum certification in several markets.^[34] The song's infectious soca-R&B fusion demonstrated the versatility of 112's songwriting approach beyond traditional hip-hop soul. Additional mid-2000s contributions included Daron Jones and Quinnes Parker co-writing "I Should Have Cheated" for Keyshia Cole's debut album The Way It Is (2005). Slim and Daron maintained a writing focus through the mid-2000s, contributing to solo R&B projects and occasional outside collaborations up to around 2012, after which their external credits diminished significantly following the group's independent releases.^[34] Some endeavors overlapped with guest vocal appearances on the same recordings, such as those with Faith Evans.^[33]