Three decades into the public consciousness, the quartet All-4-One remains one of the most talented and beloved vocal acts of the 90s – despite some musical decisions that prevented the group from achieving what its members’ talents warranted.
Individually raised as “church singers,” Tony Borowiak, Jamie Jones, and Alfred Nevarez met in a California studio where they each sang commercial jingles. They soon convinced a superb local singer, Delious Kennedy, to join them in search of a record contract. Together they auditioned for L.A.-based Blitzz Records (performing a cover of the Tymes’ classic doo-wop tune “So Much In Love”) and were promptly signed by the label for a 1994 debut disc. Released during the brief renaissance for vocal quartets in the mid 90s led by Boyz II Men, All-4-One’s self-titled debut took off, fronted by their nice a cappella version of “So Much In Love.” The follow up single, a slick, well performed cover of country star John Michael Montgomery’s “I Swear,” was an unmitigated smash, topping the pop charts for 11 weeks and becoming the year’s biggest selling single. While nothing else on the album matched the quality of the two singles, by the end of 1995 All-4-One appeared to be on the verge of superstardom.
For their second album, the quartet faced a crossroad: With growing support in both pop and Soul corners, and the music scene already having changed from the time of the group’s debut album, All-4-One needed to make a statement on its musical direction. Unfortunately, And The Music Speaks was a creative miscue, safe, by-the-numbers adult contemporary disc that pushed All-4-One away from the Soul and gospel hintings of the first album and toward a blander, softer sound. Electing again to spotlight a David Foster-produced Montgomery cover, “I Can Love You Like That,” All-4-One scored moderately on the pop singles chart but immediately and permanently surrendered Soul music support. The album faded from the charts quickly, but was immediately followed by a Christmas album and the theme song from the Disney movie The Hunchback of Notre Dame, neither of which fared well in the US.
The group then began recording its next album, the solid On and On, planning a 1997 release. However, a record company dispute delayed the album for almost 18 months, and it was quietly released on Atlantic in 1999 with little support.
An auto accident then sidelined the quartet for over a year, but they eyed a comeback on Discretion Records via a 2001 album entitled All-4-One…Has Left the Building. Though touted by that label for some time, the disc was never released. Virtually forgotten by 2002, All-4-One signed with small American Records and released the album A41 with the help of Foster and instrumental artist Jim Brickman. It was another surprisingly tame album, especially given the failure of their previous two studio albums to generate any interest. While containing the melodic ballad “Not Ready For Goodbye,” the disc was not what the group needed to reestablish itself as a major act, and it failed to chart. In 2004, the group released in Asia Split Personality, an album of mostly new material which included the single “Someone to Live In Your Heart.”
Soon after Split Personality, lead vocalist Jamie Jones issued a solo CD that included a couple of excellent tracks with his All-4-One mates. The group continued to perform together while planning future recordings. Jones achieved some success as a producer, particularly on Wayne Brady’s Change Is Gonna Come. It opened the door for the signing of All-4-One by Peak Records and the recording of No Regrets, released in September 2009. Given a second chance at stardom, All-4-One took advantage, recording the group’s best disc ever, an excellent updating of their sound with hotter arrangements and uniformly solid material. The group continued to tour the world supporting No Regrets as well as their prior catalog.
Since the release of No Regrets, All-4-One has recorded sporadically and toured the world regularly as part of multi-artists shows, in David Foster-led concerts, and on their own. And they still sound great several decades after first hitting our ears.
by Chris Rizik
