Label:MCA Records – MCA2-11929
2 x Vinyl, LP, Album
Genre:Funk / Soul
Style:Swingbeat, Soul, Neo Soul, Disco, Contemporary R&B


A1All That I Can Say5:30
Featuring [ft]Jadakiss
A3Deep Inside5:26
A4Beautiful Ones6:00
B1I'm In Love4:50
B4Don't Waste Your Time
Vocals [Duet With]Aretha Franklin
C1Not Lookin'
Vocals [Duet With]K-Ci Hailey*
C2Your Child5:34
C3No Happy Holidays5:18
D1The Love I Never Had6:48
D2Give Me You5:05
D3Let No Man Put Asunder4:23

Barcode and Other Identifiers

  • Barcode (Text): 0 08811 19291 4
  • Barcode (String): 008811192914

Other Versions (5 of 35)

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Title (Format)LabelCat#CountryYear
Mary (CD, Album)MCA Records, Universal Music Australia112 255-2Australia1999
Recently Edited
Mary (CD, Album)MCA RecordsMCAD-11929US1999
Recently Edited
Mary (CD, Album)MCA Records112 255-2Europe1999
Mary (CD, Album)MCA Records, MCA RecordsMCD11976, 111 976-2Europe1999
Mary (2×LP, Album)MCA Records, MCA Records11929, 111 929-1Europe1999



  • brandosoul's avatar
    Edited 3 years ago
    By the end of the 90s, Mary J. Blige was met with the mercurial trends and clichés that were populating contemporary R&B and went a step ahead of every one of them, even if it meant purely embracing traditional soul influences. Her fourth release and final offering of the 90s, 1999's Mary remains a perfectly realized milestone of hip hop-inflected R&B edging closer toward the sophisticated currents of adult-oriented soul. To be more precise, it can be cited as Blige's lone full-length contribution to the burgeoning neo-soul (God, I hate that genre distinction) aesthetic/movement (to be fairer, it's a worthy companion to Lauryn Hill's 'The Miseducation of Lauryn Hill' than it's credited for.) Even its cover, a beautiful monochromatic portrait of a natural Blige, barefaced and adorning African jewelry, suggests she was reaching something far more ethereal and concrete beyond the glitz and grit of the streets. Perhaps this album's most striking distinction, besides the newfound maturity and control that graced Blige's vocal presence, is its organic musical vision, where the rugged hip hop elements that defined her past work were tempered in favor of a breezier, mellow style that largely touched upon classic 1970s soul. It is no coincidence that the hip hop elements of her previous works are largely absent and replaced with more tasteful, crossover-orientated moves (Elton John, Eric Clapton, Denise Rich, Diane Warren, Babyface all show up in the liner notes). There's even a greater emphasis on live-sounding instrumentation that factored into the production, too. Mary's musical output was arguably never this soulful again even if her commercial profile rose subsequently. The Yonkers-raised chanteuse showed tremendous growth musically, and we were all the better for it.

    This 1999 vinyl pressing is quite sublime. Because of Herb Powers Jr.'s mastering, I wonder if this was cut at Hit Factory or Sterling? Nicely spread out on two vinyl records, the music comes across so alive and spacious. It's apt to note that this includes a nice unfaded version of Mary's cover of The Gap Band's "I'm in Love." All CD pressings of this album include an edited version of the song with a fade-out because of CD space constraints. As an added bonus, the gorgeous front cover portrait of Mary looks stunning in its 12-inch glory.
    • andyv_69's avatar
      another great album from Mary... Great pressing highly recommended... nicely done


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