Johnny Gill has a voice that feels like it could shake the foundations of a building. It's thick, gravelly, and carries this church-bred weight that most singers would kill for. But in 1990, he wasn't just a solo powerhouse; he was a bridge. He was the guy who helped New Edition transition from "Candy Girl" teenagers into grown-man icons, and he was the guy who delivered one of the most underrated duets of the era. If you grew up in the 90s, you know "This One's for Me and You." Or at least, you felt it.
Honestly, the track is a masterclass in New Jack Swing-era production. It wasn’t just another ballad. It featured Shalamar—or a version of them—and it served as a high-water mark for Gill’s self-titled Motown debut. That album was a monster. We’re talking about a project that went multi-platinum and spawned "Rub You the Right Way" and "My, My, My." Yet, "This One's for Me and You" holds a specific, nostalgic gravity that hits differently.
It’s about intimacy. It’s about that specific late-night R&B vibe.
The Motown Reinvention of Johnny Gill
People forget that Johnny Gill was already a veteran by the time he hit his peak in 1990. He wasn't a "new" artist. He had recorded as a teenager with Stacy Lattisaw and had a solo career that was, frankly, idling. Then Jimmy Jam and Terry Lewis got ahold of him. The production duo from Minneapolis knew exactly what to do with that baritone. They didn't want to smooth him out too much; they wanted to weaponize the grit in his voice.
This One’s for Me and You sits in a weirdly perfect spot on that album. It’s track four. By the time you get to it, you’ve already been hit by the aggressive dance beats of the opening tracks. This song slows the tempo but keeps the "swing" intact. It’s soulful. It’s heavy. It’s unmistakably Johnny.
The song was written and produced by Gill himself along with Gerald Levin and the legendary Dick Griffey. This is a crucial detail. Griffey was the founder of SOLAR Records (Sound of Los Angeles Records), the powerhouse behind Shalamar, The Whispers, and Lakeside. By involving Griffey and the "Shalamar" brand, Gill was essentially paying homage to the lineage of soul music that preceded him while firmly planting his flag in the new decade.
Who Was Actually Singing?
There’s often a bit of confusion about the Shalamar feature on this track. By 1990, the classic lineup of Howard Hewett, Jody Watley, and Jeffrey Daniel was long gone. The group had undergone several iterations. On "This One's for Me and You," the "Shalamar" credit refers to the lineup featuring Sidney Justin.
Does that matter? To purists, maybe. To the listener? Not really.
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The background vocals provide this lush, velvety cushion for Gill to scream over. And I mean "scream" in the best way possible. Johnny Gill doesn't just sing notes; he attacks them. When he hits those ad-libs toward the end of the track, you can hear the influence of Otis Redding and Jackie Wilson. It’s raw. He’s pleading. The contrast between the polished, synthesized percussion and his "from-the-gut" delivery is what makes the song a standout.
Why the Song Never Gets the Credit It Deserves
If you look at the charts, "This One's for Me and You" reached number 45 on the Billboard Hot 100, but it performed much better on the R&B charts. It peaked at number 15. In the grand scheme of Johnny Gill’s career, it’s often overshadowed by the sheer cultural dominance of "My, My, My."
That’s a shame.
"My, My, My" is the wedding song. "Rub You the Right Way" is the club song. But "This One's for Me and You" is the fan's song. It’s the deep cut that feels like a primary single. It captures a moment when R&B was transitioning from the shiny disco-remnants of the 80s into something much more muscular and confident.
Music critic Alex Henderson once noted that Gill's 1990 album was one of the few times Motown successfully modernized its sound without losing its soul. "This One's for Me and You" is the evidence. It’s got the finger snaps. It’s got the synth-bass. But it also has a vocal performance that could have happened in 1968.
The Anatomy of a 90s R&B Classic
Let's talk about the structure. It’s not complex. R&B doesn’t always need to be.
The song opens with a melodic keyboard riff that immediately sets a "blue" mood. It’s cool. It’s collected. When Johnny comes in with "I know it’s been a long time," he’s not just talking to a lover; he’s talking to the audience. He had been away from the solo spotlight while touring with New Edition. This was his re-introduction.
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The lyrics are standard romance fare, but they aren't cheesy. They deal with the idea of a private world—a space that only exists between two people. In an era where music videos were becoming increasingly cinematic and public, this song felt like an invitation to turn the TV off.
- Vocal Range: Gill moves from a controlled mid-range in the verses to an explosive upper register in the bridge.
- Production: The use of "Fairlight" style hits and programmed drums gives it that 1990 "crunch."
- Harmonies: The Shalamar-credited vocals are stacked wide, creating a wall of sound that supports Gill’s lead.
It’s interesting to compare this to what else was on the radio in 1990. You had Bell Biv DeVoe doing "Poison," which was frantic and jagged. You had Mariah Carey breaking glass with her high notes. In the middle of all that noise, Johnny Gill offered something that felt grounded.
The Legacy of the 1990 Self-Titled Album
You can’t talk about "This One's for Me and You" without looking at the 1990 album as a whole. It was a pivot point for Motown. After the departure of many of their 70s superstars, the label needed a win. They found it in a kid from D.C. with a voice like a freight train.
The album went 2x Platinum. It proved that the "New Jack Swing" sound wasn't just for kids; it could be sophisticated. Producers like LA Reid and Babyface, along with Jam and Lewis, used this project to refine the R&B template for the next five years.
Actually, if you listen closely to the drum programming on "This One's for Me and You," you can hear the DNA of what would later become the "Quiet Storm" radio format's staple sound. It’s smooth, but it has a heartbeat.
Common Misconceptions About Johnny Gill's Career
A lot of people think Johnny was the "replacement" for Bobby Brown in New Edition. That's a bit of a simplification. Johnny was brought in to provide a specific vocal maturity that the group lacked as they moved into adulthood.
Similarly, people often think his 1990 album was his first. It wasn't. He had two solo albums before it (Johnny Gill in 1983 and Chemistry in 1985). But those albums didn't have "the song." They didn't have the cohesion. "This One's for Me and You" represents the moment Johnny Gill finally found his lane.
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He wasn't trying to be a pop star. He was a soul singer who happened to be popular.
Practical Steps for the Modern R&B Fan
If this song has been off your radar, it's time for a re-evaluation. Here is how to actually appreciate the era and the track:
- Listen to the full 1990 album in order. Don't just shuffle the hits. The transition from the high-energy tracks into the mid-tempo "This One's for Me and You" is intentional. It’s about the "vibe shift."
- Compare the Shalamar versions. Go back and listen to "A Night to Remember" and then listen to the backing vocals on Gill's track. You can hear how the SOLAR sound evolved into the 90s.
- Check out the live performances. Johnny Gill is one of the few artists from that era who actually sounds better live. His 1990-1991 tour footage shows a man who isn't relying on studio magic. He’s really hitting those notes.
- Explore the "LSG" era. If you like the collaborative energy of "This One's for Me and You," you need to dive into the supergroup LSG (Levert, Sweat, Gill). It’s the natural evolution of this specific style of soulful R&B.
Johnny Gill remains a cornerstone of the genre. He’s still touring, still hitting those notes, and still reminding everyone that "This One's for Me and You" wasn't just a song—it was a statement of intent. It told the world that real singing wasn't going anywhere, no matter how many drum machines we plugged in.
To truly understand Johnny Gill, you have to look past the velvet suits and the stage lights. You have to listen to the technical precision he brings to a ballad. There’s a specific way he rolls his "R"s and a certain timing he uses when he falls behind the beat. It’s jazz-influenced, even if the radio called it R&B.
Next time you’re building a throwback playlist, don't just reach for the obvious choices. Put this one on. It holds up. It doesn't sound dated; it sounds like a period piece—a perfectly preserved example of what happens when a generational voice meets the right production at the exact right time.
The 1990s were a chaotic time for music, but in the middle of that chaos, Johnny Gill found a way to make it personal. He made it for him, and he made it for you.
Check the credits. Study the production. Most importantly, just let the music play. The history of soul is written in voices like Johnny’s, and "This One's for Me and You" is a chapter that deserves a lot more readers.
Next Steps for R&B Enthusiasts: Dig into the discography of Dick Griffey’s SOLAR Records to understand the rhythmic foundation of Johnny’s 1990 sound. Track the evolution of the New Jack Swing drum pattern from 1988 to 1992 to see how Gill’s production team refined the "thump" that defined a decade. Finally, revisit the Johnny Gill 1990 music videos to see the visual aesthetic—leather vests and all—that helped sell the New Motown image to a global audience.