"Too Little Too Late" is a song written by Billy Steinberg, Josh Alexander, and Ruth-Anne Cunningham for JoJo's second studio album The High Road (2006). It was co-produced by Josh Alexander, Vincent Herbert, and Billy Steinberg. "Too Little Too Late" was released as the album's first single in North America on August 15, 2006 and in the UK on January 15, 2007.[3] "Too Little Too Late" broke the record for the biggest jump into the top three on the Billboard Hot 100 chart, moving from number sixty-six to number three in one week; this record was previously held by Mariah Carey with her 2001 single "Loverboy", which went from number sixty to number two.[4] However, the record was ultimately broken on the issue dated February 7, 2009 by Kelly Clarkson's "My Life Would Suck Without You", which jumped from number ninety-seven to number one.

Released when she was just 13 years old, vocalist Jojo's 2004 eponymous debut was a bona fide hit album and garnered the young pop star a legion of equally youthful fans, as well as lead roles in two films, including the 2006 comedy RV alongside Robin Williams. To say that the release of her 2006 sophomore effort, The High Road, finds Jojo on the cusp of superstardom is a bit of an understatement. Featuring production and songs by such in demand hitmakers as Swizz Beatz, Soulshock, and Scott Storch — the man who made Paris Hilton sound good — it should come as little surprise that The High Road is a commercially oriented, radio-friendly contemporary pop-R&B album. What may be a surprise is that it is really, really good. These are well-written, catchy pop songs with a healthy dose of hip-hop rhythm that serve as solid launching pads for Jojo's superb vocal abilities. Coming off as a kind of urbanized Jennifer Aniston with the chops of Beyoncé, Jojo is an assured and likeable performer who can somehow embody the yin-yang persona of a suburban cheerleader slinging hip-hop attitude, as she does in the video for the ridiculously overwrought and utterly addictive lead-off single, "Too Little Too Late." It also helps that she's matured just enough so that her somewhat sexy persona makes a bit more sense now than it did in 2004, and she easily sells the cheeky and raw dance-funk of such tracks as "This Time" and "The Way You Do Me." However, it's the blissfully melodic ballads and mid-tempo anthems that make the biggest impression here. Cuts such as the gorgeous and dreamy "Like That" and "Anything," with its unexpectedly hip sampling of Toto's "Africa," make for gleefully enjoyable guilty pleasures. Similarly, "Good Ol'" is the best summer anthem ever to see release in the fall, and "'Comin' for You" smartly borrows some of Kelly Clarkson's rock energy. While Jojo may not be taking a career road less traveled, The High Road does make time for some surprising and memorable pit stops along the way.

The 11-track offering features the single "In the Dark" plus contributions from Chad Hugo of The Neptunes, Kenna, Neff-U, Oak, Beau Dozier, Jordan Gatsby, Travis Garland, and more.

Kid talent show discovery JoJo's self-titled Blackground Records, Da Family-affiliated debut is a slick set of modern R&B in the vein of Brandy or Monica, with plenty of room to introduce its star's bigger-than-you'd-think presence. A bank of producers -- Vincent Herbert, Soulshock, Bink -- provide backgrounds that bump decidedly in the midrange -- there's a conscious effort to keep the focus on JoJo, and not whatever beats are currently making the grade. In other words, her vocals never sound detached from the goings-on behind her, or just a voice chattering over R&B generica. And this is promising, as the young singer really does have a tremendous voice. "Breezy" and "Homeboy" multi-track her trills, sulky whispers, and brassy wails over clicky percussion and a mixture of loops and instrumental snippets. Throughout there's talk of sheezies, throwbacks in the mix, cell phones, and the boy next door jilting poor JoJo. But even if the lyrics throughout are pretty interchangeable, vocally there's no doubt in her ability to carry the album, and the lack of irritating skits or attention-hogging guest shots is pretty refreshing. The funky jook of the Reggie and Ronald Burrell production "City Lights" features a few random "JoJo do that thing" drop-ins, but the girl gets right to the bottom of that freaky Beyoncé id, and aligns the cut with fellow standout "Not That Kinda Girl." Lead single "Leave (Get Out)" doesn't have a lot of staying power, but its guitar figure is a nice touch, and the chorus hits with the right amount of tell-off brashness. There's also a serviceable update of the 1992 SWV hit "Weak," the stripped-down strut of "Yes or No" (is that real beat boxing?), and the requisite ballad in "Never Say Goodbye." All in all, JoJo is a strong debut. Its centerpiece is never smothered with collabo pile-ons, and she's served well by the mix of arrangements and backgrounds. She's definitely courting middle-lane accessibility, but she rightly lets her singing do the talking, and that's a signal of where she's headed.

Raised in Foxborough, Massachusetts, she began performing in singing competitions and local talent shows from a young age. In 2003, Record producer Vincent Herbert noticed her after she competed on the television show America's Most Talented Kids and asked her to audition for his record label Blackground Records. Having signed with them that same year, JoJo released her eponymous debut studio album the following year in June 2004. It peaked at number four on the US Billboard 200 and was later certified platinum by the Recording Industry Association of America (RIAA), selling over four million copies worldwide to date

“Here’s what I know: I’ve never been good at playing games, but I’m great at telling the truth,” Joanna “JoJo” Levesque writes in the introduction to her 2024 memoir, <i>Over the Influence</i>. She underlines that assertion on her energetic fourth EP, where she takes stock of her last two-plus decades in the pop spotlight and shows how her versatile soprano can take on any beat thrown at it.

JoJo made a splash in 2004 with the petulant “Leave (Get Out),” an airy pop-R&B cut that showcased her preternatural ability to deliver real-talking lyrics in a candy-sweet fashion. In the 20-plus years since, through professional and personal struggles, the Massachusetts singer has only sharpened that talent, as this eight-track release appealingly proves. “Nobody,” the groove-forward track that opens <i>NGL</i>, is defiant, with JoJo declaring, “Nobody gon’ love me like me/Settlin’ don’t make no sense” over synth horns and a beat that recalls the most bounce-minded new jack swing cuts.

<i>NGL</i> finds JoJo unbound by others’ expectations; the anxiety-riddled “Too Much to Say” frames her declarations of being “imperfect but a real thing” in insistent guitar licks, while on the skittering “Porcelain” she explores her voice’s highest reaches as she notes how any troubles she’s had in the past have only made her more resilient in the present. The EP’s genre-shifting, which includes a stripped-down piano reimagining of “Porcelain,” shows how they’ve also made her more curious and confident as an artist. Once tied up in label red tape, she’s now free to use her voice in any context she deems appropriate, whether it’s the <i>TRL</i>-era throwback confection “Ready to Love” or the stretched-out sunshine-soul cut “One Last Time.” On <i>NGL</i>, JoJo is calling the shots with intention and honesty—as well as the pop savvy she displayed as a young teen on the come-up.

trying not to think about it is a musical expression of Jojo's continued honesty, vulnerability and transparency around mental health, tackling the different shades of it - including anxiety, depression, negative thoughts, relationship self-sabotage, and emotional immaturity. The first song released from the project "Worst (I Assume)" explores how toxic thoughts + negative patterns can easily turn into toxic behavior, how the past can sometimes seep into your present as a self-defense mechanism, and how oftentimes the wrong assumption can cause pain & suffering. Trying not to think about it is "capsule" collection because it's a time capsule and honest depiction into where Jojo was at the end of 2020 - a time when fear was creeping in and informing the way she viewed and how she perceived her reality. One of the central themes of the project is feeling trapped inside your own mind and the thoughts/feelings/emotions that can come from that.