All I Want (From "GOOD Burger")

All I Want: 702 and the Good Burger Soundtrack

702 contributed "All I Want" to the soundtrack of the 1997 Nickelodeon film Good Burger, a comedy based on a recurring sketch from the sketch comedy series All That and starring Kenan Thompson and Kel Mitchell. The song was released as a single and served as a vehicle for the R&B vocal trio to reach a broader audience through the film's promotional campaign while also standing as a representative example of their polished mid-1990s urban contemporary sound.

702 was formed in Las Vegas, Nevada, in the early 1990s, originally consisting of sisters Kameelah and Orish Williams along with Meelah Williams. The group signed to Motown Records and later to Biv 10 Records, a subsidiary label distributed through Motown that was associated with Michael Bivins of New Edition and Boyz II Men fame. Their 1996 debut album No Doubt had established them as a significant presence in the R&B market, particularly among younger audiences who responded to their clear vocal blend and their engagement with the romantic and relationship-focused themes that dominated the format during the mid-1990s.

The Good Burger soundtrack was produced to capitalize on Nickelodeon's strong brand presence with children and teenagers, and it featured a mix of established and emerging artists alongside songs by the film's cast members. The project was released on Interscope Records and was designed to function both as a film companion and as a standalone commercial proposition in the contemporary R&B and hip-hop markets. Several tracks on the soundtrack were specifically aimed at teen and young adult audiences, and "All I Want" by 702 fit naturally into this programming context given the group's existing appeal with that demographic.

The single debuted on the Billboard Hot 100 on August 16, 1997, entering at number 51, a strong debut position that reflected immediate commercial impact. Over the following weeks it climbed steadily, reaching its peak of number 35 on September 6, 1997, and holding that position for two consecutive weeks before a gradual descent. The single spent twelve weeks in total on the Hot 100, a solid run that reflected sustained airplay and chart momentum. The peak of number 35 was a meaningful commercial achievement for a soundtrack-affiliated single and confirmed 702's ability to generate Hot 100 impact beyond the R&B chart context where they were already well established.

On R&B-specific charts, "All I Want" performed even more strongly, spending several weeks in the upper regions of the Billboard R&B Singles chart. Urban radio stations across major markets were the primary promotional target, and Interscope's radio promotion team leveraged the film's promotional campaign to generate additional interest in the single. The synchronization of the film's theatrical release with the single's chart ascent during August and September 1997 created the kind of promotional alignment that soundtrack releases depend on for their commercial effectiveness.

The song's production reflected the conventions of mid-1990s R&B, with layered vocal harmonies, atmospheric keyboard textures, programmed percussion, and the kind of polished melodic structure that distinguished the top-tier productions of the era. 702's vocal blend was one of their primary artistic assets, and the production gave each member space to demonstrate her individual voice while maintaining the group cohesion that made their sound distinctive. The following year, 702 would release their second album You Still Love Me, continuing to build on the commercial momentum that "All I Want" and their earlier releases had established. The song remains a representative example of how Nickelodeon entertainment properties successfully engaged with contemporary urban music culture during the late 1990s to reach the network's core young audience. The promotional partnership between Interscope and Nickelodeon also demonstrated the commercial viability of aligning R&B releases with family-oriented film properties, a strategy that generated chart results well beyond what either the film or the single might have achieved through their respective channels in isolation, and it contributed to a broader industry recognition that youth-targeted soundtracks could deliver genuine crossover commercial success when the artistic fit between the music and the film was carefully managed.