It’s hard to believe that it’s been nearly 20 years since R&B staple Ciara released her debut album “Goodies.” While the quality of her output has varied over time, in “Low Key,” this DJ Luke-sampling tune is a vast improvement from some of her more recent projects. Lyrically, the singer highlights how hard she works professionally and personally while still carving out enough of herself to indulge in the pleasures of love and marriage (Hey Russell!). The track lends itself perfectly to its accompanying EP “CiCi” and stands out amongst a solid, slightly too brief, but well-rounded project.

Watch the “Low Key” lyric video, stream it, or grab some music by Ciara.

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post 97 Words: “Low Key” by Ciara appeared first on THE 97.

It’s fitting that during the 50th anniversary of Hip Hop, such a catchy and modern tune uses such historical samples as its structure. Similar to the original version, which uses a sample from “The Message” by Grandmaster Flash, Coi Leray’s “Players” remix sounds fresh without getting lost in the enormous legacy of the sampled track. On the Busta Rhymes-assisted remix, which uses his 1997 single “Put Your Hands Where My Eyes Can See” as its foundation, Rhymes crafts an updated verse that showcases his dynamic rhythmical flow. Overall, his inclusion makes for a fresh yet nostalgic listening experience.

Watch the “Players” visualizer, stream it, or pre-order Coi Leray’s album “COI” on vinyl!

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post 97 Words: “Players (DJ Saige Remix)” by Coi Leray & Busta Rhymes appeared first on THE 97.

Any time an artist can take their own hit song and use it as the blueprint for even better music, the result is iconic. Such was the journey for this 1998 banger from legendary reggae artist Beenie Man. Recently finding new life with Millennial-aged teachers and their Gen Z students on TikTok, “Who Am I” peaked at number 40 on the Billboard Hot 100 chart, only slightly besting the artist’s 2000 duet with Mya, “Girls Dem Sugar (Sim Simma).” The incomparable Pharrell retooled the original “Who Am I” to make it a newer and fresher track with a broader crossover appeal.

Watch the “Who Am I” video, stream it, or get the Best of Beenie Man!

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post 97 Words: “Who Am I” by Beenie Man appeared first on THE 97.

The world watched her reach dizzying heights and stunning lows. In admiration, the public saw Whitney Houston morph from a church girl from Newark, N.J. into an otherworldly Pop deity beloved by massive throngs of fans and peers alike. That audience soon balked at the slightest indication of Houston’s imperfections, fiercely rebuking her overly-documented history with ex-husband Bobby Brown, her long-rumored queerness, and admitted issues with substance use disorder. The public, abetted by the constant intrusion of the press, callously mocked her struggles, claiming in one breath to be concerned for her well-being while simultaneously waiting for her next misstep.

When the protagonist of this Greek tragedy perished at just 48 years old, the public mourned, though they did not attempt to hide their disdain for choices made in her private life. Though she retains the record for the most consecutive number-one hits on the Billboard charts, is the third best-selling recording artist of all time, and is one of the most highly decorated artists of all time, her legacy serves as more of a cautionary tale than that of the musical titan she rightfully was, and remains.

It’s time for the narrative to change.

Whitney Houston’s death is not the end of her story, nor is it the embodiment of her life. The unshakable truth is that Houston was one of the greatest entertainers that ever graced the earth. With joyful noise, the instrument that emanated from her very being was indeed an act of the divine. An expression of love that came from the higher power she so deeply loved. While in use, that instrument brought you closer to HIM. Whitney Houston’s talent was not of this world, which is the true culmination of who she was and is. The following is a deeper look into Whitney Houston’s greatest live performances, curated by her fans in loving memory.

Whitney Houston’s Greatest Live Performances

“I Loves You Porgy”/, “And I Am Telling You (I’m Not Going)”/“I Have Nothing” at the 21st Annual American Music Awards, 1994

Performed on the same night Houston took home a record eight awards (a feat only matched by Michael Jackson), this performance is the closest to perfection that anyone on this Earth will ever come. To sing one of these songs (well) individually is a task that challenges even the most experienced vocalists. Houston seamlessly weaves all three songs together without breaking a sweat (albeit her signature bead of slight perspiration on her upper lip. Stage lights are hot!). During each of these songs, Houston uses her supreme skills to accurately pull off each transition vocally, while simultaneously portraying the emotional differences within each of them, physically.

Starting with “I Loves You Porgy,” a standout penned by Gershwin & Gershwin for the opera Porgy & Bess, she entices her captive audience into a lusty seduction absent from her earlier stage work. It is the perfect foil to Houston’s fiery rendition of “And I Am Telling You, (I’m Not Going),” an iconic tune from the 1981 Broadway hit production “Dreamgirls,” which is my preference between the first two selections of this set. The song, synonymously associated with vocal giant Jennifer Holliday, would undoubtedly be intimidating for most singers; however, Houston devours the piece with a ferocity that illustrates her innate vocal superiority and technique. This may be a hot take, but I prefer Houston’s version to Ms. Holliday’s.

One of the nuances of Houston’s set is that each selection is an iconic love ballad. Watching her masterfully breeze through these above songs as she approaches the final act of this performance, Houston’s Olympian-like stamina had the audience in a trance. For the finale, she performed her 1992 hit, “I Have Nothing,” from the mega-blockbuster film, “The Bodyguard,” wherein, just like her movie counterpart Rachel Marron, Houston becomes the fully realized Pop empress, with the audience merely being her adoring subjects. With them in the palm of her hands, she transitions from lightly caressing her vocals and phrasing during particular parts of the ballad to plummeting to the guttural parts of her lower register, only to just as quickly ascend to the highest peaks of her memorable falsetto. Two years removed from the single’s initial release, Houston not only solidified this song’s place among the best in her catalog of hits but of any recorded in the 20th century. Houston was as confident as she was elegant throughout, and using “Nothing” as the set’s closer further cemented the track’s impact. Ultimately, we are left with nearly 10 minutes of superb, uninterrupted, anointed singing. The enormity of this triumphant performance was indicative of Houston’s astronomical success at that time. It was Whitney’s world; we were all just living in it.

“The Star Spangled Banner” at Super Bowl XXV, 1991

Set at the height of America’s involvement in the Persian Gulf War, Houston performed this song at Tampa Stadium with approximately 73,813 in attendance and an additional 73 million people watching globally. According to longtime musical director Ricky Minor, Houston intended for her rendition of the song to be of similar impact to Marvin Gaye’s soulful performance at the 1983 NBA All-Star Game. While Minor has since confirmed that the music was pre-recorded (a precaution used to avoid audio issues during the live broadcast), Houston’s effort has become the most well-known cover of The National Anthem and one of the most memorable moments in television history.

Like Gaye’s interpretation, Minor modified the song’s original 6/8 time signature into 4/4, commonly used in more African-American-derived music. In doing so, Minor afforded Houston enough room to utilize the full extent of her wide vocal range while also allowing her to infuse the song with a Gospel element that’d never been heard before. Ironically Houston, who had not listened to the provided modified instrumental of the track before its recording, nailed Minor’s arrangement in just a singular take.

Three years after her infamous appearance at the 1988 Soul Train Music Awards, in which the majority black audience booed her after claims of “selling out” (I’m talking to you, Al Sharpton) to white audiences, Houston had successfully reclaimed her blackness throughout her creative output and overall public persona. What is most telling about this point is that one of Whitney Houston’s greatest live performances finds her in her most natural state. Eschewing the evening gown suggested by her team in favor of her famous red, white, and blue tracksuit, Houston looks as patriotic as she does relatable, a fact that I hope the audience that once so venomously booed her at Soul Train appreciated. She was always that girl from Newark, and nothing could change that. Her showing was as joyful as it was yearning; joy in the expression of this black woman’s gifts while longing for freedom that has never been fully allowed for so many black people past and present. It’s hard for me to speak positively on the song’s supposed theme of freedom, as divisiveness and inequality continue to attack the moral fabric of this country. However, watching this always transports me to where I can at least hope things will improve. Most importantly, a black woman did that. KNOW THIS!

“The Greatest Love of All” from Welcome Home Heroes With Whitney Houston, 1991

This could very well be sacrilegious, but “The Greatest Love of All” has not always been a favorite Whitney tune of mine. Growing up in a household where the 1988 film Coming To America was in consistent rotation, my primary association with the song was tied to Eddie Murphy’s hilarious version sung in the movie. My immature brain wrote the original off as corny and unsuited for my more soulful musical preferences. I later learned of the song’s origin, and my views began to soften.

Initially written in 1977 for the Muhammad Ali biopic “The Greatest,” songwriters Martin Masser and Linda Creed crafted the song during Creed’s terminal fight with breast cancer, one that she’d lose nine years later. A proper coping mechanism during her illness, Creed hoped the lyrics would inspire others to thrive in adversity, specifically children. Still, I held on to that opinion until I watched this stunning 1991 rendition.

In a benefit concert staged to welcome home over 3,000 servicemen and women from The Gulf War, Houston’s voice had fully matured by this period of her career, and she’d begun to take more risks with her onstage vocal delivery. Gone were the restrictive days of mimicking herself to sound like she did on wax, and she takes several artistic liberties with the song that makes it far superior to the original release. Houston’s chilling ad-libs and vocal control are put to work here, an impressive feat given that it was the penultimate song on the vocally acrobatic setlist she’d performed that night. The most notable moment of the performance is when Houston brings an adorable young fan on the stage to serenade him in the spirit of Linda Creed’s aspirations for the song’s impact. Wherever that young man is, I hope he made something of himself because Whitney and Linda told him to!

“All The Man That I Need” from Welcome Home Heroes With Whitney Houston, 1991

I can’t count the number of times I’ve watched this one, for it is easily one of the most outstanding examples of Houston’s extraordinary falsetto and immense vocal power. The album version was exceptional, a standout from her 1992 career-changing album “I’m Your Baby Tonight.” However, this live performance, along with many other iterations of it sung during this era, eclipses Houston’s studio recording and the original incarnation of the track, released in 1981 by Linda Clifford.

This performance, along with the famous “Love Medley” (also included in this list) that preceded it, is possibly the highlight of a supremely high-quality concert and finds Houston as she reaches her vocal peak mid-performance. The dramatic incantation of Houston’s repetition of the phrase “I need,” punctuated by a nearly operatic tone and pitch, lend themselves to the reverent nature of the song’s lyrical theme.

While Houston was known for her expansive vocal tricks, none felt too showy or out of place. I’ve often wondered if Houston’s well-known religious beliefs played a role in her passionate delivery of this track; instead of Houston singing to a romantic partner, the song’s recipient is her creator. Her creator brought her there, and that creator was the only man Houston would ever need. This performance and the entire show’s production gave audiences a brief glimpse into the historical commercial success that Houston, and by proxy, the world, would experience in just one year.

“This Day,” from “Whitney Houston: This is My Life” TV special, 1992

As previously discussed, Houston’s relationship with the church was a significant facet of her life and career, even at their low points. Her devotion to her higher power and commitment to her professional pursuits were inextricably bound together, yet somehow at odds. Every musical note that ever left her body expressed the complexity of this internal struggle and Houston’s intense desire to live her life as a scripture-abiding Christian woman; despite her flaws.

Rewinding the clock to the “Bodyguard” era, “This Day” showcases Houston returning to the familiar well of her early childhood experiences from within the church. Flanked by the robust support of three backing vocalists and her band, one could be forgiven for assuming that her accompaniment was on a much larger scale for this cover of the Edwin Hawkins classic. In this instance, Houston starts the song softly, then gradually intensifies as she directs the band to the track’s climax. A staple in her live stage concerts at this point of her career, what I love most about this particular performance is her role as a choral mistress, guiding the arrangement in a manner similar to that of her mother, Cissy Houston. Her demeanor at the song’s conclusion was that of genuine adoration and praise, and it transports the listener back to Houston’s pre-showbiz days of singing at her church home, New Hope Baptist Church in Newark, New Jersey.

“I Love The Lord/“Joy To The World” at Ebony 50th Anniversary Celebration, 1996

Moving along to 1996, this performance of “I Love The Lord” and “Joy To The World,” from Houston’s soundtrack album, “The Preacher’s Wife,” may not be the most technically sound performance of her career, but the shining point is her genuine happiness during its latter section. Accompanied by The Georgia Mass Choir, Houston produces a deeper-toned, coarser take on the song than its album counterpart. The most enjoyable aspect of this is that, done intentionally or not, Houston’s delivery is that of one who has genuinely experienced hardship yet is still grateful for the blessings imparted to her, something that I relate to. Not every moment in our lives will find you at your best, but faith in whatever personal doctrine you ascribe to will drive you out of whatever obstacle is thrown your way. Let the church say Amen!

Remembering Nippy at 60, with 60

I’m unable to quantify the enormity of Whitney Houston’s contributions to the entertainment world. She was a businesswoman, humanitarian, and pioneer in the modern landscape of popular music. Nippy was for the girls, always striving to lift as she climbed and never dimming anyone else’s shine to bolster hers. Like every other living person on this planet, Whitney was imperfect. She was not above criticism, and she made questionable judgments in her life. But it was HER life. And it is that life and the many gifts that it left that should be revered, not the tragic ending she suffered. On this day, the 60th anniversary of the birth of this majestic creature, it is my sincere hope that we remember her with love, compassion, and appreciation.

Today, we celebrate… with 60 of Whitney Houston’s greatest live performances.

In further celebration of her 60th birthday, three of Whitney’s most iconic albums have been newly re-issued on vinyl:

The Preacher’s Wife

I’m Your Baby Tonight

My Love Is Your Love

Watch Whitney Houston’s Greatest Live Performances

1. “I Loves You Porgy”/“And I Am Telling You”/“I Have Nothing”  (American Music Awards, 1994)
2. “I Will Always Love You” (GRAMMY Awards, 1994)
3. “Saving All My Love For You” (GRAMMY Awards, 1986)
4. “A Song For You” (Welcome Home Heroes, 1991)
5. “All At Once” (American Music Awards, 1987)
6. “I Am Changing” (Arista 10th Anniversary, 1984)
7. “I Wanna Dance With Somebody” (Top of the Pops, 1987)
8. “One Moment In Time” (Atlanta, 1992)
9. “How Will I Know” (MTV, 1986)
10. “I’m Every Woman” (Concert for a New South Africa, 1994)
11. “I Say A Little Prayer” (with Natalie Cole, 1990)
12. “The Star Spangled Banner” (Super Bowl, 1992)
13. “The Greatest Love of All” (Welcome Home Heroes, 1991)
14. “I’m Your Baby Tonight” (Arsenio Hall Show, 1991)
15. “It Hurts Like Hell” (Poland, 1991)
16. “Home” (Merv Griffin Show, 1983)
17. “When You Believe” (with Mariah Carey, Academy Awards, 1999)
18. “For The Love Of You” (California, 1987)
19. “So Emotional” (Japan, 1991)
20. “I Belong To You” (London, 1991)
21. Love Medley: “Didn’t We Almost Have it All”/“A House Is Not A Home”/“Where Do Broken Hearts Go” (Welcome Home Heroes, 1991)
22. “You Make Me Feel (Like A Natural Woman)” (Brazil, 1994)
23. “The Battle Hymn of The Republic” (Welcome Home Heroes, 1991)
24. “Revelation is Here” (Brazil, 1994)
25. “All The Man I Need” (Welcome Home Heroes, 1991)
26. “This Day” (1992)
27. “Queen of The Night” (Brunei, 1996)
28. “Anymore” (Japan, 1991)
29. Waiting to Exhale Medley (GRAMMY Awards, 1997)
30. “Higher Love” (Japan, 1990)
31. “In Return” (Japan, 1990)
32. “I Learned From The Best” (Germany, 1999)
33. “Heartbreak Hotel” (with Kelly Price & Faith Evans, Rosie O’Donnell Show, 1998)
34. “Jesus Loves Me” (Rio de Janeiro, 1994)
35. “Ain’t No Way” (with Mary J. Blige, VH1 Diva’s Live, 1999)
36. “You Give Good Love” (Soul Train Awards, 1987)
37. “Bridge Over Troubled Water” (with Natalie Cole)
38. “A Quiet Place” (1987)
39. “I Love The Lord”/“Joy To The World” (ft. The Georgia Mass Choir, Ebony 50th Anniversary, 1996)
40. “That’s What Friends Are For” (with Luther Vandross, Stevie Wonder, & Dionne Warwick, Soul Train Awards, 1987) 
41. “We Didn’t Know” (with Stevie Wonder, Arsenio Hall, 1990) 
42. “Lover for Life” (Brunei, 1995)
43. “Something in Common” (duet with Bobby Brown, Soul Train Awards, 1994)
44. “Just The Lonely Talking Again” (California, 1987)
45. “Hold Up The Light” (with Bebe & Cece Winans, NAACP Image Awards, 1989)
46. “Hold Me” (1987 rehearsal)
47. “My Love is Your Love” (with Bobbi Kristina Brown, Germany, 1999)
48. “Step By Step” (Italy, 1998)
49. “I Look To You” (with Kim Burrell, BET Celebration of Gospel, 2011)
50. “I Was Made To Love Him” (with Stevie Wonder, Diva’s Duets 2003)
51. “Don’t Cry For Me” (Commitment For Life AIDS Benefit, 1994)
52. “There’s Music In You” (Rosie O’Donnell, 1998)
53. “It’s Not Right But It’s Okay” (Germany, 1999)
54. “One of Those Days” (Good Morning America, 2002)
55. “Love Will Find A Way” (Texas, 1985)
56. “Who Do You Love?” (Japan, 1991)
57. “If Told You That” (Poland, 1999)
58. “You’re a Friend of Mine” (with Dionne Warwick, Solid Gold, 1985)
59. “I Didn’t Know My Own Strength” (American Music Awards, 1999)
60. “So Amazing” (Soul Train Awards, 1999)

Watch Whitney Houston’s Greatest Live Performances

The post Nippy is 60: Whitney Houston’s Greatest Live Performances appeared first on THE 97.

Who would’ve thought the theme song to a family-friendly film about a doctor that can talk to animals would be so damn sexy? Due to time constraints set by Blackground Records, late songwriter Static Major cut the “Are You That Somebody” demo alongside producer Timbaland in just 10 hours, between 1-11 am. Set to the backdrop of Timbaland’s signature, Middle Eastern-derived sound, it was inspired by the allegedly burgeoning romance between Major and Aaliyah. With her ever-maturing image, voice, and iconic visuals, Aaliyah gave a sensual yet tasteful glimpse of what was to come in her tragically short career.

Watch the “Are You That Somebody” video, stream it (finally), or grab all Aaliyah’s hits on vinyl.

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post 97 Words: “Are You That Somebody” by Aaliyah appeared first on THE 97.

The sizzling classic “What’s It Gonna Be?!” sees the pairing of Rap titan Busta Rhymes and Empress of Pop Janet Jackson in an eclectic blend of Hip-Hop, Funk, and R&B. Lyrically, the track’s focus is driven by raw sexuality, a topic that Jackson’s pioneering influence helped normalize for women in pop music. Rhymes blends superbly well with Jackson’s sex kitten vocals, due to his frenetic energy and overall reputation as a stellar, intricate MC. The track, along with its world record-setting visual, became one of the most successful rap-sung collaborations in the latter half of the 1990s.

Watch the legendary “What’s It Gonna Be?!” video, stream it, or grab some Busta Rhymes or Janet Jackson vinyl.

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post 97 Words: “What’s It Gonna Be?!” by Busta Rhymes & Janet Jackson appeared first on THE 97.

Aptly titled, this Darkchild penned hit saw the iconic Brandy and legendary rapper Ma$e at their commercial peaks. The second single off of her second album, “Never Say Never,” “Top of the World” finds Brandy and Ma$e lyrically reveling in their success, while reminding the listener that it doesn’t come easy, or make for a simpler life. It marks the beginning of a more mature sound thematically for Brandy, and foreshadowed the woman the world has come to know. The song is fun, emoting a joy that is seldom used and severely lacking in today’s musical landscape.

Watch the “Top of the World” video, stream it, or buy the “Never Say Never” vinyl.

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post 97 Words: “Top of the World” by Brandy & Ma$e appeared first on THE 97.

Time to get your passport stamped! With production reminiscent of Pharrell’s “In My Mind” era, the hilariously yet trendy titled “Passport Bros” by Bas and J. Cole easily mixes Afrobeat and Bossa Nova with a jazzy string section that serves up a beachside bop perfect for the summertime.

Bas’ laid-back, rhythmic flow, along with some cleverly used product placement, lends itself well to the song’s intercontinental instrumentation. Comparatively, Cole’s signature staccato aligns with his masterful wordplay to make the track’s two halves fuse together perfectly to create a referential, yet original track. Let me drive the boat!

Watch the “Passport Bros” video, stream it, or purchase some J. Cole or Bas on vinyl

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post Review: “Passport Bros” by Bas & J. Cole appeared first on THE 97.

It All Started With a Purr.

Not quite the kind of vocal purr that Eartha Kitt famously once possessed. This purr was vastly different: vaguely androgynous, with a fry that would horrify most experienced vocal coaches, yet intrinsically worked for her. The purr was deep. One now disgraced singer once facetiously quipped that the owner sounded like “the female Elvis.” This proved to be untrue, as the purr was strangely feminine and unmistakably seductive, yet tinged with an innate and sometimes guttural hint of pain. It was deceptive, mostly coming from the proverbial “basement” of the owner’s register, while seemingly out of nowhere, reaching a falsetto a singer like that rarely has in their wheelhouse.

Church Girl

When the owner of this vocal purr, a diminutive 25-year-old woman hailing from Severn, Maryland, linked up with pioneering singer-songwriter Kenneth “Babyface” Edmonds, what resulted was not only one of the most enduring musical partnerships of all time but one of the greatest debut albums the world has ever seen. In July 1993, Toni Michele Braxton arrived and proved she was here to stay.

By the time her self-titled debut album dropped, Toni Braxton up until that point had lived a life that was a far cry from the glitz and glamor of Hollywood. Born the first of six children, Braxton had grown up with the strict religious teachings of her clergyman father, and under the restrictive tutelage of her mother. She’d known minimal success previously, as along with her four sisters, she served as the lead singer of the original incarnation of the R&B group, The Braxtons. While it was obvious that the sisters were talented to varying degrees, it was Toni who was the unmistakable star.

A “Musical Marriage”

By 1993, Kenneth Edmonds and L.A. Reid had found a way to exploit their new star’s talents in the best way possible. It began of course, with the music. Recording of the album began just under a year earlier in Atlanta, where by that point, Braxton had already recorded her duet with Edmonds, “Give U My Heart” and her first solo single “Love Shoulda Brought You Home”, both for the soundtrack to the 1992 film, Boomerang. Love as it turned out, would be the album’s center-point, as the work perfectly embodies the ebbs and flows of relationships. We take a seamless journey throughout a love story in its different phases.

With a relatable ear, we journey with Braxton as she girlishly describes “the honeymoon phase” in tracks such as “How Many Ways” (Shemar Moore, anyone?), “Best Friend,” “I Belong To You” and “Candlelight.” We feel through her the emotional uncertainty during rougher times with “You Mean The World To Me.” We even condoned more immoral behavior from Toni, as she coyly entertains the thought of infidelity in “Love Affair,” just because it was so damn sexy. Come on, when she sings the line, “I have a boyfrieeeennnd!” you can’t tell me that you didn’t want her to choose chaos, and cheat!

The Boomerang Effect

There is a strong chance that you’ve seen your mamas or your aunties recreating the famous scene in Boomerang, in which Halle Berry’s Angela “muffs” Eddie Murphy’s Marcus in the forehead, while cooly saying, “Loooove, shoulda brought your ass HOME last night!” – an obvious reference and evidence of the aforementioned track’s impact. Continuing that wave of accountability, the track “Seven Whole Days” sees Braxton sassing her man ALL the way together. Flanked by her younger sisters (R.I.P. Tracie), this visual is easily my favorite of the era. By the time we reach the stage of full-on heartache with songs like “Another Sad Love Song” (one of my absolute favorite songs of all time), and “Breathe Again,” we’ve run the whole emotional gamut that one can expect in a romantic relationship.

Living Legend

With one stroke of the proverbial wands of Babyface and L.A. Reid, Toni “Living Legend” Braxton had arrived. By shedding her homely Maryland aesthetic – repackaged as a tantalizing, lovesick R&B goddess – she easily stood toe-to-toe with her admitted influences of Anita Baker and Sade. With the sensual stage presence of a 1940s torch singer, Braxton quickly developed a sex appeal that rivaled her contemporaries Janet Jackson, Mariah Carey, and Whitney Houston.

Donning her iconic pixie cut, denim jeans, bold red lipstick, and black leather jacket on the album’s cover, Braxton would go on to shift not only what an R&B diva looks like, but would shatter the whole notion of what one is. Toni Braxton’s debut album, which would go on to nab her three GRAMMYs including one for Best New Artist, easily rendered the newcomer as one of the most commercially viable artists of the 1990s. The little plain girl from Severn, Maryland with the funny purr in her voice went on to become a living legend because she has one of the most distinguishable voices of all time.

Listen to or purchase Toni Braxton’s debut album

The post Big Purr: The Debut of Toni Braxton appeared first on THE 97.

In his latest single, “GLU,” the growth of Usher’s vocal delivery and overall lyrical content when compared to his 90s discography is apparent. With Lil Jon serving as producer, this Prince-inspired slow jam puts Usher’s signature falsetto on full display. While the song may not have the same hit potential as his more commercial classics, it is a welcome addition to Usher’s expansive catalog. If 1998’s “Nice & Slow” was the amuse-bouche, “GLU” is its NSFW entrée. Preference aside, both show that the man’s words ring true: “You either evolve or dissolve.” Legendary behavior, if you ask me.

Watch the “GLU” live video, stream it here, or grab some Usher vinyl.

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here.

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