“Damita Jo” showcased Jackson’s resilience as an artist. No matter how the landscape of pop music morphed, she was able to carve out a sonic space for herself. In 2004, R&B and Hip-Hop dominated the charts like never before. Producers like Dallas Austin, Rich Harrison, and Kanye West dominated the charts by producing hits for younger pop stars, all of whom Jackson had inspired. On “Damita Jo,” Jackson brought in a wide array of producers to work alongside the tried and true trio of herself, Jimmy Jam, and Terry Lewis. It made for an album that sounded refreshing, yet still classic Janet.

We’ll be exploring the album in further detail in Issue 2 of THE 97 ZINE out this summer. We’re still ironing out the details, with the formal announcement and preorder coming in May, but you can subscribe now to receive Issue 1 starring @MariahCarey’s “Me. I Am Mariah…” album, as well as Issue 2 starring “Damita Jo” and Issue 3 starring “Destiny Fulfilled” by Destiny’s Child. If you’d like to pitch an essay for the zine, email [email protected].

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Until then, check out my top 5 songs from “Damita Jo.” Each track I selected represents one of the five prevailing moods on the album.

Damita Jo: My Top 5

5. “Damita Jo”

The ever-innovative Ms. Jackson was ahead of time with this succinct track, clocking in at just under 3 minutes long. Some may consider the track as a sort of second intro song for the album, and thematically, it is, but it’s a fully fleshed out track … and a complete banger. With quips like “A little lady, a whole lotta class, but do me wrong and I’ll get in that ass,” how can you not get your entire life? This track represents the more playfully revealing, “behind the velvet rope” sort of vibe of several other songs on the album, like “My Baby,” “Thinkin’ Bout My Ex,” “Truly” and the poetic interludes.

4. “All Nite (Don’t Stop)”

This club-ready jam deserved to be a smash hit. Effortlessly showing us why she, and not Madonna, is Britney Spears’ true pop mother, “All Nite” proved that Ms. Jackson was still ready and able to hang with the young girls. Unfortunately, the powers that be made that impossible. “All Nite” represents the album’s more contemporary dance-pop sound, also found on “Strawberry Bounce,” “SloLove” and the elusive “Love Me” remix of “Just a Little While.”

3. “Like You Don’t Love Me”

Perhaps her most unabashed album to date when it comes to sexually-explicit lyrical content, “Like You Don’t Love Me” is my favorite of the hyper-sexual tracks on “Damita Jo.” It’s a high-energy bop that’s filled with confidence and swag. “Sexhibition” also does this well, as does “Strawberry Bounce.” There’s also the pair of bedroom (or, rather, backseat) ballads, “Moist” and “Warmth” if you need an oral instructional manual.

2. “R&B Junkie”

This battles for #1 in my book, and for a long time, it was. The throwback fun of “R&B Junkie” is irresistible and infectious, and a highlight of the album. Atop the funky Evelyn King sample, the song is impossible to skip. “Junkie,” as well as lead single “I Want You” and bonus track “Could This Be Love?” perfectly play with this soulful, R&B vibe. “R&B Junkie” is the album’s best uptempo, for sure.

1. “Spending Time With You”

If the album’s interludes are any indication, Jackson must’ve spent a lot of time in the Caribbean while recording “Damita Jo.” This groovy jam encapsulates the breezy beach vibe echoed on other tracks, like “Island Life” and bonus track “I’m Here.” While perhaps best known for her danceable uptempo tracks, Jackson’s slow jams are severely underrated. Filled with intricately layered background vocals and soulful leads, “Spending Time With You” is the perfect example of that aspect of Jackson’s artistry overall, and the sensual, slower side of “Damita Jo.”

Listen to Janet Jackson’s “Damita Jo”

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Nearly impeccable from start to finish, “eternal sunshine” is just under 36 minutes long, with infinite replay value. The songs are succinct, pulling from the best of her previous works: the stickiness of 2018’s “sweetener,” the sincerity of 2019’s “thank u next,” and the soulfulness of 2020’s “positions.” In the shadow of “eternal sunshine,” those albums now read like rough drafts from an artist still finding her sound and a woman still finding herself.

Interest in Grande’s relationships has long fueled interest in her music, with her songs becoming increasingly introspective. On “sunshine,” she leans into it completely – out of necessity. Its lyrics read like the notes from a therapy session that document a journey from hurting to healing… or sunset to sunrise.

“eternal sunshine,” the sunset

The album begins with the sunset of her marriage. Grande expresses a range of heartbreak-adjacent emotions across a series of tracks: from the bitter sass of “bye” to the bittersweet shame of “don’t wanna break up again” to the apologetic “eternal sunshine.” While she can deliver soaring vocals, Grande opts for a more muted approach here that complements the pensive disappointment of her words.

Of course, the title track stands out here as the album’s thematic centerpiece. With flawlessly executed production, lyrics, and vocals, Grande opens the album with a showcase of her best assets. She emotively delivers confessional lyrics atop perfect pop production helmed by frequent collaborators like Max Martin and ILYA.

“eternal sunshine,” the late-night

Next, the album’s middle sinks into emotional twilight, shifting its tone from light to dark. She is starry-eyed by the prospect of a magical new love (“supernatural”), reflects upon how she’s been scorned (“true story”), and is unapologetic about pursuing her desires (“the boy is mine,” “yes, and?”). The latter two tracks are R&B-leaning romps that find Grande excelling in her comfort zone.

In the vengeful “true story,” Glinda the Good Witch asserts she can play the villain role, and proceeds to prove just that on the infectious “the boy is mine.” Referencing Brandy and Monica’s 1998 classic, Grande leaves no room for debate and proclaims she will take what she wants. Fittingly, it’s followed by the celebratory sass of “yes, and?” which sounds hollow in a post-Mariah Carey remix timeline without the presence of Grande’s musical “Mother.” Nothing that a lil’ playlist can’t fix, though.

“eternal sunshine,” the sunrise

The album’s final four tracks represent the sunrise, the dawn of a new day. Reflective, insightful, and mature, Grande truly shines here. The second single, “we can’t be friends (wait for your love),” is a quietly anthemic realization that perfectly captures Grande’s essence as an artist. The captivating video, inspired by the film “Eternal Sunshine of the Spotless Mind,” further elevates the emotional weight of the entrancing track.

The gut-wrenching “i wish i hated you” follows; a sparkling, sprite song that sounds inspired by “Wicked’s” equally tear-jerking final duet, “For Good.” You can hear Grande’s voice break at the end, sniffling as she fights back tears to sing, “I wish I hated you/ I wish that weren’t true/ wish there was worse to you/ I wish you were worse to me.”

Post-Manchester, Grande has not been shy about putting her feelings into her lyrics, but there is a piece of her embedded in each of the “eternal sunshine” songs, especially on these final four tracks. The cleverly titled “imperfect for you” is next, a swaying, put-your-lighters-up, self-aware torch song.

On the album’s closer “ordinary things” Grande shares one more very special piece of herself: a voice note from her Nonna (her Italian grandmother), who answers the question that Grande asks in the intro: “How can I tell if I’m in the right relationship?” The song seemingly holds the answer: in the right relationship, the ordinary things seem extraordinary.

Only Grande knows whether she’s finally found such a love. But, as an artist, she’s no longer ordinary. With “eternal sunshine,” she’s proven herself extraordinary.

Get the Amazon-exclusive “eternal sunshine” vinyl!

Or, stream “eternal sunshine” on your favorite platform!

The 97-Hour Review: Our 97-hour reviews offer commentary on new music just over four days after its release. While we generally like to spend a lot of time with the music we love before speaking on it, that’s what retrospectives are for. Until then, enjoy our fresh 97-hour take!

The post 97-Hour Review: On “eternal sunshine,” Ariana Grande proves herself appeared first on THE 97.

Prancing out of an Oz-induced hiatus, Ariana Grande puts her Glinda the Good Witch character aside (for now), to remind us that she is an unapologetic savage. The lead single from her forthcoming 7th studio album, “yes, and?” combines the dance-pop sounds of “sweetener,” the sassy trap of “thank u, next,” and the sultry delivery of “positions” for a track that attempts to pinpoint who Grande is an artist.

At the same time, there’s nothing particularly original or innovative about it. While “yes, and?” recalls elements of Grande’s most recent hits, it also heavily borrows from successful sounds by her more innovative influences.

Kicking off with a screwed-up vocal sample created an effect similar to Beyoncé’s use of a Big Freedia sample on the intro of her 2022 house-inspired hit “Break My Soul.” Lyrically, Grande’s take on house-inspired dance-pop is a youthful rewrite of the “resilience” theme in Beyoncé’s more matriarchal anthem. Like Queen Bey, Grande also leans into allyship with several lyrics that signal support for the queer community.

Musically, the song has been compared to another Pop matriarch: Madonna. Before its release, early reports suggested the track contained a “heavy interpolation” of Madonna’s 1990, house-inspired classic, “Vogue.” But… it doesn’t. Penned by Grande alongside go-to collaborators ILYA and Max Martin, the track doesn’t credit any samples, nor does it sound like it heavily borrows anything, aside from being a house-inspired, dance-pop song of the same vein. In actuality, the song is less Madonna-coded than it is Mariah-coded. As usual, Mariah Carey’s influence on pop music remains understated.

Once the beat drops, the self-professed Lamb floats atop it with some masterfully Carey-esque high notes. Long compared to the legendary diva, in recent years Grande has gone from sounding like a student to a graduate in how she takes notes from Carey. Throughout the track, it’s clear Grande’s low-key vocal delivery is inspired by Carey’s late 90s pivot to sultry subdued vocals instead of her early 90s bombast. While Carey generally lets loose on her house mixes of the same era, it seems Grande opts to be the “Christmas & Chill” to Mariah’s “Queen of Christmas” when it comes to house track vocals.

This choice is where Grande falters. In the chorus, she sings, “Say that shit with your chest,” so, you’d expect her to do just that. Instead, she merely mutters “yes, and?” as nonchalantly as she’ll ask you to break up with your girlfriend because she’s bored. While she does deliver a few soaring adlibs later in the track, as one of the most talented vocalists among today’s pop singers, she leaves the listener with less of a “yes” feeling, and more of an… “and?”

While it may be a creative misstep, it might prove to be a wise choice commercially. After a few spins, the song, unassuming at first, becomes endearingly infectious — sort of like Grande as an artist. In the end, the “yesses” of the song outweigh the “and?” aided by its minimalistic music video.

Here, Grande is heavily inspired by another late 80s Queen: Paula Abdul in her “Cold Hearted” video. Emulating the concept in more ways than one, the “yes, and?” video is certainly an homage to Abdul’s 1988 classic. With a similar storyline, setting, ensemble, and similar, yet subdued choreography, the comparison is undeniable.

As Wilde said, “Imitation is the sincerest form of flattery,” and indeed, Abdul seemed flattered, calling it an “honor.” However, the second half of Wilde’s quote is often left out: “Imitation is the sincerest form of flattery that mediocrity can pay to greatness.”

While Grande’s “yes, and?” is a fun, enjoyable song that is sure to become a hit, it’s a mediocre track in comparison to the greatness that inspires it. Throughout her career, Grande has been consistently successful — and is by no means mediocre — but often sells herself short. Here, the song’s title is quite fitting: two parts “yes,” and one part “and?” After ten years in the industry, it’s time for Grande to perfect her formula — and start innovating rather than imitating.

Listen to “yes, and?” by Ariana Grande

The post Review: “yes, and?” by Ariana Grande appeared first on THE 97.

Of course, Carey’s place in the music record books is more than secure. She has spent more weeks at #1 on the Billboard Hot 100 than any other artist (91) and has more #1 singles than any other solo artist (19). Her albums have been certified for a total of 74 million units by the Recording Industry Association of America (RIAA), making her the top-ranking woman, and second to only Michael Jackson among Black artists. It’s only natural that, for most of her career, Carey surely felt pressure to succeed as a hitmaker.

“When ‘Caution’ finally came, at that point in her career there was nothing else for her to prove,” says Princess Gabbara, an entertainment journalist, editor, and author whose writing has appeared in ESSENCE, Vibe, MTV News, and Billboard, where she interviewed Carey.

“She was able to create music for fun again, just for herself and the people who appreciate it most: her fans.”

Released after a tumultuous period both personally and professionally, Carey was a woman liberated on “Caution.” No longer confined by commercial expectations, she commanded the respect she deserved and earned. Carey, seemingly more comfortable and sure of herself than ever, returned to the studio in early 2018 to begin the recording sessions that would compose “Caution.”

“The studio is such a safe place for me, the right environment,” Carey told Rob Markman during her “Genius Level” interview. “I had been outside of that environment for too long and doing too many superfluous things that I really didn’t need to be doing.”

Over the four and a half years between “Caution” and 2014’s “Me. I Am Mariah… The Elusive Chanteuse,” Carey indeed had a lot going on. She got divorced, engaged, and then broke it off. She changed managers a few times, went on three tours, had two Las Vegas residencies, produced a cringe-worthy reality TV show… and then there was the New Year’s Eve 2017 debacle. However, she kicked off 2018 by returning to the very same stage, vindicating herself with a stellar performance. 

Later that year, she disclosed that she’s battled bipolar disorder since 2001, saying she could no longer “live in constant fear” of someone exposing her (spoiler alert: someone was about to do so). In an exclusive interview with People, Carey admitted, “​​I sought and received treatment, I put positive people around me and I got back to doing what I love — writing songs and making music.” Seven months later, she released “Caution.”

“’Caution’ is a return to her creative prowess because all of the negative drama was gone, and she could just create with no distraction,” says Gabbara. 

During her “Genius Level” interview, Carey also spoke on the creative process behind the album: “I really wanted to collaborate. One of my favorite things to do is collaborate and go back and forth…I did a lot of that on this record.”

That she did. “Caution” found Carey collaborating with an array of producers and songwriters, most of whom she had never worked with before. The result was an impressively fresh, modern R&B album. Teaming up with trusted names like Timbaland, No ID, Shea Taylor, Poo Bear, Bibi Bourelly, DJ Mustard, Nineteen85, and The Stereotypes, Carey masterfully combined contemporary R&B styles with her signature, crossover sensibilities. She also worked with less predictable collaborators, such as EDM producer Skrillex and, most notably, Dev Hynes of Blood Orange. Though each of the album’s ten tracks pairs Carey with a different set of co-producers, they mesh perfectly.

“It’s one of her most cohesive albums,” says Taylor Gray, indie R&B artist and playlist curator. “She was able to fuse many different sounds and collaborators and it worked seamlessly. It was very forward-thinking for Mariah … a little more alternative in certain elements.”

One of the album’s most “alternative” sounding tracks is “Giving Me Life.” Penned by Carey and Hynes, with a guest verse from Hip-Hop legend Slick Rick, the track is like nothing Carey has ever recorded, yet still manages to sound unmistakably her own. 

“I think her collaboration with Blood Orange is an indication of the future for her,” says Andrew Chan, author of “Why Mariah Carey Matters,” a book critically examining Carey’s legacy. “The whole weird psychedelic outro that she does, it’s just fantastic.”

Praise for “Caution” is not limited to Gabbara, Chan, or Gray. On Metacritic, a website that creates an aggregate score for albums based on published reviews, the album has a score of 82 based on nine reviews, which they note as “universal acclaim.”

“She started to finally receive a lot of her flowers,” says Gabbara. “It felt like a full-circle moment. Not only the fans, but the critics recognized that too.” 

Critics were definitely impressed. In Entertainment Weekly, Leah Greenblatt wrote, “On … the breezy, pleasingly defiant ‘Caution,’ she finds a freshness that’s been missing from her recent material.” Similarly, in the Pitchfork review by Maura Johnston, she noted that Carey employs “of-the-moment producers to add current touches to her tracks, but the way she uses them on ‘Caution’ results in her fine-tuning her aesthetic, not bending to current playlist-friendly trends.”

For Spin, Winston Cook-Wilson gave Carey, and “Caution,” high praise: “More than just a sound effect, “Mariah Carey”-ness is a style and an attitude, a mode in which so many artists continue to make music. On ‘Caution,’ she is still doing it better than most of her students, and sounds more comfortable than she has in quite a while.”

Chan, too, notes that this album marked a shift in how critics wrote about Carey, but he also attributes that to a change in demographics among critics: “Things change when more people of color start writing about music; when more queer people start writing about music. Much of the music criticism was controlled by a certain type of straight white man who really had no interest in what Mariah or a lot of other black women were bringing to the table musically.” 

“It also says something about how Mariah’s legacy has solidified,“ he adds.

While Carey is famously averse to acknowledging time, the album was released 28 years into her career, on the cusp of her fourth decade in the industry. At 54, Carey is far from retirement but is certainly a veteran, a “legacy act” – which comes with good and bad elements. Due to ageism (and slightly confusing single choices), the album barely made a dent, commercially. However, its critical acclaim and subsequent celebrations of her legacy that followed “Caution” show that Carey is beginning to receive the respect that an artist of her caliber deserves.

“People started to realize we need to appreciate our living legends while we have them,” says Gabbara.

Since “Caution” was released, Carey herself has made several conscious decisions to celebrate her legacy and catalog. While she may opt to refer to them as minutes and not years, she celebrated the 25th Anniversary of iconic albums “Daydream,” and “Butterfly,” the 30th Anniversary of “Music Box,” and her entire career with a campaign called “#MC30.” In 2020, she also released her first memoir, “The Meaning of Mariah Carey,” alongside an album of unreleased songs “from the vault,” titled “The Rarities.” 

Each of these events was met with celebration from fans and critics alike, perhaps contributing to the snowballing success of Carey’s evergreen classic “All I Want For Christmas Is You,” which, after notching its first week at #1 in 2019, has only grown more popular. With it, Carey’s profile as the “Queen of Christmas” continues to elevate. 

This year, her “It’s Time” video announcing the start of the holiday Mariah season became the most-watched video on Twitter (X), with over 122 million views. On TikTok, it has over 93 million. Currently, Carey is on tour spreading Christmas cheer with a setlist that includes holiday favorites, as well as some of her biggest hits and fan favorites. Just in time to celebrate its 5th anniversary, there’s even a “Caution” cut included, the Lil’ Kim-sampling gem that should’ve been its lead single: “A No No.” 

As she continues to release (GRAMMY-nominated) special editions of her classic albums and trek around the world each Christmas as obligated by The Crown, it’s becoming increasingly clear that Mariah Carey is no longer shying away from reminding us that while she may be the Queen of Christmas, she is not just the Christmas lady. Following the acclaim she received for “Caution,” Carey has definitely seemed more emboldened and aware of her worth. 

“I think maybe there is something that happens with artists who just don’t get any critical respect,” says Chan. “It’s almost like you feel shy about praising yourself or putting yourself forward as a major musician, maybe because you’ve never been made to feel that by people who have respected positions and can judge that. Once you have a sense of how influential you are and it’s being acknowledged in the press, I can understand how that would make you go back and reflect on what your contribution has been over decades.”

In celebration of the album’s release, Sony Music installed an exhibition called “The Mariah Carey Experience” at Sony Square in New York City. With different photo booths that allowed fans to recreate a couple of her iconic album covers, a museum-style display of her #1 hits and memorable ensembles, and of course a Christmas moment, it simultaneously placed her legacy front and center alongside her then-new album.

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Before landing on “Caution,” Carey originally planned to title the album after a different track, the reflective ballad “Portrait.” A tradition at this point, she bares all on the dramatically introspective album closer. She sings, “I won’t let the teardrops spill tonight/ Just conceal myself and hide/ This portrait of my life.” Dripping in insecurity, “Portrait” illustrates a woman fighting to survive, remaining resilient (“down but not demoralized”), but in shame (“how do I disappear?”).

The last song recorded for the album, “Caution,” became the album’s title track instead. A wise choice, from both a stylistic (the song is more representative of the set, sonically) and marketing (the artwork and other caution-taped theme promo materials were really cool) standpoint. However, maybe unconsciously, “Caution” paints the picture of a much different woman in comparison to “Portrait.” On the slinky, Caribbean-inspired groove, Carey confidently sings, “Proceed with caution, but don’t make me wait/ Before too long, it just might fade away.” 

While yes, the song is about a new relationship, perhaps as an album title it was metaphorical. “Caution,” the album, was a catalyst; it was Mariah Carey putting the world on notice. She demanded respect as an artist, and releasing a damn good body of work was the most effective form of statement to make her case.

Recently, Carey announced that she’s back in the studio working on her next album – the follow-up to “Caution” that fans have been eagerly anticipating. Indeed, “it’s time.”

Revisit “Caution” by Mariah Carey

The post Mariah Carey and the Catalyst of “Caution” appeared first on THE 97.

“I’ve been in my Normani bag, for sure, so it’s time for a project,” jokes Gray.

Following the album “Teo” in 2018, Gray dropped a string of singles, one per year (indeed, just like the elusive Fifth Harmony singer). In 2020, he began curating an R&B playlist, Flavor Waves. Now, though, Gray is focused on curating his sound.

“I’ve had a concept in mind for a couple of years now, and I’m finally getting to execute it,” he says of the track. “It’s an official launch into this world of futurism that I’ve been wanting to embody.”

That futuristic, time-traveling concept Gray refers to is not only present in the song’s artwork but in its production, too.

“I really wanted to fuse this idea of time flying by when it came to the pacing,” says Gray. “No matter what you’re doing, no matter if you’re in a state of productivity or depression – time is still going, you can’t cheat time.”

“I wanted to have that chaotic feeling mixed with my intrusive thinking and depressive thoughts,” he says.

While Gray credits the UK Garage sound and acts such as Craig David and PinkPantheress as sonic inspirations, it’s the song’s exploration of an existential crisis that sets it apart. Written when he was 29, going on 30, the song is steeped in vulnerability.

“With ‘Crisis,’ I really pride myself on the lyrical content and the statement that it makes,” says Gray.

“It’s a message of solidarity to everyone like me, who goes through these feelings, of just not understanding their purpose and feeling frustrated by how fast or slow it’s taking to accomplish the goals that you have.”

In both the song and our interview, Gray notes the impact that living in LA as an indie artist has had on him. The crisis he sings of is not solely personal, it’s professional as well. Save for a handful of lightning-in-a-bottle examples, succeeding in the music industry is an uphill battle for indie artists like Gray. And, he’s not afraid to speak on it.

“I directly call pieces of my music career out in the song, I mention specific ways that I’m not progressing. It’s a harsh reality,” Gray admits.

“A lot of artists, signed and unsigned, don’t like to appear in a vulnerable state with their own careers, because part of being an artist is this illusion, or this mystery or allure that you are at some kind of echelon that is unattainable,” he adds.

“I kind of break all of that down, you know, so I can move forward.” 

Gray notes Janet Jackson’s “The Velvet Rope” (which used the Adinkra symbol Sankofa to represent its theme of learning from the past to move forward) as a major influence at the moment. He also cites Maxwell, Babyface, Musiq Soulchild, Usher, and “Mariah Carey, of course.”

“Tinashe is someone I really look up to in the current landscape of art as well,” he adds.

“I just love people that are able to combine visual and audio elements to really create a world or universe themselves,” says Gray.

Beginning with “Crisis” and culminating with the release of an EP titled “RESET” in 2024, Taylor Gray is ready to take listeners on a journey into his universe.

Take a listen to “Crisis,” and keep up with Taylor Gray on social media.

The post Taylor Gray talks new single “Crisis,” announces EP appeared first on THE 97.

When it came to R&B, Carey’s more authentic offerings with less commercial gloss and more bluesy introspection were kept from the spotlight. However, the diva-to-be sure did try.

This playlist is a reimagining of “Music Box,” a supposition of what, based on her later work, Carey might have preferred the album to sound like. Some of its singles have been swapped in favor of a remix or a live version. And, perhaps most controversially, a pair of discarded tracks replace album tracks. This is Mariah’s Version.

Music Box (Mariah’s Version)

1. Dreamlover (Bam Jam Soul) Remix

The story goes that Carey crafted a sparsely produced “Dreamlover” with Dave Hall, using the same sample as Big Daddy Kane’s “Ain’t No Half Steppin’.” However, Carey’s then-husband and label head Tommy Mottola called in her frequent, pop-friendly collaborator Walter Afanasieff to give the song the gloss it needed to become a commercial pop confection. Rumor has it that this remix is a little closer to how it would’ve sounded.

2. Hero (Live at Tokyo Dome)

You’ve probably heard the story: Carey wrote “Hero” with Gloria Estefan in mind for a film of the same name. Mottola heard it, and told her to keep it for herself, and the rest is history. “Hero” is one of Carey’s signature songs, but she’s always expressed her reservations about it, saying that she didn’t appreciate the song until she began performing it live and connecting with fans over its sentiment. For that reason, as well as the warmth that the live arrangement adds to it, I selected a live performance to replace the album version.

3. Anytime You Need a Friend (Soul Convention Remix)

While the album version is a gorgeous ballad complete with gospel-inspired background vocals, the Soul Convention Mix has more dreamy, sparse R&B sensibilities and soulful vocals to match. This mix really complements the lyrics and elevates the song beyond its more adult-contemporary-ready album version.

4. Music Box

The gorgeous title track remains; a chilling song that is likely an ode to Carey’s true soulmate: music. It not only gives the album its title, it also sets the tone sonically. Many of the songs on the album echo its enchanting qualities.

5. Do You Think of Me

Originally released as the b-side to “Dreamlover,” this song deserved to be on the album. A sensual track with all the hallmarks of a classic 90s R&B sound, “Do You Think of Me” was probably Carey’s sexiest song to date at that point. “When you feel the touch of another lover, do you think of me?” she asks, possibly to her then-husband’s dismay.

6. Never For You (Radio Edit)

Co-written with Babyface, the album version is pretty perfect, but the Jermaine Dupri-produced remix gives the song an extra thump. Literally; the heavier bass makes the song fall in line with Carey’s later penchant for a ballad with a beat.

7. All I Live For

Fresh out of the vault, Carey found “All I Live For” in 2020 while assembling her compilation of unreleased or obscure tracks, “The Rarities.” Fitting right in with the other, equally dated (but inferior) up-tempos that follow, Carey rightfully referred to “All I Live For” as “soooo 90s” in the “Rarities” liner notes. It’s puzzling that they left this one on the cutting room floor.

8. Now That I Know
9. I’ve Been Thinking About You

This pair of C&C Music Factory collaborations are fun and energetic, offering a hint at Carey’s soon-apparent love for House music. While Carey’s soaring vocals and C&C’s sizzling production succeed at uplifting an otherwise sleepy album, they are a bit substantively generic. For any other artist, they would be standouts, but after 30 years and 12 more albums… the bar is high for Carey.

10. Dreamlover (Def Club Mix Edit)

On 1995’s “Daydream” and 1997’s “Butterfly,” Carey included the shortened edit of one of her house mixes (“Fantasy” and “Butterfly” respectively) on the album itself. While it probably wasn’t recorded in time for the album’s release in 1993, this game-changing remix deserved to be on a Diamond-selling album.

11. Without You

Carey’s cover of Badfinger’s “Without You” has (debatably) become the definitive version, and one of her biggest hits internationally. While she certainly loves R&B and Hip-Hop, Carey has made it well-known that her knowledge of music is pretty limitless, and was choosing to cover Rock songs long after her musical liberation.

12. Everything Fades Away

On the international edition of “Music Box,” Carey’s worldwide fans were treated to “Everything Fades Away.” On Mariah’s Version, it’d be a non-negotiable, following in her oft-practiced tradition of closing an album with a deeply personal ballad. This haunting tale of a heart that’s breaking could’ve been autobiographical or could’ve been one of Carey’s many successful exercises in showcasing her literary prowess. Either way, its lyrics had more depth than the rest of “Music Box” and her first two albums. More of that would certainly follow.

**Just to Hold You Once Again
** All I’ve Ever Wanted

Something had to get cut, dahhlings! While these two songs boast some simply stunning vocals, they are by far the least interesting of the bunch… and the most adult-contemporary leaning. Never fear, “Dreamlover” would still need a b-side, and the album would still need an international bonus track, so do with that what you will. Or, there’s always the vault…

Listen to “Music Box (Mariah’s Version)”

Available on Apple Music, Spotify, and elsewhere.

The post Playlist: Music Box (Mariah’s Version) 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

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On July 28th, the superstar singer-songwriter, inaugural American Idol, and daytime talk queen kicked off her first, long-awaited Las Vegas residency, “Chemistry: An Intimate Night With Kelly Clarkson” at Planet Hollywood’s Bakkt Theater. Across the ten-night run, Clarkson promises fans each night will be different, rotating certain songs in the setlist to perform a variety of fan-favorite deep cuts.

With ten studio albums under her belt, Clarkson has a vast catalog to choose from — and enough hits to fill a setlist. So, it’s commendable that she has committed to offering some variety in the hits, and non-hits, she chooses to perform. She also is rotating the songs from her new album “chemistry” but my commentary will be focused on her back catalog.

In celebration of that, I decided to keep this running playlist of Kelly Clarkson deep cuts that she performs throughout the residency, of course, with some commentary. When it’s over, I’ll add on what I wished she would have performed. Until then, I’ll be monitoring the setlist from New York, wishing I was there to experience Ms. Brianne the Chemist in person.

Night One: July 28th

“Broken & Beautiful” from “UglyDolls” (2019)

This P!nk-penned bit of bouncy, dance-pop is as adorable as Moxy, the lead UglyDoll voiced by Clarkson in the film. Generally, In comparison to P!nk’s, Clarkson’s music is fairly family-friendly, but “Broken & Beautiful” is essentially the extra-squeaky-clean-version of “Fuckin’ Perfect.” While it’s cool to hear her sing this very P!nk-sounding composition, it’s certainly not the most remarkable song she’s ever done. Nevertheless, she surely killed those vocals live. Watch it live.

“Meaning of Life” from “Meaning of Life” (2017)

With soaring, soulful vocals and dramatic lyrics and production to match, “Meaning of Life” is a highlight from Clarkson’s 2017, R&B-leaning album of the same name. While she won American Idol by singing mostly R&B classics, throughout most of her career she found success with pop/rock sound. The album found putting her powerful pipes to use in the name of soul, and “Meaning of Life” is the perfect song to showcase that. Watch it live.

“Tightrope” from “Piece By Piece” (2015)

This gorgeous piano ballad is classic Clarkson and a highlight from its album, “Piece by Piece.” With a haunting melody and impeccably delivered vocals, its further stripped-down “tour version” only amplifies its beauty. Clarkson doesn’t co-write every song she sings, but when she does, it’s sure to deliver an emotional gut punch (or a healthy dose of attitude) – and “Tightrope,” which she penned with frequent collaborator Greg Kurstin, is no exception. Frankly, it should be a setlist staple.

i am so glad i was there the night kelly clarkson sang tightrope pic.twitter.com/0mLZ92I0wj

— Film School Dropout (@SheisChuckie) July 29, 2023

Night Two: July 29th

“Medicine” from “Meaning of Life” (2017)

If every song on “Meaning of Life” had a muse, then the “Medicine” muse would certainly be Mariah Carey. Echoing “Emotions”-era Carey, the high-energy, high-note laden uptempo is a fan-favorite for good reason. Clarkson delivers a no holds barred showcase of her vocal range and versatility. If anyone ever needed a reminder of why she won a singing competition… look no further. Infectiously fun, it’s such an energizing setlist addition that there’s no way she won’t repeat it. Watch it live.

“The Trouble With Love Is” from “Thankful” (2003)

On her debut album, Clarkson experimented with pop/rock, and what’s known as blue-eyed soul. “The Trouble With Love Is,” perhaps most famous for its inclusion in “Love, Actually,” is the latter. The bluesy ballad, co-written by Clarkson, proved she could also originate a soulful track, too. Though it had moderate success in 2003, Clarkson has only performed it a handful of times in the last decade and hasn’t been a setlist staple since 2012. Watch it live.

“Can I Have a Kiss” from “My December” (2007)

Clarkson’s first post-break-up-opus received some much-deserved shine on night two with a performance of one of its highlights. “Can I Have a Kiss” is one of the more vulnerable, pretty songs from “My December.” Subtle yet guitar-driven, Clarkson’s soft, tender vocals and its warm melody make for a brand of pop/rock that only an artist of her caliber can deliver. I’d quite literally have had an out-of-body experience watching it performed live, in person, as I, unfortunately, missed 2007’s My December Tour (which was the last time she performed it (!!!)).

Kelly Clarkson bringing justice + attention to “My December” = World Peace
Kelly singing “Can I Have a Kiss” pic.twitter.com/oWKcHkArAP

— Zoe (@ClearClarkson) July 31, 2023

Night Three: August 2nd

“I Do Not Hook Up” from “All I Ever Wanted” (2009)

While sure, it peaked at #20 on the Hot 100 as the follow-up to “My Life Would Suck Without You,” this Kara DioGuardi and Katy Perry-penned pop confection is hardly one of Clarkson’s most memorable, beloved hits by the masses. Frankly, it doesn’t deserve to be… it is rather generic, but nevertheless, a spin of this very of-the-time pop anthem is always fun to sing a long to. Even better, surely, with Clarkson in front of you belting it out. Still, I don’t blame her for not performing it in nearly a decade. Watch it live.

“Dance With Me” from “Piece By Piece” (2015)

Another “Piece By Piece” deep cut, “Dance With Me” is as its title suggests: a fun, encouraging dance-pop number. Frequently performed during its parent album’s tour, the song definitely translates well live, improving what is an energized but uneventful album track. Watch it live.

“Someone” from “Piece By Piece” (2015)

For what seems to be becoming the “Piece By Piece” tour part two, night three of the “chemistry” residency sees a much-deserved performance of another deep cut from Clarkson’s seventh studio album. She surprised fans with the first-ever live performance of this gorgeous, underrated album track. The emotive ballad is quintessential Clarkson, and it’s a wonder she’s never performed it before last night.

Kelly’s first time performing Someone @kellyclarkson #KellyClarkson #piecebypiece pic.twitter.com/j0QKGDJwQS

— Jeremy Davis (@JeremyD7) August 3, 2023

Night Four: August 4th

“Gone” from “Breakaway” (2004)

Essentially a time capsule in song form, “Gone” has all the best elements of any angsty pop/rock track from the early 00s. Clarkson is ferocious with her impeccably staccato delivery that embodies the impatience she sings about. If feisty had a theme song, it would be “Gone.” Performing it for the first time since 2012, no doubt her divorce put some extra fire behind her while performing it in 2023. See for yourself.

“Just Missed the Train” from “Thankful” (2003)

While her debut only really yielded one smash single and didn’t forge any inventive new ground, it sure has some stellar tracks. “Just Missed the Train” is definitely one of those. Originally sung by child actress turned singer Danielle Brisebois in 1994, Clarkson’s version is a beautifully breezy update that preserves that nostalgic 90s feel, with much better vocals. It actually would fit perfectly on “chemistry.”

Night Five: August 5th

“Low” from “Thankful” (2003)

The second single from Clarkson’s debut, “Low,” definitely underperformed in the US in the shadow of the very successful “Miss Independent.” That doesn’t mean it’s not a great song, though. This country-tinged pop/rock jam was the first signal of her eventual shift into the pop/rock lane for 2004’s “Breakaway.” Watch it live.

“Beautiful Disaster” from “Breakaway” (2004)

“I liked this song so much that I put it on two of my albums,” Clarkson told the crowd on Saturday night. She wanted it to be more stripped down, and got her way for its 2004 installment on the “Breakaway” album, which she performed for the Vegas crowd. Gorgeous as ever, with a voice that’s only gotten better, “Beautiful” is certainly the word, because when Clarkson takes the mic it’s never a “Disaster.”

Multiple Nights

“Whole Lotta Woman” from “Meaning of Life” (2017)

It’s a shame that this song was not a single or a hit, because it really should be Clarkson’s signature song. If there’s any song that embodies how fun, bubbly, sassy, soulful, talented, and hilarious she is, it’s “Whole Lotta Woman.” It won’t ever eclipse her biggest hits in notoriety or numbers, but “Whole Lotta Woman” has seemingly become her personal anthem, and hopefully, secured a permanent place on all future setlists. It’s one of her best songs.

“Invincible” from “Piece By Piece” (2015)*

While this motivational pop ballad is very much on-brand for both Clarkson and its writer, Sia, it marks the pair’s first collaboration, and… Clarkson singing Sia is exactly what you’d hope it to be. Except for a hit, that is. Surprisingly, the song failed to make waves when it was released as a single in 20154. Still, with vocals big enough to match its empowering message, Clarkson proves that her voice is certainly “Invincible.” Post-divorce, the song has likely taken on new meaning for her, earning what appears to be a steady spot on the setlist (so far).

*Performed July 28 and 29, only (so far).

Listen to “What Happened in Vegas? Kelly Clarkson Deep Cuts!”

on Apple Music, Spotify, or elsewhere.

Stock up on some Kelly Clarkson vinyl

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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

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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.

We’ve provided our summer songs playlist on Apple Music, Spotify, and Tidal for your listening pleasure, and will be updating this main post daily as we add songs to the list. Songs are not ranked in any particular order; we love them all!

THE SUMMER 97 (1998 x 2023)

1. “My All/Stay Awhile” by Mariah Carey (1998)
2. “CUFF IT (WETTER REMIX)” by Beyoncé (2023)

Summertime is for sun, sand, and a So So Def remix. In the 90s, Mariah Carey and Jermaine Dupri never failed to deliver on the latter, and the “My All/Stay Awhile” remix, is no exception. A sexy summery mash-up of Mariah’s 13th #1 and the R&B classic “Stay a Little While, Child,” the track features Lord Tariq and Peter Gunz, a then up-and-coming rap duo from the Bronx, as Carey effortlessly glides between verses from both songs atop the Loose Ends sampled beat. While Carey’s now-classic Latin-inspired ballad was already steamy, this club-ready mix really made it swelter. —Vincent Anthony

Watch the “My All/Stay Awhile” video, stream it, or buy Mariah’s “Butterfly” or “The Remixes” album.

When the heat becomes too hot to handle, the only way to cool off is to get wet. Beyoncé understood the assignment on the “CUFF IT (WETTER REMIX),” taking a page out of Mariah Carey’s 90s remix handbook to craft a mash-up of her 2022 hit and a two-decade-old hip-hop classic, Twista’s “Wetter.” This quiet-storm-ready version will make things drip where the once-funky original made ’em drop. Sliding atop the throbbing beat, Yoncé serves #BigVersEnergy by delivering both soulful vocal runs and slick-mouthed rap bars that masterfully bring this intercourse between R&B and Hip-Hop to an intense climax. —V.A.

Stream the “CUFF IT (WETTER REMIX)” here, order Beyoncé’s “RENAISSANCE” vinyl, or get those RENAISSANCE World Tour tickets.

3. “The Boy is Mine” by Brandy & Monica (1998)
4. “Cheat” by Mahalia feat. JoJo (2023)

It’s hard to imagine a classic like “The Boy Is Mine” turning 25 because when you listen to it today, it’s still just as fresh. When it was released, Brandy and Monica were both teen idols on the rise and Rodney Jerkins crafted this song in hopes of putting the rumors about their alleged rivalry to rest. The song was a huge, undeniable hit and remains a staple in R&B and Pop playlists. Brandy and Monica convincingly played dueling divas for this song, serving amazing vocals, plenty of attitude… and igniting a fictional feud that made Summer 1998 sizzle. —Mario M.

Watch the video, stream “The Boy is Mine,” or order Brandy’s “Never Say Never” on vinyl.

Taking sonic inspiration from late 90s and early 00s R&B musically and visually (its music video features a bedazzled RAZR flip phone and MySpace), “Cheat” by Mahalia feat. JoJo I’d essentially “The Boy Is Mine” (Female Empowerment Version). JoJo’s signature sass and seasoned soulfulness add weight to this vibey anthem, but never attempts to overshadow Mahalia’s shine. Effortless in their harmony of voice and message, the pairing is perfectly complementary. Just as the Brandy & Monica classic was an anthem in summer 1998, if the people of today have any sense, it’ll prove true for “Cheat” in 2023 as well.—V.A.

Watch the video or stream “Cheat” by Mahalia feat. JoJo

5. “You’re Still the One” by Shania Twain (1998)
6. “Giddy Up!” by Shania Twain (2023)

Is there anything better than a summertime romance? In 1998, country legend Shania Twain gave us the perfect theme song for such, with her pop-crossover hit “You’re Still The One.” A sultry spoken word intro sets the mood so right that it almost seems rude to have the lights on when you’re listening to it. But the song’s warm transition and tenderhearted lyrics about never falling out of love, despite the naysayers, sound so cool you can practically taste the summer air in between each line. After all this time, this song still gives us all the feels. —John Antonucci

Watch the music video, stream “You’re Still the One” or order Shania Twain’s “Come On Over” CD!

Thirty years into her career, Shania Twain is still looking for a good time. In fact, she’s looking to get “litty in the cup” on her song, “Giddy Up!” Taken from her latest LP “Queen of Me,” this song will have you packing up your bags for a weekend getaway with your friends before even booking it. Everyone knows that summertime is the best time for getting in the car, cranking up the volume, and taking in a new view. So this summer, do as Shania says – “giddy up” and hit the road! You won’t regret it. —J.A.

Watch the music video, stream “Giddy Up!” or order Shania Twain’s “Queen of Me” on vinyl!

7. “Fly Away” by Lenny Kravitz (1998)
8. “Sure Thing” by Miguel (2023)

Few things evoke freedom better than flight; whether literal or metaphorical, to fly is to be free. Lenny Kravitz ascended to #12 on the Billboard Hot 100 in late 1998 with his hit single, “Fly Away,” but really should’ve been a summer single. This funky rock-n-roll ode to escapism is the perfect anthem for flying out of the country, or even just flying down the highway. Kravitz’s unmistakable voice soars atop electric guitar riffs and a groovy bassline, all combining to exude the essence of freedom. Spin “Fly Away,” and you’ll end up booking that summer trip you’ve been debating. —V.A.

Watch the music video, stream “Fly Away” or grab Lenny Kravitz’s “Greatest Hits” on vinyl

Sometimes a song is so good it has to hit twice. Entering summer 2023 as the #1 song on pop radio, Miguel’s 2010 hit “Sure Thing” has outperformed its original chart run thanks to becoming a viral sensation on TikTok. The metaphor-laden, guitar-driven R&B track sounds as fresh today as it did in 2010 with its chopped and screwed hook, guitar riffs, and the endearingly sweet melody sung by a passionate, then-25-year-old Miguel. “Sure Thing” created the formula for later, bigger hits like “Adorn,” and “#Beautiful” with Mariah Carey. This summer, one thing is sure: Miguel’s career is hotter than ever.—V.A.

Watch the music video, stream “Sure Thing” or grab some Miguel vinyl

9. “Inevitable” by Shakira (1998)
10. “chemistry” by Kelly Clarkson (2023)

Certain songs are just perfect for a summer bonfire. Shakira’s fiery 1998 classic “Inevitable” is just that. This quintessential Latin rock ballad was the perfect bridge between Shakira’s acoustic beginnings and her more impassioned pivot to moody rock chick. The track starts off acoustic, but quickly builds in intensity as the guitar and drums layer up, and Shakira’s signature voice amplifies it from a ballad to an anthem. While her first foray into English-language music was never officially released (and is way better in Spanish), like the love she sings about, Shakira becoming a global superstar was inevitable. —V.A. 

Leer en español.

Watch the music video, stream “Inevitable” or grab some Shakira vinyl

The beauty and warmth a summertime magic hour sunset is hard to put into words; even harder to put into sound. Kelly Clarkson’s “chemistry,” the title track off her 10th studio album that dropped on June 23rd, is a successful feat of sonic imagery that conjures the magic of that moment, and of falling in love. The acoustic guitar, lush production, and romantic lyrics alongside Clarkson’s soulful, sensual vocal are the formula for pop perfection. Clocking in at just two-and-a-half minutes, “chemistry” will have you begging for more, and longing for whatever love potion she’s brewed up.—V.A. 

Listen to “chemistry,” stream the full album or grab the vinyl.

11. “So Into You” by Tamia (1998)
12. “missin u” by Tori Kelly (2023)

Before we had social media and apps like TikTok to make old songs go viral years after their release… all we had were samples. Tamia’s 1998 R&B classic “So Into You” was a modest hit upon its original release, peaking at #30 on the Hot 100 and #7 on the Hot R&B/Hip-Hop Songs chart. Five years later, Fabolous sampled it for his smash hit “Into You,” with Ashanti Tamia, who rerecorded her vocals for what would become the biggest hit of both their careers. This literally timeless classic was a smash in not one, but two summers and it’s still fire.—V.A. 

Watch the “So Into You” (or “Into You”) video, stream it or buy Tamia’s debut album.

Something about the summertime and nostalgia goes hand-in-hand. On Tori Kelly’s aptly titled “missin u,” she throws us back in time to that irresistible late 90s/early 00s R&B sound. There are notes of influence from turn-of-the-century R&B by acts like Aaliyah, JoJo, Usher, and Mariah Carey. Your nostalgia radar will go off non-stop, but you’ll never quite place it. Kelly makes the sound her own by showcasing her ability to switch seamlessly from quick-tongued verses to a sing-along-ready hook and soaring bridge. Unfortunately, the track failed to make an impact on the charts; perhaps it’s too nostalgic.—V.A. 

Watch the “missin u” video, stream it or get some Tori Kelly vinyl.

13. “Go Deep (Missy/Timbaland Remix)” by Janet Jackson (1998)
14. “Float” by Janelle Monáe feat. Seun Kuti & Egypt 80 (2023)

If there was ever a golden age of the remix, it was the 1990s. There were house, hip-hop, and R&B mixes galore — and they were all on point! When Janet Jackson enlisted Timbaland and Missy Elliott to remix the fourth single from “The Velvet Rope,” she flipped it from funky bop to hip-hop groove. While Missy’s take on the hook lacks the catchiness of the poppier original, it definitely makes the song slap with a sly, sexy edge atop the Timbaland beat. Whichever variation you choose, Janet’s “Go Deep” will have you partying late into the night.—V.A. 

Watch the “Go Deep” video, stream the remix, or get “The Velvet Rope” on vinyl.

When you’re a free-ass-muthafucker, you don’t walk… you float. That’s the essence of “Float,” the lead single from Janelle Monáe’s latest album, “The Age of Pleasure.” Featuring music by Seun Kuti & Egypt 80, Monáe glides through self-realization, announcing that she’s changed and doesn’t care what the haters have to say about it. In light of recent criticisms for her showing off her nipples at the Essence Music Festival (and the video for second single “Lipstick Lover”), the message of “Float” is all the more relevant. However, in her age of pleasure, Janelle Monáe will continue to float — unbothered.—V.A. 

Watch the “Float” visualizer, stream the song, or order “The Age of Pleasure” on vinyl.

15. “Ghetto Supastar” by Pras, Mya & Ol’ Dirty Bastard (1998)
16. “AMERICA HAS A PROBLEM” by Beyoncé & Kendrick Lamar (2023)

Twenty years before Lil Nas X trotted his horse down “Old Town Road” and gagged the Nashville girlies by fusing Hip-Hop and Country, a trio of Hip-Hop and R&B stars collaborated to sample two Country legends, Kenny Rogers and Dolly Parton. In 1998, Fugees member Pras, R&B newcomer Mya, and Wu-Tang Clan’s Ol’ Dirty Bastard joined forces to release the now-classic “Ghetto Supastar (That is What You Are).” The track flips the Rogers/Parton sample into a chaotically charismatic anthem that perfectly encapsulates the inescapable collision of R&B and Hip-Hop throughout the late 90s. Shout out to Mariah Carey.—V.A. 

Watch the video, or stream “Ghetto Supastar”

Beyoncé reunites with her #2 musical husband Kendrick Lamar for another surprise remix. For the pair’s third collaboration and third “RENAISSANCE” remix, Beyoncé takes another page from the 90s playbook by tacking a rap verse on the infectious “AMERICA HAS A PROBLEM.” Lamar rides the beat immaculately, bringing us back to 2023 to dish out some strong words for A.I. and embrace his second-place ranking behind Beyoncé’s actual husband on Billboard’s Best Rappers list (“rightfully so,” he says). Though he knows his place in that relationship, he should reconsider crowning himself “an honorary Beyhive” given the Hive’s polarized reaction.—V.A. 

Stream “AMERICA HAS A PROBLEM” here, order Beyoncé’s “RENAISSANCE” vinyl, or get those RENAISSANCE World Tour tickets.

17. “Nice & Slow” by Usher (1998)
18. “GLU” by Usher (2023)

Ever-enduring R&B legend, Usher, has undergone a retrospective renaissance thanks to his massively successful Las Vegas residency and the re-release of his iconic breakthrough album, “My Way.” On its second single, “Nice & Slow,” released in 1998, Usher vividly depicts teenage lust and desire, memorably summed up with the line, “I got plans to put my hands in places you’ve never seen, girl you know what I mean.” It’s a song that is truly of its time, yet still sounds current within today’s R&B landscape — a testament to the strength of his catalog, and the impact of his legacy.—Jordan Listenbee

Watch the “Nice & Slow” video, stream it here, or order “My Way” on CD.

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.—J.L.

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

19. “Too Close” by Next (1998)
20. “Fly Girl” by FLO feat. Missy Elliott (2023)

In the 90s, R&B was filled with thinly-veiled double entendre. “Too Close” by R&B trio Next is a prime example, with the not-so-subtly suggestive lyrics that made it the year’s hottest song. Opening with lead singer R.L. posing the question, “I wonder if she could tell that I’m hard right now?” it’s amazing that the rest of the song’s lyrics seemingly managed to go over most people’s, and radio programmer’s, heads. What did they really think they meant by “a poke comin’ through,” and “You’re making it hard for me?” Ultimately, it’s… hard to stop a hit.—V.A.

Watch the “Too Close” video, stream it, or buy Next’s debut album

Once songs from your adolescence become the go-to source of samples, you’re officially grown. And, if you’re Missy Elliott, well… that’s just another reminder that you’re that bitch. Up-and-coming British girl group FLO sampled Elliott’s 2001 classic “Work It” on their single “Fly Girl,” and even managed to snag a co-sign from the legendary Misdemeanor. The track leans heavily on nostalgia in sound and lyrics, referencing another 2001 classic by Jagged Edge as they confidently sing, “I don’t need a man to tell me where the party is.” Like the hits they’ve sampled, expect these fly girls to stick.—V.A.

Watch the “Fly Girl” video, stream it here, or check out their latest EP.

21. “Spice Up Your Life” by The Spice Girls (1998)
22. “Dance the Night” by Dua Lipa (2023)

While the ’90s saw the emergence of popular boy bands, like the Backstreet Boys and *NSYNC, it was the decade’s girl groups who came to heat – or spice, rather – things up. The Spice Girls were not just the biggest British singing group to conquer the world since The Beatles, they soon ranked among the best-selling girl groups of all time. With their salsa-inspired hit, “Spice Up Your Life,” these five ladies gave us the absolute perfect anthem for a summertime fiesta. Feeling “sad and low” these days? Well, the Spice Girls have just the cure for that.—J.A.

Watch the “Spice Up Your Life” video, stream it here, or buy the “Spiceworld 25” deluxe edition.

We Enter Disco Barbie. After ushering in a disco revival for the pop girlies and “Levitating” the soundtrack to everyone’s pandemic parties in 2020, Lipa has returned to bring some disco to the Barbie film soundtrack. “Dance the Night” sounds like it would’ve been right at home on “Future Nostalgia,” but as the inaugural release off the “Barbie: The Album,” it’s a welcomed kickoff to what’s become the summer’s hottest ticket in film and music. While the song didn’t blaze its way to the top of the charts, it’s certain to heat up any club it encounters this summer.—V.A.

Watch the “Dance the Night” video, stream it, or buy “Barbie: The Album.”

23. “Outside” by George Michael (1998)
24. “Rush” by Troye Sivan (2023)

Masterful songwriters turn their experiences into relatable songs, and true superstars know how to turn scandal into success. When George Michael’s career was marred in controversy following his arrest for allegedly soliciting public sex, forcing him to publicly come out, he spat in the face of entrapment by relishing in sexual liberation. Released months after the 1998 incident, “Outside” celebrates public sex, calling it human nature; a return to form. This sexy disco number and its accompanying video made good trouble out of the bad. George Michael is a gay icon, and “Outside” was his first true anthem.—V.A.

Watch the “Outside” video, stream it, or buy some George Michael vinyl.

Sometimes, an artist is able to epitomize the concept of “understanding the assignment.” On “Rush,” Troye Sivan earns an undeniable A+ in the category of thot boy summer. Atop a thumping House/Pop amalgamation, Sivan glides effortlessly, evoking the sounds and sensations of a very hot, very sweaty, and very gay night at the club. Ever fearless and never desperate, Sivan’s music has always embraced and celebrated his sexuality, and “Rush” is the sonic embodiment of Pride. With the lead single from his first album in 5 years, the 28-year-old singer is making it clear he’s all grown up.—V.A.

Watch the “Rush” video, stream it, or preorder the album, “Something To Give Each Other.”

25. “Crush (Dance Mix)” by Jennifer Paige (1998)
26. “I Can See You” by Taylor Swift (2023)

They don’t call ’em one-hit wonders for nothing. “Crush,” one such wonder from 1998, was the first and only pop hit by Jennifer Paige. Her debut single managed to become a runaway success thanks to its irresistibly infectious chorus that became an anthem for anyone with a crush, innocent or otherwise. The perfect sonic snapshot of nondescript 90s pop, “Crush” is perfectly unforgettable yet unremarkable. It’ll transport you back to a simpler time: of cassette mixtapes, CD Walkmans, and secret crushes. If you’re too young to remember it firsthand, you’ll just have to take my word for it.—V.A.

Watch the video, stream the dance mix, or purchase a piece of 90s history.

Many words describe pop music’s reigning “Mastermind,” and “calculating” is certainly one of them. On the latest (Taylor’s Version) (From the Vault), Taylor Swift reminds her prospective beau: “I Can See You.” Endearingly creepy, it evokes 90s pop in its questionably yet catchy, almost-too-honest expressions of love lust. In a rare show of seduction, Swift strings us along on a guitar-driven journey through her secret, 20-year-old desires, that, like this song (until now) were locked away in a vault. Its Taylor-studded music video only adds to the mystery, making for a surprisingly sexy summer single from Swift.—V.A.

Watch the video, stream it, or order Speak Now (Taylor’s Version) on vinyl.

27. “Kiss the Rain” by Billie Myers (1998)
28. “River” by Miley Cyrus (2023)

If you’re trying to fight the summer heatwave, this is the blast from the past you’ll need. British singer Billie Myers’ “Kiss the Rain” is the perfect song to play after the arrival of a summer thunderstorm — to cool off the air, and the mind. The song became popular after being used in an episode of the popular teen drama “Dawson’s Creek,” and began ascending the charts. Written as a reflection on the ups and downs of relationships, the Alt/Pop sound of “Kiss the Rain” fit right in amidst the eclectic music scene of the late 90s.—M.M.

Watch the “Kiss the Rain” video, stream it, or buy Billie Myers’ debut album.

If sexual energy were a river, Miley Cyrus is here to ensure it never runs dry. On the energetic dance-pop track “River,” she recalls the ‘80s sound and melody of Flo Rida and Kesha’s 2009 hit single “Right Round,” and emulates its not-so-subtle double entendre. Though Cyrus’ is not so blatant, like the assumed metaphor of Mariah Carey’s “Honey,” it’s there if you look for it. It’s not a cover of the Joni Mitchell sometimes-Christmas standard, that’s for sure, but it seems to take inspiration from the Queen of Christmas. Is she sure she’s never been a fan?—V.A.

Watch the “River” video, stream it, or grab “Endless Summer Vacation” on vinyl.

29. “Nothing Really Matters” by Madonna (1998)
30. “I’m Not Here to Make Friends” by Sam Smith (2023)

Momentous life events often yield creative breakthroughs for an artist. On her 1998 opus “Ray of Light,” Madonna combined her newfound appreciation for mystics and electronica to revitalize her sound and image with the most effective and profound reinvention of her chameleonic career. “Nothing Really Matters,” the album’s final single, is a reflective, zen anthem that grapples with karma and maturation. Atop the bouncy, House-inspired EDM track, Madonna muses meditative mantras of motivation with a vocal delivery that is at times om-like. As the track progresses, its tempo and layers build with one goal: liberation via levitation.—V.A.

Watch the “Nothing Really Matters” video, stream it, or purchase “Ray of Light” on vinyl.

Honesty is a key element on any journey to personal liberation. For Sam Smith, their newfound unrestricted persona has an anthem in the disco-inspired single “I’m Not Here to Make Friends.” While its very queer, very sexualized music video received plenty of flack, some for reasons warranted (hideous fashions) and unwarranted (body and slut shaming), the song itself is an undeniable good time. Honest in the celebration of their queer identity, and honest in the song’s straightforward message (the title pretty much sums that up), on Smith’s most fun track to date, the truth sets them free.—V.A.

Watch the “I’m Not Here to Make Friends” video, stream it, or order the “Gloria” album on vinyl.

31. “The First Night” by Monica (1998)
32. “Talk to Me Nice” by Tinashe (2023)

One hallmark of the marriage between R&B and Hip-Hop in the mid ’90s was when R&B women started flipping samples of classics on top of hard, Hip-Hop beats, lacing them with unmatched vocals and unforgettable melodies. Case in point, Monica’s “The First Night,” the second single from her sophomore album. Built on a sample of “Love Hangover” by Diana Ross, “The First Night” is the antithesis to The Boss’ submissive classic. Monica, instead, dominates in a man’s world — she’s found the cure. The remedy is her ability to set boundaries and own her sexuality. Monica doesn’t run.—V.A.

Watch “The First Night” video, stream it, or purchase the single.

In a musical landscape littered with relentless singles that are barely two minutes long, it’s the artists who take their time that serve up the best time. On her new single “Talk to Me Nice,” the ever-versatile Tinashe continues to impress by keeping things fresh. The fact that the song clocks in at nearly 4 minutes sets it apart, but also the sensual, slickly produced mid-tempo love song is not just a mood, it’s many. Bouncin’ from chorus to verse to bridge like movements of a symphony, Tinashe reminds us she can ride any vibe. She’s always nice.—V.A.

Watch the “Talk to Me Nice” video, stream it, or get something from Tinashe’s discography.

33. “Hit Em Wit da Hee” by Missy Elliott, Lil’ Kim & Mocha (1998)
34. “Seven” by Jung Kook & Latto (2023)

In Hip-Hop, the come-up is cyclical; good karma yields great success. In the case of Missy Elliott, she’s essentially Hip-Hop’s Buddha with all the good karma she’s put into the genre… but even she started somewhere. The reputation she cultivated as a songwriter, producer, and force of female empowerment manifested via several high-profile features on her debut. On its final single “Hit Em Wit da Hee,” she managed to secure features from not one but two fellow female rap stars: Lil’ Kim and Mocha. The result is a fierce, hard-hitting romp that’s all bite, yet no fight.—V.A.

Watch the “Hit Em Wit da Hee” music video, stream it, or buy “Supa Dupa Fly.”

Ambitious rising stars in pop often collide to combine their star power, yielding #BigEnergy. Newly solo seventh of K-pop’s biggest band BTS, Jung Kook, and one of the hottest new women in Hip-Hop, Latto, join forces on “Seven,” a sizzling, summer sex romp that is anything but subtle. In true boy-bander-gone-solo fashion, BTS’ youngest proves he’s all grown-up, putting all interested parties on notice: “Night after night, I’ll be fucking you right.” Latto, understanding the assignment, matches his vibe: “Come here baby, let me swallow your pride.” As addictive as, apparently, you-know-what… “Seven” is tailor-made to repeat.—V.A.

Watch the “Seven” music video, stream it, or grab some Jung Kook merch!

35. “Everybody (Backstreet’s Back)” by Backstreet Boys (1998)
36. “on the street” by j-hope & J. Cole (2023)

For some acts, it’s a slow burn to superstardom; for others, it’s overnight. By the time the Backstreet Boys released their fourth single stateside, they were huge — and it was clear that they weren’t going anywhere. Just in case, they served up a reminder with “Everybody (Backstreet’s Back),” an infectious party anthem with a “Thriller”-inspired music video. The quintet who prided themselves on their vocals managed to keep the harmonies tight, while still letting loose. With built-in instrumental dance breaks and chanting crowds, “Everybody” succeeds in its main mission, you’re bound to “rock your body right.” Alright?!—V.A.

Watch the “Everybody” video, stream it, or order the single on vinyl.

Once upon a time, Hip-Hop went Pop. When its biggest stars began to collaborate with pop stars, the genre transitioned, for better or worse, to the mainstream. Now, the same is happening with K-Pop, emblematic by its most successful group BTS aligning with artists across genres. For his latest solo single “on the street,” BTS member j-hope taps his favorite rapper and “muse,” J. Cole, to bridge the gap. For Cole, it’s an unexpected feature that proves his versatility. Roles have reversed as Cole, once the newbie seeking his idol’s approval, welcomes j-hope to the Cole World.—V.A.

Watch the “on the street” video, stream it, or grab some j-hope vinyl!

37. “Can I Get A…” by JAY-Z, Amil & Ja Rule (1998)
38. “Passport Bros” by Bas & J. Cole (2023)

After decades in the public consciousness, some songs you just know somehow, perhaps due to sheer ubiquity, or sampling. JAY-Z’s “Can I Get A…” featuring Amil and Ja Rule is one of those tracks. J. Cole fans will recognize, “Can I hit it in the morning?” … Janet Jackson fans will recognize its “bounce.” However, in the summer of 1998, “Can I Get A…” was a big hit in its own right, helping inch JAY-Z closer to crossing over and establishing new acts Amil and Ja Rule. The infectious, Irv Gotti-produced bop lights up any club — then, and now.—V.A.

Watch the “Can I Get A…” video, stream it, or purchase the album on vinyl.

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!—J.L.

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

39. “Top of the World,” by Brandy & Ma$e (1998)
40. “Attention” by Doja Cat (2023)

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.—J.L.

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

There are plenty of creative ways to express the essence of the infamous phrase “suck my dick,” rather than saying it flat out. Doja Cat delivers a rousing reminder of her rap talent on her most Hip-Hop single in ages, “Attention.” Sparse in production but with no shortage of bars, Doja Cat puts everyone on notice with the sexiest rendition of Lil Kim’s “Suck My Dick” to date. No, it’s not a sample or a cover, Doja Cat never says “dick,” the attention instead is on her— though, she never says that word either… she ain’t pussy.—V.A.

Watch the “Attention” video, stream it, or get Doja’s last album on vinyl.

41. “What’s It Gonna Be?!” by Busta Rhymes & Janet Jackson (1998)
42. “Water Slide” by Janelle Monáe (2023)

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.—J.L.

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

Who can resist a good, nasty metaphor? Janelle Monáe takes a plunge into the sea of allegory on “Water Slide,” the very unserious, very unsubtle third single from “The Age of Pleasure.” With lemons on her areoles and bare ass cheeks abound, Monáe’s “Age of Pleasure” is a water park in the very metaphorical sense: it’s very hot, very wet, and very fun. Opening with the line, “If I could fuck me right here right now, I would do that,” the song is a tantalizing tease and, with its Island-inspired beat, is beach and pool party perfection.—V.A.

Watch the unmissable “Water Slide” video, stream it, or buy “The Age of Pleasure.”

43. “Trippin'” by Total (1998)
44. “Cut” by Tori Kelly (2023)

Having too many cooks in the kitchen is often discouraged. In the case of ’90s girl group Total’s classic hit “Trippin'” the phrase simply does not apply. Released via Puff Daddy’s Bad Boy label, this jam had several multi-platinum hands involved. Missy Elliott, Timbaland, Mario Winans, Darryl Pearson, and of course, Puffy himself, contributed to writing and producing the LL Cool J-sampling track, with DMX dropping a verse on its remix. It’s no wonder the song peaked at #7 on the Hot 100. “Trippin'” might’ve been their last hit, but unlike the group, their biggest hit has stuck around.—V.A.

Watch the “Trippin'” video, stream it, or pre-order the “Kim, Keisha & Pam” vinyl reissue.

There’s a certain confidence that culminates within someone once they’ve finally realized their true potential. On “cut,” Tori Kelly struts into newfound swag, flanked by a crew of creatives with whom success is the only option. The Y2K R&B-inspired track not only takes inspiration from the era, it taps in, too. Kelly and Jon Bellion’s team enlisted additional input from both Timbaland and Rodney “Darkchild” Jerkins to ensure the nostalgic knocker is as authentic as can be. Kelly flourishes atop the immaculately produced “cut,” effortlessly showcasing her vocal prowess with enough skill to make her influences proud.—V.A.

Listen to Tori Kelly’s new EP, “tori,” or buy some Tori Kelly vinyl here.

45. “Are You That Somebody” by Aaliyah (1998)
46. “Terms and Conditions” by Mahalia (2023)

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.—J.L.

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

Reading is fundamental. Online, we often skip reading the “terms and conditions” before using apps and websites. However, IRL they’re a must, just like on the lead single from Mahalia’s sophomore album “IRL.” On the aptly-titled anthem, “Terms and Conditions,” she serves up a manifesto on how she expects to be treated by any potential man. Like her duet with JoJo, it harkens back to early aughts R&B, managing to sound invitingly familiar yet not reductive. On this mid-tempo groove, Mahalia channels the era both lyrically and sonically, delivering an empowering message with an authentic, soulful sound.—V.A.

Watch the “Terms and Conditions” video, stream it, or order the “IRL” vinyl.

47. “With Me (Part I)” by Destiny’s Child (1998)
48. “Body Do” by Chlöe (2023)

Record labels sure loved to have teen stars sing songs they were probably not old enough to be singing in the 1990s. “With Me,” the second single from Destiny’s Child’s debut album, is a fine example of that. Recorded when the girls were just 16 years old and produced by go-to hitmaker Jermaine Dupri, it’s essentially a side chick anthem. Problematic as it may be, it’s a bop in all four of its iterations. Perfect evidence that Beyoncé and Kelly were vocally talented beyond their years, nobody would guess that the young girls singing it weren’t grown-ass women.—V.A.

Watch the “With Me” video, stream it, or grab some Destiny’s Child vinyl.

Presenting the 2023 valedictorian of the Janet Jackson School of Spoken Word Intros and Interludes: Chlöe Bailey. The ever-fearless, never-fucks-given Ms. Bailey opens what should’ve been her lead single, “Body Do,” with a loaded, messy question: “Do you ever wonder.. who else is FUCKIN’ your man?” As if this, infectious 2-minute-long bop doesn’t gag the girls enough as is, that opener really seals the deal. The frenetic yet impeccably produced banger plays with the question at hand. Chloe’s answer? “I can trust you as far as I can throw you, but I’ma trust what that body do.” Period.—V.A.

Watch the visualizer, stream it, or grab some Chloe x Halle vinyl.

49. “Boy’s a liar, Pt. 2” by PinkPantheress & Ice Spice (2023)
50. “It’s Not Right But It’s Okay” by Whitney Houston (1998)

Pop-stars crossing the pond, male-bashing anthems, pop girls uniting in the name of girl power… is the 1990s or the 2020s? Make no mistake, it’s the era of TikTok-friendly 2-minute songs with lax choreography and verses that are somehow infectious as hell. Without ever raising their voices, English pop singer PinkPantheress and Bronx-born rapper Ice Spice manage to inspire girls to twerk and boys to be big mad on “Boy’s a liar, Pt. 2.” Peaking at #3 on the Hot 100, this fun fusion of Pantheress’ bubblegum pop with Spice’s gruff rap raised both artists’ profiles in a big way.—V.A.

Watch the “Boy’s a liar, Pt. 2” video, stream it, or buy Ice Spice’s EP on vinyl.

Now, a xylophone might sound a bit elementary, but baby, it was simple. Whitney broke things down real easy just to be SURE the math was mathing! “It’s Not Right But It’s Okay” was an iconic moment in Houston’s career. Her 1998 album “My Love Is Your Love” marked a stylistic shift, proving she could still fit within evolving trends in pop. She also showcased a bit more of her magnetic personality. The R&B anthem, produced by Rodney “Darkchild” Jerkins, was equally empowering, and a huge hit — especially in gay clubs thanks to its iconic Thunderpuss dance remix.—V.A.

Watch the “It’s Not Right But It’s Okay” video, stream the album version, Thunderpuss club mix, or get the “My Love Is Your Love” anniversary vinyl.

51. “Flowers” by Miley Cyrus (2023)
52. “Ray of Light” by Madonna (1998)

In 2023, summer came early. Twelve days into the New Year, Miley Cyrus dropped “Flowers,” a bittersweet, disco-pop bop that perfectly leverages Miley’s unique voice and empowering image. With a captivating visual and song, Cyrus broke streaming records to debut at #1 on the Hot 100, spending 8 weeks at the pole position. As the lead single from “Endless Summer Vacation,” “Flowers” is a great representation of the album as a whole, which delves heavily into her post-divorce emotional reckonings. Strutting in her strength, Cyrus’ aura of cool remains unbreakable. She gave herself “Flowers” via the biggest hit of her career.—V.A.

Watch the “Flowers” video, stream it, or get “Endless Summer Vacation” on vinyl.

Traditionally, imagery is the use of words to evoke the senses; but certain sounds can have the same effect. On “Ray of Light,” Madonna provides the soundtrack to one of the most iconic visual images: the sun. A euphoric journey through liberation, the electronic, dance-inspired pop anthem marked a moment of personal and professional rebirth for Madonna. Best known as the boundary-pushing “Material Girl,” the legendary diva came down to earth bit, if only for a short time, during her spiritually awakened “Ray of Light” era. The album’s title track perfectly encapsulates the moment —  a comeback anthem.—V.A.

Watch the “Ray of Light” video, stream it, or grab the album on vinyl.

53. “Padam Padam” by Kylie Minogue (2023)
54. “Heaven’s What I Feel” by Gloria Estefan (1998)

Adding a phrase to the pop culture lexicon is a telltale sign of impact. With “Padam Padam,” Kylie Minogue gives “heartbeat” a new name and reminds us why she’s been a pop music mainstay for decades. The 55-year-old icon proves that with the right song, a true diva will flourish regardless. The infectious dance track immediately claimed its place in the zeitgeist upon release, with its fiercely red music video and undeniably catchy hook featuring perfectly relatable lyrics for her target audience: the gays — arriving just in time for Pride month, “Padam” has become an inescapable anthem.—V.A.

Watch the “Padam Padam” video, stream it, or pre-order the album, “Tension.”

It’s almost become a rite of passage for a diva to delve into dance-pop at some point in her career. With “Heaven’s What I Feel,” the lead single from her mononymous album “gloria!” (1998), pioneering Latin pop icon Gloria Estefan fully committed to crafting dancefloor anthems. “Heaven’s What I Feel,” with its Spanish, French, and club mixes, became a decent hit for a then-40-year-old Estefan. Boasting soaring vocals, a glossily produced pop take on the House genre, and some fittingly dramatic lyrics of forbidden love, “Heaven’s What I Feel” is prime gay club material from a beloved diva.—V.A.

Watch the “Heaven’s What I Feel” video, stream it in English or Spanish, or buy the “gloria!” album.

55. “PROVENZA (REMIX)” by KAROL G & Tiësto (2023)
56. “The Cup of Life (La Copa de la Vida” by Ricky Martin (1998)

There’s something magical that happens when a pop princess finds her dance DJ prince. Just ask Kelly Rowland. The collaboration between KAROL G and Tiësto, “Don’t Be Shy,” was a worldwide hit for the Colombian superstar singer and Dutch DJ, so it’s a no-brainer that the pair hooked up once again. The newly-released “PROVENZA” remix is a dancefloor-ready mix of one of her more laid-back tracks, transforming its vibe from beach day to night club. KAROL G’s signature slinky, tongue-twisting style of rap singing is abundant in rhymes and criminally catchy — even if you don’t speak Spanish.—V.A.

Watch the “PROVENZA (REMIX)” live, stream it, or pre-order the BICHOTA SEASON vinyl.

While the Super Bowl is the biggest sporting event in the United States, virtually everywhere else in the world, it’s the other football’s World Cup dominates. Though it doesn’t have a musical performance equivalent to the Super Bowl Half-Time show, it does have official songs and anthems. Ricky Martin’s official song for the 1998 World Cup, “The Cup of Life (La Copa de la Vida)” elevated the tradition, and Martin’s career, to the next level. The infectious, GRAMMY Award-winning track is a collision of Samba, Latin, and Dance sounds that helped fuel the late 90s Latin Pop explosion.—V.A.

Watch the video: “La Copa de la Vida” or “The Cup of Life”, stream it, or check out Ricky Martin’s memoir.

57. “K-POP” by Travis Scott, Bad Bunny & The Weeknd (2023)
58. “Miami” by Will Smith (1998)

If Charlie had angels and demons, surely the latter would be a trio of men. Serving up a multi-genre, multi-cultural combination, the trio of Travis Scott, Bad Bunny, and The Weeknd provide the perfect demon-time soundtrack via “K-POP.” Laced with plenty of star power, this party anthem is tailor-made for the club, and no doubt inspired by its namesake’s effects. As the track progresses, each star shines via his signature sound: Scott sets the mood with a trippy rap, Bad Bunny ups the energy with bombastic bars, and Weeknd cools things down, atmospherically floating atop the beat.—V.A.

Watch the “K-POP” video, stream it, or get some Travis Scott vinyl.

It can be hard to reclaim the vibe and energy of a massive, career-defining hit without sounding reductive. On his 1998 smash hit “Miami,” Will Smith successfully channels his 1991 hit “Summertime” by celebrating a city where it’s always summer. With some questionable lyrics and ad-libs from an unidentified “hot mami” that are equally corny but somehow stomach-able coming from the beloved Fresh Prince in the prime of his career. An undeniable party anthem, “Miami” was a big hit, helping his debut solo album become a monster success, certified 9x Platinum as of July 2000, it’s surely close to Diamond status.—V.A.

Watch the “Miami” video, stream it, or check out Will Smith’s memoir.

59. “Whine” by Mýa & Bounty Killer (2023)
60. “Who Am I” by Beenie Man (1998)

Twenty-five years into her career, Mýa has mastered the art of being booked, busy, and in control. After founding her own label Planet 9 in 2008, she’s continued to perform around the world and has released several albums and singles independently. Her latest, “Whine,” is a throwback in virtue of both its sound and its feature from dancehall king Bounty Killer. Mýa sounds and looks better than ever — sexy, yet ever classy. Whether via new releases or the recent celebrations of her classic Y2K albums, Mýa continues to remind us why she’s one of R&B’s most underrated icons.—V.A.

Watch the “Whine” video, stream it, or complete your Mýa music collection.

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.—J.L.

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

61. “Players (DJ Saige Remix)” by Coi Leray & Busta Rhymes (2023)
62. “Gimme Some More” by Busta Rhymes (1998)

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.—J.L.

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

Busta Rhymes may not have had the massive commercial success of some of his more crossover-friendly peers, but without question, his impact on Hip-Hop is substantial. With his signature, rapid-fire rap style and pioneering music videos, Rhymes brought profound innovations to Hip-Hop. The 1998 hit single “Gimme Some More” is a prime example of both Rhymes’ unmatched flow and his unforgettable imagery. Sampling the “Psycho” film theme, both the track and its accompanying video are hybrids of horror and Hip-Hop. With its disarmingly slick-tongued delivery and thrilling video, the song’s title perfectly describes the insatiating effect it has.—V.A.

Watch the “Gimme Some More” video, stream it, or grab some Busta Rhymes vinyl.

63. “JEALOUSY” by Offset & Cardi B (2023)
64. “Bananas (Who You Gonna Call?)” by Queen Latifah ft. Apache (1998)

It’s often said that there’s “no such thing as bad publicity.”  In response to rumors about Offset being unfaithful, he teamed up with his  wife Cardi B to craft a response, the aptly titled “JEALOUSY.” The spotlight-ready spouses split the shine to take swipes at the media, haters, and naysayers, dropping biting bars and, as per usual, not holding back. Forgoing the antiquated notion of “ladies first,” Offset instead saves the best for last, letting Cardi have the last verse and the last word. Eating up whoever said otherwise, Cardi spits fire in defense of their six-year-long relationship.—V.A.

Watch the “JEALOUSY” video, stream it, or get some Cardi B vinyl.

It’s wild to witness how slang, and artists, evolve. Queen Latifah led 1998’s “Order in the Court,” her last studio album prior to a decade-long Hip-Hop hiatus, with the ferocious yet ridiculously titled, “Bananas (Who You Gonna Call?).” Don’t let the references to every kid’s favorite fruit and every kid’s favorite ghost movie mislead you though, there’s a reason Queen La’s crown is enflamed on the album cover: she breathes fire on “Bananas” alongside the late Flava Unit M.C. Apache. Latifah’s bars are an unrestrained reminder of her elite status as one of Hip-Hop’s most anointed Queens.—V.A.

Watch the “Bananas” video, stream it, or get some Queen Latifah vinyl!

65. “Paint the Town Red” by Doja Cat (2023)
66. “Lost Ones” by Lauryn Hill (1998)

Seeing red? Mission accomplished. Doja Cat has been inciting flames of fury amongst her fans, some former, with recent comments and criticisms she’s made about stan culture. Truth be told, this instance is hardly the first or worst controversy to surround the hitmaker; being problematic is essentially part of her brand at this point. Nonsense aside, the first two singles from Doja Cat’s fourth studio album “Scarlet” see her leaning hard into Hip-Hop, shedding the glossy pop sound behind her biggest hits. While “Attention” didn’t create too much buzz, “Paint the Town Red” has ignited quite the stir. As its insanely catchy chorus goes, “Bitch, I said what I said; I’d rather be famous instead.” Her no-fucks-given attitude has translated into the music, and it’s clear that while it may make her unlikeable, it’s made her music undeniable.—V.A.

Watch the “Paint the Town Red” video, stream it, or get some Doja Cat vinyl.

The best Hip-Hop tracks are comprised of perfectly executed uses of the genre’s main components: impressive lyrics, an infectious beat, and an impeccable flow. Lauryn Hill opened her 1998 album The Miseducation of Lauryn Hill with a song that bodies in every category: “Lost Ones.” The hard-hitting track finds Hill spittin’ in her signature style, atop a slick, bass-heavy beat. Then best known as being the Fugees frontwoman, Hill’s first and only album cemented her status as a solo superstar. Every track on the classic album is well-known and highly praised, but “Lost Ones” is a fierce standout.—V.A.

Watch “Lose Ones” live, stream it, or get “The Miseducation of Lauryn Hill” on vinyl

67. “Phenomenal” by Janelle Monáe & Doechii (2023)
68. “It’s All About Me” by Mýa & Sisqó (1998)

Coming into one’s own requires a commanding level of self-confidence. Janelle Monáe’s embodiment of “free ass muthafucker” over the last several years reached new heights with the release of her latest, summer-ready album “The Age of Pleasure.” On the album cut “Phenomenal,” Monáe taps newbie Doechii to join them in a celebration of both phenomenal face and “phenomenal puss.” Opening the track, Monáe proclaims: “I’m looking at 1,000 versions of myself and they’re all fine. as. fuck. Say it to my face… bitch.” The question is asked (“How you feel?”) and answered (“Phenomenal!”); it’s not up for debate.—V.A

Listen to “Phenomenal,” or purchase “The Age of Pleasure” on vinyl.

An artist’s first single is their first impression, their first chance to introduce the world to its newest star. When Mýa dropped her first single in February 1998, she made one thing very clear: she was confident, sexy, and in control. The aptly-titled “It’s All About Me,” featuring Dru Hill frontman Sisqó, grabbed onto the growing girl-power movement and set herself in the dominant position, rendering Sisqó (and any man) submissive. A bold move not only as a woman in the 90s but also as a newcomer, Mýa not only declared her arrival but rendered herself highly desirable.

Watch the “It’s All About Me” video, stream it, or purchase Mýa’s self-titled debut.

69. “JEANS” by Jessie Reyez & Miguel (2023)
70. “I Get Lonely (TNT Remix)” by Janet Jackson & BLACKstreet (1998)

An R&B duet is a dish best served hot — with the right ingredients, a pair of crooners can combine to create cosmic chemistry. On “JEANS,” budding star Jessie Reyez and burgeoning icon Miguel join forces to secure their very much-deserved places in R&B. The scintillatingly slow jam is anything but shy with its grind-inducing guitar licks and blush-inducing explicit lyrics. Reyez’s gruff and gritty vocals are perfectly complimented by Miguel’s guttural groans. The track may be titled after an article of clothing, but the pair surely has every intention of inspiring their removal. It’s a sure thing.—V.A.

Watch the “JEANS” video, stream it, or get some records by Miguel or Jessie Reyez.

When Ms. Jackson calls, you answer. In the case of the “I Get Lonely (TNT Remix)” from her 1997’s “The Velvet Rope,” Janet Jackson tapped a handful of talented collaborators to add to an already phenomenal track that, frankly, didn’t even need it. With additional production by Teddy Riley and Timbaland, Jackson is joined by BLACKstreet to turn “Lonely” into a duet (well, quintet). In its solo form, the track is classic Janet: emotive, deep, sexy, and timeless. With BLACKstreet, it transforms into a prime piece of 90s R&B with its big vocal runs and flashy production.—V.A.

Watch the “I Get Lonely (TNT Remix)” video, stream it, or grab “The Velvet Rope” on vinyl.

71. “Low Key” by Ciara (2023)
72. “Gone Be Fine” by Monica ft. OutKast (1998)

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.—J.L.

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

73. “Good Good” by Usher, Summer Walker & 21 Savage (2023)
74. “Rosa Parks” by OutKast (1998)

75. “Snooze” by SZA (2023)
76. “Get On the Bus” by Destiny’s Child (1998)

Before they were dismissing a “Bug a Boo” for not paying the “Bills, Bills, Bills,” declaring their independence, or quoting Biggie to dish out reminders that “UPS is hiring,” Destiny’s Child made it clear they did not have the time for mess junk. On “Get on the Bus,” the budding divas slide atop a slinky Timbaland-produced, Missy Elliot-penned track that foreshadowed the best that was yet to come. With Beyoncé and Kelly taking turns to deliver some sass-filled verses, Timbaland’s whiny boyfriend character never stood a chance. Here, it became very clear: somebody could send your luggage.

Watch the “Get on the Bus” video, stream it, or get a coveted vinyl single.

77. “Control Freak” by FLO (2023)
78. “Sweetheart” by Jermaine Dupri & Mariah Carey (1998)

Throughout the early 90s, Jermaine Dupri established a name for himself as an R&B and Hip-Hop super-producer. In 1998, Dupri pivoted to become a rap artist himself and released his debut studio album, “Life in 1472.” By then, he and Mariah Carey had also developed a strong personal and professional relationship as good friends and musical collaborators. An ever-loyal friend, Carey appeared on the album’s third single, “Sweetheart” (a cover of the 1986 hit by Rainy Davis). Like on many of their mash-up style remixes, the pair transformed the very 80s track, elevating it with a fresh, sexy Hip-Hop spin.

Watch the “Sweetheart” video, stream it, or get “Life in 1472” on CD.

Stream our summer songs playlist, “THE SUMMER 97”
Available on Apple Music, Spotify, and Tidal

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