Allow us to consider the content on Butterfly for a moment before delving specifically into “Fourth of July.” For an album from a woman on the brink of divorce, there is not much about heartbreak on Butterfly. The title track is about letting go of someone you know isn’t right, “Breakdown” is about the depression and pain that comes with realizing someone does not love you anymore, and “The Beautiful Ones” is a Prince cover about being hurt. But she didn’t write that, and for Mariah, that’s important. Obviously she chose it for a reason, but it’s not her words.

The majority of the album is about longing for something, or rather, someone… more. “Honey,” “My All,” “The Roof,” “Babydoll,” “Whenever You Call” and “Fourth of July” are all about being in love (or lust) and longing for affection from that someone. With “Fourth of July,” one has to wonder why she chose the theme of America’s Independence Day.

The simple answer could be rather non-eventful: maybe it is a true story that coincidentally happened on the Fourth of July. However, being familiar with Mariah as an artist, as a songwriter, one might see it another way. It is very likely that she chose it as a metaphor for her own freedom. That’s what the album, and its era, was about. The song has frequently been lauded for its beautiful, descriptive writing – abundant with imagery and advanced vocabulary – but perhaps there is more to it.

“Fourth of July” is about a moment of freedom; of independence; of escape. On the first chorus, she sings:

Then you put your hand in mine,
And we wandered away.
I was trembling inside,
But I wanted to stay.
Pressed against you there and leave the world behind
On that Fourth of July.

Wandering away, trembling, and leaving the world behind. The world she was in was confining; stifling. She was trembling out of fear because she knew what she was doing was wrong, she knew that she was potentially being monitored, she was afraid of breaking away. But she went anyway, because it was Independence Day.

On the second chorus, the lyrics change, and so do her feelings:

Then you put your hand in mine,
And we floated away.
Delicately lay entwined,
In an intimate daze.
A crescent moon began to shine,
And I wanted to stay.
Tangled up with you among the fireflies,
On that Fourth of July.

The wandering changes to floating; wandering implies nervousness or being lost, while floating implies being carefree and happy. She adds a couplet about being “entwined, in an intimate daze,” to show how them being cuddled together felt right, inseparable even, and dreamlike. Next, she is no longer trembling inside and there is no “but,” she simply wants to stay. No longer was she simply “pressed against” him, she was “tangled up” in the mess she has made for herself. Yet, she wants to stay.

On the bridge she sings of “ominously hovering” clouds before a storm that threatened their experience. Literally, it is wonderful imagery… but figuratively, it could be her realization that the moment of independence and happiness she was experiencing could not last. In the final chorus, the mood changes again:

Then you put your hand in mine,
And we ran from the rain.
Tentatively kissed goodnight,
And went our separate ways.
And I’ve never truly felt the way that I
Felt that Fourth of July.
Truly I have never felt the same inside,
Like that Fourth of July.
Truly I could never feel the same as I
Felt that Fourth of July.

As they “tentatively” kiss goodbye before going their “separate ways,” it indicates interest in seeing in each other again, but the next few lines seem to indicate that that won’t be a reality. First, she admits she had never felt that way before. Then, she comes to the sad realization that may never get the chance to feel that way again.

Just as America’s “Declaration of Independence” was a statement resulting from a series of influential events and ignited a war for freedom… Mariah Carey’s “Fourth of July” was her own declaration of sorts. She detailed a moment when she truly experienced independence and freedom, while quietly beginning the battle to truly reclaim it. Perhaps, for her, the realization she had on the night described in “Fourth of July,” like America’s own Fourth of July, was the first step in her quest for independence.

The post A Declaration of Independence: Mariah Carey’s “Fourth of July” appeared first on THE 97.

What no one knew then, was that the only “no” this group would hear would be coming from their own mics as they sang this song over the twenty years that followed. On November 11, 1997, LaTavia Roberson, LeToya Luckett, Kelly Rowland, and Beyoncé Knowles became stars. They were just sixteen years old, hailing from Houston, Texas, but they were about to become the biggest girl group in pop music. And it all started with one song.

The year was 1997, and pop music was at the pinnacle of its newfound trend: the mixing of R&B and hip-hop on songs that had pop sensibilities in their catchiness. Destiny’s Child’s “No, No, No” was the perfect storm for this climate. Their team knew what they were doing when they enlisted Wyclef Jean for this single. Columbia Records labelmate Mariah Carey had just completed her transformation from pop princess to Hip-Hop Queen with the release of 1997’s “Honey” in August, and “No, No, No” followed its blueprint to a T.

Throwback sample? Check. Production by a Hip-Hop hitmaker? Check. Feature from said Hip-Hop hitmaker? Check. Tongue-twisting, rhythmic lyrics? Check. Skilled vocal runs and harmonies? Check. Music video with choreography and inexplicably 90s sets? Check. “No, No, No” Part 2 had it all – and performed accordingly, peaking at #3 on the Billboard Hot 100 and #1 on the R&B chart.

The story goes that after recording Part 1, Wyclef Jean was enlisted for the remix. Pressed for time in the studio with Wyclef, Beyoncé improvised and sang the verses in a rapid-fire, staccato type way. Wyclef loved it, and so they recorded the remix in that style. It would go on to become one aspect of Destiny’s Child’s (and Beyoncé’s) signature sound, that went on to be replicated by their peers, too. For this contribution, however, Beyoncé didn’t receive any sort of writing or production credit. It was a learning experience for her, from which she learned her worth (she received writing and production credits on the group’s next album).

Part 1 is a subdued slow jam, tailor-made for quiet storm radio. Beyoncé delivered an understated yet beautifully rich and mature vocal performance, perfectly accentuated by the group’s four-part harmonies. In the video, they look even more mature, dressed like grown-ass women, performing in a nightclub. While it’s a nice vibe, Part 2 is clearly the more renowned version, and rightfully so.

On “No, No, No” (both versions), Beyoncé was at the forefront vocally, while Kelly, LeToya, and LaTavia provided prominent background vocals. On other songs, Kelly would get the chance at lead vocals, too. As teenagers, she and Beyoncé sounded quite similar and many casual listeners likely couldn’t differentiate between the two.

It’s hard to believe that the girls were just sixteen at the time of the song’s release. They looked and sounded, lyrically, well beyond their years. Vocally, their skills were far more advanced than one would expect from a sixteen-year-old.

In being well beyond their years, “No, No, No” also introduced us to Destiny’s Child – thematically. “No, No, No” was assertive and empowering. It put the power in the woman’s hands. In a landscape of hyper-masculine R&B, Hip-Hop, and Pop that objectified women, here Destiny’s Child was challenging a weak man who won’t, well, man up. Such themes would go on to become a trend throughout their music, aligning them with the girl-power movement.

Upon their debut, most probably considered Destiny’s Child’s competition to be that of SWV, 702, Escape, Total, Blaque, Allure, Brownstone, etc. as well as their inspirations who maybe could become competition: EnVogue and TLC. They likely were not expected to crossover. Based on the content, sound, and success of their debut set that assessment would have been accurate. However, in 1997, another girl group also debuted in the US who would go on to become Destiny’s Child’s biggest rival: the Spice Girls. All that would change two years later, in 1999.

Wyclef predicted it best, “Went from a dream, to a young Supremes…” It all began in 1997, with “No, No, No” …and we’ve been saying “yes, yas, YASSS” ever since.

The post How “No, No, No” introduced us to Destiny’s Child appeared first on THE 97.

Just over a decade prior, in 1986, Janet Jackson released what most think of to be her debut album, Control. Although it was actually her third, it was her first as an adult and, not to mention, was a personal, artistic and commercial breakthrough for her. As the title suggests, she was in control. Three years later, she dropped the socially conscious Rhythm Nation 1814 which perfectly encapsulated the time period of the turn of the decade in both sound and lyrical content. She followed that iconic, record-breaking album with the rebirth that was janet. – largely attributed as her sexual-awakening.

These three albums provided a progression and allowed Janet to blossom into the fearless artist she had become. The Velvet Rope was the culmination of this transformation; the full fruition of a a pioneering pop star turned groundbreaking visionary. The fact of the matter is, Janet Jackson is an icon and a legend, and The Velvet Rope, for all that it is, cemented her status as such. Here’s why:

1. The Sankofa

Janet chose the symbol of the Sankofa to represent The Velvet Rope because, to paraphrase, it means that you must learn from your past to move forward – and that is what the album is all about. In the interlude “Sad,” she says, “there’s nothing more depressing than having everything and still feeling sad; you must learn to water your spiritual garden.”  This, more or less, is what she was doing with this album. Filtering through her past experiences, accepting her depression, and working through it. This symbol became a symbol of hope for fans with similar experiences to cling to. For this reason, you’ll find it tattooed on not only Janet’s wrist, but the wrist of many of her biggest fans.

2. The Impact.

The Velvet Rope was probably one of the most personal albums ever released by a pop star of Janet’s magnitude, at the time, rivaled by the liked of fellow 1997-release, Mariah Carey’s Butterfly. It has inspired countless pop stars since to delve deeper within, introspectively sharing the most personal details of their lives and experiences. Not only that, but sonically, the album’s groundbreaking sounds, samples and genre-mixing created a blueprint for other artists, from Destiny’s Child’s Beyoncé and Kelly Rowland, to P!nk and Britney Spears, to Rihanna and Katy Perry, to follow. Similarly, when looking at visuals and concert tours by any of these artists who cite Janet as an inspiration, her impact is quite blatant.

3. It is the Pinnacle.

Some may disagree, but for many reasons, The Velvet Rope is clearly Janet’s artistic peak. With the help of Jimmy Jam and Terry Lewis, Janet crafted a masterpiece. Whether its your favorite album is of course a matter of opinion, but there is no denying that the depth and poetic quality of its lyrics, the innovative nature of its unique sonic landscape, the sheer bravery of the topics she tackled, and just the way she brought it all together into a cohesive and beautifully produced piece of work make it hard to argue that, from a creative and artistic standpoint, The Velvet Rope is the pinnacle of Janet Jackson’s catalogue.

4. The Visuals

From the photoshoots, to the videos, to the tour, and just her public appearances during the era, The Velvet Rope is iconic for Janet’s daring visuals. Janet challenged her own norm and dressed and styled herself in ways that stood out and were uniquely The Velvet Rope. If you see any photo of her from 1997-1998, you will unquestionably know that it was from then and not another period of her career. The red hair color. Not only that, but the music videos are some of the best works in her career, inspiring future artists – as mentioned earlier.

5. The Theme

Introduced with the introductory interlude, “Twisted Elegance,” and the title track “Velvet Rope,” the theme is quite simple: “It’s my belief, that we all have the need to feel special; and it’s this need that can bring out the best in us, yet the worst in us. This need created the velvet rope.” A metaphor for that place deep inside where we protect our innermost thoughts and feelings, The Velvet Rope, as an album, is Janet letting us beyond the rope, into her sacred thoughts.

6. The Mirror

The album is as if Janet is holding up a mirror to herself and singing herself through self-conducted therapy. No better example of that is “You,” a song in which she is in fact singing to herself, taking accountability for wrongs she’s done to herself to cause her own pain. At first it seems as though she’s talking to someone else, since its in second person, but in the end the mirror point-of-view is revealed when she spells out the word “conscience” – backwards.

7. The Vibe

The album’s first single “Got ‘Til It’s Gone” contains a Joni Mitchell sample and a Q-Tip feature. If this doesn’t represent how expertly Janet crossed and mixes genres on this album, then I don’t know what does. While often overlooked, as it was overshadowed by second single “Together Again,” the song is quintessential mood music and, overall, a much better representation of the set. Not to mention, the Q-Tip rap is iconic AF.

8. The Sensual Similes

On “My Need,” Janet takes us through a series of sensual similes to show just how much she needs whoever she’s singing to. Despite lines like “I just want you inside” and “I feel so tight,” “My Need” still manages to be the tamest of the album’s sensual songs.

9. The Bop

“Go Deep” is the album’s resident bop – the party anthem. Perhaps my favorite thing about the song is its music video. I always wanted to have a house party like the one Janet concocts in the “Go Deep” video – complete with the overflowing washing machine and being throw into a pool with kiddie toys.

10. The Free Xone

On “Free Xone,” Janet narrates a short but poignant story dealing with homosexuality and acceptance. She encourages us all to live in the “Free Xone,” in which there is one rule: no rules, and one love. Sonically, it echoes a dance club mix in its lack of structure, minimal amount of lyrics, and different sonic movements throughout.

11.  The Anthem 

“Together Again” is the unmistakable anthem track off of The Velvet Rope; it is, on the surface, an anthem of rejoice and love for those loved ones who have passed away. However, for Janet, it is an anthem for a friend she lost to AIDS, and she helped further the fight against the disease, donating a portion of the single’s worldwide proceeds to HIV/AIDS research.

12. The Embrace of Technology

Janet has always been a pioneering artist. On The Velvet Rope, she embraced the then-upcoming internet fad by recording the song “Empty,” which is about an online relationship. She explores the emotional aspects of this new form of interpersonal connection, all the while showing how it’s really not that much different from your traditional in person relationship, in the way that we grow to expect and anticipate those romantic interactions.

13. The Conversation Starter

Probably the album’s most heavy track, “What About” is a story of domestic abuse. It begins, like most relationships with or without domestic abuse, seemingly peaceful and romantic before erupting into a rage of pent up anger and no-holds-barred questioning, “what about…?” The song was and is a powerful statement, fighting the stigma of domestic abuse that undoubtedly helped to start some necessary conversations about it.

14. The Piano Ballad

When you think of Janet Jackson, you probably don’t think of piano ballads. With “Every Time,” Janet tackles yet another sweeping piano ballad in the vein of “Again,” though a little more subtle. It is a beautiful and vulnerable track, that showcases her honest emotions, fears, and underrated, yet gorgeous, vocals.

15. The Threesome?

What seemed like an innocent Rod Stewart cover turned into a perhaps an admission of Janet’s sexual openness with two simple lines. First, at the start of the song, Janet says, “this is just between me, and you, and you.” Then, later, Janet sings, “Cause I love you, girl…” decidedly not changing the pronoun, but then later on doing so and saying “boy,” which left listeners begging to know if the two “yous” at the start were speaking to a male and female threesome. Such an admission would make Janet one of the first pop stars to have such a blatantly queer song, adding to the list of reasons why she is such a gay icon.

16. The Lonely.

“I Get Lonely” is such classic Janet. She effortlessly glides over the jazzy beat to create one of R&B’s greatest songs – ever. What can honestly be said? Just listen to it. It is pure greatness. The song. The video. It is e-v-e-r-y-t-h-i-n-g.

17. The S&M.

On “Rope Burn,” Janet takes the sensual up a notch to pure sexual. It’s “1 AM,” she declares, before launching into an S&M laden track about how she’ll use her velvet rope in a whole new way. Any song that starts with the phrase “my lips hurt” is bound to be amazing.

18. The Uninhibitedness.

I mean, when a song is called “Anything” – and it’s about sex – this much is clear: she let go of all her inhibitions on this track. It’s perfect baby making music that pushed the boundaries of what was okay for a woman to say in a song – without shoving it down your throat with some overwrought sex book. What Janet did and does has class to it.

19. The Inspirational Moment

The album comes full circle from its title track on “Special,” with Janet watering her spiritual garden and inspiring others to do the same. The message is simple but effective: “we’re all born with specialness inside of us.” Here, she is embracing that – and encourages the listener to do so too.

20. The Pride

On the album’s hidden track “Can’t Be Stopped,” Janet celebrates being Black, encouraging other African Americans to do the same. “You were born with blood of Kings and Queens and can’t be stopped.” Throughout the albums visuals, the African influence is clear — and on this track, she makes it clear that she is celebrating her heritage. Also: the Sankofa symbol is from the Adinkra tribe in West Africa.

Listen to Janet Jackson’s The Velvet Rope

The post 20 Reasons Janet Jackson’s ‘The Velvet Rope’ is a Masterpiece appeared first on THE 97.

In September 1997, Mariah Carey released Butterfly, her self-described favorite and best album. Among her adoring fans, the #Lambily, it is widely considered the fan-favorite and best album as well, though some do differ in opinion. Still, Butterfly remains a sorely underrated classic in the grander scheme of things. You won’t find Butterfly on most “best albums of all time” lists by music’s most revered and respected publications. Butterfly was not lauded by critics, nor was it showered with Grammy’s. Sure, it received good reviews and praise, but the album is not anywhere near as respected as it should be among other albums by pop stars. It is an injustice.

Butterfly is music’s most underrated album because of this lack of respect. The album contains quite possibly the most poetically beautiful lyrics of any album released by her peers, with vocals equal or arguably better than anyone with the pipes to rival her. Musically, the production is flawless, the sound is subtly innovative, and boasts some groundbreaking collaborations both behind the scenes and with its guest features. The content of the album makes it one of the most personal and honest albums ever recorded. It is by far Mariah’s best work, and Mariah is by far the most successful and talented female singer-songwriter-producer. That alone should catapult Butterfly to the Top 5 or at least Top 10 of every “best albums” list. Below, I’ve outlined 20 reasons why Mariah Carey’s Butterfly music’s most underrated album.

1. The unrivaled introspectiveness

Butterfly is by far Mariah Carey’s most personal album. Free from the control of her looming ex-husband, Mariah was finally able to make an album where she could be 100% true to herself. On Butterfly, she examined her life experiences, both past and present, in songs that sound as though they’re pages from her diary; “Breakdown,” “Close My Eyes,” “Outside” and the title track, for example.

2. The unabashed honesty

With introspection comes honesty, and on Butterfly, Mariah did not hold back. “Breakdown” is probably one of the most honest songs ever recorded about heartbreak. “My All” and “Babydoll” are painfully frank representations of the word “longing,” while “Outside” and “Close My Eyes” don’t hold back in assessing the adversities in her past.

3. The gut-wrenching emotion

Introspection and honesty are the perfect recipe for a gut-wrenching emotional response. Through both her words and her vocals, Mariah delivers some of the most emotional moments of her career. The ad-libs during the heartbreaking climax “Breakdown,” or the powerful promises of “Whenever You Call” will tug on your heart strings for sure.

4. The meaningful metaphor

As an album title, Butterfly is a metaphor for Mariah’s breaking out of the cocoon to be her true self. However, the masterful use of metaphor doesn’t cease there. Throughout the albums lyrics, she weaves in complex, thought-provoking metaphors. The title track creates an allegory through its use of extended metaphor. Within that, she includes a poignant metaphor, singing “wild horses run unbridled or their spirit dies.” Then of course, there’s the lead single “Honey,” which some believe is a metaphor for something very naughty…

5. The timeless nostalgia

Several tracks on Butterfly have a genuine, nostalgic air that made them feel timeless upon their release in 1997. “Fourth of July” and “The Roof” find Mariah recanting past experiences, longing for a replay. No one else delivers a nostalgic moment quite like Mariah. Alas, over the last 20 years, all of the album’s twelve tracks have become irreplaceable pieces of 90s nostalgia.

6. The subtle sensuality

Never before had a Mariah Carey album been so sensual, yet, Butterfly is still subtle in its sensuality. The sexual innuendo “Honey” is cleverly hidden by wordplay, while songs like “My All,” “Babydoll,” and “The Roof” express a sensual yearning for love and affection in a very intimate way. Never raunchy, Butterfly is a beautiful soundtrack for love-making on a romantic evening.

7. The Mariah Carey vocals

It wouldn’t be a Mariah Carey album without the Mariah Carey vocals. Yes, “Mariah Carey” is an adjective; a very specific one. Her versatile vocal abilities are unparalleled. Not only are her technical abilities on display on this album, but perhaps more significant are the many colors and textures of her voice that she showcases on Butterfly. They’re all unmistakably Mariah Carey yet so diverse in delivery. Mariah creates moods and provides outer-body experiences with those vocals. She will send you straight to your feels with the way she delivers a particular lyric. She takes songs to places only she can for their climaxes. On Butterfly, the most notable examples of this are the bridges of “Outside” and its title track. Her voice soars and will leave you on the floor.

8. The iconic visuals

Without question, Butterfly was Mariah Carey’s visual peak. From the album cover, to the full photoshoot, to her hair and ensemble style choices, and most importantly, the music videos… everything was on point. The free-flowing, golden brown, caramel drizzled hair and the controversial skin-bearing ensembles forever changed the image of Mariah Carey. Buttefly‘s videos were innovative, creative, artistic and thought provoking. Whether it be “Honey” where art seemed to imitate life, the theatrical “Butterfly,” or the painting-come-to-life “My All,” with Butterfly MC delivered visually.

9. The relatable themes

Mariah covers a lot of ground on Butterfly. Running through the album’s 12 tracks, in one word each: Infatuation, growth, yearning, reminiscing, young love, unrequited love, lust, adversity, devotion, liberation, heartbreak, and otherness. All of these are easily relatable, making Butterfly not only a fan-favorite, but a classic.

10. The superb samples

Being the hip-hop artist that she is, Mariah is a big fan of the sample. A lot of music we listen to has an element of sampling within it. From Tupac and Eminem to One Direction, inspiration has been taken from previous artists to create something new. With the use of vocal packs, it is becoming even more possible to sample vocals for an artists’ new track. On Butterfly, only two tracks utilize a sample, but both are superbly done. On “Honey,” she utilized two classic hip-hop samples, The World Famous Supreme Team’s “Hey DJ” and The Treacherous Three’s “The Body Rock.” Meanwhile, on “The Roof,” she sampled a then-recent hit by Mobb Deep, “Shook Ones Part 1.” The way she flipped these samples into completely different new songs while still keeping that hip-hop realness is unreal.

11. The incorporation of Hip-Hop

With the samples, Mariah effortlessly incorporated hip-hop elements into her music on Butterfly; more than ever before. In contrast 1995’s Daydream found most of her hip-hop influences regulated to the remix versions of songs. With Butterfly, she had a bit more freedom. Not only were there the samples, but Mariah even enlisted Bone Thugs-n-Harmony to guest on “Breakdown,” their first collaboration with a singer of Mariah’s stature. It was a big deal for both artists.

12. The inventive Prince cover

Mariah flipped Prince’s “The Beautiful Ones” from an energized rock-and-roll tinged electric ballad into a slower, more subdued yet equally emotional ballad. Not only that, but she turned Prince’s classic from a solo number into a duet with R&B group Dru Hill. Once again, Mariah found herself trading lines and holding her own vocally, alongside an entire group, cascading through her range effortlessly.

13. The thesaurus-opening vocabulary

While listening to Butterfly, you might need to pull out your thesaurus because Mariah Carey’s vocabulary is college level. The album’s twelve tracks are littered with SAT words that’ll leave you with an improved vocabulary by the time you’re done. Unlike most, she actually knows how to use the words properly, too. Here’s a sample of some of those words:

blatant, elusive, abruptly, unbridled, ambiguous, emblazoned, envision, apprehension, splendor, flourish, succumb, resounding, fervid, strewn, entwined, ominously, tentatively, unyielding, nonchalant, guise, wayward, dissipate, inherently.

14. The masterful poetic writing

Part of being a poet is using beautiful language in your writing, and her vocabulary skills alone prove that. However, throughout the album’s lyrics she also uses an array of poetic devices and figurative language that enhance the songs both lyrically and musically. The beautiful lyrics to a song like “Close My Eyes,” on which she sings, “orangey clouds roll by, they burn into your image and you’re still alive,” show not only her rhyme-making skills, but just how beautiful she makes language sound.

15. The style-making rap-singing

In the late 90s, as R&B and Hip-Hop became more and more mainstream in Pop music, singers began displaying a bit of a hip-hop, rap-style singing. Most would credit this trend to the rappers, however, Mariah Carey was one of the first release such rhythmic, rhyme-riddled recordings. The chorus of “Breakdown” is one of the best examples of this. Nearly every other word rhymes, and she emulates Bone Thugs’ signature flow effortlessly.

16. The innovative remixes

Mariah has a penchant for remixes, and the Butterfly era delivered some of her best. The lead single “Honey” had a So So Def remix featuring Da Brat as well as a re-recorded dance mix. For the hip-hop remix of “Honey,” she sampled a different part of the same “Hey DJ” song used in the original to create a whole new track. The club mix, on the other hand, is a vocal tour de force. The title track too had a re-recorded dance mix that really stands alone as its own song. “My All,” like “Honey,” had a So So Def remix and a dance mix. Its hip-hop remix was the first of many to come mash-up remixes by Mariah, where she samples and covers portions of an old song and mixes it with her new song that she is remixing. Meanwhile, “The Roof” was remixed featuring Mobb Deep, and “Breakdown” had a “Mo’ Thugs” version as well.

17. The ingenious adlibs

Certainly, its easy to rave about Mariah’s ad-libs from a vocal standpoint. However, equally impressive is the way she will riff and add new lyrics to a song that were clearly freestyled in the vocal booth. For example, on “Babydoll,” amidst layers of backgrounds at the end, she sings, “still laying up in bed, it’s 3:27, my body’s longing, so why ain’t you calling?” Not only does it flow and rhyme, but continues to add to the theme. Usually, an artist will just repeat the lyrics, sung differently – not Mariah.

18. The captivating storytelling

The nostalgic pair of “The Roof” and “Fourth of July” are amazing examples of Mariah’s profoundly captivating storytelling skills. She details these elaborate memories with vivid details and imagery, that it’s almost like listening to a short story. One could probably take either of these songs and work them into a full stage production for Broadway. That’s how well done they are. She gives you characters, a plot and imagery to bring these sensual, nostalgic stories to life.

19. The poignant outsider’s anthem

“Outside” deserves its own mention because, for Mariah’s biracial, LGBTQ or any fans who feel like the “other,” it is an anthem. The powerful song offers solace for anyone who felt similarly to Mariah growing up, and is the reason for the beautiful bond she has with her fans.

20. The lingering, liberating impact

Butterfly forever changed Mariah’s career and sound due to her newfound freedom. It also helped to change the sound and landscape of R&B and Pop, inspiring other Pop/R&B female artists to work with hip-hop artists. Not only that, but it opened the door for Pop artists, particularly females, to be a bit more introspective in their work.

Want more? Here are 10 more articles we’ve penned about Butterfly over the years:

“Butterfly,” the song, and the album overall:
Butterfly, Fly Away: Mariah Carey’s first emancipation

The debut of “Honey”
Breaking Out of the Cocoon: A look back at the debut of Mariah Carey’s “Honey”

The “Honey” remixes:
The Many Forms of Metamorphosis: A review of Mariah Carey’s “Honey” remixes

The “Honey” and “Butterfly” videos:
Emancipating Visuals: Mariah breaks free with “Butterfly” and “Honey”

“Breakdown,” “Close My Eyes,” and “Outside”:
The Butterfly Effect: Mariah discovers The Art of Letting Go

“The Roof,” “My All,” and “Fourth of July”:
Reliving the Splendor: Mariah’s nostalgic storytelling on Butterfly

The “My All” and “The Roof” videos:
Liberating Venus: Mariah’s sensuality awakens with “My All” and “The Roof”

“My All,” as a #1:
“I’m thinking of”… Mariah Carey’s 13th #1: “My All”

“Babydoll,” “Whenever You Call” and “The Beautiful Ones”:
I Wanna Be Your Babydoll: The longings of a Butterfly

The Lyrics = The Feels
18 lyrics from Mariah Carey’s ‘Butterfly’ that’ll put you in your feelings

The post Mariah Carey’s ‘Butterfly’ is Music’s Most Underrated Album appeared first on THE 97.

In 1997, Mary J. Blige was on top of the world professionally. Her sophomore album, 1994’s My Life was a smash. Mary was at the forefront of the hip hop-soul revolution in music, garnering her the undisputed title “Queen of Hip Hop Soul”. She changed course with 1997’s Share My World, drifting musically towards contemporary R&B. The results still hold up today as amazing. Andrew & Mario highlight some of the album’s top tracks. Allow us to take you back…

Puff, Puff, Pass

After two successful albums helmed by Puff Daddy, Mary and Puff drifted apart. Puff left Mary’s label Uptown Records to start his Bad Boy Records. Soon after Puff signed Faith Evans, who he modeled visually and sonically after Mary. She enlisted the help of Trackmasters, who co-produced her hit “Be Happy” from My Life. Clearly they knew the direction to help further develop Mary’s sound. So did both Jimmy Jam & Terry Lewis and Rodney “Darkchild” Jerkins, who make their first appearances on a Mary album here. Jam & Lewis and Darkchild would go on to help produce some of Mary’s biggest hits including “No More Drama” and “Enough Cryin'”.

While 1994’s My Life explored some of the darkest parts of Mary’s soul, Share My World takes a slightly different approach. There are still those dark, soulful, heartbroken moments. However, Mary seems more hopeful, especially on tracks like “Everything”, “Our Love”, and “Love Is All We Need”. Overall, clocking in at 17 tracks, Mary’s Share My World is a masterful progression in Mary’s catalog.

I Can Love You

One of the album’s standout tracks is the opener, “I Can Love You”. Over a sample of Lil’ Kim’s “Queen Bitch” Mary declares that she can love her man better than the woman. With added production by Trackmasters to transform the sample into an R&B track, Mary shines. The song climaxes when Lil’ Kim herself makes an appearance.

The Queen Bee proclaims “If I told you once, I told you twice, QB, throw the booty, like a groupie for mo’ ice”. Kim builds on the premise of the song, listing all the ways she’s down for her man (she happens to be talking about The Notorious BIG). “Under pressure? I ride for ya, die for ya, ruger by the thigh for ya, right hand high for ya”. Kim asserts that she’s ride or die, just like on her debut album Hard Core. The song is a classic amongst Mary’s catalog, and a notable moment in Mary & Kim’s friendship. We were in the building when two finally performed the song together for the very first time in 2015:

Round And Round

The Trackmasters also produced this piano-based thumping hip hop soul heartbreak song. Like “I Can Love You”, “Round And Round” also masterfully samples a recent rap song,  Jay-Z’s 1996 “D’Evils”. Mary laments her mood swings that are the result of a man who’s untrue. It’s one of her catchiest songs and it still feels fresh as if it came out yesterday.

Everything

“Everything” is a soulful and romantic mid-tempo. A Jimmy Jam and Terry Lewis production, it is based on obvious samples of “You Are Everything” by The Stylistics and James Brown’s “The Payback.” It was the second top 5 R&B hit from the album (not to mention it’s also arguably one of her signature hits to R&B fans). The music video, shot by Hype Williams, is perhaps one of Mary’s most recognizable visuals to date. The So So Def remix by Jermaine Dupri featured new vocals from Mary and turned the song into a hip hop soul jam.

Seven Days

One of the album’s premiere ballads.  Heightened by the guitar talents of George Benson, Mary is stuck in a dilemma. She has a man who’s friendship inadvertently escalated to a physical relationship. She recounts each day in the week as the relationship escalated. The chorus begins on Monday when he was a friend, and things seem normal until the turning point of Thursday when “things weren’t the same”. The chorus ends concludes with Sunday, when the relationship gets physical. Now what is she going to do?

Love Is All We Need

The lead single off the album was assisted by Nas. Jimmy Jam and Terry Lewis used a beat based off a sample of Rick James’ “Moonlight.” With its more joyful theme and melodic structure, this song was a stark contrast with Mary’s earlier work, especially her 1994 sophomore album. The universal lyrics and Mary’s soulful and raw vocal approach made the song a surefire hit, despite it never getting a commercial release from the label. A remix with Foxy Brown, sampling Diana Ross’ “Do You Know Where You’re Going To?” and bearing the unmistakable Trackmaster fingerprints, also made the rounds at radio.

Share My World

Of course the album’s title cut is another standout cut. Over smooth Rodney Jerkins production, Mary sings “share my world, don’t you leave.” Though it sounds like a love song, she’s actually pleading with her man to stay and remain a part of her world. She even promoted the song on The Jamie Foxx Show, and sang the song with Jamie. Mary shared her world and said not to leave, and here we are awaiting the 11th album since Share My World.

Stream Mary J. Blige’s Share My World:

The post Mary J. Blige’s “Share My World”: Mary’s Next Step at 20 appeared first on THE 97.

February 11, 1997.

Before she told ya to call “Tyrone,” before she was the “Bag Lady,” before she got up from her “Window Seat” and showed her whole ass, Erykah Badu introduced herself to the world with Baduizm 20 years ago today. For that, the world should be forever grateful.

Baduizm in Context

Let’s put this iconic moment into context, shall we? It was the mid-90s and R&B was flourishing as a genre, surpassing the typical sounds of Pop radio to become the most prominent and successful genre on the airwaves. With that said, it naturally became more radio-friendly and commercial viable (read: white-people-friendly) and, as Hip-Hop rose to new commercial heights, cross-pollination began between the two  genres to birth what we know today as contemporary R&B.

Baduizm Birthed a New Genre

In the midst of this genre evolution, three young, new artists emerged from the quiet storm to engineer a new sound. These pioneers were D’Angelo, with his Brown Sugar (1995), Maxwell, with his Urban Hang Suite (1996), and Erykah Badu, with her Baduizm. Over the course of three years, this trio helped found a new genre: Neo-Soul.

Rightfully so, Ms. Badu became, essentially, the First Lady of Neo-Soul. Her melding of R&B, Soul, Jazz and Hip-Hop inspirations with her raw, honest lyricism and uniquely emotive vocals indeed defined the new genre. Not only that, but Badu did something her male counterparts did not: she did not make an album about love. Yes, there are a few love songs, but the lyrical content of Baduizm goes beyond; it goes deeper. Erykah Badu made a name for herself by being unabashedly honest and thought-provoking. Prior to Baduizm, this was not necessarily a defining quality of the genre… but Erykah made it so. And, she made a classic album in the process.

Baduizm has Classic Feels

Have you ever listened to a new album and it automatically clicks something inside of you, and it just feels right? It sounds warm and familiar, like it’s an old favorite? Similar to meeting a person for the first time but feeling like you’ve known them all your life, a good album can have that very same effect. Often, it’s because said album does a great job of reviving old sounds. (Most recently, I experienced this with Bruno Mars’ 24k Magic, because he ingeniously mixed various R&B trends into one album.)

If you’ve never listened to Baduizm, you might have that feeling when you turn it on for the first time. I did. A few years ago, I had that very experience with the album. I bought the album on vinyl, set the needle, hit play, and felt right at home with this phenomenal album. Granted, I already knew songs like “On & On” and “Next Lifetime,” but something about the album felt fresh, yet familiar. The reason for that is simple. Nearly every Neo-Soul album to follow Baduizm has likely been inspired by it.

Baduizm is Inspiring

I love Badu, but my favorite Neo-Soul artist, and one of my favorite singers in general, is Jill Scott. Aside from the common connection in that they both worked with The Roots in the beginning of their careers, Scott’s early work was clearly inspired, heavily, by Baduizm. The spoken word, the conversational vocal delivery, deep lyrical content, the organic, warm, soulful, jazzy inspirations and the swag of a Hip-Hop artist that is present in both of their work are clearly from the church of Baduizm. So, let’s talk about some of the church’s most revered hymns, shall we?

“On & On”

The first single off the album, and Ms. Badu’s breakout song, was “On & On,” a puzzling, spiritual track. I’m still not quite sure I fully understand what the song is about, and I spent a considerable amount of time pouring over its Genius annotations. Likely, though, most listeners didn’t get it either… yet we still jammed to it. The melody is irresistible, and Badu flows effortlessly over the organic, sparsely produced beat. Even if you don’t understand she’s actually talking about, it’s almost impossible not to bop and sing along. Former beau André 3000 of Outkast affectionally called her “Erykah ‘On & On’ Badu,”

“Appletree”

My personal favorite off the album is the next song in the tracklisting: “Appletree.” Coincidentally enough, the message of the song carries an extended metaphor that alludes to infamous tree of knowledge from the Bible story of Adam and Eve, informing us that she is, in fact, full of a vast amount of complex knowledge. “Appletree” finds Badu showcasing her innate ability to flawlessly bounce her melodic voice atop a beat, more than earning the Billie Holliday comparisons she has received throughout her career. You could strip “Appletree” of it’s instrumental, and it would STILL bop. Erykah has an uncanny ability to seemingly scat the rhythm of a drum with her words, melodies and voice. “Appletree” is the perfect example of her skill.

“Next Lifetime”

“Next Lifetime” is one of those unabashedly honest and subsequently uber-relatable tracks on Baduizm. Here, Badu laments about meeting a man she could fall for… except for one pesky problem, she’s “already someone’s girl.” It’s that classic tale of the one that got away, but with a unique, Neo-Soul twist. “Next Lifetime” is a classic that helped introduce us to an Erykah Badu who was not afraid to keep it real. The song has a slinky bedroom knocking beat that recalls the Isley Brothers, as she croons with a sensual pain she feels as a result of her dilemma. It’s introspection at its finest.

“4 Leaf Clover”

Perhaps the catchiest track on the album is “4 Leaf Clover,” a dramatic sounding mid-tempo that begins with a beautifully arranged introduction before the beat drops and the groove kicks in. Its a feel good track where Erykah takes a more traditional approach to create a quintessential R&B track that fit right in with the times. It’s a bit reminiscent of Amel Larrieux and her work with Groove Theory on their 1995 album that spawned the hit “Tell Me.” Badu differentiates herself, of course, throwing in some scats and sass.

Baduizm as a “Rim Shot”

The album starts and ends with “Rim Shot,” on which Badu makes innuendos about a drummer hitting his stick against her drum, right in the center, that puts her on the cloud. An interesting choice of topic to start and close the album with, yet a fitting one for Badu, who we would come to find out simply doesn’t give a fuck about what anyone thinks. Regardless, the song is a bop and creates an instant sing-a-long moment.

Perhaps, though, Badu’s “Rim Shot” metaphor is a fitting one for speaking of her iconic Baduizm album in retrospect. Upon its introduction in 1997, the album was a “rim shot;” she struck R&B at its core and affected a release of warmth and all the best feels.

Twenty years later, we look back at Baduizm and can definitively say that it was a rim shot with lasting effects. We continue to feel its vibrations as its influence pulsates throughout today’s Neo-Soul landscape. Erykah Badu made a rim shot twenty years ago, and she called it Baduizm. It is now looked on fondly as the Bible of Neo-Soul. As always, you should spin the scripture at your leisure throughout the year, but today, on the Festival of Baduizm, it’s well deserving of a celebratory listen.

On & on, her cypher keeps moving like a rolling stone…

The post The Bible of Neo-Soul: Erykah Badu’s ‘Baduizm’ appeared first on THE 97.

“Not Tonight,” featured on Kim’s 1996 debut Hard Core, was already all-sorts of female liberation. Kim was happy to rhyme about the guys who wanted her to get down and dirty but wouldn’t return the favor. This was lyrical sexual empowerment. While some artists defend their tepid lyrics with “if a man said this, you wouldn’t have a problem,” Kim dove head first into a male-dominated category and made sure we knew what she wanted – and how she wanted it.

Fast forward to the summer of ’97 and “Not Tonight” gets a revamp for its single release. The Ladies Night Remix featured guest verses from Da Brat, Missy Elliott, Angie Martinez and Lisa Left Eye Lopes. Now, to put this into a bit of context, these were all hot female rappers, but at the same time up-and-comers. Lil’ Kim’s album had been released the year before, Missy had a slew of guest appearances and production credentials but was still gearing up to release her solo effort, Da Brat was two albums deep into her career, Angie Martinez had only appeared on one guest verse and Left Eye was achieving mainstream success as part of TLC. The beauty of the “Ladies Night Remix” is that is shows the versatility of rap, with each woman bringing their signature style and flow to the song. Each artist was at a different point in their career but when they came together there was a sense of unity. This continued on in the music video.

The summer-themed visual featured all the ladies together, riding jet skis, speed boats, and performing together in a safari themed setting. There was also a host of cameos from the likes of Queen Latifah, SWV and Mary J. Blige. It was truly a star-studded affair and can still be appreciated today where feature videos tend to literally be (video) phoned in.
The song was a success, charting at #6 on the Billboard Hot 100 and being featured on the Nothing to Lose Soundtrack. It’s no surprise given the talent on the track, as well as Missy Elliott’s Kool and The Gang inspired chorus:

“cause this is ladies night, and our rhymes is tight,
yeah this is ladies night, oh what a night,
cause this is ladies night, and the feelings right
yes this is ladies night, oh what a night”.

The song has stood the test of time, being greeted with roars of applause when Lil’ Kim, Da Brat and Missy got together to perform the song at the 2014 Soul Train Awards.

It’s been 19 years since the “Ladies Night Remix” was released. With all the potential among today’s female rappers, it would be interesting to hear and see how they would come together on a single track. Sure, Nicki Minaj delivered arguably her best verse of Kanye West’s “Monster,” but imagine that with a host of other female rappers! “Ladies Night” is exactly what a collaboration should be: a mix of styles coming together on a singular track with the music video to match. So this summer, get the cocktails together, add this jam to your playlist and Get. Your. Life.

The post Throwback Jam: it’s the “Ladies Night” anniversary! appeared first on THE 97.

1. “Honey, I can’t describe… how good it feels inside,” from “Honey”

On the surface, this line could be interpreted as Mariah feeling so much glee inside when she’s with her beau, but I think we all know the true, double entendré Mariah intended here. It’ll certainly leave you feeling a different sort of h-word-and-bothered. Oop!

2. “I truly feel your heart will lead you back to me when you’re ready to land,” from “Butterfly”

This heartbreaking moment of hopeful letting go epitomizes the feeling of being in love when it just isn’t mutual.

3. “I’m thinking of you… in my sleepless solitude tonight,” from “My All”

If you weren’t already feeling lonely, abandoned and perhaps sexually frustrated, well… here comes Mariah to really make it sink in on “My All.”

4. “I only wanted you to taste my sadness as you kissed me in the dark,” from “The Roof”

Surely, this lyric will spark up feelings of sadness, lust and nostalgia for a love long lost. The metaphor of tasting sadness is a damn powerful one.

5. “Then you put your hand in mine, and we wandered away; I was trembling inside, but I wanted to stay,” from “Fourth of July”

Recalling intimate moments from an innocent and seemingly youthful romance, Mariah instills the feeling of that new-love-butterflies with this lyric.

6. “You called yesterday to basically say that you care for me but that you’re just not in love,” from “Breakdown”

A self-explanatorily heartbreaking, send-you-right-through-it lyric to open up one of the most honest and saddest songs ever written. This list could’ve been made up entirely of lyrics from “Breakdown.”

7. “Zoning out thinking about you and me between the sheets, I wanna get intimate but you’re not within my reach” from “Babydoll”

For sure, this song and some wine will have you picking up your phone and making a not-so-innocent phone call or text that you’ll probably regret the next day. Or not

8. “I left the worst unsaid, let it all dissipate, and I try to forget,” from “Close My Eyes”

We all have “skeletons” in our closets, and bad experiences we try to bury, and forget. Hearing Mariah deal with the effects of hers so openly, your mind is bound to wander and think of your own issues, too. Feels.

9. “Love, wandered inside; Stronger than you, stronger than I; And now, that it has begun, we cannot turn back, we can only turn into one,” from “Whenever You Call”

For everyone who’s happily in love with their soulmate and things of that gooey, romantic nature, this one is for you. Wonderful, weepy wedding song material. For the single ladies, this is another one that will have you in your feels because you feel #foreveralone.

10. “Always somewhat out of place everywhere; ambiguous, without a sense of belonging to touch,” from “Outside”

Anyone who has ever felt like an “outsider” for any reason will connect with this line, and the song overall.

11. “I can’t pretend these tears aren’t overflowing steadily; I can’t prevent this hurt from almost overtaking me,” from “Butterfly”

Here, she perfectly describes the pain one feels when you have to let go of someone you love, who just doesn’t love you back. You can hear the pain in her voice and it’ll break your heart all over again.

12. “Baby can you feel me? Imagining I’m looking in your eyes; I can see you clearly, vividly emblazoned in my mind,” from “My All”

This line drips with passionate lust and longing, sure to enhance any momentary feelings of desire.

13. “Every time I feel the need I envision you caressing me, and go back in time…” from “The Roof”

Yet another moment of lustful longing, Mariah will make you think about that damn ex lover you thought you forgot. #InYourFeelings

14. “Delicately lay entwined, in an intimate daze,” from “Fourth of July”

If this lyric doesn’t make you want to cuddle and gaze at bae, I don’t know what will.

15. “How do I feel?! What do you mean, you’ve gotta know I’m suffering,” from “Breakdown”

The delivery here is equally crucial to what she actually says: this ad-lib from “Breakdown” perfectly exudes her feeling of suffering in light of recent rejection.

16. “Do you care for me, beyond idolization?” from “Babydoll”

This lyric is a bit more Mariah-specific than most, but she is questioning if her love interest really cares for her, or just idolizes her – perhaps for her celebrity, or maybe just her beauty.

17. “Still I feel like a child as I look at the moon, maybe I grew up a little too soon,” from “Close My Eyes”

For anyone whose childhood was cut short due to unfortunate circumstances, this line certainly hits home.

18. “Standing alone, blind and unguided, into a world divided, you’re thrown, where you’re never quite the same,” from “Outside”

This lyric has certainly struck a cord through the years for many of Mariah’s fans; specifically those of mixed race, and her allegiance of gay fans.

The post 18 lyrics from Mariah Carey’s ‘Butterfly’ that’ll put you in your feelings appeared first on THE 97.

In the meantime, we’ll be doing a contest, giving away one copy of Butterfly to a random winner. We imagine that if you’re voting in the contest, you own the album, and encourage you to win a copy to give to someone who has never heard Butterfly before. It makes a great gift! Fill out the form below to enter. Unfortunately, we can only ship within the United States, but please feel free to vote, still. The deadline for the contest is Wednesday, September 23rd, 2015.

1. “Butterfly,” the song, and the album overall:
   Butterfly, Fly Away: Mariah Carey’s first emancipation
2. The debut of “Honey”:
   Breaking Out of the Cocoon: A look back at the debut of Mariah Carey’s “Honey”
3. The “Honey” remixes:
   The Many Forms of Metamorphosis: A review of Mariah Carey’s “Honey” remixes
4. The “Honey” and “Butterfly” videos:
   Emancipating Visuals: Mariah breaks free with “Butterfly” and “Honey”
5. “Breakdown,” “Close My Eyes,” and “Outside”:
   The Butterfly Effect: Mariah discovers The Art of Letting Go
6. “The Roof,” “My All,” and “Fourth of July”:
   Reliving the Splendor: Mariah’s nostalgic storytelling on Butterfly
7. The “My All” and “The Roof” videos:
   Liberating Venus: Mariah’s sensuality awakens with “My All” and “The Roof”
8. “My All,” as a #1:
   “I’m thinking of”… Mariah Carey’s 13th #1: “My All”
9. “Babydoll,” “Whenever You Call” and “The Beautiful Ones”:
   I Wanna Be Your Babydoll: The longings of a Butterfly

The post Today, celebrate the 18th Anniversary of Mariah Carey’s ‘Butterfly’ album! appeared first on THE 97.

As an established artist, Aaliyah lent her vocals to help sing the chorus of their debut single “Up Jumps Da Boogie,” alongside a feature from fellow frequent collaborator and crew member Missy Elliott.  Released as the first single from their album Welcome to Our World, in July of 1997, it managed to peak at number 12 on the Billboard Hot 100 and number 58 on the year end chart.

“Boogie” was released at the perfect time, just after Timbaland and Missy Elliott’s production success with Aaliyah’s sophomore album One In A Million was building her as a premiere R&B act; and likely marked the beginning of the superstar career which translated to success for Tim and Mag.  Certainly setting the tone for Hip-Hop and R&B music of the time, their entire crew received success during that era of music.  Timbaland and Magoo, Aaliyah, Missy Elliott, Ginuwine and to a lesser extent, success for Playa and Nicole Wray as well.  For Timbaland this success wasn’t ending anytime soon either.  In the mid 00’s he achieved another whirlwind of success with popular crossover acts Justin Timberlake and Nelly Furtado to name a few.  While on the other hand Magoo hasn’t really remained active within popular music outside of the Timbaland and Magoo success which seemed to become a pastime memory post releasing their throwback infused single “Cop That Shit,” released in 2003.

The post For The Nostalgia: “Up Jumps Da Boogie” by Timbaland & Magoo appeared first on THE 97.