In all its cheery glory, that 4-minute-long song has unequivocally become the starting point for season’s greetings. But unlike Carey’s coveted holiday anthem, a darker side to the most wonderful time of the year looms over the heads of many who are in desperate need of some yuletide spirit. A side that is, in fact, the complete opposite of the star’s jubilant number-one hit, and best voiced by another cut from the Mariah Carey Christmas catalog, “Miss You Most (At Christmas Time).”

“Miss You Most” serves as one of the three tracks written and performed by the songstress from her first holiday album, Merry Christmas. A stark contrast from the jingling grandeur that decorates “All I Want For Christmas Is You” from start to finish, “Miss You Most” is a lot less merry and bright, and a lot more teary and dim. As Carey’s voice soars over a quiet, piano-driven backdrop, the song’s agonizing lyrics are a painful reminder of how the season of merriment could also be the most devastating when there’s no one to share it with. “Every other season / Comes along and I’m alright / But then I miss you most at Christmas time,” she sings. Be it a lost love, a former friend, or even death, “Miss You Most” carries the painful sentiments to these kinds of adversities that so many are forced to face in the midst of gift giving and tree trimming – regardless of how much of it they try to avoid. In a 2019 interview, Carey opened up about the song during a Q&A session in support of the 25^th anniversary of Merry Christmas. “People tell me it’s a really, brutally sad song,” she said. “Some people get depressed around the holidays, and I totally understand that, that’s why there has to be something for everyone.”

Despite not joining the ranks of becoming yet another holiday classic, Mariah Carey fans have continuously shown “Miss You Most” some much needed love with each passing Christmas. And, even though we’ve never gotten a full live performance of the song by the chanteuse herself (except for a tiny excerpt in 2018), the Christmas ballad has begun to trickle into musical memory in recent years, having been covered by singer-songwriter JoJo and even comedian Billy Eichner on “The Late Late Show” last year. But this isn’t enough for Carey’s army of #lambs, who await and pray that each coming holiday season will be the year that “Miss You Most” earns a spot in any of the star’s seasonal projects. Now, that would really make all of our wishes come true.

The post “Miss You Most,” Mariah Carey’s Searing Seasonal Offering appeared first on THE 97.

It would be more fitting to call Snowflakes a holiday album, or rather, a seasonal/winter album because, except a few Christmas references here and there, it’s more of a typical Toni Braxton with some holiday input.

The album starts with the dramatic bells and strings intro of “Holiday Celebrate,” a midtempo R&B number co-written by Toni’s sister Tamar (who also sings the background vocals prominently) about celebrating the holidays with a loved one and all the joys that come with it.

Miss Toni then pairs up with Shaggy for a holiday escape to Jamaica on the notes of the tropical-sounding “Christmas in Jamaica.” The guitar-laced bop bears the signature sensual Toni Braxton vocals, which set the tone for the album throughout.

“Snowflakes of Love” brings us back to more arctic temperatures and its romantic Jazz vibe recalling the great cinematic Christmas classics from the 1940s such as “Winter Wonderland.” The Jazz continues with a brilliant rendition of Vince Guaraldi’s “Christmas Time Is Here” from A Charlie Brown Christmas.

By the middle of the album we’re back into Toni’s territory with “Santa Please…” a sensual plead for a romantic getaway and “This Time Next Year” which enlists Babyface on a heartbreaking ballad with the flawless vocals we’re used to hearing on Miss Braxton’s bombastic ballads.

After a cozy rendition of “The Christmas Song,” the album closes with a new orchestral version of “Snowflakes of Love” and a Trackmasters remix of “Christmas in Jamaica” to spice things up even further with a harder beat.

Overall Snowflakes is a coherent album if you like the sultry and lush vibes Toni is known to offer. The original songs are strong, but they lack the Christmas mood and are more of Toni Braxton songs with a hint of cheer. Still a recommended listen!

Listen to Snowflakes by Toni Braxton

The post Snowflakes: A Very Toni Braxton Christmas appeared first on THE 97.

Actually, the group’s foray into Christmas music began in 2000 with the recording of two original tracks. The group lent their talents to a second curated Christmas album by Rosie O’Donnell (yes, you read that right; what a time, chyle) via the song “Spread a Little Love on Christmas Day.” On a special edition rerelease of their sophomore album The Writing’s on the Wall, they also included what would go on to be the title track and lead single of their Christmas album, “8 Days of Christmas.” Beyoncé co-wrote and co-produced both original songs. Though they may sound a bit dated (especially with the Rosie shout out on “Spread a Little Love”), they are both undeniable bops, and the basis upon which the idea for the a Destiny’s Child Christmas album was born.

It’s no surprise that the girls’ label wanted them to do a Christmas album: they were signed to Columbia Records, which was also home to Celine Dion and Mariah Carey (until 2001), whose Christmas albums were monster successes in the 90s. Like Mariah and Celine when they released theirs, Destiny’s Child were at their peak stardom, so what better time to make their mark on the holiday music landscape? Beyoncé, Kelly and Michelle somehow found time in their busy schedules to record covers of a handful of Christmas standards, but also craft a few new tracks, as well.

I briefly chatted with Michelle, not for a formal interview, but just to see if she had any anecdotes to share about her memories attached to 8 Days of Christmas. She recalled that, “It was a very busy time! We were touring and having to find an hour here and there to record!” That certainly tracks; as a fan then and now, I remember being surprised when they announced the Christmas album. My reaction was like, “when did y’all have time to do this?!” Nevertheless, I was perched at home on Halloween at 11 years old, not trick-or-treating, but bopping to Christmas music instead. Anyway, Michelle also hilariously recounted that there might have been some “sinus infections and tons of congestion on a few of the songs!” If so, we would have never known, because the vocals on 8 Days of Christmas are one of its highlights.

Upon its release, reviewers weren’t exactly kind to the trio’s take on Christmas. In fact, I remember writing a scathing response to one Tracy E. Hopkins (I still remember her name to this day) for the way she dragged the album in her Rolling Stone review. I was eleven years old at the time, so surely that was not my finest nor most mature piece of writing. Twenty years later, I can understand why critics didn’t quite get the album. In 2001, most Christmas music adhered to the notion that it should be able fit in with the classics. While that remains true today for the most part (especially if you want your own perennial hit like Mariah Carey’s), things have evolved a bit. Dare I say, Destiny’s Child made it cool to make Christmas music that sounds more modern. They took their early 2000s sound, tossed in some sleigh bells and tidings of comfort and joy, and said “Merry Christmas, from Destiny’s Chiiiild!” The ladies harnessed their “girl power” and channeled it into a festive moment that, 20 years later, still has fans saying, “yes it feels like Christmas!”. Plus, the new girls since have definitely taken note: from Ariana Grande’s Christmas and Chill, to JoJo’s December Baby, it’s clear there is a market for more modern sounding Christmas music. It’s time to embrace the modern Christmas bop, people; give Phil Spector’s wall of sound a rest.

Twenty years have passed since Destiny’s Child released 8 Days of Christmas, and while the album might not sound like what most consider to be “classic” or “timeless” Christmas music, it gave us several gems and holds a special place in my heart. Surely, any Destiny’s Child fan must feel the same. In celebration of the album, I have ranked all 14 tracks: the 12 from the original release, plus its two 2005 bonus tracks.

8 Days of Christmas, Ranked

14. Little Drummer Boy (featuring Solange)

“Little Drummer Boy” is one Christmas song that I just do not like, and not even my favorite artist Destiny’s Child can save it here. Still, it was cute to hear a young Solange again join the trio for this Christmas moment. Four years later, she would pen an original Christmas song for the girls. More on that one further up the list.

13. Platinum Bells

A spin on the carol “Silver Bells,” DC3’s “Platinum Bells” is more like an interlude on the album. It’s cute and fun, but clocking in at 90 seconds in length, it doesn’t quite stack up to the rest of the songs.

12. Silent Night (Beyoncé’s solo)

I might get dragged for this, but I hope the Hive can find it in their hearts to chill this holiday season. I was in the BeyHive before there was a Hive, so let’s not okay?! “Silent Night” has never been my favorite Christmas song… I’ve always found it kind of boring, to be frank. Yes, it’s a beautiful song and I can respect it as such, and most talented vocalists tackle it gorgeously, but I can never really get into it. Maybe once per season, maybe during a live performance, but, otherwise… I usually skip it. Beyoncé serves up some vocal acrobatics on her version, as expected, though at times it does feel like a bit too much.

11. Rudolph the Red Nosed Reindeer

The ladies’ rendition of “Rudolph” ranks this low not necessarily because I don’t love their version, but I just don’t really adore this song in particular. Of course, it’s a classic and conjures up childhood memories, but it’s still a children’s song at its core, so I listen to it sparingly. That being said, they certainly sound great here. Their version was not released in 2001, though. It sounds as though it was recorded then (I asked Michelle, she couldn’t remember), but it wasn’t released until 2005. They promoted it with an adorable claymation video that acted as a cross promotion for the 2005 DVD rerelease of the classic 1964 animation film. The song was also added to 8 Days of Christmas as a bonus track for its 2005 rerelease on DualDisc (surely the kids have NO clue what that is!).

10. White Christmas

Though it might be of the shortest Christmas carols, “White Christmas” is also one of the most beloved. Destiny’s Child takes it on similar to how they later collaborated on Michelle’s “Say Yes” – they each sang the carol through once, putting their individual vocal spins on it on each go-round, and layering it up with their signature harmonies. They sound great doing so, of course, but it sort of leaves us begging for more. This might’ve been another moment to go the “medley” route, perhaps mixing it in with “Winter Wonderland” or “Let It Snow,” to make the moment last a bit longer.

9. Do You Hear What I Hear? (Kelly’s solo)

For her solo track, Kelly chose to take on a religious song as well. Modeled after Whitney Houston’s definitive version of the classic, Kelly’s rendition of “Do You Heart What I Hear?” is simply beautiful. Kelly has made it well known that she has always been a huge Whitney fan, so it is no surprise that she was heavily inspired by Ms. Houston for this cover. Had she differentiated her version a bit more, it might rank higher here. Still, don’t let its placement here take away from the fact that the Kelly’s version is well worth a listen and placement on your Christmas playlists!

8. This Christmas

The trio takes on Donny Hathaway’s classic “This Christmas,” giving it an early 2000s modern twist musically, with a vocal arrangement that is mostly faithful to the original. The fact that it’s a trio singing the song, each taking their own verse, helps to differentiate the Destiny’s Child version from the many other covers (most good, some bad) that exist of this classic.

7. A “DC” Christmas Medley

As the title suggests, this is a medley of Christmas classics, with a Destiny’s Child spin. The trio sleighs through bits of several holiday favorites: “Jingle Bells,” “Frosty the Snowman,” “Holly Jolly Christmas,” “Deck the Halls,” and “Here Comes Santa Claus,” with “Santa Claus Is Comin’ to Town” functioning as the song’s hook. It’s a clever way to quickly bop through these short little classics, and works especially well as a group moment, which each of the ladies leading a carol of their own.

6. Home For the Holidays

“Home From the Holidays” is a song recorded for a Walmart ad campaign in 2005, and was included on a Walmart-exclusive edition of the album. Co-written and co-produced by Beyoncé’s sister Solange, “Home For the Holidays” is yet another Christmas jam by the trio. Truly, its beat slaps, and is good enough to be a non-Christmas song. However, its lyrics about going “home for the holidays” to celebrate with family make it a bop fit for the holidays. If it was a little more Christmas-y, musically, it’d likely rank higher on my list. Still, I love the song, and I am so glad that it was finally uploaded to streaming this year!

5. O’ Holy Night (Michelle’s solo)

Of course, Michelle Williams reminds us of the true reason for the season with her solo number, a gorgeous cover of the classic hymn, “O’ Holy Night.” Produced by her brother Erron Williams, Michelle’s rendition is a fresh, soothing reimagining of the heavenly hymn. The song was actually the first time fans ever got to hear Michelle solo track. She masterfully glides through the lead vocals, and the layered background vocals. Michelle’s version remains one of my favorite takes on “O’ Holy Night.”

4. 8 Days of Christmas

With its simple refrain of “Doesn’t it feel like Christmas? Yes, it feels like Christmas!” this song is one that never fails to conjure up the Christmas spirit within. Sure, it’s one of those love songs with a little Christmas cheer sprinkled on top. Some might call the song “superficial” because its verses are about all of the gifts “mybabygaytame” but let’s remember, the song is clearly inspired by “12 Days of Christmas,” which is just the same. Ultimately, the song is a fun, festive romp that is the perfect combination of early 2000s pop and cheer-full Christmas vibes. Also, you’ve gotta love the Tina Knowles Lawson designed Sexy Santa outfits they wore during the promo tour.

3. Spread a Little Love on Christmas Day

“It’s beautiful outside and the wind is whistling; I look outside my window as I see my neighbor’s Christmas tree; the snow is falling, my spirit’s feeling happy, I’m feeling even better ’cause I got my family next to me,” Beyoncé sings to open Destiny’s Child’s first-ever Christmas song. It’s a sentiment that is repeated in countless Christmas songs, and one that never fails to lift spirits. On “Spread a Little Love on Christmas Day,” the girls express gratitude for their blessings and, as the title suggests, spread love to all of their listeners, no matter where in the world they may be. Musically, the song sounds like it could’ve fit in on Survivor, but lyrically, there’s no mistaking that the song is filled with Christmas cheer. For that reason, it has always been one of my favorites.

2. Opera of the Bells

Certainly the best cover on the album, Destiny’s Child’s version of “Carol of the Bells” is aptly retitled “Opera of the Bells.” This a cappella moment finds the trio united in harmony, and impeccably so. As with most versions of this classic carol, DC3’s version is equally haunting and powerful. It’d truly be something to hear Beyoncé, Michelle and Kelly perform this one today; their voices have only improved over the years, and no doubt they would slay this, effortlessly. The last time they performed it live was in 2004.

1. Winter Paradise

This has always been my favorite song on the album. It’s simple, yet perfectly heartwarming. Co-penned and co-produced by Beyoncé, this DC3 original is underrated and deserving of its flowers. I wish it had been a single so that it could have received more shine. Lyrically, it hits all the Christmas points and serves up all the Christmas warm and fuzzies. I also love the vocal arrangements here; Michelle, Kelly and Beyoncé all have equal opportunities to shine.

Listen to Destiny’s Child’s 8 Days of Christmas

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When Monica released her debut album in 1995, she was the last of the Teen R&B star trinity to release music. Both Aaliyah and Brandy had come out with their albums, Age Ain’t Nothing But a Number and Brandy respectively, in 1994. Monica was introduced to the public in 1995, the youngest of the three, with her debut album Miss Thang.

Producer Dallas Austin was captivated by the vocal ability and stage presence of a 12 year old Monica Denise Arnold, after seeing her perform a rendition of Whitney Houston’s “Greatest Love of All” at a singing contest. She was so talented that Dallas Austin offered her a record deal on his own label Rowdy Records (an imprint on Arista Records, her idol Whitney’s home). Austin became her mentor and the executive producer of Miss Thang.

Miss Thang was designed to showcase Monica’s personality and voice, which was very mature for her age, but also to give her street cred and a youthful, energetic vibe. Unlike Brandy and Aaliyah’s albums, Miss Thang has a more accentuated Hip-Hop flavour that has always set her apart from her peers.

MISS THANG = MISS HIT-SINGLES

The first single released was the peppy and sparse “Don’t Take It Personal (Just One of Dem Days),” which became acclaimed and quickly topped the R&B chart. The two samples used for the track are part of its great appeal. The song is, in fact, built on samples of “Bring the Noise” by Public Enemy and “Backseat of My Jeep” by LL Cool J, both of which are Hip-Hop classics.

“Before You Walk out of My Life” followed the success of the first single by also topping the R&B chart and giving Monica the distinction of being the youngest act to ever have consecutive #1 hits, at age fourteen. The R&B ballad was written by Andrea Martin and originally intended for Toni Braxton’s Secrets album, but it was given to Monica instead.

The third single “Like This and Like That” follows the same template as the lead, with Austin using a sample of The Sugarhill Gang’s “Spoonin’ Rap” to create the backbone of the track. It was released as a double A-side with “Before You Walk out of My Life” but received its own music video for promotion.

The final single was another ballad, written and produced by Babyface collaborator Daryl Simmons, who had worked on Toni Braxton’s debut album. “Why I Love You So Much” features the signture Babyface sound, but with a more prominent drumbeat and a passionate and emotive vocal from Monica, who sings it with such passion and confidence to make you forget her age. Whitney Houston’s influence is very audible in her singing, the powerful belting and the inflections.

THE STORY OF MISS THANG

To celebrate the 25th anniversary of the album, Monica teased the release of a documentary commemorating her entrance into the industry, entitled “The Story of Miss Thang.”

In the end, Miss Thang was a huge success. All four singles it yielded landed in the Top 10 of the Billboard Hot 100, and two grabbed the pole position of the Billboard R&B chart. Those hits weren’t flash in the pans, either. Monica’s debut hits continue to endure to this day as R&B classics, and opened the door for many more hits to come. Miss Thang certainly lived up to her name.

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In the business of hit-making, there’s no monkeying around! With the release of their fourth studio album Monkey Business, The Black Eyed Peas proved they had lasting power. “Turn up the radio, blast your stereo right!” is exactly what will.i.am, Fergie, apl.de.ap and Taboo said on “Pump It” and had fans doing on this day in 2005 when their infectious jams were in heavy rotation.

Phunking on Top

Setting off the second Fergie-Peas era was the slightly comedic/funky hip pop/dance hit “Don’t Phunk With My Heart,” sometimes censored as “Don’t Mess With My Heart” on radio. Still, even the play on words couldn’t stall the Peas from reaching the Billboard Hot 100’s Top 5 and going on to win them their second Grammy Award.

True to Peas form they brought in heavy hitter collaborators, including Godfather of Soul James Brown (“They Don’t Want Music”). Critically acclaimed Hip Hop and R&B talents Q-Tip, Talib Kweli, CeeLo, and John Legend joined them on “Like That.” Plus they ruined with “Where Is The Love?” crooner Justin Timberlake for the Timbaland produced “My Style.”

The Rise of Fergie

Though if 2005’s Monkey Business LP proved anything for The Black Eyed Peas it was that Stacy “Fergie” Ferguson could truly lead a BEP song and stand as a solo star in her own right. The Fergie led track “My Humps” went on to peak at number 3 on the Hot 100 and win The Black Eyed Peas their third Grammy in as many years. Prematurely ending the chart run of second single “Don’t Lie” when it began getting unsolicited radio airplay, the cheeky was the album’s third single. Originally intended for The Pussycat Dolls, will.i.am clearly recognized the song’s hit potential and kept it; effectively making Fergie a star and giving Nicole’s group (and himself) a top 20 hit with “Beep.”

It’s no surprise that less than a year later Fergie ended up releasing her first solo single “London Bridge.” Her debut solo album The Dutchess went on to be certified 5X Platinum and yield three number one hits, including the aforementioned lead single. Fergie’s status as a solo star only elevated status of the The Black Eyed Peas.

Sonic Showcases

Aside from catapulting Fergie to solo superstar status, The Black Eyed Peas 4th body of work continued to showcase how genreless the Peas could be and how vast their influences were. “Ba Bump” showcases the groups fond love for their core base, Hip-Hop. apl.de.ap shows love to the Philippines and his life growing up during the dance floor ready “Bebot” (Filipino slang for babe). The band’s unifying tone returns for “Union” featuring Sting, which interpolates the jazzy reggae vibe of his 1988 single “Englishman In New York.”

Pumped Up Peas

“The energy never died,” track after track, as the infectious dance hit “Pump It” capped off the album’s singles, ending the era on a high just as “Let’s Get It Started” did for Elephunk. It was the perfect end to make listeners crave more BEP jams!

The hits Monkey Business produced perfectly positioned The Black Eyed Peas to dominate the music world when they returned. Even though fans had to wait until 2009 for new music, the band toured during the years in-between to build anticipation.

Its the steady climb from Elephunk to Monkey Business to what may be peak Peas during The E.N.D. that allowed the most recognized incarnation of the band to perform all over the world, break records, win three more Grammy’s and even headline the 2011 Super Bowl XLV Halftime Show. Not bad for Monkey Business!

Listen to Monkey Business by The Black Eyed Peas

The post In 2005 The Black Eyed Peas ruled with ‘Monkey Business’ appeared first on THE 97.

“Mine Again”

The first track to follow the triple-whammy of singles is track 4, “Mine Again.” Opening with a live keyboard played by the song’s co-writer and co-producer, James Poyser of The Roots, there’s a vintage smokiness in the keyboard’s bass, and a sweet ringing in the treble. It yields to Mariah, swirling with melancholy as the words “I remember when you used to be mine… way back when” seem to tumble out of her mouth. She delivers the poignant verse with unhinged soulfulness, while still maintaining impeccable vocal control. The music halts, and she ruminates on an ascending melody “maybe you could be mine again.” She triumphantly takes flight over the chorus. What ensues is one of many vocally astounding moments throughout The Emancipation of Mimi, but the key change that takes hold later is where she really lets loose. Her vocals are so powerful that when streamed through Spotify/Apple Music they can actually distort when played back through. She’s doing her best Aretha Franklin here, effortlessly. 

“Circles”

“Circles” takes a similar approach in sound. The keyboard once again leads the instrumentation, but instead she’s glossed with a bass that’s more akin to 80’s R&B and a funkier sound which magnifies the sadness and torture she conveys. Her professions of “boy, my world has changed, and I don’t think I can make it without you” intensify with each repeat of the chorus, and reaches a climax as the music drops out and she gets caught up “running around, and running around, and running around” because “nothing’s the same.” 

“I Wish You Knew”

Mariah even serves a faux-live moment during “I Wish You Knew,” which is also very Aretha, but very Diana Ross as well. She speaks to the “audience” about the yearning that’s swirling for this torch she carries. She’s pining away at the idea of love, while singing about how she longs to express her feelings, but her “inferiority complex kicks in” and the words flutter away like a butterfly. Yet her words to describe the experience are poignant and gut-wrenching. They impeccably capture the experience of pining away over someone. Again, her vocal intensity swells to match the overwhelming emotions, culminating in a leap where she reaches into that famed whistle register. 

“Stay the Night”

Huge vocal show-outs are a hallmark of Mimi, but she’s consistently belting on the Kanye West-produced, retro-soul sampled “Stay The Night.” Laced with a loop from Ramsey Lewis’ cover of The Stylistics’ “Betcha By Golly Wow,” Mariah sings in full voice from the opening note as she struggles to decide whether to stay or go. While she does utilize her whisper range, most of “Stay The Night” revolves around Mariah belting. She’s facing some persistent persuasion, and she’s torn. The hook prefaces the repeat of the loop with a few swoops and then Mariah powerfully accentuates the melody at the beginning of the loop. There’s even an unsuspecting key change while Mariah holds a powerful note. The song closes with Mariah rallying “and you keep on keep on keep on.” 

“Your Girl”

“Your Girl” employs a similar sampling technique. Though the shortest cut on Mimi, what it lacks in length it makes up for in power. But unlike “Stay The Night,” on “Your Girl,” Mariah is brazen and emboldened as she pontificates that she’s the hottest thing since sliced bread and she should be your girl. She’s confident as fuck in it, too. She knows she has the juice, and the hook is nothing short of audacious: “I’m gonna make you want to get with me tonight. I’m gonna put those naughty thoughts into your mind. I’m gonna show you clearly I can rock your world. You’re gonna know for sure that I should be your girl.” The Scram Jones-crafted beat allows Mariah to punch each word on the hook, adding a unique and memorable edge to the song. (Above is the recently uncovered original version featuring N.O.R.E. Be sure to check the Mariah-favorite Diplomat Remix featuring Cam’Ron and Juelz Santana)

“When I Feel It”

“When I Feel It” was supposed to be track 13 on the album, but didn’t find its way to listeners’ ears until 2007. The song revolves around a significant sample of The Dynamic Superiors’ “Here Comes That Feeling Again.” Copyright clearance was denied, and the song was forced to be excluded from the final tracklist. It’s unfortunate, because the retro vibe of the song is unmistakably Mimi. It’s got a unique edge though, because the sample is more than just a few seconds looped up. It’s a series of long pieces strung together. Unlike the chopped-up, replayed elements of “Stay The Night” and “Your Girl,” this gives Mariah room to fully embody 70’s R&B diva over a largely untouched retro track. 

“Fly Like a Bird”

Emancipation culminates into a moment of gospel fervor on the closing cut, “Fly Like A Bird.” The same keyboards, bass, and brass that surround Mariah throughout much of the album’s backbone once again unite on “Fly,” helping carry Mariah higher and higher. She starts reserved, mainly using her whisper register, until she starts mixing in her throat voice. By the final chorus, a choir takes over the chorus and Mariah vamps and riffs from low to high all the way to the big finish. If you aren’t saved before “Fly Like A Bird,” you sure are after.

Listen to The Emancipation of Mimi:

The post The Soul of Mariah Carey’s The Emancipation of Mimi appeared first on THE 97.

When I arrived at the recording studio, they collected our phones and essentially put us into quarantine in a holding room of sorts. There we sat, a group of Lambs, waiting with no idea about what was about to happen to us. We chatted, discussing Mariah for at least two hours as we waited to head into the taping.

Finally, it began. They told us they’d bring us up in groups of four, and then go onto the rooftop for some pizza afterwards. So, off we went, group by group. Except the groups never returned back to our waiting room, so as we waited, we still had no idea what was going on. Naturally, I ended up in the last group, and I guess they were tired of filming so they brought us in as a group of 8 and up we went.

We sat altogether on some couches in the recording studio, there alongside Jimmy who was bopping along to the song. I am a super shy person especially with a camera in front of me. I remember feeling so weird about how I must look “reacting” to the song “for the first time,” even though I had already heard it (like, duh!). However, I wanted to please the Queen in our video message for her, so… there I was, hoping she’d appreciate the #moment.

Little did any of us know… but Mariah was HIDING IN THE CLOSET. When the song’s bridge started, out she popped from the recording booth which, unbeknownst to us, was across the room from us. I was completely and utterly shook; mouth agape, hands clapped over my face. I couldn’t believe it! There she was, Mariah Carey, singing live in a recording studio literally inches away from me. Awestruck.

It ended far too quickly; Mariah said her goodbyes and thanked us, and Jimmy’s team whisked us away to the rooftop. There we stood, in collective awe, eating cold pizza, trying to digest what just happened to us. We had no clue, though, that the best was yet to come.

Someone started walking around with a clipboard and NDAs for us to sign, from the Mariah Carey company, and then informed us we’d be going back down into the studio to shoot something else. They said they needed more “audience reactions,” so Mariah would chat with us and they’d film us. Sounds amazing; chatting with Mimi? You don’t have to ask me twice!

So down we went; they set us up around the couches, with Mariah and her background singers (Trey Lorenz and Takeytha Johnson) standing around Big Jim Wright at the piano. In that moment, my existence was forever altered. Mariah proceeded to freestyle the most unbelievable musical moment I have ever experienced live. There, just feet away from me, Mariah showcased to us exactly why she is the Queen. She riffed, she freestyled new lyrics where she forgot them, and she threw some serious shade that was pure comedy. The performance completely embodied every reason why I respect and adore Mariah.

Watching it back now, it still feels surreal. I will be forever grateful for such an unforgettable experience. And, I am so glad that whoever was behind the camera ignored Mariah’s shade (“I see you filming me what the f—“), kept going, and then posted it to YouTube for the world to see.

The post The Improvisation of Mimi: Mariah Carey + Jimmy Fallon = Surprise! appeared first on THE 97.

Pop Princess

Mariah had worked on the album over the spring and summer of 1993, while planning her wedding to Tommy Mottola. The diva and the CEO of Sony Music married on June 5, 1993 in a lavish, star-studded ceremony in New York City and went to live in upstate New York in a multi-million dollar mansion. It seemed like Mariah’s fairytale was complete, happy ending and all.

For a “bridal” album, Music Box isn’t exactly a “happily, desperately in love” record. In fact, similarly to Mariah’s other post-marriage album, Memoirs of an Imperfect Angel, the songs are quite somber. Heavy on the ballads, Music Box‘s tracks reflect on love from a break-up standpoint or long for a love that was or could be. Only the upbeat “Now That I Know” was potentially dedicated to her then-husband.

The Music Box

Musically, the songs contain some of Mariah’s finest melodies. She paired with Walter Afanasieff for most of the album, while she worked with Dave Hall and David Cole and Robert Clivillés of C&C Music Factory for her uptempos. Mariah’s first collaboration with Babyface was also on this album.

It’s Mariah’s ear for melody that makes this album a classic. Let’s face it, if it weren’t for her, most of these songs would be dated and cheesy, but the arrangements (most importantly, the vocal arrangements) elevate them. That is why even if it’s Mariah’s most Pop/Adult Contemporary album, it holds a particular place in her catalog for her fans.

The title track was perhaps her sweetest, most gentle vocal up until to that point. Walter Afanasieff once recalled in an interview that Mariah wanted a specific keyboard sound that was inspired by George Michael’s Faith album for this track. The impeccable use of her softer register conveys the impression that she’s the ballerina spinning atop the music box, singing instead of doing ballet.

The other ballads are more bombastic, but nonetheless nuanced. “Just to Hold You Once Again” and “All I Ever Wanted” start on the low, but reach the heavens on their climax in an explosion of controlled power and resonance.

She also delivered flawless vocals on the album’s uptempo tracks. “I’ve Been Thinking About You” is a vocal bop that’s worthy of repeated plays if only for Mariah’s rich and full instrument being on display. In the same vein, “Now That I Know” sees Mariah effortlessly glide over synths and a joyful thumping beat. Then, of course, there’s the lead single.

Iconic Singles

Four singles were commercially released from the album. “Dreamlover“ led the campaign in July, with its funky beat and breezy melody. The song was built on a sample of “Blind Alley” by The Emotions with a Hammond organ that adds that sweet touch it needs. The music video, filmed in upstate New York features Mariah’s first recognisable look: the jean shorts and flannel.

David Morales also produced Mariah’s first, iconic re-sung dance remix for this song.

That summer Mariah also recorded a special concert at the Proctors Theatre that became a Thanksgiving TV special on NBC.

During the fall Columbia released “Hero” as the second single. The song was originally written for Gloria Estefan, intended for the soundtrack to the movie of the same name. Upon hearing the track, Tommy Mottola convinced her to keep it for herself and it became one of her biggest hits and signature songs. Its uplifting message of hope has resonated with fans worldwide for 25 years, making it an absolute staple in Mariah’s concert setlists. Yet another iconic image came out of the music video: Mariah looked stunning in her black gown and curls singing this song for the audience at Proctors.

The third single was a cover of Badfinger’s 1970 soft rock single “Without You,” later made popular by Harry Nilsson. Mariah has stated that the song was one of her favorites growing up and that is why she decided to record her own version. The poignance of her low register at the beginning of the song and the dramatic production make it one of her greatest performances. The cover is still today Mariah’s biggest international hit and topped the charts in many countries around the world.

The double A-side included on the “Without You” single was “Never Forget You,” written and produced by Mariah and Babyface. The nostalgic ballad has a slight R&B feel to it, even though a soft Country twang can be detected. The lyrics could be interpreted as either being about someone a lover who’s left or a dearly departed one, which allows for different interpretations.

The fourth and final single was the Gospel-infused “Anytime You Need a Friend.” The song is a Maria fan favorite for its soulful nature. The astonishing background vocals resemble a whole gospel choir, but were in reality arranged by Mariah herself and her background vocalists in the studio. The track is also famous for its two remixes: a dance one by C&C and an R&B one that both feature re-sung vocals by Mariah.

Commercial Breakthrough

There’s much to say about Music Box‘s commercial performance, but the one thing that’s worth acknowledging first and foremost is how this album gave Mariah her first break in many markets around the globe. The success of “Without You” helped the album sell an estimated 26 million copies worldwide. Music Box became, and still is today, her most successful album ever in this sense.

In the US it was certified Diamond by the RIAA for shipments of 10 million copies to retailers. “Dreamlover” and “Hero” were both #1 hits at Top 40 radio and on the Billboard Hot 100 (8 and 4 weeks respectively), “Without You” also reached #3 in early 1994 and continued her streak of consecutive top 5 singles. “Dreamlover” still holds the record for the highest debut at Pop radio (#12).

Elusive Bonuses

Even though they’re not included on the album, we cannot refrain from talking about the two B-sides that came from the Music Box sessions. The first is “Do You Think of Me,” a sultry R&B ballad included on the “Dreamlover” single, where Mariah wonders about a lover’s most secret thoughts. Its sound is probably the reason why it was excluded from the original tracklist as it would feel out of place.

The other is the “Hero” B-side, and international bonus track, “Everything Fades Away.” There’s been speculation about its exclusion because it definitely fits the sound of the album. However, the lyrics are a bit too dark for a newlywed and the vocals more subtle than the rest of the songs. It is plausible that Columbia wanted to steer Mariah towards bombastic balladeer territory, so this track would work against this image.

Our Beloved Hero

Mariah’s fans certainly cherish this album for what it meant to her career. “Hero” is the perfect example of why Mariah has always been able to reach a broad audience and touch people’s hearts. She is the hero to so many of us fans because her voice, her lyrics and melodies are the soundtrack to our lives. We are forever grateful to her for all she’s given to us and we anticipate what’s next with trepidation.

Happy Anniversary!

Stream the Music Box album on Spotify:

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When Solange released her sophomore album Sol-Angel and the Hadley St. Dreams in 2008, it was a long time coming. Her first release as an adult, Hadley St. acted as a reintroduciton. Her debut album, 2002’s Solo Star, was released when she was just 16 years old – mere months before her famous sister took the world by storm as a solo star herself. In the nearly six years between her debut and Hadley, Solange experienced a whole lot of life. Meanwhile, her sister went from being a member of an iconic, superstar girl-group, to becoming a legend-in-the-making household name by 2008. So, would Solange be overshadowed, or would she make a name for herself? With Sol-Angel and the Hadley St. Dreams, Solange made the answer to that question quite clear.

The set opens up with an assertive, stage-setting introductory track: “God Given Name.” On it, she begins the song, and the album, by singing, “Get me out of this box, I feel so claustrophobic in here,” and later:

I’m not becoming expectations
I’m not her and never will be
Two girls going in different directions
Traveling towards the same galaxy
Let my starlight shine on its own
No, I’m no sister
I’m just my God given name

Rejecting any expectations put on her as “Beyoncé’s sister,” Solange advises anyone harboring such notions to let it go. She makes her desires clear: she wants to be her own star and shine independent from her sister’s. From the very first track, she acknowledges her differences, that she does not conform:

And I’m sorry that this planet that I’m living on is quizzical
My lyrical ambitions sometimes don’t ring a bell
I’m sorry if my visual don’t line up with my feelings
And my physical exhibit doesn’t represent me well
I’m sorry if I’m curious, delirious and I don’t take life serious
I mirror the life of a millionaire
And I’m sorry if I’m talking shit, but I really do mean well

With this album, Solange established that she simply doesn’t give a fuck about what anyone else thought. Solange had carved her own lane. At just 22 years old, she was the mother of a four year old son; she had been married, and then divorced. She is not the calculated picture of perfection portrayed by her sister. She is different, and there is nothing wrong with that.

Solange’s lyrics and sonic landscape on this album became a clear reflection of that fact. Sol-Angel and the Hadley St. Dreams is not a pop album; it isn’t even an attempt to crossover. On Hadley, Solange explored a variety of sounds, from retro sounding 60s and 70s soul influenced tracks, to more modern, electronic sounds on others. Lyrically, she explores more mature topics, too.

On the album’s third single “T.O.N.Y.” Solange sings about the effects of a one night stand. However, more significant was its music video, in which she ends up getting pregnant from her one night stand. However, to contrast the lyric “I could’ve been in love by now,” she ends the video with an image of her and her son, and it says “now I’m in love.” It was a beautiful moment, and showcased the kind of artist Solange would grow to become: unfiltered, authentic and thought provoking.

On a similar note, “6 O’Clock Blues” is a love song dedicated to her son. On it, she sings that no matter what struggles she faces in life, no matter what negativity is going on in the world, that she’ll be alright because she has the love of her son. It is a touching song, showcasing the powerful bond between a mother and her son.

Another standout cut from the album is the moody “White Picket Dreams,” on which Solange evaluates her relationship with the American Dream. Perhaps about her relationship with her ex-husband, the track is about the disillusionment that her “White Picket Dreams” are still just that: dreams. Meanwhile, on “Would’ve Been the One” and the clever “I Told You So,” she sings of an unfaithful lover who has a penchant for creeping around, perhaps further commentary on her failed marriage.

On “ChampagneChronicNightcap” featuring Lil’ Wayne, Solange further broke down the Mathew Knowles standard of PR-ready perfection. As its title suggests, “Nightcap” is about staying in, drinking champagne, and getting high. While Beyoncé (and Kelly, too) have since run out of fucks to give since firing Mathew as their manager, Solange did it first, and right under his nose; consistently and unabashedly speaking her mind and her truth.

While most of the album sticks to that Motown inspired soul sound, there are a few tracks that veer from that lane, such as “Cosmic Journey” and “This Bird.” Both tracks are electronic and ethereal sounding, yet still soulful. On “This Bird” in particular, Solange embodies her carefree, free-soaring persona in song, singing “Nothing’s gonna slow this bird down.” She unapologetically declares:

I’m not in denial, I’m not suicidal
Not an alcoholic, I’m not out here hoeing
So, just shut the fuck up
This bird’s not slowing down

In the ten years since the album’s release, Solange has grown to become quite a force, with a respected voice in the entertainment industry. However, she was no stranger to speaking her mind. Around the time of the album release, Solange recorded a song called “Fuck the Industry” over the beat to Kanye West’s “Everything I Am.” The song did not appear on the album back then, but rather was part of what Solange called her “I Can’t Get Clearance” mixtape. However, on the 2015 reissue of the album, “Fuck the Industry” became part of the tracklisting.

She opens the track with the same line Kanye did: “I’ll never be picture perfect Beyoncé,” before mentioning a number of other R&B females to contrast how different she is from all of them. At the time, the line “everything I’m not makes me everything I am” was clearly a poignant one for Solange. She goes on to sing, “I’m not apologetic, if you don’t like it’s probably because you don’t get it.” The message was indeed fitting compliment to the message of the album as a whole.

However, that all aside, the album is also a lot of fun. The majority of the songs recall the vibrance and energy of Motown era soul. She even has a song called “Ode to Marvin,” sampling Gaye’s classic “What’s Going On.” The Neptunes-produced lead single “I Decided” samples The Supremes, and is a spirited, danceable romp. Famed Motown producer Lamont Dozier even worked with her on the track “6’Oclock Blues.” On the witty “Valentine’s Day” she evokes a Diana Ross-esque speaking section. Another notable track is the Cee-Lo Green produced second single, “Sandcastle Disco” – an infectious, roller rink ready bop gorgeously delivery by Solange.

Overall, the album is feel good, yet poignant, with clever, introspective lyrics and impeccable production. With it, Solange successfully proved to the world that she is a force to be reckoned with. From the album’s retro sound and mature themes, it is quite clear that Solange is an old soul. That’s no surprise though, as she’s been writing songs professionally since she was a teenager. As well, she did a lot of living and growing between 2002 and 2008, and on Sol-Angel and the Hadley St. Dreams, her “starlight shines on its own,” as she demanded on its opening track. In fact, she was an inspiration for her sister star. On the “Flawless” remix, Beyoncé raps: “My sister told me I should speak my mind” – something she had often shied away from. Solange, on the other hand, has always been fearlessly outspoken. Truly, the album marked the birth of an innovative artist who would go on to become more than just the sister of her famous sibling. Sound familiar?

The post Defining a Voice: Solange and the Hadley St. Dreams appeared first on THE 97.

Born Stefani Joanne Angelina Germanotta, Lady Gaga was once upon a time just a New York-based aspiring singer-songwriter. That is, until she landed a deal with Interscope Records after working on demos with producer Rob Fusari for a couple of years, following a failed deal with Def Jam, who dropped her.

By the summer of 2008, very few people outside of the music industry knew who Lady Gaga was when her record label launched her debut album on August 19, 2008 in Canada without knowing that it would soon go on to become a Pop phenomenon.

Looking back at Lady Gaga’s “The Fame,” her weird fashions and costumes may immediately come to mind, but a lot of what made Lady Gaga who she is today also comes down to the music. She introduced herself on the music scene with one of the strongest Pop albums in a while and she had the whole package: the hits, the mysterious aura, the fascinating personality, and the talent that distinguished all of the great ones that came before her.

The music

Lady Gaga’s “The Fame” is a meticulously crafted record. It’s jam-packed with catchy hooks and strong melodies, even if they are often disguised under layers of electronic production and synths. The lyrics are sleek and clever with just that touch of ambiguity that will make you listen twice just to grasp what she’s actually saying.

The album slowly began to be released around the world as the first single “Just Dance” picked up steam on radio and in the clubs.  Produced by Akon, it is a Dance track about being lost in the music and dancing wasted in the club. What made it click with people was its catchiness, the fact that it’s a fun and light song, but also it being released at the cusp of the Electro-Pop era, of which Gaga became the epitome.

As soon as “Just Dance” reached #1 on the Hot 100, Interscope was ready to hit with the centerpiece of the album, “Poker Face.” This time Gaga showcased her quirky lyrics, built around metaphors and innuendos, but also her vocals and musical skills by opting to perform the song in a stripped, piano-only arrangement that shed light on her as a songwriter and not just an image-driven label puppet.

“Poker Face” was also accompanied by an impactful music video, another aspect that would characterise her future releases and her career as a whole. Lady Gaga basically grew as an artist as more people became aware of her and her “crazy” image and speculation arose around her persona. Her label knew this, she knew this and they took advantage of it, creating one of the most iconic eras ever.

With two #1 hits on the Hot 100, the album quickly started increasing in sales over the course of winter and then spring of 2009, capturing the attention of chart followers for such organic growth at a time when first-week numbers were crucial. The following two singles released, “LoveGame” and “Paparazzi,” solidified the success of the album, reaching #1 at Top 40 radio and respectively #5 and #6 on the Hot 100. The former is another catchy Electro-Pop number about the club scene, while the latter is a rather sultry mid-tempo track about a woman stalking a man to obtain fame and success.

A number of songs on the album deal with the theme of fame as suggested by the title: “Beautiful, Dirty, Rich” is a synthy Pop/Rock song depicting Gaga’s life as a struggling aspiring artist in the Lower East Side; “The Fame” and “Money Honey” are about the correlation between celebrity and materialism and the promiscuity that comes out of fame.

The two “ballads” of the album “Eh Eh (Nothing Else I Can Say)” and “Brown Eyes” draw inspiration from Gwen Stefani‘s brand of synthy 80s-influenced Pop/Rock and they interrupt the flow of Dance uptempos on the tracklist with a nice change of pace.

Visual artist

Starting with the “Paparazzi” music video, Lady Gaga also introduced a new side to her artistry. Directed by Jonas Åkerlund, the video is a short film centered on a murder plot and features numerous movie references and some of Gaga’s trademark costumes, making it the first of a series of elaborate productions that constitute in a way her legacy as a visual artist and reviver of the music video as a form of marketing and music promotion. The iconic performance of “Paparazzi” at the 2009 MTV Video Music Awards, along with the nominations and awards she received, truly felt like the culmination of Lady Gaga’s journey to fame and superstardom.

That was the moment everybody knew this girl was here to stay. In retrospect, it is amazing to see how much hard work must have been put into the creation of what became a phenomenon. In the years since her debut, none of the new girls in the Pop scene has come close to having such an immediate impact on pop culture. And even if Lady Gaga were to be remembered for her costumes and antics, they will always be attached to her biggest and most iconic songs to date. She’s gained her rightful spot in culture, no matter what the detractors may think.

Listen to Lady Gaga’s “The Fame,” or purchase the vinyl

The post How Lady Gaga’s “The Fame” became a landmark for Pop music appeared first on THE 97.