“He Doesn’t Know I’m Alive” from Control (1986)

When most people think of Jackson’s “Control” album, they probably think of sass and feminism. Well, not on this little-known album cut, “He Doesn’t Know I’m Alive.” It’s the worst song on the album, but it’s still a cute showcase of Ms. Jackson’s more vulnerable side. Her high notes are to be appreciated, too. —Vincent Anthony

“Funny How Time Flies (When You’re Having Fun)” from Control (1986)

Janet’s voice exudes a sexiness here that may seem at odds with the message of the previous track “Let’s Wait Awhile,” but if anything it reinforces that song’s message. Time running away makes her want to see her lover again, not rush into things. —Reece Davis

“Lonely” from Rhythm Nation 1814 (1989)

The echoing thunderstorm opening and the Spanish lines “Todos necesitamos / Un amigo en la soledad” set the mood immediately for this anthem about the importance of friendship to battle solitude and isolation. —Mario M.

“Living in A World (They Didn’t Make)” from Rhythm Nation 1814 (1989)

The only disappointing aspect of Janet Jackson’s Rhythm Nation 1814, is the fact that the social themes used on that album are still so painfully relevant. On this track, placed towards the end of the album, Janet mournfully lists all of the present-day issues of the world; all while pointing out that the people most impacted, and influenced by its evils, are the children. A trope we sadly still see today with all of the black and brown children felled in the era of #BlackLivesMatter. —Jordan Listenbee

“Someday Is Tonight” from Rhythm Nation 1814 (1989)

The wicked sister of “Let’s Wait Awhile” from “Control,” “Someday is Tonight” is effectively the answer to that song. Echoing the sensuality only previously shown on “Funny How Time Flies,” Ms. Janet turns it up a notch for this quiet storm serenade. It’s quite an effective transition to the “janet.” era that followed. If you listen to the albums back-to-back (skipping the outro), “Someday is Tonight” would be followed by Jackson proclaiming, “We had the kind of night where morning comes too soon.” —Vincent Anthony

Check out our full “Janet Jackson: The Deep Cuts” playlist here.

The post Deep Cuts From Janet Jackson’s Late 80s Albums appeared first on THE 97.

While it is well known that Janet Jackson had very little artistic input in her first few musical outings, “Love and My Best Friend” is a small highlight on her decent, albeit unfulfilling 1982 self-titled, debut album. This song has a beautiful vocal delivery, and the lyrics and arrangement are reminiscent of her brother Michael Jackson’s 1972 single, “Ben.” It has an air of young innocence that I find endearing, to this very day, and you can’t help but see a spark of a fully realized Janet that was to come to us in just a few short years. —Jordan Listenbee

“All My Love To You” from Dream Street (1984)

This cut, penned by her brother Marlon Jackson, is almost the Jacksons’ sassiest, youngest sister’s way of saying “anything you can do, I can do better.” While it certainly sounds like it could be a reject from The Jacksons’ “Victory” album, young Janet shows that she can hang alongside her more accomplished sibling. Still, it does get rather repetitive and has that dated 80s sound. Perhaps that’s why in the comfort zone where Janet was stifled… her brother was at home. The dutiful sibling role didn’t stick with Janet. She went on to ditch her father and the family sound to take control two years later, forcing even her most famous sibling to take notice. —Vincent Anthony

Check out our full “Janet Jackson: The Deep Cuts” playlist here.

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My Top 7 Artists of 2024

7. Mariah Carey

Mariah is always my #1, and sleighs in at #2 on my Replay list with 7,300 minutes, but since most of those minutes are due to listening to old music, I’ve bumped her down to #7. While of course she did rerelease a remastered version of “Rainbow” with some new remixes and blessed us with the “Portrait” Hopeful Child Remix, it was otherwise a year of Mariah nostalgia for me. I created a podcast and published a print magazine about “Me. I Am Mariah… The Elusive Chanteuse,” which consumed a lot of my Mariah-listening this year. I hope that in 2025, she’ll be my top artist, album, and song due to finally releasing #MC16. Let us pray.

THE 97 ZINE, Issue 1 – “Me. I Am Mariah… The Elusive Chanteuse”

6. Tori Kelly

With her album landing at #2 on my Replay list, it’s only natural that Tori Kelly belongs on this list. I also had the pleasure of having a meet-and-greet moment before seeing her live on her Purple Skies tour. It was amazing to see how much she has grown as a performer. She’s always been great live, but with this new music, her on-stage confidence has been amplified ten-fold. She’s doing choreography, serving diva chic, divine vocals and Y2K realness. Honestly, I was blown away by the artist that I saw blossoming before my eyes, and can’t wait to see what’s next for her.

5. JoJo

JoJo only released three songs this year, but perhaps more importantly, she released her memoir, “Over the Influence.” She’s always been one of my favorite artists, so reading (and listening to) her story was so impactful and made me appreciate her so much more. I also had the fortune to meet and speak with her at her book signing in September, and then watch her join Tori Kelly to perform “Bottomline” at Kelly’s show in October. She capped off the year by releasing two new songs, “Porcelain” and “Too Much to Say,” ahead of her forthcoming EP, “NGL,” expected on January 24. I can’t wait to hear the full EP and see her live on the Too Much to Say tour in March.

4. Usher

Usher is an artist I have loved and admired since 1997. He’s not one of my top-tier faves and I wouldn’t call myself his “stan,” but I love much of his music. Several of his songs are so special to me, and his music was a constant presence throughout my formative years, from 1997 through 2012 when his output began to slow down. Somehow, I had never seen Usher live… but after hearing the rave reviews for his Las Vegas residency, seeing his Tiny Desk concert, and finally his Superbowl performance, I knew I had to see his Past Present Future tour. I immediately secured tickets when they went on sale, and saw him for the first time in September. But… my seats were not ideal, and I was left frustrated by being so far away from a star I had wanted to see for so long. Luckily, the musical gods smiled down upon me: Usher announced a second run of shows at Barclays Center, and I splurged on VIP Pit tickets for his December show. I was front row, standing less than 6 feet away from the icon himself, with only a barricade (and a security guard between us. That experience alone lands him at #4 on my final list, despite him being #10 on my Replay artists list.

3. Barbra Streisand

If Apple Music tracked my vinyl record listening or my Audible account, Barbra Streisand would be much higher on this list. Listening to her 48-hour-long memoir, I learned so much about the legendary Ms. Streisand and wanted to listen to her music more as I heard her speak in such detail about each album. So, while she did not release a new album this year, it was my exploration of her catalog that landed her on my list. The great thing about getting into an artist like Streisand is that most of her work is from the era when vinyls were ubiquitous, making her albums easy to find used, and at an affordable price, usually just a few dollars a piece. My favorite albums of hers (of the ones I’ve spent time with this year – I didn’t listen to them all) are “Stoney End” and “Guilty.”

2. Ariana Grande

Another artist whose catalog I explored this year was Ariana Grande. In December 2023, I had the good fortune (thanks, Michele!) of being third row at Mariah Carey’s Madison Square Garden Christmas show when Grande (and Jennifer Hudson) joined Carey to perform “Oh Santa!” Witnessing Grande’s love and reverence for our mutual fave earned her a soft spot in my heart. Upon the release of “Yes, and?” a few weeks later, that soft spot turned into a fondness. I loved the track, and, to my surprise… so did my fave; Mariah jumped on the remix. So, with the Queen’s co-sign, I ventured headfirst into Grande’s catalog. Not much from her first two albums stuck (which, is probably why I never really took to her earlier) but I fell in love with (most of) her later albums, “Sweetener” and “Thank U, Next,” and had already liked “Positions.” I deeply connected with album tracks like “Fake Smile,” “Breathin'” and “Needy” (which ended up on my Replay songs list) along with singles like “God is a Woman” and “No Tears Left to Cry” that I had never paid much mind to, along with ones I had always liked (“Thank U Next,” “7 Rings,” and “Breakup With Your Girlfriend…”). Then, “Eternal Sunshine” dropped, cementing my respect for Grande. This week, I finally saw Wicked, and I have even more appreciation and admiration for her. She went above and beyond my expectations of her as an actress and as a singer. While it took some time, it was worth the wait. I am proud to say Ariana Grande has earned her place on my favorite artists list.

1. Beyoncé

I mean… what more can I say? Trouncing everyone else on my Replay list with over 12,000 minutes of listens, is Beyoncé. With 6,000 minutes for “Cowboy Carter” alone and the other 6,000 likely attributed to 2022’s “Renaissance,” there is no artist whose music was more ever-present throughout my year than Beyoncé’s. She was my top artist in February, April, and November. The majority of my Top 30 songs belong to her. It’s been 25 years since I became a fan, and she continues to inspire, motivate, and enthrall me with her work. After her phenomenal Christmas Day “Beyoncé Bowl” performance and 1.14.25 teaser, I remain on the edge of my seat, eagerly anticipating “Act 3” or whatever else she has in store for 2025.

My Top 7 Albums of 2024

7. Trouble In Paradise, by Chloe

It was like fate that Chloe dropped her beach-perfect, tropical paradise vibe of an album the same day I arrived for a long weekend in Florida this August. The album was in constant rotation that weekend, and the entire month, landing it at #5 on my Replay Top Albums list. While it’s an enjoyable listen, I brought it down a few spots on my final ranking because I didn’t find myself going back to it too often once summer ended.

6. Short n’ Sweet, by Sabrina Carpenter

In the pop sphere, this year belonged to Sabrina Carpenter. The breakout, it-girl of the year, she went from little-known to ubiquitous with her hit singles “Espresso,” “Please Please Please,” and “Taste.” The entire album is solidly sticky ‘n’ sweet pop confection, showcasing Carpenter’s knack for satirically sassy songwriting and mesmerizing melodies. Hopefully, she will continue to grow artistically beyond the rather typical sexually liberated trope that works so well for formerly innocent pop stars such as herself. I’m not sure how it only ended up at #11 on my Replay list – perhaps because I had the “Espresso” single saved in my library and not the album version.

5. HIT ME HARD AND SOFT, by Billie Eilish

While “Happier than Ever” was a solid album, it landed closer on the “sophomore slump” side of things than anything, from a commercial and critical perspective. With “HIT ME HARD AND SOFT,” Eilish showed real growth both personally and artistically. Opening up about her sexuality on songs like “Lunch,” letting her voice shine on “Birds of a Feature,” and taking it to the club on “L’Amour De Ma Vie,” she offered a variety of sounds and vibes on this set that proved she is more than just a “Bad Guy” …or sad girl. While it was at #8 on my Replay list, that’s gotta be because the extended dance mix of “L’Amour” is a separate single. Also, probably because the album is not a “listen all the time” sort of vibe.

4. Access All Areas, by FLO

When I was 9 years old, I chose my team in the Great War of Y2K boy bands and girl groups: Destiny’s Child. I have to say, it turned out to be a pretty great choice, all things considered. Since 1999, many girl groups have come and gone (admittedly, I might like men but I have little interest in boy bands), but none have grabbed or impressed me like FLO has. Most of the noteworthy groups have come from competition shows (Fifth Harmony) or manufactured settings (Danity Kane), lacking the sisterhood or necessary support systems to thrive in the way Destiny’s Child did. That is, until now. While “Access All Areas” may lack any standout hit, it makes up for that by being a strong showcase of their undeniable talent and tight harmony — both in and out of the studio. Despite being released in mid-November, it managed to fly to #4 on my Replay list, equaling my final reflective ranking.

3. TORI. by Tori Kelly

I’ve loved Tori Kelly since her debut album, but I always wished she’d step out of the acoustic, gospel girlie lane and take more of an artistic risk. With a new label and new team, she’s finally done that on her first self-titled set, TORI. Well aware that most of her fanbase is, like her, Millenial, she leaned in heavily on the R&B/Pop nostalgia that has inspired her to deliver an album that is perfect for her target audience. Steeped in the Y2K sound, she managed to celebrate it without the music sounding reductive or dated. She remains true to herself throughout it all, making its eponymous title perfect for it. In its final iteration, she added “a lil more” for us nostalgia heads, with tracks that recall Y2K icons like Usher (“u”) and a duet with one, her sister in song, JoJo, on “Bottomline.” The deluxe edition lands at #2 on my Replay ranking; and while I am not sure if the original version is included in that, it wouldn’t have ended up surpassing my #1. I’ve only bumped it down to #3 because…

2. eternal sunshine, by Ariana Grande

There is no way that Ariana Grande’s “eternal sunshine” is my #6 album of the year (according to the Replay list). With the amount of times that I know I’ve listened to it, it just can’t be true. Perhaps some sort of error due to the different versions of the album she released, I don’t know, but I know that, in my heart, it’s second only to one. I’ll speak about it more in the Artists section below, but this album has made me respect Grande as an artist in a way that I hadn’t before. From the introspective nature of the lyrics, to its crisp production and vibe-perfect vocals, she truly impressed me. Plus, I realized how she is truly my fellow-Cancer, fellow-Italian sister at heart with her many nods to Y2K nostalgia and remixes featuring Mariah Carey, Brandy, and Monica. Then, of course, there’s the fact that she starred in the film adaptation of one of my favorite musicals. It’s like she crafted this era for me, to be quite honest. Or, maybe there’s more to astrology than I ever thought.

1. COWBOY CARTER, by Beyoncé

Thousands of minutes ahead of everyone else (5,947 and counting; by comparison, TORI. has 1,818 at #2), nobody else stands a chance at #1 in the year that one of my lifelong faves drops an album. Immaculate from start to finish, there are albums, and then there are works of art. Beyoncé is truly the only artist on her level. While some artists and albums may have better music, objectively or out of context, there is not an artist, past or present, that has put more thoughtful consideration into the creation of an album than Beyoncé. She is more like a prolific author of historical fiction, the Lin-Manuel Miranda of pop music, who researches history and curates her knowledge and influences into intricate works of art. She has transcended the confines of the crossover pop star mold and is truly the one-woman Renaissance of our time.

My Top 7 Songs of 2024

The Top 30 on my Replay songs list is filled mostly with tracks from Beyoncé’s “COWBOY CARTER.” While it’s my favorite album of the year, I wouldn’t say that my Top 7 songs of the year are also my 7 favorite songs from that album. So, I’ve sifted through the other songs to select this list, limiting myself to one song per artist. Here goes:

7. “Big Boy (feat Starrah)” by Normani

The album opener should’ve also been the lead single from “DOPAMINE.” This stellar track has such a vibe, filled with attitude and a catchy hook that would’ve made it an inescapable hit.

6. “Too Much to Say” by JoJo

Of the two new songs JoJo dropped ahead of her “NGL” EP set to drop in January, “Too Much to Say” actually came in a bit lower on my Replay list than the other, “Porcelain.” However, that may only be because it’s been out longer. “Too Much to Say” was the more immediate and sticky of the two, which felt more in line with where JoJo is headed with her career both sonically and thematically. Clocking in just under 3 minutes, it begs for a replay. Here’s hoping an extended dance mix is yet to come.

5. “thing u do” by Tori Kelly

When Tori Kelly dropped the “Tori” EP ahead of her fifth studio album, and I heard “Cut,” I didn’t think that she could top such a certified bop. I was proved wrong with my first play of the album in April. As soon as I heard “Thing U Do,” I was grabbed and slain. The song showcases so many elements of what makes Tori great. Big vocals, catchy melodies, gospel-influenced arrangements, and her newfound confidence are all on prime display.

4. “BIRDS OF A FEATHER” by Billie Eilish

I don’t love every Billie Eilish song, nor do I consider her one of my favorite artists. She makes great music, though, and when she makes a great song she knocks it out of the park. I think “Birds of a Feather” might just be her best song to date. It’s the perfect combination of her signature chill, contemporary sounds, and classic influences. Then, of course, there’s that glorious vocal climax where she truly rises to the occasion.

3. “eternal sunshine” by Ariana Grande

While the album’s singles rank higher on my Replay list, that’s probably just because they were so catchy (and because its lead featured a remix with Mariah Carey) and easier listening. The title track, though, is a real artistic triumph for Grande, and the perfect encapsulation of what she did on this album. Deeply personal, vulnerable, and perfectly produced, “Eternal Sunshine,” the song, captures her growth both personally and artistically. Being so introspective and emotional (hell, it opens with an emotional sigh), it’s tough to keep on repeat like the album’s singles. Undoubtedly, it’s the best track on the album and one of the best of her entire career.

2. “Portrait (Hopeful Child Remix)” by Mariah Carey

One of my favorite Mariah modes is Remixriah, and this year she truly delivered on that front. From appearing on the “yes, and?” remix with Ariana Grade, to the “Made For Me” remix with Muni Long, to reimagining album tracks like “Rainbow’s End” and “Portrait,” she showed that a legend can still celebrate their legacy and be prolific creatively. While her fans might (incessantly) complain that it’s been over 6 years since the release of “Caution,” the parent album of “Portrait,” we’re frankly lucky that she’s giving us gems like this pair of dance remixes. Carey hasn’t done a new full-length, re-sung dance remix since 2012’s “Triumphant,” so hearing her go back to the studio and reimagine two fan favorites was truly a treat. Plus, the mini-audiobook component that came with “Portrait” was just as enlightening as a new album. Of course, we’d listen to an album much more… but hearing her speak her truth directly in your ear is an equally personal experience. Listening to the Hopeful Child Remix of “Portrait” feels like a window into Ms. Carey’s soul.

1. “BODYGUARD” by Beyoncé

Now, I don’t like to be one of those whiny BeyHivers who complains about promotional strategy and things of that nature… but… damn, “Bodyguard” is such a deserving, undeniable HIT. I cannot believe it’ll remain an album track forevermore. From the first play of “COWBOY CARTER,” the song hit and hooked me and hasn’t let go since. There is no occasion where I would ever hit “skip” on this song. It’s such a fun song that encapsulates what Beyoncé meant when she said the album is “not a Country album, it’s a Beyoncé album.” Look no further than “Bodyguard.” It has a little something of every genre and for everyone. While “Texas Hold ‘Em” was the perfect pandering Pop/Country crossover to lead with (alongside the perfect “16 Carriages” on the other end of the spectrum), “Bodyguard” would’ve been the follow-up hit to bring it on home. But, I guess Columbia, or whomever, bet on labelmate Miley Cyrus for a hit with “II MOST WANTED” – and we all lost.

Listen to Vincent’s “97 Minutes of 2024” Playlist

The post THE 9-7 of 2024: My Replay Reflection appeared first on THE 97.

Ever since the world collectively decided to coronate Mariah Carey as the Queen of Christmas, as usual with women in pop culture, the talk of which hopeful Christmas Princesses could replace her almost immediately followed. However, she’s only grown in her festive ferocity over the decade since embracing her Christmas royal status.

This year marks the 30th anniversary of her Queen-making song, “All I Want For Christmas is You,” and it’s clear that Carey’s Christmas confection has inspired many of her musical daughters to follow in her stiletto steps. In their sonic choices, lyrical themes, or festive holiday promotional campaigns, all of pop’s princesses want a piece of Carey’s Christmas monarchy. While she won’t be relinquishing the throne any time this century, she has blessed a few of these Christmas princesses with her coveted stamp of approval.

In this playlist, I’m ranking Carey’s Christmas princesses holistically based on several factors: the quality of their original songs, how genuine and committed they are to the genre, their cultural impact, and their reverence for the Queen.

12. Sabrina Carpenter, “Santa doesn’t know you like I do”

Fresh off of a breakout year as pop’s latest it-girl, Sabrina Carpenter wasted no time entering the Christmas conversation. In the Best New Artist nominee‘s Christmas variety special on Netflix, “A Nonsense Christmas,” she repackaged her 2023 holiday EP, “fruitcake,” for mass consumption. As sassy and sexy as her latest hits, the set is heavy on humorous innuendo that would make even the sweet-as-“Honey” Queen of Christmas Mariah Carey blush. However, on “santa doesn’t know you like i do” Carpenter tones down the innuendo in favor of cutesy Christmas tidings that make it perfect for holiday playlisting.

11. Katy Perry, “Cozy Little Christmas”

Always good for a throwback, this 2010s hitmaker released her first and only Christmas song, “Cozy Little Christmas,” in 2018. Perry put her pop songwriting sensibilities to good use for this bubbly bop that gives a modern twist to the classic Christmas uptempo sound. While there is nothing particularly fresh about its plodding piano and sleigh bell-adorned production, that’s what makes it so, well… cozy. Considering how tritely unremarkable her latest album was, she might want to go full-throwback and consider a Christmas album.

10. Ava Max, “1 Wish.”

Ava Max made her second Christmas contribution this year with the release of “1 Wish,” a supercharged pop confection that is as catchy as it is cheerful. Wholly wholesome, she opts to celebrate the Christmas season by rattling off as many items on her list of must-haves to say that her “1 Wish” is for every day to be like Christmas. Refreshingly, it is not another rewrite of the “All I Want For Christmas is You” theme in different words. Ava Max could certainly deliver a solid Christmas album one day, perhaps that’s her fans’ “1 Wish.”

9. Leona Lewis, “One More Sleep”

Since her debut as the British X-Factor winner, Leona Lewis has been compared to Mariah Carey due to her immense vocal talent and style. Like Carey, Lewis recorded a Christmas album as her fourth set in 2013. Unlike Carey, her career peaked there. Regardless, “One More Sleep” has endured over the decade-plus since its release as a minor but beloved bop inside and outside her fanbase. She reissued the album in 2021 and toured the UK for Christmas in 2023, slowly and wisely nurturing a Christmas legacy.

8. Tamar Braxton, “No Gift”

Tamar Braxton might have a very famous sibling, but she’s a self-proclaimed Lamb. She’s always shown reverence for the Queen. You can hear the influence all over her work. So, it’s no wonder that Braxton would go on to record a Christmas album… and that it’s heavily Mariah-spired. “No Gift” has the same theme as Carey’s quintessential classic, but is on the opposite end of the sonic spectrum. Braxton serves drama on this slow-building ballad that works in several classic Christmas piano interpolations.

7. Jennifer Hudson, “Santa For Someone”

In 2020, Jennifer Hudson joined the Queen of Christmas on a special “Oh Santa!” remix alongside Ariana Grande for Carey’s Apple TV+ Christmas special. In 2023, the trio had a surprise reunion at Carey’s Madison Square Garden Christmas show. Hudson released her first Christmas album this season, “The Gift of Love.” On one of its original tracks, “Santa For Someone,” Hudson masterfully executes a high-energy, horn-driven groove that’s as bombastic as it is festive. While her non-holiday music hasn’t made much of an impact, she stands a chance to make quite the name for herself in the genre. The Queen of tributes, Hudson at covering songs and making them her own. With a successful daytime talk show and Carey’s co-sign, in time, she’ll find her way.

6. Kelly Rowland, “Love You More at Christmas Time”

Kelly Rowland began her Christmas story in 2000 when Destiny’s Child recorded their first-ever Christmas song for a Rosie O’Donnell Christmas album. For you post-Millennial generation folks, I can’t even explain that for you right now. But it was a thing. Anyway, the trio released a full-length Christmas set the following year, on which Rowland had a solo cover of “Do You Hear What I Hear” heavily inspired by Whitney Houston’s rendition.

Through the years Rowland has continued to flirt with her festive side, recording several more Christmas tracks, the highlight of which is “Love You More at Christmas Time.” This original was recorded for her first Lifetime Christmas film, “Merry Liddle Christmas.” The film went on to have two sequels. With “Love You More at Christmas Time,” Rowland, like Carey, masters the pop crossover sound while maintaining her R&B sensibilities for the upbeat, romantic track. It’s been over a decade since Rowland’s last full-length album, and once she finally follows that up, it’d be nice if she recorded a solo Christmas album one day.

5. Ariana Grande, “Santa Tell Me”

In true Lamb fashion, Ariana Grande wasted no time releasing Christmas music. In 2013 and 2015, she dropped Christmas EPs; in 2014, she released her biggest holiday hit: “Santa Tell Me.” The sweet sing-a-long checks all the boxes that we’ve come to expect from a modern pop Christmas carol – thanks to Ms. Carey. Year after year, “Santa Tell Me” has become more popular, partly due to Grande’s own growing popularity, and just the simple fact that Christmas songs thrive on nostalgia. Her Christmas profile has also been aided by popular duets with the Queen of Christmas (on “Oh Santa!”) and Kelly Clarkson.

Still, it’s been 10 years since “Santa Tell Me” dropped, and nearly that for “Christmas & Chill.” While Grande’s artistry has grown over the years, her Christmas music is stuck in her less interesting musical past. With her improved vocal skills and matured sound, she could be higher on this list if she released a full-length Christmas set now– one that’s a little more Broadway and a little less “chill.”

4. Tori Kelly, “25th”

Severely underrated songstress Tori Kelly took advantage of all that pandemic free time and dropped one of her generation’s best Christmas albums. She worked closely with R&B legend Babyface to produce the album, and it does not disappoint. Kelly was even nominated for the Best Traditional Pop Vocal Album GRAMMY for the set. While all three of her original tracks are quite good, “25th” is the album’s shiniest, stickiest moment. It combines all the expected, Christmasy, sonic elements – a horn section, cheerful piano, jingling sleigh bells, a saxophone solo – with cutesy but not too cliched lyrics and a sing-a-long melody that’re ready for caroling. Of course, then there’s those signature Tori Kelly vocal acrobatics. 

Another thematic daughter of Carey’s “All I Want,” Kelly manages to pull it off without it sounding reductive. Similarly, she’s also done the only commendable cover of Carey’s classic – an acoustic rendition that was included as a bonus track on the deluxe edition of A Tori Kelly Christmas – as a tribute to Carey according to a 2020 interview. Only a top tier heiress could pull of that challenge.

3. JoJo, “December Baby”

The second December Baby on our list, Joanna “JoJo” Levesque lands just above her Sagitarrius sister Tori Kelly because when it comes to Christmas, JoJo has been down. Her first foray into the festive season was in 2004 – months after her debut album dropped, she performed at the annual Christmas in Washington special. Throughout the years, she’s done several live and recorded covers. She even recorded a masterful cover of Carey’s “Miss You Most (At Christmas Time)” in 2018, to “pay homage to the QUEEN Mariah Carey. Imagine being so dope that you single handedly own an entire holiday season!!!?! Her voice and writing has enchanted and inspired me since I was a little girl.” JoJo’s faithful rendition was emotive and expertly executed. 

In 2020, like Tori Kelly, she dropped her first full-length Christmas album, “December Baby.” Of the original tracks, the title track is the most upbeat and festive, a younger, more groovy sibling of “All I Want.” Though another original, “Wishlist” with PJ Morton, is actually the superior song – and a sibling to “Miss You Most” – I wanted to keep this playlist on the happier side. The infectious “December Baby” is an excellent entry into the Christmas canon that’ll have you grooving all December long.

2. Kelly Clarkson, “Christmas Eve”

Of all of the Princesses on this list, nobody is working harder or more actively to secure her place as Christmas royalty than Kelly Clarkson. Having released two Christmas albums and entered the top 10 of the Billboard Hot 100 this week with her first original, “Underneath the Tree,” Clarkson has made a name for herself in the holiday genre. While that song is her most well-known and fits the cookie-cutter mold of what’s expected of an uptempo, pop Christmas song, my favorite Clarkson uptempo original is “Christmas Eve.”

Originally released as a standalone single in 2017, “Christmas Eve” ditches the romantic trope, popularized by “All I Want” and later emulated in Clarkson’s own “Underneath the Tree,” and instead celebrates the holiday itself. Clarkson delivers it superbly, lyrically, vocally, and production-wise. It’s high-energy and festive to the max. Penned by Clarkson and her musical director Jason Halbert, it shows that she has a knack writing for this sort of song. The only thing keeping Clarkson from the top of my list is that it does feel like she’s going almost too hard to earn her crown, rather than let it gracefully come to her. I respect the hustle, but nostalgia takes time. In the case of “Underneath the Tree,” it had a ten-year crawl to the top 10. It’s too bad that song is too cookie-cutter to be truly magical.

1. Britney Spears, “My Only Wish (This Year)”

On the polar opposite end of the spectrum is the Princess of Pop, Britney Spears, who reigns this list. My favorite Christmas original, out of all the songs by all of Mariah’s daughters, is her only holiday offering: “My Only Wish (This Year).” Unlike Clarkson, Spears has ignored the song’s existence since its release in 2000. There are no live performances, no music videos, and Spears doesn’t do anything to promote it during the holidays. In 2020, her label issued a vinyl single, and it was featured in the 2021 Netflix film, “Single All the Way.”

Released in 2000, just six years after Carey’s “All I Want,” it is perhaps the first to emulate its stylistic sensibilities. Perhaps being the first is why it’s also done the best. It’s Britney at her peak: pop perfection. She also delivers one of her best, most genuine vocal performances. Overall, what makes the song so good is that it’s so innocent. She was a young, new, but hugely successful star hungry to give her all to every song she sang. At the same time, she wasn’t trying to lay down the next Christmas classic, land a hit single, or become the Queen of Christmas. That expectation wasn’t there in 2000. She just had a damn good time, and made a damn good song. Just like Mariah Carey did in 1994, with “All I Want for Christmas is You.” But Britney if you hear me… it’s time to claim your crown.

The post Playlist: Mariah Carey and the 12 Princesses of Christmas appeared first on THE 97.

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Carey’s album “Me. I Am Mariah … The Elusive Chanteuse,” turned ten in May 2024. A decade later, the Lambs, like “Why Mariah Carey Matters” author Andrew Chan, still listen to it. So, what do fans appreciate about these lesser-known albums that the masses couldn’t connect with?

Chan and three other Lambs, whom Vincent met at a “Mariah Night” event at a New York City gay bar, spoke with him about their fandom and “The Elusive Chanteuse.”

Listen below or on your favorite podcast platforms like Apple Podcasts, Spotify, and more.

Credits:
Written, produced, and reported by Vincent Anthony.
Edited by Meg Cramer
Mastered by Amber Watson

Purchase THE 97’s first-ever print magazine celebrating “Me. I Am Mariah… The Elusive Chanteuse” album. Use the code “podcast” for $2 off.

THE 97 ZINE, Issue 1 – “Me. I Am Mariah… The Elusive Chanteuse”

Episode 1 Script

VINCENT ANTHONY: Have you ever met Mariah?

ANDREW CHAN: I have. I met her in 2014 – she hadn’t released “Me. I Am Mariah… The Elusive Chanteuse yet” – but, it was Valentine’s Day before the release of the album. And, It’s a bit of a long story, but my friend…

NARRATION: I’ll spare him the tangent. Andrew Chan has been a Mariah Carey fan since he was a kid in the 90s. So, by the time she released her 14th studio album, “Me. I Am Mariah… The Elusive Chanteuse,” Andrew had experienced ten album release cycles. Except, this one was a bit different – for several reasons.

As part of her promotional push for “The Elusive Chanteuse,” Carey participated in a charity fundraiser. Fans donated to win a private concert at her New York City penthouse. 

Andrew and his friend Lisa entered the contest. Lisa ended up winning – and she invited Andrew and another friend to join her at Carey’s penthouse performance. 

ANDREW: It was surreal. It was, it was very, uh, it almost didn’t feel… real. Yeah. So even as I tell the memory, it’s like, uh, did that really happen? 

NARRATION: Usually, meet and greets are a blip. You’re lucky if they’re a minute long and if you get a few words in. You’re extra lucky if you get a hug. But this was different. One whole hour – just 3 fans and 1 diva.

ANDREW: She did some acapella moments… Honestly, I’m not even sure if I’m allowed to say this, but Mariah, whatever, forgive me for, if you ever hear this, it’s hopefully it’s fine that I’m saying this, but, um, she sang like the whistle notes from the beginning of “Migrate.”

<MUX IN – “Migrate” whistle notes and under>

She, we sang “Touch My Body” together. And then she took some requests, and so I said, “Slipping Away!”

<MUX IN – “Slipping Away” under>

And she was like, I don’t remember, how does that go? And so I started singing it, and then she kind of harmonized on top of me. That was crazy. 

<MUX IN – “Slipping Away” clip>

NARRATION: “Slipping Away” is a deep cut. Carey loves it when fans know her rarities.

Andrew’s private concert experience happened just three months before Carey released her 14th studio album, “The Elusive Chanteuse.” The album was her first flop since her 2005 comeback. It was a commercial disappointment and didn’t receive high praise from critics. But for her fans, its release shed light on what was going on in Carey’s world at the time. Lifelong fans like Andrew are known as “Lambs.” It’s a name her fans took on in the late 90s before naming fans was a thing. 

Carey now affectionately refers to them as her “Lambily” because of their close bond. Lambs connect with Carey because of her lyrics, and how personal they are. It’s something that sets her apart from her diva peers. 

Andrew examines that fact in his 2023 book, “Why Mariah Carey Matters.” He uses in-depth research and his knowledge as a fan, to give a critical analysis of Carey’s legacy.

In this podcast, “DEDICATED,” I’m speaking with the most devoted fans of the most divine divas. This inaugural episode, “Me. I Am Lambily… and the Elusive Chanteuse,” is about Mariah Carey, her Lambs, and how they react to a flop album.

That album Andrew mentioned at the beginning of this episode with the impossibly long title, “Me. I Am Mariah … The Elusive Chanteuse,” turns ten this month. A decade later, the Lambs, like Andrew, still listen to it. So, what do fans appreciate about these lesser-known albums that the masses couldn’t connect with?

To begin, we must go back in time to that moment of diva discovery. A recent social media meme jokes that” by age 13, every gay boy chooses his favorite pop diva.” We identify with their music, and it comes to define us. For Andrew, that diva was Mariah Carey.

ANDREW: The first album that my family purchased was on CD, the “Daydream” album from 1995. But even before that, I remember her Procter’s Theater, uh, performance around the time that “Music Box” was released. 

<MUX IN – “Vision of Love” at Proctor’s Theater>

And I just remember being a kid, probably seven years old, six or seven years old, hearing her singing “Hero,” “Anytime You Need a Friend,” “Vision of Love,” and just thinking, “who is that?” And her voice rattled me.”

<MUX IN – “Vision of Love” at Proctor’s Theater>

ANDREW: “Daydream” was really the era where, um, I remember seeing the poster in the record store and touching the golden CD, you know, and playing it over and over again. And because the hit singles from that album were so massive, it just felt like Mariah was following you to swimming lessons, and to school, and to the grocery store. Like she, she became almost a friend to my ears.

NARRATION: Andrew says he followed Carey’s career, but his status as a “Lamb” really solidified with her 2005 comeback album, “The Emancipation of Mimi.” Her 2001 album “Glitter” was a tragic flop, but, with “Mimi,” she proved the haters wrong and scored the biggest hit of her career. 

It was then that Andrew realized that they belonged together. At the time, he was a freshman in college.

ANDREW: I felt emancipated leaving home, to be honest, because  Um, it was a very stifling environment for me, uh, living in the suburbs. My parents are very religious. Being able to come out and be in a completely different community was a big thing, and I definitely think there was a parallel between Mariah finding her voice again and, and discovering a new level of artistic freedom and myself discovering new kinds of freedom in my own life, for sure. 

NARRATION: Carey is often praised for her singing, but her biggest fans revere her lyrics. Throughout his book, Andrew focuses on this aspect of her craft as one of the main reasons “Why Mariah Carey Matters.”

ANDREW: I think she’s really different from a lot of the divas of that era in that she is capable of writing very intimately and autobiographically, and she mines the insecurities and anxieties of her experience as a mixed-race woman, um, and it’s no wonder that a lot of her fans come from marginalized communities.

And because when you dig deeper and you listen to songs like “Outside”

<MUX IN – “Vision of Love” at Proctor’s Theater>

… “Looking In,” “Close My Eyes,” um, “Petals” you, you see this songwriter who is conveying the deepest parts of herself. in very ambivalent, ambiguous, complicated ways that I don’t think a lot of us were used to in, in the backdrop of 90s pop and R&B music where so much of the songwriting is pretty lyrically generic and following a formula.

<MUX – “Outside” up: “Always somewhat out of place everywhere/ Ambiguous, without a sense of belonging to touch… Somewhere halfway, feeling there’s no one completely the same.” – and under> 

Those songs are really powerful because they don’t try to pretend like it’s all going to be okay. Um, I mean she does have songs like “Hero,” she does have songs like “Can’t Take That Away”, but for me the most powerful, um, songs in that vein are ones like Outside and looking in that kind of acknowledge how deep that kind of pain of being marginalized and oppressed goes and how it can haunt you even as life gets better and even as you find success and happiness in different ways, like the memories of, of those experiences follow you. And she’s one of the few artists of her kind who taps into that conflict, inner conflict.

< MUX IN: “Looking In” – “They can’t bring me to my knees, no, they’ll never know the real me….” (applause) – out>

ANDREW: But I think the sound of her voice is so magnetic and magical that even if she wasn’t a songwriter it would still be, um, a sound that connects with people and draws them in and fosters devotion.

NARRATION: While they may be a dedicated fanbase, the Lambs are also pretty honest about when they don’t love something. Andrew’s book isn’t a biography or a puff piece. It’s a critical evaluation of her legacy, inspired by his conversations with friends who are Lambs.

ANDREW: I knew that because we could talk so seriously about her, not in an ironic way, not in a superficial way, but really get into the grit and the, um, depth of her, I knew that because I had those conversations with them that there would be other people who would want to see something like that in writing.

NARRATION: After “The Emancipation of Mimi,” Carey released three more successful albums, married comedian Nick Cannon, and gave birth to twins Moroccan and Monroe.

 “The Elusive Chanteuse” was her first album post-Motherhood. At that time, Andrew also experienced a big life change. He moved to New York and lived with his friend Lisa, the one who won the tickets to the private concert.

ANDREW: So it was a household of Mariah fandom, and Lisa was a relatively new fan. I had introduced her to Mariah’s music, but she became a very fast fan. And Me, I Am Mariah was the first album that we shared together.

I remember downloading it on my iTunes. We listened to it together.  So that was really my first experience of listening to a new Mariah album with a friend who cares as much about Mariah as I do.

And of course, we had just had that private concert experience… And I remember thinking, some of these songs are really intense.

NARRATION: Perhaps… too intense for the general public. Or maybe they just didn’t know it came out at all. Like the album’s title, its roll-out was long, messy, and confusing.

She released a buzz single in August 2012 that didn’t get much traction. About a year later, she released another single, a song called #Beautiful. 

<MUX IN – “#Beautiful” – and under> 

The album was supposed to come out a few months later, but while filming a music video for #Beautiful, Carey fell and was injured, forcing her to scrap plans for the album’s July 2013 release. It was pushed back indefinitely. When she resurfaced, she wore bedazzled slings and arm-length gloves to hide her mysterious injury.

Throughout this period, Carey switched management several times. Finally, the album’s promotional cycle restarted with the release of the single 

<MUX IN – “You’re Mine” – and under >

“You’re Mine (Eternal).” It was released on Valentine’s Day 2014 — a couple weeks before Andrew’s private concert.

The album finally received a May 27th release date. It sold 58,000 copies in its first week, debuting at #3.

 It was her lowest first-week total to date and her first true flop since 2001’s “Glitter.” After months of speculation about the status of their marriage, Cannon announced that they’d separated in an interview that December. 2014 was not her year.

ANDREW:

 it was kind of important that this was,  Her first real flop in a while, really since Glitter. And  I think those moments are really important for artists. And I think it’s important for a fandom too, because the Mariah fans, the Lambs.  So many of us are so invested in the number ones, getting her that 20th number one. It becomes a fixation. I understand because I, you know, I would, I would love to see her get that number one, that 20th one. 

But on the other side of my brain, I’m like, she has enough number ones. And also who gives a shit really?

I mean, some of the greatest artists of all time don’t even have a single number one. Like Donny Hathaway, one of my favorite singers, no number ones there. And, who cares? You know?

Also one of Mariah’s favorite singers. I know she’s very proud of that achievement but I also think that the moments when you stumble in public and when you’re not succeeding are moments that really strengthen the fanbase. 

Because, as I say in the book, Mariah is one of the most famous, beloved pop stars of all time. And yet, there’s something paradoxical about her status in music history because she’s also one of the most underestimated.

And, uh, underappreciated artists. So how do you square those two facts? She is beloved. She’s made so she sold so many records. How could you even say that she’s neglected and underappreciated? Well, it’s because some of her best music is music that Y’all aren’t listening to. Uh, and When you finally do get around to it, you’ll realize oh, there was a lot more to Mariah than fantasy. There was a lot more to her than Heartbreaker and Yeah, I listen to Elusive Chanteuse all the time.

NARRATION: But Andrew’s just one Lamb. 

Like he said, flops can be challenging for a fan. So, I wanted to speak to more Lambs to get their perspective on “The Elusive Chanteuse” album. Does its flop status bother them, or was the album just not a favorite? But where to find Lambs?

Luckily for me, it just so happened that in February, there was a “Mariah Night” at The Spot, a gay bar in Hell’s Kitchen. So I went. I asked Lambs if they’d be interested in talking about the album. Three “Mariah Night” attendees joined me in the studio a couple of weeks later to discuss their fandom and “The Elusive Chanteuse.”

The youngest of the bunch, Adam Delin, actually became a fan in 2013 during the messy beginnings of the “Elusive Chanteuse” era. 

ADAM DELIN:

Yeah,  yeah, so it is special for me in that way. Like, that was like during my peak, like, obsession, like that’s all I ever talked about. 

NARRATION: He’s 24 now, but in 2013, during his “peak obsession” era, he was… you guessed it, 13.

Adam caught her when she was a judge on American Idol and was intrigued by her comical personality, so he decided to check out her music. His grandpa gave him his first two Mariah albums. An opposing pair: her first #1’s compilation and her first and most infamous flop, the one that almost derailed her career: Glitter. He became an instant fan – and the release of “The Elusive Chanteuse” was just on the horizon. 

Adam remembers counting down the days until its release; at one point, its release date was on his birthday. He’d check Google News daily for new articles, desperate for information. Finally, it arrived.

I remember being so excited and like getting my headphones and like Excusing myself to go into my room and just like listen to it And I really like loved it so much like it was like it was like I was hearing god Like I think I was just like still Freaking excited for this album that like even if it I mean, it’s not a bad album, but  um, even if it had been like bad Like I probably still would have loved it.

Um, but yeah, I just it was probably like the most Enjoyable listen of an album like I’ve ever had in my life. Like it was just so good. Um, that first listen was just so good. Um, but like short, like a week later, like I don’t know what happened. Like I, I fell out of love with the album,  um, sadly. Um, but I, I do like it.

 I would have to say, sadly say that it’s like a bottom tier album, which I don’t think is an unpopular opinion among Lambs. 

NARRATION: The other Lambs in the room seemed to disagree. Jason Byrd, a 32-year-old from Florida, has been a fan nearly all his life, thanks to his mom. He also remembers his first time listening to the album.

JASON BYRD: 

 I remember being in the car and hearing the music and being like,  Is that Stevie Wonder?

< MUX IN OF STEVIE WONDER ON INTRO OF “Make It Look Good” >

Like, on the harmonica? How did she get that? I was like, only Mariah Carey could get Stevie Wonder to play the harmonica, you know, on a track.

NARRATION: 31-year-old Rudys Jimenez from the Bronx first became a fan in 2005. He remembers his first listen to “The Elusive Chanteuse,” – on the rooftop of Boxers, a gay bar in Hell’s Kitchen, listening to it on his headphones.

RUDYS JIMENEZ:

Just my like initial reaction to it was just, um, definitely a much sadder side to her because I believe this was also like she had just given, well not just given birth, she had given birth to twins maybe a few years ago, but I think her marriage, um, was going through some things, um, and so you can hear that in her music and just her, um, Um, trying to process that breakup or that situation, and I think for myself, it was also a transformation in my life too, like leaving this era of,  you know, not having truly financial responsibilities to having to be an adult, um, I think I reflected in that album a lot because that’s what it kind of showed with her, it’s like she was leaving one era, um, of marriage into this new one of like parenthood where n my opinion, it’s like she had to do it alone. Um, she was showing that to us, um, through her lyrics, especially with Cry. 

Like, that song, I think even to this day, whenever I want to play that album again, it’s always the first song I play, 

<MUX IN – “CRY”>

Just because it’s so deep. Um, and you very rarely get to hear Mariah give you deep songs like that as the first one. She usually reserves that towards the end because she feels like people won’t pay any to it.

< MUX IN – CLIP OF “CRY” – “Til we both break down/ Might as well tell the truth about the matter…” > 

NARRATION: Except the Lambs… the Lambs pay attention. All the fans I spoke to noted the same about hearing the album’s opener, “Cry,” and another gut-wrenching song towards the end, “Camouflage.” 

< MUX IN – CLIP of “CAMOUFLAGE” >

They were heartbreaking songs that seemed to confirm the rumors of her relationship troubles.

JASON:

I just felt really bad for her. I remember like she had just had.  That pregnancy, which was really tough that she had talked about and then they had this,  you know, they had the few years of marriage they were doing like the anniversaries every year and and then it just sort of started to  fall apart in that way.

And you could, I mean, she, like you mentioned earlier, like she said how she felt in some of these interviews on some level. And I felt bad for her because in addition to being a fan of the music and stuff, like I, I do want her to be well as a human.

So, I felt really, really, really crappy and really bad for her.

RUDYS:

I think for me it’s just like.  I feel like that entire era was mismanaged from the very beginning. Like, I know she got hurt and that really, like, I think her injury and really threw off the really strong trajectory that Beautiful was having.

NARRATION: I tried to reach representatives for Carey to get a comment from her about the era, but I  had no luck. She remains an Elusive Chanteuse. Regardless of what was assumed to be happening in her world, Carey still showed gratitude for her fans with special moments, even during this tumultuous time in her life and career. 

RUDYS:

I think for me, one moment that of that era that is iconic and I have it on my phone was her live performance at Jimmy Fallon, Jimmy Fallon, he had a contest…

JASON: i’m so glad someone mentioned it.  I’m so  glad someone mentioned it 

RUDYS: Just,  it’s one of those moments where it’s like, when I saw it, I was just like, why was, why was I in college? … but the second that moment happened, I’m like, oh, this is what we’re using to get this album to number one, because I feel like it’s when she is at her most relaxed, is when she gives us gold TV.

1:46:34-52

ADAM:

And it proves that the mic is on too.

RUDYS: Exactly.

ADAM: I’m so jealous of those fans that Jimmy found. That’s so cool.

VINCENT: So,  I need to show you something

JASON: OOh! You were there! No way!

RUDYS: No way

ADAM: I knew it!

(Laughter)

NARRATION: Yeah. I was there. Like Rudys said, “Late Night With Jimmy Fallon” had a contest to promote a single Carey released in November 2013 during the injury-induced album delay. Fans who won the contest were invited to the studio. They told us we were making a video for Mariah. That we’d listen to the new single, they’d record our reactions, and share it with her. But Mariah was actually there, hiding in another room the whole time.

< CLIP, JIMMY FALLON (& MARIAH CAREY): Hey guys I’m here with the one and only Mariah Carey and we’re gonna do this fun thing, we invited a bunch of her super fans to this recording studio…so they get an exclusive listen to Mariah’s new song, “The Art of Letting Go,” they’re gonna listen to it, and we wanna get their reactions, that’s what we’re telling them, they have no idea, Mariah’s gonna be singing it live… in the recording studio right next to them… >

They stuffed about 20 of us into a waiting room, took our phones, and led us up to the studio in groups of four. I was in the last group. We sat on the sofa next to Jimmy Fallon, listening to the song. When the bridge started, I heard her voice – but doubled, and then suddenly I saw Mariah Carey herself pop out of the secret recording booth. 

< CLIP: Mariah singing “The Art of Letting Go” (Fan reactions: WHAT??!?!?! Laughter, applause, etc…) >

I clapped my hands over my face in disbelief. After it was over, we went to the rooftop to have pizza, and then we were invited back down to the studio for another performance.

<MUX IN – MARIAH: Won’t you just give them a little bit of some kind of emotion on your face like “oh I’m feeling something” even though we’re not quite sure what Mariah’s doing right now… >

NARRATION: They told us, and Mariah, that they’d film us for more reaction shots. So, to entertain us, she began this hilarious improvised performance. But… she quickly realized that they weren’t really filming us… 

< MARIAH: I see you filming me what the f— Ooohhhh…. All I know is this part…. But I do recall I thought we said we’d get the audiences’ faces…>

NARRATION: She clearly couldn’t remember the lyrics to the song her pianist was playing, so she continued to improvise—

<MARIAH: (laughter) “All I know is this part…” (laughter) >

Then, once again, she reminded them they weren’t supposed to be filming her. 

<MARIAH: “But I do recall… That I thought we said we’d get the audience’s faces…”>

Eventually, she gave up and transitioned to performing an improvised version of “The Art of Letting Go.” 

< MARIAH: Let’s get to another one of the songs on the repertoire…”>  

NARRATION: Mariah has given plenty of phenomenal performances throughout her career, many with perfect, irreplicable vocals – those star-making kind of moments. But this performance? I think it’s gotta be the best one she’s ever done. 

<MARIAH: I’m making a statement of my own opinion, just a brief little reminder…> 

And there’s only one reason for that: she was at her most comfortable, surrounded by her most dedicated fans.

<MARIAH: I no longer live in that dominion that I once lived in with those people that I didn’t like and they were there every day and it was oh so difficult to be there, but I stayed and I stayed and I stayed…>

I can’t watch or listen to it back without getting teary-eyed. 

< MARIAH: and I wore them dresses and I did that shit that I hated, ohhh,>

It was the most incredible fan experience I’ve had in my life.

< MARIAH: letting go… (laughs)… letting go, letting go, ain’t easy… (applause)>

So, yes. I’m a Lamb. Like Jason, I was introduced to Mariah through my mother in the early 90s, but by 1997, at just seven years old, I was a full-fledged fan. Her music has gotten me through so many tough times. And I love this album. Glitter is a great album too, but Glitter is an infamous flop. “The Elusive Chanteuse” was a complete non-event. Nobody cared either way, and they missed out on some great music. 

Exactly two months after “The Elusive Chanteuse” was released, I launched THE 97, my online music magazine. I felt there weren’t enough people speaking in depth about some of the more underrated music I loved. So, I embraced my passion for writing and made my community. I wrote about what I wanted, and people responded to it. The Lambs, in particular, have engaged with my writing more than any other fan base.

After publishing his book “Why Mariah Carey Matters,” Andrew experienced a similar response.

ANDREW: 

I was so surprised by how sweet all the Lambs were, and I thought there was going to be one nasty ass Lamb out there somewhere who was going to get in touch with me, but it didn’t happen.

None, not one, not even one said like, how dare you? say that you didn’t like rainbow.  And in fact, they, uh, some people wrote me and said, you know, I love rainbow, but I completely understand what you said,  what you wrote. And it just, I think it’s, it shows a maturity, um, and a curiosity and  I think that’s why if you’re a fan who’s been invested in her for years and years and has listened to the music over and over again, you’re looking for something to reflect your feelings back to you in words, and that really, there’s not a lot of that on Mariah.

There’s plenty of that on the Beatles. There’s plenty of that on, um, Billie Holiday or Aretha Franklin. There’s really not that much on Mariah, and so that’s really what I was trying to do was, um, tell the people like me who have been invested in her for a long time, and also people who Don’t really fuck with her and don’t really know that much about her.

Talk to both of these audiences, the invested and the people, the uninitiated, and  show people Okay, this is, this is real. Like you’re not imagining this. This music actually is very deep. 

NARRATION: “The Elusive Chanteuse” is among the most personal albums Mariah has put out. The album’s lyrics are almost invasively honest. Musically, each song is one color on the palette of her career’s sonic landscape. But perhaps that’s why it didn’t quite connect for the masses. It’s not for the masses. Like she sang on her song “Looking In,” they’ll never know the real Mariah. But we do. To get this album, you need to have a certain amount of “Lamb context.” It requires a bit of close reading, but the result is rewarding. 

ANDREW: Sometimes the flops are some of the most interesting music that she puts out. 

“Me. I Am Mariah… The Elusive Chanteuse” is one of those albums. And we love it for that reason. It’s all the more interesting because it’s coded for us. More than any of her albums with commercial, cross-over sensibilities and universal, relatable lyrics, it feels like it was crafted with us in mind. She dedicated it to us, and for that, we’re eternally dedicated to her.

< MUX IN  – “Dedicated” – “This is dedicated to you.” >

CREDITS: 

Now, for the deluxe… 

Just kidding, it’s a wrap. Time to let the credits roll. 

This podcast was written, reported, and produced by me, Vincent Anthony, and edited by Meg Cramer. 

Thank you to the Lambily… Andrew Chan, Adam Delin, Jason Byrd, Paul Leasure, and  Rudys Jimenez for speaking to me about The Elusive Chanteuse.

For more on the album, visit my website THE 97, to order the print magazine I published in conjunction with this podcast. It features contributions from 12 Lambs, who each wrote a personal essay about one of the album’s 15 songs, and more. Go to THE97.NET/shop

The post THE 97 Presents… DEDICATED: To the Love of Divas [Episode 1] appeared first on THE 97.

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

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

THE 97 ZINE 2024 Subscription

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

Damita Jo: My Top 5

5. “Damita Jo”

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

4. “All Nite (Don’t Stop)”

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

3. “Like You Don’t Love Me”

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

2. “R&B Junkie”

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

1. “Spending Time With You”

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

Listen to Janet Jackson’s “Damita Jo”

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

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

“eternal sunshine,” the sunset

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

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

“eternal sunshine,” the late-night

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

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

“eternal sunshine,” the sunrise

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Listen to “yes, and?” by Ariana Grande

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