In the nearly four years between the release of her third album Mad Love and her latest album, good to know, JoJo hasn’t been sitting idly.

She toured the world in support of Mad Love in 2017, and then hit the road again in 2018 with the Leaks, Covers and Mixtapes Tour, on which she performed fan-favorite songs recorded during the ten years between her 2006 sophomore album The High Road and 2016’s Mad Love. 

At the end of 2018, she surprised fans on her birthday (as per usual) with the re-release of her first two albums. Because of her well-publicized label issues, she re-recorded both albums so that they could be made available on digital purchasing and streaming services for fans. This act marked the beginning of her own imprint, Clover Music, and the beginning of her finally taking total and complete creative control of her career.

Throughout 2019, JoJo kept fans at bay with a series of releases such as the GRAMMY Award-winning duet with PJ Morton, “Say So,” collaborations with Tank (“Something Else”) and Jacob Collier (“It Don’t Matter”) before releasing her own teaser singles “Joanna” and “Sabotage” in the fall. In February 2020, she even went backstage at Mariah Carey’s Vegas show and sang with her. If that’s not a co-sign, I don’t know what is.

Kicked off with the release of its lead single “Man” in March, it looked like all the stars were aligned for the release of JoJo’s fourth album, good to know, before the world shut down due to COVID-19. Nevertheless, like she’s done her entire career, JoJo persisted. Going live every weekday to connect with fans and sing her own songs (and covers, too) a cappella, JoJo proved to be the Queen of Quarantine. While #StayHome orders may have delayed her tour, good to know would not be. And, on May 1st, it was released.

Clocking in at 35 minutes in length, this skip-free album has 9 flawless tracks and an intro and outro that perfectly bookend the story JoJo takes us through on good to know. The story, JoJo says, has three chapters:

The first being: Here’s what I do to numb myself. Get me out of my skin and let me be distracted with love, sex, substances. The middle part finds me realizing that I need to be on my own for the first time in my life to end patterns that aren’t serving me anymore. Toward the end, I knock on the door of self-love. Accepting where I’ve been and meeting myself where I’m at.

This may be the fastest I’ve ever reviewed a new album in such detail, but for JoJo, I had to do it. It’s such an impeccable body of work that I had to take the time to analyze it in-depth in order to give it the review it truly deserves. After all, she’s done so much to make quarantine tolerable, I practically owe my mental health to her so, here I am, returning the favor. I’ve divided the review into the three chapters JoJo outlines and included a lyric that’s #GoodToQuote and a lesson that’s #GoodToKnow from each song. Enjoy my walkthrough of good to know.

good to know, CHAPTER 1:
Numbing 

Intro: “Bad Habits”

Just over one minute long, “Bad Habit” perfectly sets up the journey JoJo is going to take us on throughout this album. In chapter one, she wrestles with the ways she uses distractions to numb herself. The track opens with a run-through of her “Bad Habits,” her vices: “Feed me love, sex, and drugs/ Bring me more, it ain’t enough/ Tell I’m pretty, yeah, I need that.”  The most chilling line of the song, though, is this one: “I know I’d rather be anywhere but here with me.” In many ways, this album is seemingly a journey to change that statement. It’s good to know and admit, that these things indeed are “bad habits” – hence the title.

#GoodToQuote: “‘Cause the mirror won’t lie to me no more/ And I can’t hide from me no more.”

1. “So Bad”

Recalling the theme and mood of 2010’s “In the Dark,” the album’s first proper song “So Bad” kicks off the set with an acknowledgment of a bad habit. JoJo shamelessly taunts her “late night friend undercover,” teasing all the tea she could spill if she were feeling messy. Instead, she opts for a trench coat and a rendezvous in the “back of the bar, in the shadows.” Musically and lyrically, “So Bad” goes where she didn’t dare on “In the Dark,” both in its bass line and lyrical lines. “So Bad” is aptly titled. She’s well aware that everything she’s saying is no good, but in the same way, the word “bad” can actually mean “good,” this song is “So Bad,” that it’s so good. Ultimately, the lesson learned here is likely that despite how good they may feel, relationships like the ones she described are in fact “So Bad;” toxic even. That’s what’s good to know.

#GoodToQuote: “Does she know you like it in the morning/ Know you come without a warning?”

2. “Pedialyte” / “Take Me”

We’ve all had those nights that yield mornings when we say, “Damn, I’m never gonna drink again,” and end up drinking Pedialyte, Gatorade, or whatever’s your go-to hangover cure. On “Pedialyte,” JoJo is very much self-aware. While she indeed sings, “excuse my behavior, swear I’m never gonna drink again,” she also acknowledges the self-destructiveness of the behavior: “We always say, ‘just a few drinks’/You know that I know what that means/ Next thing, it’s five in the morning.” The song expertly demonstrates a vicious cycle of the “I want to, but I shouldn’t” inner dialogue we all experience with whichever vice we might cling to. Those inner contradictions are clear on “Pedialyte.” “But every day’s another celebration, life is the occasion,” she sings, before challenging herself again with another question: “But when I wake up, who’s gonna be my savior?” Similar to “Cold,” which is hidden before Mad Love’s “Honest,” there is a hidden track after “Pedialyte,” titled “Take Me.” It’s a short, 50-second bop that takes us from one vice (alcohol) to another (sex), perfectly setting up the transition into the next song. We all seek distractions sometimes, but it’s good to know where we stand when we’re standing alone.

#GoodToQuote: “Good afternoon, feeling bad still/ I need a prayer and an Advil.”

3. “Gold”

Probably the most gorgeous song on the album, “Gold” is the perfect love-making song. In the same way, JoJo describes getting lost in the man she’s singing about, you can get lost in this song. Soulful and sensual, “Gold” is an ode to a perfect connection, physically and spiritually. While she sings it about her love interest, the lyric “Speaking so heavenly/ I call that divinity,” perfectly describes her vocals on this track (and the whole album, really): pure heaven. She truly sounds divine. The way she layers her harmonies to sing “you know” on the chorus is just perfection. As passionate as the song is, though, there is also a bittersweet sense of longing. The lyric, “The way that you love me is lovely/ Love me alone,” is perhaps the most telling. Despite how perfect their connection may seem, the lyrics seem to imply that their connection is slightly imbalanced. It seems that, while he gives it well, he’s not giving as much as he takes; as much as she gives. That realization, in any type of relationship, is certainly good to know.

#GoodToQuote: “You’re bringing it out of me/ From my head to my toes/ I call that anatomy/ That’s the way that shit goes.”

good to know, CHAPTER 2:
Independence

4. “Man”

The lead single from good to know finds JoJo acknowledging her own self-worth. Whereas on “Gold” she was praising her lover’s worth, searching for her own worth from his actions, on “Man” she finds love and worth within herself. On “Man,” she declares that she’ll be single until she can find a man that loves her as much as she loves herself. It’s good to know that you can be comfortable in your own skin, and “Man” is a celebration of that.

#GoodToQuote: “I need somebody who can love me like I love me, love me like I can.”

5. “Small Things”

We all get in our feelings sometimes, and “Small Things” is the perfect acoustic anthem for those moments. As is the entire album, “Small Things” is a raw and honest moment of self-reflection. On this song, JoJo confronts her emotional triggers. Introspective moments like these are what separates a good artist from an irreplaceable one. It’s on “Small Things” that I see the most obvious lyrical similarities between JoJo and our shared fave, Mariah Carey. On a similar and unflinchingly honest song, “Breakdown,” Carey sings, “Friends ask me how I feel and I lie convincingly/ ‘Cause I don’t want to reveal the fact that I am suffering/ So I wear my disguise ’til I go home at night/ Then turn down all the lights and then I breakdown and cry.” This sentiment is echoed in one of JoJo’s finest lyrical moments on the album: “And when my friends ask how I’m doing/ I say I’m great now, but the truth is/ I’m getting good at holding it in, all my emotions, all my feelings/ But the more that I fight them, the bigger they seem/ What really kills me is all the small things.” However, the takeaway here is not to fight them; it’s good to know that it’s actually therapeutic to experience your feelings so that you can get over them.

#GoodToQuote: “And I know I’ll get over it, ’cause that’s just what I’ll do.”

6. “Lonely Hearts”

From its title, one would imagine a depressing song about the brokenhearted, but that’s not JoJo’s “Lonely Hearts.” On the contrary, the song embraces being single and loving yourself, working on yourself. She recalls the events of Chapter 1 in the chorus when she says, “I could pick up the phone right now/ And make that 2 AM call/ I know just what to say/ But that ain’t what I need right now.” The album is clearly taking us on a journey, casting aside distractions like casual sex in favor of self-love. This just might be the introvert anthem, with lyrics like: “I’m liking being alone/ Emotions under control/ Right now is only for me/ Just tryna find myself, I don’t need nobody’s help/ Don’t take it personally.” It may sound selfish, but sometimes, we’ve gotta be – that’s the message here, and for anyone else trying to find themselves, it’s one that’s good to know.

#GoodToQuote: “How can I work on me, if I’m working on your body?”

good to know, Chapter 3:
Acceptance

7. “Think About You”

Everyone has ghosts in their past and skeletons in their closets, whether that be a harrowing experience or a heartbreaker ex. On JoJo’s “Think About You,” it’s the latter. My personal favorite song on the album, it’s equal parts catchy and cathartic. It’s everything I love about JoJo: relatable lyrics that’ll drag me and soulful vocals that’ll slay me. Taking responsibility for the relationship’s failure, JoJo accepts that fact and that she’ll need time to move. Getting over someone isn’t an easy process, and “Think About You” perfectly articulates the struggle of rebounding after having your heart broken. If you ever have been in the same situation, it’s good to know you’re not alone.

#GoodToQuote: “All my friends keep telling me I just need to fuck someone new/ Whenever I do, I’m gonna think of you.”

8. “Comeback”

There ain’t nothing wrong with feeling yourself a little bit and letting your freak flag fly. On “Comeback,” Ms. Joanna Noëlle Levesque does all that and more. The digital version features a guest verse from Tory Lanez, upping the song’s heat to the next level. Neither artist is shy on this track, with JoJo unabashedly boasting about her skills in the bedroom while unashamedly demanding what she wants. On a journey to self-love, confidence is key; good to know. Let yourself live vicariously through Ms. Joanna, who says she’s a “Greedy bitch when I want that/ Hit them splits like an acrobat.” Oh? Good to know.

#GoodToQuote: “So fucking good, boy, it’s disgusting/ Tell me it’s mine or I’ma lose my fucking mind/ I need that dick all the time.”

9. “Don’t Talk Me Down”

The last step to healing after heartbreak is accepting that it is truly, and irreparably, over. On “Don’t Talk Me Down,” JoJo delivers the album’s most gut-wrenching moment in the form of this pristinely poetic ballad. Driven by piano with orchestral flourishes and vocal acrobatics, “Don’t Talk Me Down” finds JoJo standing tall: accepting the truth, and accepting herself. Alone. Being able to stand on your own two feet is a lesson not easily learned, but certainly good to know.

#GoodToQuote: “Tryna fix my self-indulgent ways/ Can’t keep holding on to you ’cause it feels safe/ It’s not okay.”

Outro: “Proud”

Also only available on the physical edition of the album, “Proud” begins with a few motivational words from JoJo’s mom, Diana. Dedicated to her mother, ”Proud” is a truly touching moment and the perfect way to conclude the album. While it’s directed toward her mom, it also seems like she’s talking to herself. Accepting her mistakes, loving her scars, and forgiving herself, “Proud” finds JoJo allowing herself to feel proud – of herself. Most of us wrestle with the pressure to make our parents proud, but it’s an even more arduous journey to be able to feel proud of ourselves. Singing her mother’s words, “you don’t know how special you are,” and thus accepting it, cures her of the attitude she started the album with. Now, she is okay with being in the present, with herself. Comfortably. It may be hard to find pride within yourself, but once you know, you know. And, let this album serve as evidence: it sure is good to know.

#GoodToQuote: “People either love you or they won’t/ It doesn’t really matter if they don’t.”

GRADE:
97/97

Stream good to know by JoJo:

The post Review: JoJo’s ‘good to know’ is what growth sounds like appeared first on THE 97.

Since its release in November 2018, Mariah Carey’s fifteenth studio album Caution almost hasn’t aged. (Just like the Queen who created it). Lauded with rave reviews by critics upon its release, adored by the loyal Lambily in every waking minute since, the album still sounds as fresh and impressive as it did on day one. Twenty-eight years into her career, Mariah Carey crafted an impeccable album that ushered in the third phase of her career.

PROCEED WITH CONTEXT

Phase one marked her debut and rise to “it-girl” status; she reigned for 11 years as the Princess of Pop/R&B, racking up 15 #1 singles, 9 multi-platinum albums, including nearly 3 diamond albums (her debut frustratingly sits at 9x Platinum, for now), becoming Billboard’s Artist of the Decade.

Phase two was marked by her comeback with the 6x Platinum The Emancipation of Mimi, which produced her 16th and 17th #1 singles and the most successful single of her career, with which she cemented her iconic status. Capped off with her 18th #1 single, “Touch My Body,” and followed later by the hits “Obsessed” (#7) and “Beautiful” (#15), Mariah Carey’s status as an iconic hitmaker was cemented. Also during this time, she was slowly but surely assumed her title of “the Queen of Christmas,” as “All I Want For Christmas Is You” began an unstoppable ascent to classic-status, beginning in 2004.

Now, since the release of Caution, Mariah Carey stands loftily in Phase 3, bearing the title of Legend that she so valiantly earned. Since 2015’s #1 to Infinity Las Vegas residency, Mariah has quietly been amassing more of the respect she so deserves. Part of the cause for delay was Mariah herself. Though she has a reputation for being an overdramatic diva, she is in all actuality quite modest, and humble. She’d always shy away from talking up her accomplishments, spouting off her resume, or allowing herself to be honored. Though now, something has changed and she seems more willing to embrace, and celebrate, her legendary status.

PROCEED WITH CAUTION

Caution serves as the musical accompaniment to that new narrative. On Caution, Mariah is on point in every way. She delivers a cohesive body of work that lives up to her title as Legend. Her writing is up to her own gold standard, her vocals (though subdued) are flawless and unmistakably Mariah, and the production sounds current, yet feels classic. There are songs on this album that will sit comfortably among the best songs of her entire career, side-by-side with some of her 90s classics. Yes, the album is THAT good.

IN RETROSPECT

Personally, I always find it hard to process a new album immediately after its release. I like to live with it for some time, and reflect upon it retrospectively. So, I decided to do a track-by-track review, ranking Caution‘s eleven tracks from least to most favorite. Please, Mariah and Lambily alike, don’t take offense. I literally adore each of these songs, so its just a question of how much, relatively! So, here we go.

11. “Runway”

Japanese bonus track “Runway” is one of Mariah’s two collaborations with producers Skrillex & Lido on the album. I adore the lyrical sentiments of the song, and the use of the “Butterfly” sample was indeed clever. However, the high-pitched sample is a bit overdone and, thus, I really have to be in the mood for it. It’s also probably the most poppy song on the album and feels a bit out of place on the otherwise very modern R&B sounding album. Leaving it off the standard version definitely makes sense, sonically – and quality-wise, too. Still, its triumphant message would have been an uplifting closer to follow “Portrait.”

10. “With You”

The album’s official lead single “With You” comes next, mostly because I have to be feeling a certain vibe for it. “With You” is an interesting song in that although it’s a happy song in theory, its vibe is almost somberly reflective. It’s a total quiet storm jam and though its subdued vocally (like most of the album), it delivers excellence via its melody and gorgeous and oh-so-Mariah lyrics. Like, how can anyone not adore the allusion to 1997’s “Breakdown,” in the song’s bridge: “He said ‘yo, I been lovin’ you so long, ever since that Bone Thugs song, you ain’t gotta breakdown you’re too strong.'” Impossible. That, combined with the lush chorus that manages to feature a classic Mariah-style references to an expensive liquor (“shots of Remy”) and a now-nostalgic album (“playing Confessions, our bodies blending”), as well as both an SAT-level word (“but we muddle through”) and an obscenity (“damn I fucks with you”). Queen pulled out all the stops on “With You,” from allusion to imagery. My ONLY gripes about the song are… 1. Why was it the lead single?, and, 2. “DJ Mustard on the beat.” Be quiet, sir.

(Also, what happened to video of that gorgeous AMA performance?!)

9. “Stay Long Love You”

This really is so hard. For me, this and “With You” are almost equals, but I had to bump “Stay Long Love You” up ahead because it is such a bop. In a discography of mostly mid-tempos and ballads, a high quality bop from Mariah Carey is highly appreciated, and “Stay Long Love You” does not disappoint. Co-produced by The Stereotypes, famous for their work with Bruno Mars, its a unique yet not at all out of place addition to Queen Carey’s catalogue. Slinky, sexy, and sweltering, “Stay Long Love You” adds straight fire to Caution. Good luck getting it out of your head.

8. “One Mo’ Gen”

I can’t lie, the Janet fan in me loves when the self-described Mary Poppins gets a little nasty, and “One Mo’ Gen” is just that. If “Honey” and “Bliss” had a lovechild, it’d be “One Mo’ Gen.” Sensual yet sassy, this mid-tempo jam finds a very demanding Mariah owning her diva attitude in a quest for pleasure, “one mo’ gen.” She opens the song asking, “did you like when I put my lips there?” – need I say more? Shout out to Tanaka.

7. “8th Grade”

When thinking of a word to describe “8th Grade,” the first that comes to mind is “thought provoking.” When we first found out the track listing, myself and other Lambs alike all wondered what on earth this song could be about. Upon first listen, a lot of us were still confused. In a tweet, Mariah explained, “The title reflects on the melancholic feeling I used to have as a kid.” The main takeaway I get from “8th Grade” somehow brings me back to the lyric from 1997’s “Close My Eyes,” when she sings, “maybe I grew up a little too soon.” On the Timbaland co-production “8th Grade,” she’s reflecting on that, singing about how she was sort of above the silliness of teenage romances, because she “grew up … too soon” and saw through it all. On “8th Grade,” she asks, “Maybe the lyrics are too heavy in my song?” and then sings, “I’m not your world, I’m not your life – tell me what that means to you.” Here, she almost chides the potential crush, rejecting the notion of seemingly immature expressions of affection that teenagers (and some adults) throw around rather carelessly. The fact that Mariah can still create a song like this 28 years into her career, that can on the surface sound so simple yet still incite such thought… that is the stuff of legends. And genius songwriters. Both of which describe Mariah Carey.

6. “The Distance”

My biggest pet peeve about “The Distance” is when people say it features a rap. “The Distance” is a duet with singer Ty Dolla $ign. While he may rap as well, on “The Distance” he is singing! Anyway, the song is such a feel good moment, a true anthem that had potential to be a modest hit for the pair. The performance of the song on The Tonight Show with Jimmy Fallon and its lyric video implied it was being considered, but that never came to fruition, sadly. It would’ve made a much better choice of lead single. Seemingly an ode to her new relationship with choreographer/dancer boyfriend Bryan Tanaka, “The Distance” is a timeless sounding song that sings of love and resilience.

5. “GTFO”

The album’s first release, buzz single “GTFO” still punches. I’m not sure there’s an artist out there that could pull off a song like “GTFO” so impeccably; only Mariah. How can one song sound so beautiful yet so shady? It’s an art that only Mariah Carey is a master of. She slides over a hard beat, fluttering vocals delivering those four biting words: “get the fuck out.” Also, those background vocals and adlibs?! Genius. Listen closely, because that is Mimi’s arena. Though a bit too chill to make a splash on the charts, “GTFO” was instantly memorable for its memes and quotable lyrics. The only thing it was missing was a club mix. The gay clubs were practically begging for it. Actually, if you’re reading, Mariah, it’s not even too late… we’ll still take it. Soaring vocals singing “get the fuck out” over a hip-hop house beat? Slay us eternally, Queen.

4. “Portrait”

It wouldn’t be a Mariah Carey without a song like “Portrait.” Written alongside her musical director Daniel Moore, the ballad is a heartbreakingly honest depiction of Mariah’s state of mind. She takes an introspective journey, bearing her soul because that is the true foundation of the bond she shares with her fans. With its piano driven melody and orchestral finale, “Portrait” provides a dramatic view “beyond the looking glass” into the life of music’s most successful female singer-songwriter. Ultimately, the message is that she is “down, but not demoralized,” and for anyone listening, to remind yourself, just as she does: “don’t let go,” because “the moment will subside.”

3. “A No No”

I almost wanted to place “Portrait” ahead of these next two songs because in my mind it should be, but Apple Music’s 2019 replay got me together, letting me know that “A No No” was my most played song of 2019. This doesn’t really come as a surprise, because its a fun, sassy, certifiable bop. Laced atop a sample of Lil’ Kim’s classic “Crush on You,” featuring the voice of the Notorious himself, what more could you ask for? (Aside from a remix with Lil’ Kim and Cardi B). “A No No” serves as yet another reminder that Mariah can still deliver a radio-friendly bop, and that her “MC the Emcee” pen is still on fire, because the lines she spit are something fierce. Honestly, she should be included in discussions of the best female emcees. Fight me on it.

2. “Caution”

Every single time this song plays, I feel butterflies through my entire body (no pun intended). Something about “Caution” just feels amazing. That Carribean-tinged guitar, that bass, and Mariah’s untouchable delivery of her expertly crafted lyrics and melody all come together to create one of the best songs she’s ever recorded. “Caution,” co-produced by the legendary No I.D., is indeed worthy of title track status. The production is simply stellar. The melody is infectious. The vocal fills your spirit. Most people expect introspective lyrics to be regulated to piano ballads like “Portrait,” but actually if you look deeper, “Caution” has some of the most introspective lines on the album. The album title is perfect, just like the song its taken from.

1. “Giving Me Life”

Finally, the best song on Caution is indisputably “Giving Me Life.” Mariah Carey and Dev Hynes is a winning combination, not to mention the addition of hip-hop legend Slick Rick. Where to begin with this phenomenal song? It’s unlike any song she’s ever recorded, yet at the same time is so Mariah. From the moment the track begins, it creates its own mood. The Eddie Murphy soundbites are so seemingly random yet indescribably perfect. The lyrics are so vivid, descriptive and intriguing. They engage the listener, transporting you into the world of this masterful track. Just when you think its over, the song morphs into a whole other mood with the extended outro featuring a guitar solo by Dev Hynes (aka Blood Orange), with Mariah serving riffs and adlibs atop his playing. More often than not, when I listen to “Giving Me Life,” I enter a zone; a place only music can take me to. Sometimes, when I am there, I remind myself that this is my favorite singer singing a song she wrote and produced twenty eight years into her career. There have been times this thought has filled me with such intense admiration and inspiration that it literally brings tears to my eyes. “Giving Me Life” does just that. It gives life to fans, and gives life to the argument for Mariah Carey’s legendary status. “Giving Me Life” is the perfect representation of the Caution album, and the Mariah Carey of today. A song fit for a legendary Queen, “and it’s everything.” 

Oh, and witnessing the only live performance of the song at her New York City stop of the Caution World Tour was an outer body experience. Watch:

Listen to Vincent’s Caution, Ranked playlist:

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Kelly had a lot of pressure riding on her with the release of her fourth studio album. She was coming off her biggest solo hit stateside with “Motivation,” which dominated the R&B charts, perching at #1 for 7 weeks. Not only that, but her collaboration with David Guetta “When Love Takes Over” had taken the entire world by storm two years prior, ushering in the trend of popular R&B and hip-hop stars setting their sights on dance music. Kelly cemented her status as a solo superstar in her own right. She had her own lane. Well, actually, she had two: R&B diva, and dance goddess. Here I Am experienced significant delays due to the dilemma (no pun intended) of how to navigate those diverging yet converging paths.

So, with 2013’s Talk a Good Game, Ms. Kelly made a decision: she would go back to her roots, and make a purely R&B album (with one gorgeous exception). Perhaps that’s why the album came so quickly. Part of the reason was likely the pressure to strike while she was still hot off the success of “Motivation,” but more likely is the fact her renewed focus on R&B made the music pour out organically. Whatever the case, the result was nothing short of stellar.

Talk a Good Game is by far the best body of work Kelly Rowland has released to date. It is a near-flawless, cohesive collection of quality mid-tempo R&B grooves, ballads, and a few up-tempo bops to boot. Musically, it is pristinely produced, perfectly preserving the sonic landscape of contemporary R&B with subtle yet fulfilling throwbacks to the greatness of R&B throughout the decades. Vocally, she shines like never before: her silky, emotive voice glides through verses, lavishly layers itself in the backgrounds, and soars through soulful, sensual ad-libs with crisp clarity. Lyrically, she delves into every aspect of love, from the good, to the bad, to the games. She has always been a confessional sort of singer, but on Talk a Good Game she opened up more than ever before, sharing her most guarded truths. In her catalog, the album is unparalleled.

The set opens with the fearless “Freak.” As the title suggests, the track is a suggestive, dance-floor ready romp that embodies her most forbidden desires into a celebratory anthem of sexual empowerment. The song originally belonged to Jamie Foxx, but Kelly’s version is by far superior. “Everybody’s, somebody’s… freak,” she chants, welcoming us to her world.

Following “Freak” is lead single “Kisses Down Low.” Ironically, it feels the most generic and dated in retrospect all these years later. Clearly molded in the image of “Motivation,” geared toward the mission of achieving the same success as its predecessor, “Kisses” is sensual and unabashedly explicit, with a powerful bass line. It’s certainly a good time, but the album has better offerings.

One of its first throwback moments, “Gone” samples the same Joni Mitchell classic as Janet Jackson’s “Got ‘Til It’s Gone” to craft the perfect break-up bop. Wiz Khalifa provides a sort of comic relief, but the song would soar with or without him. It’s sassy, fun, and fierce.

Beginning with “Gone,” the album seems to go on a journey, encapsulated by the album’s title track, “Talk a Good Game.” One of many standouts on the album, this mid-tempo jam is such an infectious song and really was a missed single opportunity. It’s catchy and relatable, and has a knock to it. The guest verse from song producer and co-writer Kevin Cossom adds hip-hop swag, but surely a remix with a verse from a big name rapper would have made this song a hit on R&B radio. But alas, it remains hidden gem on this sorely underrated album

Kelly follows the realization that it was all a game with the honest confessional, “Down on Love.” It is a moody, ethereal track that takes us into our feelings. We’ve all been there, and Kelly takes us right through it on this moody, masterful R&B mid-tempo.

Her being “Down on Love” leads us to the chilling “Dirty Laundry.” Kelly opened up to the world like never before, airing out feelings she had suppressed, publicly, for so long. She details an emotionally, verbally, and physically abusive relationship she experienced and how it affected her. She admits harboring jealousy toward Beyoncé as a result of having her self-esteem crushed by the vile man she describes. It is a gut-wrenching, soul-bearing song that left listeners in tears. It is truly amazing how an admission of one’s past weaknesses can prove to be so profoundly powerful. With “Dirty Laundry,” Rowland opened a dialogue about abuse that is all too often silenced, long before there was a #MeToo movement for her to join.

Likely to quell any murmurs of animosity between Kelly and Beyoncé as a result of her admissions on “Dirty Laundry,” Kelly follows it with “You Changed,” a collaboration with her Destiny’s Child sisters Michelle and Beyoncé. Opening the track by asking the ladies if they “wanna do it again,” the soulful number is classic your Destiny’s Child girl-power anthem at the expense of a disappointing suitor. Despite having not formally recorded together since 2005, the ladies sounded right at home together on their second reunion track following “Nuclear,” released earlier that same year. Despite it’s subject matter, their unity and harmonies on “You Changed” are heartwarming.

The album’s one dance-inspired moment on the album comes via the gorgeous “I Remember.” It is a reflective R&B ballad laid over a house-inspired beat, that can be hard to listen to if you have recently experienced a painful break-up. Kelly perfectly embodies the emotion of the song, and her delivery will soothe your soul and leave your eyes watery from welling up with tears.

Next up is “Red Wine,” a song whose title is nowhere to be found in its lyrics. Rather, its title comes from the track’s creation: Kelly explained she and her collaborators had a good amount of it while writing the song. It is the perfect soundtrack to go alongside your favorite glass of red. The vibe the song creates is lush and warm, just as red wine makes you feel. The title is actually perfect, but the song is even more so. It is not only a highlight on the album, but a highlight in Rowland’s entire catalogue; hell, in R&B music in general.

Her second song with this same title, “This is Love” number two isn’t quite as good as its predecessor on Ms. Kelly, but nevertheless is an enjoyably slinky mid-tempo with clear, pristine vocals. Seemingly having found love again in the album’s story arc, “Street Life” takes a break from matters of the heart to deliver an energetic, uptempo, Pharrell-produced jam that is slightly socially-conscious, advising us to “tell Obama about the street life,” and boasts an unexpected guest verse from Pusha-T. Honestly, it’s a whole bop, so just get your life.

The standard edition of the album ends with “Stand in Front of Me,” also produced by Pharrell, despite sounding reminiscent of a doo-wop sound akin to what Bruno Mars was doing at the time. It’s the perfect fit for a slow dance… if you don’t mind the slightly naughty implication of its lyrics, anyway. It’s a cute track, but hardly of the quality deserving to close out such a great album. Luckily, the deluxe edition delivers.

The first bonus track, “Sky Walker,” features The-Dream; it’s fun, slightly raunchy, but not outstanding. Luckily, the next two tracks hit us with nearly 10 minutes of back-to-back R&B goodness. First, is “Put Your Name On It,” another standout on the album. Sounding like it was straight out the 90s with its electric guitar, sensual innuendos and soaring, blow-you-away vocals from Kelendria, it is yet another pristine prize to add to her catalogue. Honestly, by the end of it you will be wishing you could put your name on it, or asking someone to put their name on yours.

Similar levels of emotion may arise from deluxe edition closer “#1,” except on the complete opposite end of the spectrum. This sassy ballad drags a cheating man through the mud, proclaiming that if Kelly isn’t #1, then he is cancelled. She “won’t play second fiddle,” and forcefully let us all know. And, after listening to this album… only a fool would try and make Kelly Rowland their #2.

Fans who purchased the album from Target were in for a treat with two more bonus tracks, “Feet to the Fire,” a slinky duet with Pharrell and yet another album highlight, “Love Me ‘Til I Die,” produced by Drake’s go-to guy, Boi-1da. It certainly has that atmospheric Drake mid-tempo vibe to it, but Kelly puts her own stank on it. Not to mention, her superior vocals only elevate the song to greatness.

In short, if you were to only own one Kelly Rowland album, it needs to be Talk a Good Game (but really, you need them all). In hindsight, it might have benefitted from a shortened and slightly reordered standard track-listing with the weaker reserved for bonus tracks, but I would not want a world without any of these tracks. The album is the perfect example of what she is truly capable of; indeed, it is her most honest artistic expression to date. Enjoy celebrating the greatness that is Talk a Good Game; it stands as her best body of work – so far.

The post ‘Talk a Good Game’ is Kelly Rowland’s best work – so far appeared first on THE 97.

I arrived thirty minutes later, and once I found myself on the line, it was already wrapped around the block. Within a half an hour, I had a wristband for access to an event I knew nothing about. Considering the strict policy of no phones or cameras, one could easily assume it might be new music. Before we entered the venue, we were instructed to turn off our phones and given pouches that locked with a magnet to encase our phones. Cole was not here for the leakage.

Once the venue was at capacity, Cole took the stage and the crowd erupted. People pushed forward, stampeding toward the stage. Here were, mostly, some of his most loyal fans – and that energy emanated with vigor. Once Cole was able to calm us down, he dropped the bomb on us: “Why do you think you’re here? New music? Nah, I just came to talk.”

He laughed, “Nah, I got a new album.”

From there, Cole went on to explain a little bit of the background behind its creation. Apparently, he recorded the first draft of the album in just two weeks, sometime in 2017. He said it just came to him; the words fell out – it sounded almost supernatural, the way he described it. Then, after spending some time with the record, he decided he wanted it to be even better. He scrapped some of the songs, and created more over the last year or so; while he was on tour in Europe and Australia.

Fast-forward to April 2018, and the album is here, ready for release this Friday, April 20th. The title, K.O.D., he explained, has three meanings. He said the letters came to him before the meaning did; but once it did, the three meanings fell out in some sort of spiritual moment.

The first, is “Kids on Drugs.” He gave the example of how, if you were to turn on the TV, “every 7 minutes,” you’d hear a commercial asking you, “are you okay?” and recommending some sort of drug to medicate yourself with. Then, of course, he mentioned more recreational drugs – pills, weed, alcohol, crack, etc. Finally, there are our addictions that are drug like: sex, money, love, technology, etc. Basically, the point is, kids these days grow up on some sort of drug, with at least one addiction.

Next, is “King OverDose(d)”. I’m not entirely sure if the D is on the end or not, but same meaning. He referred to this as being himself within the album. He personifies the character of “King OverDose” on the album by exploring the different ways in which people overdose on the above mentioned drugs. All the while, thinking and feeling as if you are the King of the world.

Finally, the last and perhaps most powerful meaning is “Kill Our Demons.” He said this is the goal; the place he hopes that we all can get to. To find peace, we all must kill our demons and let go of our addictions that negatively impact our mental health. J. Cole, a hip-hop star, a King of rap, has essentially recorded an album about mental health. As he said when telling us about the album, the shit he had to say is important. Very important, he said. Indeed, it is.

Without further adieu, he allowed us to hear the album. Before doing so, he joked, that he knows our phones are locked up but just in case someone snuck one in, if we see them with a phone, to slap them. Or, he said, if we see any journalists writing notes, to slap the #2 pencil out of their hands. Luckily, I was able to keep mental notes, which Cole did say he permitted. However, he encouraged us to feel some exclusivity. We were the first 500-600 people to hear the album. In the whole world. Ever. Outside of his team of course. He said we had two choices: share, or be able to say, “nah you have to wait, this is our secret.” Ultimately, though, he acknowledged it’s a free country. So, I’m opting for somewhere in between.

I won’t divulge song titles, and I don’t even want to go into full detail about the songs because I do not feel I will do the album proper justice without being able to refer back to the songs, to quote the lyrics, to  live with this immensely profound body of work. I won’t disrespect Cole.

However, I will say this. The album is phenomenal. I’ve only heard it once (and Cole asked us to please, listen with headphones when we get it officially), but I remember my first listen of each of his albums… and I feel like this might be his best body of work yet. Cole has always been a storyteller, that’s why I admire him. There has always been some sort of cohesive theme in his albums, even with his pre-contract mixtapes. Sideline Story and Born Sinner had themes, but they still felt like your standard album. With 2014 Forest Hills Drive, that changed; Cole’s approach to albums changed. The album was released all at once, and experienced as one. Thus, it felt more like one body of work, rather than a group of song. The album felt cinematic, in a way, yet still each song was rather distinct. They came together to be an impressively cohesive body of work, but still could stand on their own.

With 4 Your Eyez Only, he delved further into the realm of a storybook, cinematic album. It was a true concept album, with a main character; an ongoing plot. It all sort of came from the same place. It is striking, but it’s the kind of album you need to give your full attention to; always. There are jams on the album, of course, but they’re courses best served as part of the full meal. Separated, they were not quite as powerful.

Essentially, Forest Hills Drive could be played on shuffle and you can rock with it just the same. Play 4 Your Eyez on shuffle, and you sell the album short. With K.O.D. it is the perfect amalgamation of those two philosophies. The album has the profound content that is found on every track of 4 Your Eyez Only, linked together as part of a larger, overarching story. There are spoken word interludes to bring it all together. The album, like 4 Your Eyez, comes full circle at the end. Yet, like Forest Hills Drive, the songs can stand on their own without feeling like lost puzzle pieces. Just about every song, realistically, could be a hit. They’re substantial in content yet will have you lit, for sure. They’re anthemic, yet literary. They are straightforward, yet intricate. They will get you hype, yet have you dissecting – depending on the moment, the setting, your mood. The songs are about love, money, greed, temptation, drugs, addiction, pain, and meditation. Oh, and taxes – that might be my favorite song. It is “Neighbors” level realness. K.O.D. is indeed like a therapy session with the mission of killing our demons.

Finally, the set ends with perhaps what will be, if I know the media well, the most talked about track. Without spoiling it, although I am sure someone else will, sadly, Cole strays from the album’s theme for what he called “an intro” to something else. His implication with that was not exactly clear – whether he was hinting at another album or just the drama that is undoubtedly sure to follow after folks hear this song. The title of the song is “1985,” and, without giving too much away, Cole is making quite a blunt assessment of the state of hip-hop today, and offering a few choice words, and some well-meaning yet probably hard-to-swallow advice for some artists we might call sell-outs. Though, if they take Cole’s advice to heart, they might end up on his level… and then maybe, he won’t have to keep dropping albums with no features.

That’s a joke you won’t fully understand until you hear the album, but yes, before you ask – there are, once again, no features.

In short, K.O.D. is an album best experienced by listening to it, in full, and at Cole’s advice – with headphones. I hope that I gave you an idea of what to expect, while still allowing for those feelings of anticipation and curiosity to fester until it drops this Friday. Only 3~ days to go, depending when you’re reading this. I can assure you, you won’t be disappointed that you waited. Don’t go looking for spoilers. You might say that’s easy for me to say, but I know I wouldn’t want it any other way.

The post An overview of J. Cole’s new album: K.O.D. appeared first on THE 97.

Bluebird of Happiness is Tamar’s first album as an independent artist and it’s a rather brief record, with its 11 tracks. In the past year she’s had a couple of ups and downs, from hers and Vince’s health issues to her much discussed firing from The Real as a host and the controversy that ensued.

The album is, however, more on the happy side of things as reflected in its title: Tamar is no longer singing about the struggle of romantic relationships, but she’s happy and confident in what she is and what she has. This is a positive record.

The Happiness

Right from the first track “My Forever,” Tamar expresses gratitude for the love that’s in her life “a dream come true.” The album continues then with three uptempo numbers that represent the side of hers that is not always represented by the singles and promotion she receives.

“Wanna Love You Boy,” which samples the almost homonym Robin Thicke track, is the closest we’re getting to a female response to Bruno Mars and “That’s What I Like” this year, with this mid-2000s sound.

“Run Run” and “Hol’ Up” are silly fun tracks that would probably work better on other albums, but are a joy to hear coming from someone as vocally talented as Tamar.

“The Makings of You” is a midtempo that samples Gladys Knight’s cover of the Curtis Mayfield track of the same name and it’s one of the most beautiful R&B tracks she’s ever done, even if the sample has been overused at this point.

“Pick Me Up” and its Evelyn “Champagne” King sample take us back to 2013 and “The One,” with the same fun and carefree vibe. Hopefully it will get some shine.

The Emotions

The first single, “My Man,” is a passionate ballad inspired by Tamar’s parents and their divorce. Written from the perspective of her mother Evelyn and what she felt when she found out about her husband cheating, it was an emotional and cathartic moment also for Tamar, the youngest of the Braxton children.

The three piano ballads showcase Tamar’s skills as a vocalist and an emotional songwriter. “Blind,” the current single is a Gospel-y number driven by a sparse production, harmonies and lyrics inspired by Etta James’s “I’d Rather Go Blind.” (I did feel the influence of Mariah Carey’s Elusive Chanteuse album as well).

“Empty Boxes” closes the album with Tamar realising that she’s no longer going to let her life be defined by expectations. It’s a moment of self-consciousness about cherishing what’s there without hoping for something that’s probably never coming.

Is it the last one?

This album doesn’t really break new ground artistically, but it is a worthy addition to an already strong catalog and one that will make the Tamartians both happy and sad if what Tamar’s saying will indeed turn out to be true. I’m confident this is not the last we’ll hear from her though. Pretty please!

Grade:
85/97

Listen to Bluebird of Happiness below:

The post Album Review: Tamar Braxton’s a “Bluebird of Happiness” appeared first on THE 97.

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

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

1. The unrivaled introspectiveness

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

2. The unabashed honesty

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

3. The gut-wrenching emotion

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

4. The meaningful metaphor

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

5. The timeless nostalgia

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

6. The subtle sensuality

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

7. The Mariah Carey vocals

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

8. The iconic visuals

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

9. The relatable themes

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

10. The superb samples

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

11. The incorporation of Hip-Hop

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

12. The inventive Prince cover

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

13. The thesaurus-opening vocabulary

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

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

14. The masterful poetic writing

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

15. The style-making rap-singing

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

16. The innovative remixes

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

17. The ingenious adlibs

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

18. The captivating storytelling

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

19. The poignant outsider’s anthem

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

20. The lingering, liberating impact

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

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

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

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

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

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

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

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

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

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

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

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

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

2016 came, Abel cut the pineapple off his hairdo and he launched his new album campaign with the lead single and title-track “Starboy,” a thumping midtempo featuring Daft Punk that, while remaining dark-ish, has enough edge for today’s Pop playlists and that dash of the Electronic French duo’s influence for good measure.

Starboy, the album, feels the same way. The Weeknd collaborated with his newfound go-to Pop collaborator Max Martin, but also kept things interesting by mixing and matching with the sounds that made him famous and a few more electronic turns. The uptempos completely shine on this album, overshadowing the slower numbers by far. It’s almost as if The Weeknd has now become the craftsman for a Dance-Pop uptempo song in 2016. Songs like “False Alarm,” “Rockin” and “Secrets,” which dominate the first half of the record and set a rapid pace, feel like the superstar anthems and blueprint everyone should follow to get a hit single for the next season. They’re catchy and fresh and they never feel repetitive or forced, which makes them nearly flawless.

The album sort of slows down with “Sidewalks,” which features a verse from Kendrick Lamar, and offers a soulful riff and a R&B moment while still retaining electronic elements such as the vocoder used on the vocals. “Love to Lay” and “A Lonely Night” pick the tempo up again with their MJ-esque production. Don’t be fooled by the Michael Jackson comparison though, they sound pretty diverse from the uptempos from the last album. They just feel like they come from that era and they would make the King of Pop proud.

By the time we get to track #13 we get to the point where the album has considerably lost steam. Perhaps some of these tracks should’ve been cut: 18 songs is a rather heavy tracklist for a Pop album these days.  The two Lana Del Rey collabos at the top of the album (the co-written “Party Monster” and interlude “Stargirl”) also bring the album’s quality down by being downright boring and sleep-inducing like only she can be. “Die For You” is the song that claims attention back, just for the fact that it’s arguably his best ballad thus far. What’s interesting about the song is the R&B songrwriting paired with a more Pop-leaning production especially on the chorus. “I Feel It Coming,” a second collaboration with Daft Punk then closes the album with another nod to Michael Jackson. This time it’s the 90s portion of MJ’s career that’s being evoked to our minds, with the classic and distinctive melodies and softer tones and vocals that cemented him on the Pop throne.

Much like Beauty Behind the Madness, this new album is all about maintaining a balance between the old and the new, but while that was a more organic experience, the newfound stardom seems to have forced Abel to introduce a more mainstream undertone throughout the whole record.

This is an album that feels like it’s worthy of its title. The Weeknd is now a Starboy and he surely made a record that reflects that. There’s no doubt his success will reach new heights in the coming months and the album will spawn multiple hit singles for him. His transition to Pop star is now complete.

Grade:
80/97

Listen to the album below:

The post Album Review: The Weeknd is a motherf*ckin’ “Starboy” appeared first on THE 97.

It’s with this premise that Lady Gaga introduces one of the songs off her new album during her Dive Bar Tour to promote the record. Stripped of the costumes and antics, Gaga, whose middle name is Joanne, has embarked on a new era in her artistic journey.

Her 5th studio album appears a collection of stripped down, acoustic songs that are far from the club ready catchy pop hits Gaga is known for at this point. However, upon further analysis we actually realise that this Gaga has existed all along. The songs were just buried under layers of synths, thumping beats and electronic effects. Now, they come to the listeners in their bare essence, but with still a great amount of production work.

The album opens with the banging “Diamond Heart,” where Gaga declares she’s not flawless and courts a “young, wild American.” The full on Rock song is a great album introduction that instantly warms us up to the sound of the record. There may be none of the typical Dance sounds here, but Gaga made sure she still gave us a nice melody to sing along to and a clean distinctive chorus.

“A-YO” follows with its guitar riffs and the more upbeat Rock ‘n’ Roll vibe reminds us of her quirkier side with the sexual innuendos and metaphors. The same can be said about “John Wayne,” a song dedicated to the dismantlement of the metrosexual man in favor of the typical cowboy who can offer a real adventure. It’s in songs like these that the essence of Lady Gaga the Pop songwriter comes out, no matter how sapiently disguised it is under a new set of production and instruments.

The title track, dedicated to her prematurely deceased aunt, opens the ballad side of the album with a mix of Folk and Pop/rock that recalls the tradition of Fleetwood Mac and their brand of campfire sing along records. “Dancin’ In Circles,” a collaboration with Beck, is an ode to self-pleasure and the power of imagination set to a reggae beat and recalling the tropical breeziness of “Alejandro.”

After this first section, the heart of the album is made up of ironically the most forced and realest songs on the album: the former is the lead single “Perfect Illusion” which, while it works better in the context of the album, still feels a bit out of place on it. The latter is “Million Reasons,” a slow number about the end of a relationship co-written with Country songwriter Hillary Lindsey and arguably the best ballad in Gaga’s discography thus far. It’s not a surprise if it’s currently the #1 song on iTunes: its simplicity and the powerful vocals make it extremely relatable.

The album the continues with “Come to Mama,” where Mark Ronson’s 60s and doo-wop influences shine, complete with a sax solo. The song is about acceptance at a social level, unity and mutual help with lyrics lifted from the Bible. “Hey Girl,” the duet with Florence Welch, recalls the epic slow intro to Diana Ross’ Disco anthem “Love Hangover” and 80s Quiet Storm in general with its synths and smooth R&B-leaning beat. The pair sings about female empowerment and friendship, with a few sapphic/platonic innuendos.

The standard edition of the album closes with “Angel Down,” written, according to Gaga, in light of the Trayvon Martin shooting. Gaga sings “shots were fired on the street, by the church where we used to meet” making clear references to the brutal homicide that’s had a huge impact socially and in the media.

Joanne is definitely Lady Gaga’s most honest album. While it represents a sonic shift, there’s an evident artistic investment in the making of this record and it’s clearly the kind of music Gaga feels closer to. Elements of her distinctive Pop songwriting are still present and create a connection to the rest of her catalog, but let’s not forget that pre-fame (not just her first album, but literally) Stefani Germanotta was a Pop/Rock aficionado, writing acoustic songs. She’s finally earned the right to bring this sound to the surface without hiding her musical influences under the disguise of club anthems, polished productions and shock value. Will it pay off? Probably not immediately, but this is an album that people will go back to and understand in time. You read it here first!

Grade:
85/97

Listen to the deluxe edition of Joanne here:

The post Meet “Joanne:” Lady Gaga’s most honest album to date appeared first on THE 97.

At 21 years old, Mariah Carey, coming off the enormous success of her eponymous debut album, has thrown herself into work for her second studio album. Expectations are high at Columbia Records: Mariah’s debut produced 4 #1 Hot 100 hits, all consecutive, and spent 10 weeks at #1 on the albums chart, selling over 4 million copies in the span of a year.

The label sends Mariah back to the studio with Walter Afanasieff, co-writer and producer of her second #1 hit, “Love Takes Time,” and the duo known as C+C Music Factory, David Cole and Robert Clivillés. For the first time Mariah is allowed not only to write her songs, like she did for her first album, but to also produce them. The result is Emotions.

We have compiled a list of the 25 most notable Emotions moments; 25 reasons (not in any particular order) why this underrated gem deserves all the praise and more on it’s 25th Anniversary. Enjoy, and please comment with your own!

1. The Album Cover

Okay. Fine. It’s Mariah posing dramatically, it’s not Michael Jackson’s Dangerous or anything… but look at the artwork for her debut. A close up of her (beautiful) face and that iconic hair. It doesn’t say much about the album. But, on Emotions, we see Mariah in a low cut dress (on the top and bottom; albeit, it’s also made dark enough so we can’t actually see anything), hair blowing in the wind, readying to toss her arms up in the air to exclaim about all the Emotions she’s feeling. It just looks carefree and is the perfect cover for the album. However, if Sony could dig out the full-color, less-darkened version of the photo we’d appreciate it dahhhlings.

2. The Soul

Mariah’s debut was varied in sounds, but ultimately it would be categorized as a pop effort. However, perhaps thanks to the success that yielded, Mariah took more creative liberty with Emotions and made an album that was much more true-to-heart for her. While it’s still “AC-friendly,” ballad-heavy, and hip-hop is nowhere to be found, Emotions makes up for that in its soulful qualities and R&B uptempos. The lead single is a clear homage to The Emotions’ “Best of My Love,” while the other two in the quartet, “To Be Around You” (also a 70s disco/R&B number) and “You’re So Cold” (a mix of a church bop and a pop song) would sound right at home at a 70s-inspired 90s house party. Rounding out the quartet is “Make It Happen,” a gospel-influenced inspirational jam. “If It’s Over” has one of Mariah’s most soulful vocal performances to date, and “Can’t Let Go” is the epitome of 90s quiet storm R&B balladry.

3. The Lyricism 

Like her debut before it and every album to follow, Mariah penned the lyrics of every song on Emotions. This time, however, the lyrics became a bit more personal in comparison to her debut. “Make It Happen” finds her recounting the struggles of her childhood and inspiring the listener to power through it all as she did. Meanwhile, the aforementioned “The Wind,” pre-dated “One Sweet Day” as her first song about the death of a beloved friend. The two songs opened the door to much more personal songs that came later in her catalogue. Aside from this, the lyrics on Emotions were a bit more mature than her debut and impeccable as ever. “If It’s Over,” for example, has some of the most gut-wrenching lyrics on the album.

4. The Jazz of “The Wind”

Before Lady Gaga thought she was le unique artiste by recording a Jazz album with Tony Bennett, Mariah Carey made her first foray into the Jazz club in 1991, with Emotions’ “The Wind.” (Unfortunately, it was also her last… until she duetted with Tony Bennett in 2011.) Regardless, “The Wind” is such a unique, shining moment in her catalogue. The song is built on top of a 1950s Jazz instrumental by Russell Freeman. Of course, Mariah penned her own lyrics and melody to go on top of it. It is a song about the death of a young friend, and Mariah’s vocals drip in jazzy sadness. She is almost unrecognizable, proving her skilled vocal versatility. Just try playing “The Wind” for someone who’s not a big Mariah fan – see if they recognize who’s singing. We’re still waiting for the day when Mariah will take “The Wind” to the stage. Until then, we revel in her Jazz freestyle moments.

5. The Fifth #1: “Emotions” 

“Emotions,” the lead single, became Mariah’s fifth #1 single, besting the Jackson 5’s record (4) to become the only artist to have their first 5 consecutive singles be #1 Hot 100 hits. An important achievement indeed, it set the stage for Mariah to become the Queen of #1s and the 90s in terms of singles. She would go on to have a #1 in every year of the decade.

6. The “Emotions” live intro

Speaking of “Emotions,” we must talk about the live intro. Beginning with The Elusive Chanteuse Tour in 2014, Mariah once again adds an epic, a cappella intro to “Emotions,” which she originally added to the song’s 12” club mix (a first attempt in a glorious list of re-sung Dance remixes). She performed a version of the song with this intro for the first time in 1992 for her MTV Unplugged special. Since then, the “Emotions” intro has become a staple in her setlists – from the All I Want For Christmas Is You Extravaganza, to her #1 to Infinity Las Vegas residency, this year’s Sweet Sweet Fantasy Tour, and even her set at the Essence Music Festival in July. The intro has found its place as a vocal showcase; a means for her to prove she’s still got it to her naysayers. Every intro is a glorious slay, and we praise the fact that she resurrected it. Talk about feeling emotions…

https://www.youtube.com/watch?v=G8a0bUJZTbE

7. Everything about “Emotions” 

Really, this song is one of her classics. Like fine wine, it has gotten better and more renowned with age. Some of it has to do with the epic way she resurrected it with the aforementioned intro. However, most of it is because it is a phenomenal song. Melodically, it is the perfect singalong. Lyrically, it is one of those ever-relatable songs that are just fun to sing. Vocally, it is carefree and a downright slay. If elation had a sound, it would be Mariah Carey’s vocals on “Emotions.” We should all strive to have, in our own lives, the amount of joy in Mariah’s vocals on “Emotions.” Oh, and then there’s those got damn high notes…

https://www.youtube.com/watch?v=jD1K439iZQ8

8. The High Notes

Undoubtedly, for most people, their first thought about Mariah Carey’s “Emotions” will be the inconceivably-high high notes at the end of its title track and lead single. Why are they so iconic? Because they are the highest notes Mariah has hit to date, and she was able to replicate them and even go higher live at the VMA Awards in 1991. The “Emotions” G7 is iconic. While we can’t go on record as saying it is the highest note hit by any singer (because, really, who knows that definitively?) …none of her peers can challenge her in that department.  Because, she not only hits the notes – she uses them in musically sensible ways. She can even sing actual words while hitting them. That’s why those high notes are so iconic. They cemented Mariah Carey as the indisputable Queen of the High Notes, the Songbird Supreme some would say. The use of her now-signature high notes became much more prominent on the Emotions album, and rightfully so. Emotions is also the only Mariah album to date where the whistle register is featured on every song. Check it!

9.“And You Don’t Remember” and its climax 

To be frank, “And You Don’t Remember” is, by comparison, a weaker moment on the album. One of her collaborations with Walter Afanasieff, it’s pretty straightforward and, aside from a slight gospel-tinge to it, otherwise unremarkable as a song. However, vocally… it’s not surprise that Mimi slayed. Just listen to the climax! The whole last minute of the song is an impeccable showcase of vocal slayage. Like, it’s not even fair. It’s just gorgeous.

10. The never-before-seen “And You Don’t Remember” video

Speaking of “And You Don’t Remember,” did you know that it was supposed to be a single and Mariah even recorded a video for it? It’s true! However, its release was cancelled due to the success of “I’ll Be There” from MTV Unplugged. The MC Archives alleges that these screenshots are from the rumored video, which was turned into an ad for the Sony “mini disc.” To be honest, it looks like a terrible 90s commercial, so we (and Mariah) should be glad it stayed regulated to such and isn’t an embarrassing addition to her VEVO page. (Lord knows “I Want to Know What Love Is” and “Auld Lang Syne” are enough).

11. The “Can’t Let Go” Intro

Go ahead and turn on “Can’t Let Go.” Did you ever notice that, aside from the oohs and ahhs and saying “can’t let go, ooh baby,” the song takes a full 76 seconds to actually start? She lets it rock with the gloriously 90s instrumental and gorgeous background vocals. Not many artists before Mariah placed so much value in their background vocals. Hell, few do to this day. Mariah, however, is committed. She even penned a distressed letter from her bathroom floor when there was something wrong with the backgrounds when she dropped “The Art of Letting Go” in 2013. It all stems back to songs like “Can’t Let Go,” where she put her foot into those backgrounds.

https://www.youtube.com/watch?v=mrH9W4YmTCE

12. The first #2: “Can’t Let Go”

Let’s talk more about “Can’t Let Go,” shall we? Yes; because it’s that damn good. It’s heartbreakingly good, actually. If you’ve ever been there, then you understand how damn good this song is. Like we said in #3, the lyricism on this album was just next level. That’s why, to this day, “Can’t Let Go” is a favorite of the lambs and Mariah’s alike. Unfortunately for us all, it peaked at #2 on the Hot 100 and thus is not “allowed” to be included in the #1 to Infinity setlist, but boy do we wish it could be. In fact, “Can’t Let Go” was the first of five Mariah songs to peak at #2 and be blocked from #1; though, fans agree, “Can’t Let Go” is the best and most criminal instance of them all. Everything about the song is flawless; the lyrics, the vocals, the instrumentation… it is 90s perfection. But who’s surprised, honestly?

13. “Make It Happen”

While it may have “only” peaked at #5 of the Hot 100, “Make It Happen” is still a very notable song in Mariah’s catalogue. Not only is it one of Mariah’s favorites, and the fans’, but it’s also the first explicitly personal song of her career, and her first gospel-inspired track. Both of these aspects would go onto become expected within Mariah’s albums… more often than not, her albums feature at least one very personal song and gospel song. “Make It Happen” was the first song to, well, make that happen. It’s also one of the most authentically inspirational tracks in her catalogue. Not only that, but clearly its appearance in her Jenny Craig campaign is iconic in its own right.

14. The “Don’t Ever Let Go” Legacy

There is, however, another important aspect of “Make It Happen” – its live performances. She began adding a new refrain to the song for the performances, “don’t let go, don’t ever ever let go” which has become a beloved moment for fans. In general, “Make It Happen” became a staple in her setlists over the years; it was a song that even in moments of vocal weakness, she was able to shine with. It became an anthem of sorts for her, after all she had been through, and by performing the song at high profile promotional events; such as during The Emancipation of Mimi events, she sort of vindicated the song and made it one of her classics despite not being a #1. The “don’t ever let go” mantra indeed has become quite symbolic.

15. Carole King and “If It’s Over”

Long before hit singer-songwriter Carole King had a Broadway musical about her career, Mariah Carey managed to be afforded the privilege of writing a song with her for her sophomore album. To put that into perspective for the young folks, it’d basically be the equivalent of if Mariah Carey wrote a song with Adele for her 2008 debut album. As expected, this pairing of female musical geniuses resulted in one of the best songs in Mariah’s catalogue. King had originally suggested that Mariah cover the Aretha Franklin classic she had written “(You Make Me Feel Like) A Natural Woman,” but she declined the offer and opted to write a new song with her instead. Musically, it recalls the greatness of “Natural Woman,” except it’s lyrically the total opposite. “If It’s Over” is a ballad of rejection that will make you want to hug her. “If it’s over, just let me go…” she sings desperately. It’s one of her most simple yet effective lyrics, delivered via one of her finest vocal moments.

16. “If It’s Over” Live at the Grammys and SNL

That fine vocal moment was only magnified by the flawless performances Mariah gave of the song at Saturday Night Live and the 1992 Grammy Awards. As if the album version did not harbor enough Earth-shattering soul, she went even further live. “It isn’t fair, it just isn’t right,” she sang… while she wasn’t talking about her vocals, she should’ve been. Just watch, honestly…

https://www.youtube.com/watch?v=amB3d2Id1QA

17. C&C Music Factory

Moving on from Ben Margulies and, well, everyone else she worked with for her debut except Walter Afanasieff, she enlisted David Cole and Robert Clivillés to co-write and co-produce the uptempos on Emotions, which included the title track, “Make It Happen,” “You’re So Cold” and “To Be Around You.” The collaboration was magical; each of these songs is a standout on Emotions and, while the latter two are severely underrated within her catalogue, the singles have become classics.  

18. The Shade of “You’re So Cold”

Now, everyone knows Mariah Carey is no stranger to a shady comment or even a shady song. Both have become commonplace in her world as of late, culminating into shady songs like “Obsessed” and “Thirsty.” In fact, we have a whole article about her shady songs. “You’re So Cold” falls under the category of her “early shade,” alongside “Someday,” “Prisoner” and “You Need Me” from her debut. People like to act like her shadiness is a new phenomenon, but really… it’s not. It was all just under the guise of a few cute bops back in the 90s. “You’re So Cold” is a scathing read of a “cold” lover, she is literally reading his soul. It is a priceless gem with flawfree vocals and a club ready beat. Actually, it was originally slated to be the lead single, until apparently somebody wised up to the fact that “Emotions” slays harder. Anyway, go press play and get your life.

19. The “You’re So Cold” Intro

And the intro once again deserves its own moment. It begins with some dramatic piano lines followed by Mariah singing “Lord, holy Lord” in her lowest of registers, eventually hitting her lowest recorded note of A2. Yes, Emotions is home to Mariah’s highest note and her lowest note! From there, she scales up the octaves to eventually serve us an effortless read in her high register… capping it off with a high note, and then drops back down again. Some of her peers might be able dip it low or drop it like it’s hot or whatever, but Mariah does that vocally.

20. “So Blessed” and That Bridge!

Yet another Afanasieff collaboration, “So Blessed” recalls the 50s sway of “Vision of Love,” and is tailor-made for AC radio (though, it was never sent). It’s a gorgeous, subdued song, for the most part…until the end. For the bridge, her blessings come to helm and she explodes vocally into a magnificent bridge filled with vocal acrobatics that’ll leave you breathless and feeling blessed in your own right. The clarity, power and effortless skill of her vocals is a trend on Emotions.

21. The Ultimate Bop: “To Be Around You”

Severely underrated, “To Be Around You” is one of the more fun songs in Mariah’s catalogue, and a nice pick me up within the album, after the slowness of “So Blessed.” The song pulls from 70s R&B and disco but finds its home in the realm of House and New Jack Swing moment that was all the rage in the early 90s. The runs on the chorus, the background vocalists, the energetic production, the cute lil’ breakdown toward the end, and Mariah’s final guttural ad-libs, all pack punch after punch for this ultimate, undeniable, underrated BOP.

22. The Atmospheric “’Til The End of Time”

Yet another song that places significant importance on its background vocals like “Can’t Let Go,” is “Til The End of Time.” This spiraling cascade of buttery vocals and fluttering lyrics rises in dramatics, passion and octaves over the course of its five-and-a-half-minutes. As she builds toward the climax, she grows in fervor; comparing the beginning to the end and you may think it is two different songs. Serving as the capstone of the album, before the Jazzy closer “The Wind,” it is gorgeous and glorious, with just the right amount of each element that makes Emotions a phenomenal album.  

23. Her Producer of the Year Nomination

At the 1992 Grammys, Mariah Carey became the second female – ever – to be nominated for the Producer of the Year, thanks to her stellar production work alongside Walter Afanasieff on Emotions (the first, coincidentally, was other EST. 1997 favorite Janet Jackson in 1990). Ironically, Afanasieff went on to be nominated for his work with her every year after that, but suspiciously, the Grammy committee neglected to nominate Mariah for the award ever again despite the fact that she co-produced all of their work together.

24. The Fact She Got Producer Credit

Mariah, on multiple occasions, has complained about the fact that she didn’t receive production credit her debut album, despite having been a producer. However, that changed with Emotions, and she received co-production credit for every track… thus, allowing for that nomination to even happen.

25. MTV Unplugged

Finally, one of the most significant moments of the Emotions era is the very thing that effectively ended it. Mariah’s 1992 MTV Unplugged special was intended to be a promotional tool for the Emotions album and its singles, but it ended up becoming an album and era of its own. The setlist included hits from her debut as well as the Emotions singles, but the game changer was the last minute addition of a cover. Mariah’s version of The Jackson 5’s “I’ll Be There” became an immediate hit following her special; radio requested a single edit of the song and thus prompted the label to release the song and the MTV Unplugged EP. While “I’ll Be There” brought Mariah her 6th #1 hit, it also ended promotion of her sophomore set in favor of the live album. Emotions is certified 4x Platinum, while Unplugged, too, is certified 4x Platinum, off the success of only one single. Combined the two releases nearly replicated the 9x Platinum certification of her debut. So, while some may write Emotions off as evidence of “the sophomore slump,” we must not forget that MTV Unplugged was merely an extension of that album. If such a similar event were to happen today, her label merely would’ve re-released the album itself with a bonus live disc, and the totals would have likely been combined.

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It’s been a defining year for Drake’s career, with the release of three bodies of work in such a short span of time he’s proven to be a very prolific artist and his status has definitely seen a rise.

Just this past winter Drake scored the biggest hit of his career with the tropical beat of “Hotline Bling” (which is his highest peaking song since his 2009 debut single “Best I Ever Had”) and he currently has the #1 album on both sides of the Atlantic Ocean with the largest debut sales for him thus far. Drake has huge numbers of fans all interested in his back story, with some even looking for toronto real estate to get an authentic perception of his upbringing.

The album in question is VIEWS (originally titled Views From the 6), the highly anticipated record that he’s been talking about for a long time, an hommage to his hometown Toronto. An album which represents everything Drake stands for both as a rapper and an artist.

The 20 tracks on the album are a mix of the introspective side of him and the newfound “street” persona he had the chance to display thanks to his extensive collaboration with Future on the What a Time to Be Alive joint venture. VIEWS has everything it takes to be the perfect Drake album: the production is smooth and eclectic, the distinctive flow and the melodic sections are fully displayed on every track and there are also the big Pop moments that will ensure continued exposure at radio (not that it was really needed as he’s a radio staple). It is, however, also a long album, maybe too long. And that’s where it starts to pale in comparison to his previous work.

The production is often what keeps the interest going with clever samples, such as the two DMX hommages (lyrical and musical) on “U With Me?,” the early 90s throwback on “Weston Road Flows” thanks to Mary J. Blige’s “Mary’s Joint” or a sped up loop of Brandy’s “I Dedicate (Part III)” on the sparse “Fire & Desire.” The Winans introduce the album finale, the title-track, with the soulful “The Question Is” reminiscent of how the 90s R&B albums often ended with a Gospel track.

Reflection opens the album with the epic “Keep the Family Close,” a stream of consciousness of sorts about loyalty and the feeling of loneliness after fame. It’s always great to hear a man wear his heart on his sleeve and Drake does that with class and sense, but it’s redundant when it becomes the central theme of such a long album.

The reality is that at this point in his career Drake should’ve tried to break new ground both lyrically and sonically. Where VIEWS has an advantage over his past albums is the inclusion of more crossover tracks, where the previous records usually had just one designated song doing the work. Here the current single “One Dance,” which is poised to be an even bigger hit than “Bling,” could easily be followed up with the Caribeean-tinged “Controlla” and the umpteenth Rihanna collaboration “Too Good,” where she surprisingly sounds more decent than on her own album.

VIEWS will definitely be a grower for many and that’s not a bad quality. Albums that require time to get into are often the ones people end up cherishing the most because they remain fresh to the ear.

Sitting atop the CN Tower of Toronto for the artwork is probably a metaphor of the pride Drake feels when he sees where his career is going, and it’s clearly going in the right direction, but the horizon is much wider than what he’s explored thus far. Perhaps he’ll start looking beyond the limits he’s imposed for himself, exploiting his confirmed power as a Pop star rapper.

Grade:
80/97

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