“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”

The post Top 5: Janet Jackson’s “Damita Jo” appeared first on THE 97.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

View this post on Instagram

A post shared by Mariah Carey (@mariahcarey)

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

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

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

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

Revisit “Caution” by Mariah Carey

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

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

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

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post 97 Words: “Sweetheart” by Jermaine Dupri & Mariah Carey appeared first on THE 97.

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

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

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here

The post 97 Words: “Ray of Light” by Madonna appeared first on THE 97.

It All Started With a Purr.

Not quite the kind of vocal purr that Eartha Kitt famously once possessed. This purr was vastly different: vaguely androgynous, with a fry that would horrify most experienced vocal coaches, yet intrinsically worked for her. The purr was deep. One now disgraced singer once facetiously quipped that the owner sounded like “the female Elvis.” This proved to be untrue, as the purr was strangely feminine and unmistakably seductive, yet tinged with an innate and sometimes guttural hint of pain. It was deceptive, mostly coming from the proverbial “basement” of the owner’s register, while seemingly out of nowhere, reaching a falsetto a singer like that rarely has in their wheelhouse.

Church Girl

When the owner of this vocal purr, a diminutive 25-year-old woman hailing from Severn, Maryland, linked up with pioneering singer-songwriter Kenneth “Babyface” Edmonds, what resulted was not only one of the most enduring musical partnerships of all time but one of the greatest debut albums the world has ever seen. In July 1993, Toni Michele Braxton arrived and proved she was here to stay.

By the time her self-titled debut album dropped, Toni Braxton up until that point had lived a life that was a far cry from the glitz and glamor of Hollywood. Born the first of six children, Braxton had grown up with the strict religious teachings of her clergyman father, and under the restrictive tutelage of her mother. She’d known minimal success previously, as along with her four sisters, she served as the lead singer of the original incarnation of the R&B group, The Braxtons. While it was obvious that the sisters were talented to varying degrees, it was Toni who was the unmistakable star.

A “Musical Marriage”

By 1993, Kenneth Edmonds and L.A. Reid had found a way to exploit their new star’s talents in the best way possible. It began of course, with the music. Recording of the album began just under a year earlier in Atlanta, where by that point, Braxton had already recorded her duet with Edmonds, “Give U My Heart” and her first solo single “Love Shoulda Brought You Home”, both for the soundtrack to the 1992 film, Boomerang. Love as it turned out, would be the album’s center-point, as the work perfectly embodies the ebbs and flows of relationships. We take a seamless journey throughout a love story in its different phases.

With a relatable ear, we journey with Braxton as she girlishly describes “the honeymoon phase” in tracks such as “How Many Ways” (Shemar Moore, anyone?), “Best Friend,” “I Belong To You” and “Candlelight.” We feel through her the emotional uncertainty during rougher times with “You Mean The World To Me.” We even condoned more immoral behavior from Toni, as she coyly entertains the thought of infidelity in “Love Affair,” just because it was so damn sexy. Come on, when she sings the line, “I have a boyfrieeeennnd!” you can’t tell me that you didn’t want her to choose chaos, and cheat!

The Boomerang Effect

There is a strong chance that you’ve seen your mamas or your aunties recreating the famous scene in Boomerang, in which Halle Berry’s Angela “muffs” Eddie Murphy’s Marcus in the forehead, while cooly saying, “Loooove, shoulda brought your ass HOME last night!” – an obvious reference and evidence of the aforementioned track’s impact. Continuing that wave of accountability, the track “Seven Whole Days” sees Braxton sassing her man ALL the way together. Flanked by her younger sisters (R.I.P. Tracie), this visual is easily my favorite of the era. By the time we reach the stage of full-on heartache with songs like “Another Sad Love Song” (one of my absolute favorite songs of all time), and “Breathe Again,” we’ve run the whole emotional gamut that one can expect in a romantic relationship.

Living Legend

With one stroke of the proverbial wands of Babyface and L.A. Reid, Toni “Living Legend” Braxton had arrived. By shedding her homely Maryland aesthetic – repackaged as a tantalizing, lovesick R&B goddess – she easily stood toe-to-toe with her admitted influences of Anita Baker and Sade. With the sensual stage presence of a 1940s torch singer, Braxton quickly developed a sex appeal that rivaled her contemporaries Janet Jackson, Mariah Carey, and Whitney Houston.

Donning her iconic pixie cut, denim jeans, bold red lipstick, and black leather jacket on the album’s cover, Braxton would go on to shift not only what an R&B diva looks like, but would shatter the whole notion of what one is. Toni Braxton’s debut album, which would go on to nab her three GRAMMYs including one for Best New Artist, easily rendered the newcomer as one of the most commercially viable artists of the 1990s. The little plain girl from Severn, Maryland with the funny purr in her voice went on to become a living legend because she has one of the most distinguishable voices of all time.

Listen to or purchase Toni Braxton’s debut album

The post Big Purr: The Debut of Toni Braxton appeared first on THE 97.

The song, released on June 2, 2003, as the third and final single off of the superstar’s ninth studio album “Charmbracelet,” originally appeared on the British rock band’s 1981 album “High ‘n’ Dry.” Written by band members Steve Clark, Pete Willis, and Joe Elliott, “Bringin’ On The Heartbreak” only reached a peak of #61 on the Billboard Hot 100, a stark contrast from a majority of the more successful hits Carey’s chosen to cover on her other albums. Released through Island Def Jam Records and Carey’s own (now defunct) record label, MonarC Entertainment, “Heartbreak” wasn’t any more commercially successful in Carey’s hands, but was well-received by critics and even the song’s creators.

Cover Girl

Lead singer Joe Elliott recounts that he heard Carey became interested in covering the band’s song after she heard it playing during a photoshoot. “I think she did a great version of it,” he told Rolling Stone in 2019. Def Leppard’s guitarist Phil Collen described Carey’s version as “genuine,” stating, “She’s on our side and it’s an honour she’s done it.” Other reviewers were appreciative of Carey’s surprising transformation from pop to rock star. Praising its live instrumentation, Sal Cinquemani of “Slant” labeled the track as “daring.” After all, it’s not every day a diva like Carey trades in her stilettos for a guitar.

“Gypsy, sittin’ looking pretty / A broken rose and laughing eyes…” are the first lines elicited by Carey’s airy but fervent vocals as she swoons over a somber piano and soft guitar strings. While Leppard’s original version begins with an immediate clash of electric guitars and drums, Carey’s version takes you on a journey of suspense – a gentle, almost whispered start, with a ferocious ending. “The record had a crescendo, so we started out in one place and ended up in a really big epic moment,” Carey said about the song during a 2002 promo interview. Though the five-octave crooner, who’s cemented her musical legacy with innumerable pop/R&B hits, surely wouldn’t be first in mind for a rock ‘n’ roll selection, Carey’s rendition of “Heartbreak” further proves that her voice can fit seamlessly within any musical genre. And, her glass-shattering high note towards the song’s finish – the one Elliott said makes “Minnie Riperton sound like Tom Waits” – could actually be mistaken for an electric guitar squeal. The diva’s voice is indeed an instrument. Everything else around it is just background noise.

Punk-riah

Though the 2003 release of “Heartbreak” was the first rock single that the self-proclaimed “elusive chanteuse” publicly took credit for singing, it was not her first foray into the genre. Carey later revealed in her 2020 memoir, “The Meaning of Mariah Carey,” that she recorded an alternative rock album during the recording of her 1995 studio album, “Daydream.” The secret album, titled “Someone’s Ugly Daughter,” was released under the band name, Chick. Carey wrote, produced, and sang each track from the album, enlisting her friend Clarissa Dane to sing over her voice as a means of disguising it. Carey, however, has hinted about the album in the past. “I’ve written some alternative things that nobody knows about,” she revealed to Craig Seymour, in 1999, saying, “I’m a musical person.” Unfortunately, “Someone’s Ugly Daughter” is still not available on any music platforms. But honestly Ms. Carey, it’s time for the world to become reacquainted with the much more elusive, “Punk-riah.”

A music video for “Bringin’ On The Heartbreak,” directed by Sanaa Hamri, was shot in Los Angeles in early 2003. Inspired by the 1979 film, “The Rose,” the song’s video chronicles the pressures of a renowned rock star, one who is adored by the world but struggles to find her own inner peace – much like the film’s protagonist Mary Rose Foster, played by the legendary Bette Midler. Dressed like a vampy Stevie Nicks, Carey is draped in headscarves and hippie beads but stays true to character by leaving her enviable physique on full display. Shots of her being swarmed by screaming fans, backed by close-ups of a saddened starlet and clips of a risqué love scene between her and model Damon Willis in the sheets, all lead to the video’s finale, where – much like Rose – Carey is performing onstage for her doting followers, with Randy Jackson on bass and Dave Narravo shredding his guitar. Though the song’s style and video are not on brand of the familiar “Mariah Carey” archetype, they certainly coincide with the tales of this diva’s storied career.

Mimi’s Heartbreak

The song’s parent album, “Charmbracelet,” was released during a rather unsuccessful and complicated period for the music icon. After closing out the ’90s as the best-selling artist of the decade, with at least one number-one single in each year, Carey entered the new millennium with her own personal heartbreak. Freshly divorced from the then-CEO of Sony Music, Tommy Mottola, Carey signed a record-breaking contract deal with Virgin Records ahead of the release of her 2001 motion picture debut, Glitter. Following a series of setbacks and delays brought on by Carey being hospitalized for exhaustion, the film and its accompanying soundtrack were commercial failures and panned by critics. Ultimately, the superstar was bought out of her contract by Virgin Records. It was “a complete and total stress-fest,” according to Carey. “I made a total snap decision which was based on money and I never make decisions based on money. I learned a big lesson from that.”

The following year, the songstress jetted out to Capri, Italy, where she began writing and recording fresh material for a new album before even being signed to a new label (ultimately choosing Island Def Jam). Carey not only found a new home with another record company but also launched her very own record label – MonarC Entertainment (which was abandoned in the summer of 2004). In the wake of commercial blows, critical mockery, and record label confusion, Carey’s father passed away shortly after the two had reconciled after years of not speaking to one another. She honored her late father with the song, “Sunflowers For Alfred Roy,” on “Charmbracelet.”

“Charmbracelet” (released December 3, 2002) was not the commercial comeback Carey had intended it to be, however. The album peaked at number three on the Billboard 200 Albums Chart, while all three of its subsequent singles received shockingly poorer chart success than Carey was known for. “Bringin’ On The Heartbreak” reached #25 on the U.S. Adult Contemporary Chart, but managed to peak at #5 on the Billboard U.S. Dance Club Songs, thanks to its club remixes. The song was performed on several television programs, including “The Today Show” and Mexico’s child fundraiser program “Teletón,” as well as on the album’s supporting tour, “The Charmbracelet World Tour.” Carey’s future, though, was anything but heartbreaking. The Grammy winner returned to her former glory with her 2005 comeback album, “The Emancipation of Mimi,” and eventually broke Elvis Presley’s record for having more number-one hits than any other solo artist in music history. Over the decades, she has completely transformed herself into the quintessential symbol of Christmas. Her years of heartache are certainly long gone.

Although Carey’s rendition of “Bringin’ On The Heartbreak” didn’t match the success of her most beloved covers, it certainly speaks to her musical diversity. With a song catalog that practically shimmers from catchy pop melodies and honeyed vocals, “Heartbreak” is a rock ‘n’ roll rarity. For both the likeliest and unlikeliest of song choices, a voice like Carey’s is always the perfect fit. But be warned – when Mariah Carey covers your song, it just isn’t your song anymore.

Listen to “Bringin’ on the Heartbreak”

The post Mariah Carey, Master of “Bringin’ On the Heartbreak” appeared first on THE 97.

Released on May 6, 2013, as the lead single from Carey’s fourteenth studio album, “Me. I Am Mariah… The Elusive Chanteuse,” “#Beautiful” marked a new era for the celebrated songstress. The track was her first release to garner significant traction since the 2009 hit single, “Obsessed.” The inspirational but polar opposite singles “Triumphant (Get ‘Em),” released in the summer of 2012, and “Almost Home” (the theme song to Disney’s Oz the Great and Powerful) released just 3 months prior, both failed to chart. Coming out at the tail end of Carey’s rather infamous stint as an American Idol judge, “#Beautiful” had the perfect markings (and marketing) of a summer smash.

Mariah Meets Miguel

Starting off with a sleek guitar lick, the song already paints the five-octave diva in a much different light than her previous singles. There’s a little edge, a little grit, a little rock ‘n’ roll – three ways a casual observer of Carey’s would not even think to use to describe the songbird’s twinkling index of high notes. The song’s featured guest, Miguel, holds the reins for a majority of the song’s opening, while the only offering Carey even makes in the song’s introduction is a repeated “uh, uh, you’re beautiful” and some faint, girl-group-inspired “ooh’s” and “ahh’s.”

In true diva fashion, Carey’s voice comes swinging in, full throttle, and fashionably late to her own song. She seemingly responds to Miguel’s invitation to ride atop his bike, crooning, “I like when you run red lights” at the start of the second verse. The double entendre here is an example of the pair’s playful banter throughout the song. Its surprisingly bawdy yet catchy chorus about admiring each other’s beauty echoes the juvenile feelings of a brewing romance. The chorus also reveals the song’s only defect: the hashtag in its title acts as a placeholder for the f-word. It was an attempt at embracing trends that fell flat.

Though the song served as the lead single from Carey’s then-upcoming album, it was originally conceived by Miguel. He comprised the opening guitar riff before pitching it to Carey. The two then collaborated to complete the song, and as Mariah revealed in an interview with Ryan Seacrest, “We just wanted to do something different that has a texture, that feels fresh.” The result wasn’t just fresh, it was superb. As Carrie Battan wrote in her review for Pitchfork, “#Beautiful” had “the finger-snapping R&B throwback charm that sounds primed for repeat play through the summer.”

The #Beautiful Video

A Joseph Kahn-directed music video premiered on the May 9, 2013, episode of American Idol. In it, the two singers are depicted riding into a summer’s sunset on a motorcycle, with a very James Dean-styled Miguel at the controls, as Mariah sits pretty in the back. It soon becomes nighttime, and they’ve traded in their motorcycle for a vintage, candy apple red Porsche Speedster (which actually belonged to Carey’s father) to set up shop in an old barn that just so happens to be adorned with crystal chandeliers emitting the perfect lighting for Ms. Carey’s approval. The music video really doesn’t serve anything other than some picturesque shots of Mariah twirling around and fluttering her fingers like she’s about to sprinkle some fairy dust from her hands. She’s beautiful, and there’s no denying that.

The Queen of the Remix

“#Beautiful” was further promoted through a series of television performances and remixes, including a re-sung hip-hop remix with Jeezy, a Spanglish version with Miguel, and a version with a rap from A$AP Rocky.  Though the song’s remixes really didn’t match the quality of the original, they are a welcomed addition to Carey’s canon of remixes nonetheless. Two of them even had music videos.

A second music video was filmed a month later for the song’s Spanglish version, “#Hermosa.” Now the two have left the countryside for a more scenic ambiance – Capri, Italy. This time, we catch a glimpse of the pair recording the blended version of the song in the studio, mixed with clips of Miguel cruising about the town and Carey being the bonafide diva that she is – cheers-ing with champagne, frolicking in the water (diamonds on, of course), and teetering to her yacht while being assisted by handlers so she doesn’t fumble over her heeled sandals. If anything, the two videos just give Carey an opportunity to show off her body two years after giving birth to twins.

A third music video for the Jeezy remix was also planned. However, while filming, Carey suffered a shoulder injury after a pretty serious fall. Carey later revealed that the video had been edited, and would presumably be released, but it never was. This unfortunate turn of events also derailed the recording of a planned dance remix and ultimately delayed the release of its parent album until May 2014. Instead, we got served with an array of very stylish arm slings – ranging from leather to feathers to fur – the singer donned while recovering. One word: chic.

The Summer Hit That Got Away

Debacles aside, the song became Carey’s 33^rd Top 20 hit, peaking at number 15 on the Billboard Hot 100. It found even more success on the Hot R&B/Hip-Hop Songs Chart, where it peaked at number three. It also became the superstar’s third-highest debut on the Pop Songs Chart, behind her 1993 smash-hit “Dreamlover” and her 1994 duet with Luther Vandross “Endless Love.” After being certified double platinum by the Recording Industry Association of America, it later received a platinum certification from the Australian Recording Industry Association and a gold certification from Recorded Music NZ. For an artist who was 23 years into her career at that point, its chart performance was quite impressive.

Although the song garnered critical praise and modest commercial success, “#Beautiful” deserved far more. Having been released right before the official start of the summer season, there’s no doubt that this song could have served as the soundtrack to plenty of summer memories in the making – road trips, beach dates, riding in the car during the warm golden hour, singing along to the song’s effortlessly cool spirit. But summer is right around the corner, and even 10 years later, “#Beautiful” is still just as fresh and current as it was when it first came out – except for the hashtag. TikTok, do your thing.

Listen to “#Beautiful” by Mariah Carey and Miguel

The post “#Beautiful,” Mariah Carey’s Summer Hit That Got Away appeared first on THE 97.

Rewind back to summer 2010 when Katy Perry was back with a new album, Teenage Dream, and once again on top of the charts ruling the world with another smash summer anthem “California Gurls.” Fitting to help rep the West Coast, Snoop Dogg joined Perry’s response to 2009’s East Coast anthem “Empire State Of Mind,” by Jay-Z and Alicia Keys.

That was only the beginning. “Gurls” wasn’t the only song trying to claim song of summer 2010’s title by her. The title track from Katy Perry’s new album Teenage Dream was also blazing up the charts vying for the honor. Perry was back better than ever and once again on top of her candy coated world of infectiously sweet pop mega hits.

August 24th marks the anniversary of when Katy’s career defining Dream was released via Capitol Records as her second major label album (Katy Hudson dropped a self titled indie Christian Rock album in 2001). In its first week, Teenage Dream debuted at number 1 on the Billboard 200 selling 192,000 copies.

Both summer smashes went on to top the Billboard Hot 100 and kicked off an era that couldn’t be considered anybody’s sophomore slump.

While a lot of Teenage Dream’s success could partially be contributed to hit factory producers Dr. Luke and Max Martin (also executive producers alongside Perry), it wasn’t just her Luke/Martin collaborations that the world ate up. “Firework” became the inspirational Winter hit that helped propel the album’s success way into 2011. Not to mention, it garnered Perry a Grammy nomination for Record of the Year, only losing out to Adele’s monstrous “Rolling in the Deep” at the 54th GRAMMYs in 2013.

In an effort to introduce new life to the fan favorite album cut “E.T.,” Perry enlisted Kanye West (despite her 2009 Taylor Swift defense tweet: “FUCK U KANYE. IT’S LIKE U STEPPED 0N A KITTEN.”) to add two verses to the single edit. It’s no surprise that with double the star power “E.T.” became the fourth number 1 hit from Teenage Dream. Even zany Ye lyrics “Pockets on Shrek, rockets on deck/Tell me what’s next? Alien sex/I’mma disrobe you/ Then I’mma probe you,“ couldn’t stall the futuristic tune’s chart trek.

How do you top that? One way might be to enlist an all star cast full of characters including Katy’s own Kathy Beth Terry, viral “Friday” phenomenon Rebecca Black, 80’s pop star Debbie Gibson, child actor Corey Feldman, and Kenny G to name a few who make cameos in her sitcom-like video for “Last Friday Night (T.G.I.F.)” An album standout upon release a year prior, positioned perfectly for a summer release in 2011 with the epic video, later paired with a Missy Elliott remix and you have Perry’s fifth consecutive number one hit from the same body of work. Perry became the first woman to notch five number ones from one album, putting Katy in the history books alongside Michael Jackson (for his 1987 album, Bad).

Katy’s Dream wasn’t over just yet; there was even more success to come, if you can believe it! Due to the album’s momentum, a sixth single “The One That Got Away” was released and it managed to peak in the Top 5 (no. 3) and bring it’s parent album, released in August 2010, into 2012. Extraordinarily impressive!

At this point you might imagine after a super successful album campaign plus world tour, the California Dreams Tour (February 2011-January 2012), Katy Perry might want a break. Nope, that wasn’t the case at all!

2012 saw a re-release of the mega successful album as, Teenage Dream: The Complete Confection, in the works with “Part Of Me,” leading the newly reworked set. The new single officially premiered at the 54th GRAMMY Awards in 2013, and became the twentieth song to debut at number 1 on the Hot 100, and Perry’s 7th number one.

But wait, there’s even more! Katy Perry was working on an autobiographical film Katy Perry: Part Of Me, assisted by the mid-tempo Luke/Martin ballad “Wide Awake.” The track managed to peak at number 2, only held from the top spot due to the inescapable summer 2012 staple “Call Me Maybe.” In addition, Katy ended up snagging a 54th Grammy nomination for Best Pop Solo Performance, sadly once again losing to an Adele track: “Set Fire To The Rain.”

Nearly two years to the day of its release you might have thought you heard all Teenage Dream had to offer. Not quite the case. Truly it’s one of the greatest Pop albums of the 2010s. Despite having eight Top 5 singles, the album still boasts more tunes with comparable hit potential.

Most notably, the Tricky Stewart produced “Hummingbird Heartbeat” could have been the perfect sequel song to the album’s second single and title cut. Or perhaps the audacious “Peacock,” which brings Katy back to her more controversially sly lyrics (akin to her 2008 summer smash “I Kissed A Girl”). While she isn’t known for her strength in ballads (see “Thinking Of You” from One Of The Boys stalling at number 29) “Not Like The Movies,” wraps up the standard LP beautifully while showcasing the depth and range of Katy’s talent as both a songwriter and vocalist.

When you look back on how Katy Perry dominated the first few years of the decade off of one album alone, it’s hard not to consider Teenage Dream one of the top Pop albums the 2010s had to offer. With seven GRAMMY nominations, including Album Of The Year, movie quality epics presented as music videos (MTV’s VMAs will definitely have to award Katy Perry her very own Michael Jackson Video Vanguard Award one day), a tour grossing $59.5 million, plus 8 massive singles peaking in the Hot 100’s Top 3 (6 hitting number 1) it’s unquestionable that Katy Perry’s legacy as a superstar was more than just a dream; this album cemented her place in the Pop music history books forever.

LISTEN TO Katy Perry’s Teenage Dream

The post Teenage Dream: Celebrating Katy Perry’s Pop Confection appeared first on THE 97.

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

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

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

MISS THANG = MISS HIT-SINGLES

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

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

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

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

THE STORY OF MISS THANG

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

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

The post Miss Thang: Monica’s hit-filled debut appeared first on THE 97.

Beyoncé has recorded an extensive body of work over the course of her twenty plus year career in the music industry. She has sold millions of albums, singles, and concert tickets. She’s starred in blockbuster films, and created her own documentaries. However, if we’re speaking strictly about the music, there is one project that, for now, is perhaps the most underrated: her concept album inspired by The Lion King, a curated compilation entitled The Gift.

Since 1997, Beyoncé has recorded five albums with Destiny’s Child, four movie-musical soundtracks, six solo albums, five live albums, and one collaborative album with husband JAY-Z. Conceptually, structurally and sonically, her 2019 release, The Gift, is unlike any body of work that came before it. It is based on the story of The Lion King, but it is not a soundtrack. It is a reimagining of the classic tale, and her upcoming Disney+ film BLACK IS KING will serve to bring her vision to life.

THE CONCEPT

Upon its release, reactions to The Gift were mixed. Released three years after 2016’s LEMONADE, one year after The Carters’ EVERYTHING IS LOVE, and just three months after HOMECOMING, it’s understandable that the Beyhive’s response was lukewarm to yet another pit stop on the road to “B7”. The Gift is a curated collection of songs by Beyoncé and various other artists. She enlisted a long list of collaborators; some familiar (JAY-Z, Pharrell Williams, Kendrick Lamar) and some up-and-coming (Jessie Reyez, Tierra Whack) but the majority of the songs feature African artists, writers and producers.

Beyonce’s mission to spotlight African musicians on an album bearing her name is, of course, commendable. Surely, she introduced them to a wider audience; a feature on a Beyoncé album is perhaps the best co-sign any artist could ask for. However, it’s almost a double-edged sword. The album has ten songs that feature Beyoncé, and as a result, the four songs that don’t almost get lost in her immense shadow. The most effective moments on the album are when the two sonic worlds collide. On album highlights such as “Brown Skin Girl,” “Water,” and “My Power,” Beyoncé elevates the tracks with her contributions but her presence doesn’t overshadow.

THE HIGHLIGHTS

“Brown Skin Girl” and “My Power” are both unlike anything she’s ever recorded, and completely different from each other. While both tracks have numerous vocalists, Beyoncé fits right in. Despite different languages, accents, flows and styles, the tracks just work. In different ways, both songs are empowering and exude pride and strength. They both sound and feel effortlessly genuine. Of course, Blue Ivy’s guest verse and the Kelly Rowland shout out are both adorable.

Cameroonian singer Salatiel leads “Water,” joined by Beyoncé and Pharrell Williams to create one of the album’s smoothest grooves. The title is apt, because the trio rides the “Water” beat like they’re professional surfers. Vocally, Beyoncé swells to new heights, proving that though she’s pushing forty, she’s lost none of her vocal chops.

THE BALLADS

The Gift also boasts Beyoncé’s best ballads since the 4 album: “Bigger” and “Otherside.” They are both lyrically poignant and vocally breathtaking. Gorgeously raw, these ballads take inspiration from The Lion King story, but when repurposed from Beyoncé’s point of view, sound all the more powerful. “Otherside” has guest vocals from Nigerian singer Bankulli, sung in Yoruba, while Beyoncé closes the song singing in Swahili. “Bigger,” meanwhile, is a sort of reconceptualization of the idea of “The Circle of Life”; it’s music video features Beyoncé and her eldest daughter Blue Ivy, likely intended to be a female equivalent to the father-son dynamic between Mufasa and Simba. Last summer, she released the visual as a short film alongside the Academy Award nominated ballad, “Spirit.”

THE BOPS

One of the two songs most akin to the rest of Beyoncé’s catalogue, though, is the undeniable bop that is “MOOD 4 EVA.” While she never says it in the song, the interlude that precedes the song references “Hakuna Matata,” and it is to be assumed that the famous Lion King catchphrase is the #Mood she’s referencing. Featuring Beyoncé’s signature rap-sung speed singing atop a multifaceted, afrobeat track, “MOOD 4 EVA” would’ve been the perfect contender to represent the album as its lead single. This unique amalgamation also features her favorite collaborator (JAY-Z), film co-star Childish Gambino (aka Donald Glover, aka Simba), and a sample from Malian artist Oumou Sangaré. This infectious jam is endlessly quotable and will surely put you in a good mood – 4eva and eva.

The other moment of more typical Beyoncé fare is “NILE,” a short and sparse duet with Kendrick Lamar that ends when it feels like it’s just getting started.

THE GUEST STARS

There is no shortage of bops on the album, though. “Already” intersects Beyoncé, Major Lazer and Ghanaian singer Shatta Wale for an energetic dancehall moment. Meanwhile, on “Find Your Way Back,” Beyoncé stands alone for what isn’t the album’s most interesting song, but a jam nonetheless. The standout non-Beyoncé song is by far “JA ARA E” by Burna Boy, but “Don’t Jealous Me” is a close second in the uptempo category, followed by “Keys to the Kingdom” in third.

The only ballad not sung by Beyoncé, “SCAR,” features hip-hop artist 070 Shake and singer Jessie Reyez taking on Scar’s point of view. It takes the album for a chilling, dramatic turn on what is otherwise a rather uplifting and upbeat album. However, Beyoncé’s “Spirit” quickly lifts the mood once again, closing out the album with all of its theatrical flourish.

LISTEN TO THE GIFT:

Take out the distracting interludes, skip over the non-Beyoncé songs if you must, but do not write off The Gift. Simply put it is one of the most unique and interesting projects in the Queen B’s catalogue. No, it wasn’t made for mass commercial consumption and, “MOOD 4 EVA” aside, there is nothing remotely (US) radio-friendly. Nevertheless, if you are looking for an album with diverse sonic landscapes, meaningful themes in its lyrics, and movingly soulful vocals — Beyoncé certainly has just The Gift for you.

The post The Gift: Beyoncé’s most underrated body of work appeared first on THE 97.