My Top 7 Artists of 2024

7. Mariah Carey

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

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

6. Tori Kelly

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

5. JoJo

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

4. Usher

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

3. Barbra Streisand

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

2. Ariana Grande

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

1. Beyoncé

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

My Top 7 Albums of 2024

7. Trouble In Paradise, by Chloe

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

6. Short n’ Sweet, by Sabrina Carpenter

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

5. HIT ME HARD AND SOFT, by Billie Eilish

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

4. Access All Areas, by FLO

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

3. TORI. by Tori Kelly

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

2. eternal sunshine, by Ariana Grande

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

1. COWBOY CARTER, by Beyoncé

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

My Top 7 Songs of 2024

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

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

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

6. “Too Much to Say” by JoJo

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

5. “thing u do” by Tori Kelly

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

4. “BIRDS OF A FEATHER” by Billie Eilish

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

3. “eternal sunshine” by Ariana Grande

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

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

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

1. “BODYGUARD” by Beyoncé

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

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

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

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

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

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

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

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

11. Katy Perry, “Cozy Little Christmas”

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

10. Ava Max, “1 Wish.”

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

9. Leona Lewis, “One More Sleep”

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

8. Tamar Braxton, “No Gift”

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

7. Jennifer Hudson, “Santa For Someone”

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

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

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

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

5. Ariana Grande, “Santa Tell Me”

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

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

4. Tori Kelly, “25th”

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

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

3. JoJo, “December Baby”

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

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

2. Kelly Clarkson, “Christmas Eve”

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

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

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

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

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

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

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

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

“eternal sunshine,” the sunset

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

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

“eternal sunshine,” the late-night

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

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

“eternal sunshine,” the sunrise

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

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

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

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

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

Get the Amazon-exclusive “eternal sunshine” vinyl!

Or, stream “eternal sunshine” on your favorite platform!

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

The post 97-Hour Review: On “eternal sunshine,” Ariana Grande proves herself appeared first on THE 97.

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

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

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

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

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

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

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

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

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

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

Listen to “yes, and?” by Ariana Grande

The post Review: “yes, and?” by Ariana Grande appeared first on THE 97.

It’s almost expected that when a much-hyped diva duet finally drops, it may result in some disappointment. “Rain on Me,” Lady Gaga’s second single from Chromatica and hotly anticipated duet with Ariana Grande, falls victim to this unwritten law of Pop duets.

The song isn’t bad; it’s just… there. The 90s House beat begs for empowering lyrics and powerful vocals. Instead, it barely has verses and lacks the vocal acrobatics expected from this pairing.

Au contraire, in the visual, the duo delivered a serve of looks, drama and theatrics that can surely turn it into a hit.

Watch Lady Gaga & Ariana Grande’s “Rain On Me” video:

The post 97 Words: “Rain on Me” by Lady Gaga & Ariana Grande appeared first on THE 97.

Leave Celine Alone.

Why? Just why? If it ain’t broke, don’t fix it. This isn’t even playing over the end credits like the original did. While the original version of “Beauty and the Beast” hit straight for the Adult Contemporary market for which it was intended, this one targets a younger demographic. Who is that demographic though? On the one hand, it’s the post-millennials who love Grande and are familiar with Legend. On the other, it’s the millennial who saw the original in theaters. However, it sorely misses the mark.

First of all, their voices don’t mix well. Maybe part of it is the production. Legend’s vocal delivery is almost concerning. His articulation creates a very choppy sounding product, which is uncharacteristic for such a great vocalist. Grande on the other hand, sounds overproduced to a painful degree. It’s kind of like listening to Lea Michele’s material from Glee. Girlfriend can sing, but the producers don’t know how to produce a real singer.

Let’s not even get started on the instrumental track. That drum track sounds like it’s straight out of GarageBand, as do many aspects of this instrumental. Furthermore the mix is off and the instruments don’t sound unified, just like the voices. *An earlier version of this post implied that David Foster produced this song. We have since learned that Ron Fair is responsible for the production of this version of the song. For those who were also unaware, Walter Afanasieff produced the original Celine Dion version.*

Grade:
25/97

Here’s to hoping Celine Dion’s new original song makes up to this mess.

Listen below:

The post Song Review: John Legend & Ariana Grande’s “Beauty and The Beast” appeared first on THE 97.

While her debut album drew many comparisons to global superstar Mariah Carey, this album seems like an attempt to build a different image and a different sound for Ariana. We can certainly say there has been a shift in sound, but as far as revealing her personality a bit more, well, that was a bit of a failure. The reality is we still don’t know who Ariana Grande is as a person or as an artist.

As much as her album titles seem to be giving the impression of an intimate work, the music continues not to reflect that sentiment. The songs just don’t reveal anything of Ariana, they’re pretty Pop songs with all of the standard elements of a Pop hit, but no real depth or substance to them. On this album’s intro Ariana welcomes the listener on a pseudo-acapella track, promising to give “all [she] has,” but as soon as those 80 seconds are over, here come the horns of the lead single, “Problem,” blasting and announcing she’s over the relationship. A bit jarring to be honest.

We’ve hinted at a shift in sound on this second album. Babyface and Harmony Samuels (who were responsible for most of the tracks on her debut) have been cut off, with the only Samuels track being relegated to bonus track status, while renowned Pop producers such as Max Martin, Zedd, Benny Blanco, Ryan Tedder and Darkchild make their debut on her discography.

Ariana continues to use that whispery texture of her voice against these electronic and synthesized beats, leaving the organic Pop/R&B productions of her first album behind. Her collaboration with The Weeknd “Love Me Harder” has nothing of the moody sound he’s known for. The ballads sound cold and distant, without the warmth that characterised the 60s-inspired ballads such as “Honeymoon Avenue” and “Tattoed Heart” on Yours Truly.

The album’s best moments come from the midtempos: “Be My Baby” is a nice and melodic track with a strong hook;  “Best Mistake” (featuring Big Sean) probably has the best production on the album (and her discography so far) with its darker sound and “Break Your Heart Right Back” with its Diana Ross sample is good enough, just because you cannot go wrong with sampling something as iconic as “I’m Coming Out.” Another honorable mention goes to the Kelis/Britney Spears-sounding “Hands on Me,” which recalls mid-00s hits such as “Milkshake” and “I’m a Slave 4 U.”

Overall, it seems like the objective to distance Ariana from the obvious, yet repelled, influence of Mariah Carey has not worked in her favor. She’s entered the territory of a more vocally talented Jennifer Lopez and abandoned a sound that made her vaguely unique in the current mainstream market. She’s assimilated herself to the rest of the Pop starlets for the sake of shaking off comparisons. Not a great move.

Grade:

60/97

The post Album Review: My Everything by Ariana Grande appeared first on THE 97.