I was just shy of 13 when Madonna released American Life, and it became the first Madonna album in my ever-growing music collection. I got my copy two weeks after it was released, for my 13th birthday, alongside The Very Best of Cher and a brand new 5-CD, 2-cassette stereo (which still works, by the way). I was a full-fledged VH1 junkie by this time, and had gotten a solid education in Madonna, her controversies, and the music she’d released over the half-decade leading up to American Life. My formal entry into Madonna’s albums had been years in the making.

I devoured American Life. I wouldn’t realize it until later, but it stands as one of Madonna’s most personal and vulnerable, not to mention cohesive bodies of work. It’s folktronica-tinged pop with deeply introspective lyrics. She not only provides critique on the American life and dream, but also does some significant reflecting on herself, career, love, motherhood, and loss. Listening to it today, with a matured ear and the glimmers of nostalgia sprinkled throughout the listening experience, American Life feels like brilliance in all its honesty.

“Do I have to change my name? Will it get me far?,” she considers on the eponymous opening cut. American Life marked yet another sharp turn for the ever-shape-shifting Madonna. After conquering techno and electronica and touching on country, Madonna found folktronica as she examined the American way of life and looked within herself to create her most introspective record to date. Celebrated by fans and dismissed by many critics, American Life remains a polarizing record from one of music’s biggest names.

At times, American Life looks and at times feels like a rebellion. The imagery of the album features Madonna, dressed militantly, wielding guns, and even imitating the famous shot of Che Guevera on the album’s cover. The entire packaging imitates redacted government documents and wielding an uzi. Yet for all the militant influences of the exterior, it’s actually more of a statement of brutal vulnerability. She juxtaposes her critiques and analyses of the American dream and experience with songs about love and reflection, touching on motherhood and the loss of her own mother.

Madonna crafted almost the entire album alongside Mirwais Ahmadzai, who she began working with on 2000’s Music. In leaning into the folk aesthetic of the album she even learned how to play guitar in the ramp up to the album’s release. And while she doesn’t appear to have performed any of the guitar parts on the album itself, she often played it during the album’s promotional appearances and subsequent tour, the Re-Invention Tour.

The title track also represented another notable moment in Madonna’s career. It’s one of the only times she didn’t push ahead with a controversial visual. The woman who had drawn attention to herself for everything from rolling around on stage in a wedding dress, rocking a cone bra, releasing a sex book, and cavorting with a Black Jesus elected to shelve the song’s music video due to the United States’ entry into war with Iraq.

Make no mistake, war was already raging in Afghanistan in response to the September 11, 2001 attacks on the United States. Madonna was aiming to make an anti-war statement, at one point even saying, “at any given moment there’s at least 30 wars going on in this world and I’m against all of them.” However, the entry into Iraq proved to be more significant enough to warrant reconsideration.On April 1 (of all days), Madonna made the following statement:

“I have decided not to release my new video. It was filmed before the war started and I do not believe it is appropriate to air it at this time. Due to the volatile state of the world and out of sensitivity and respect to the armed forces, who I support and pray for, I do not want to risk offending anyone who might misinterpret the meaning of this video.”

Talk about a significant move. Madonna never shied away from controversy. However, to get a fuller sense of what was happening at this time, not long before, The Dixie Chicks faced severe backlash in the face of critical comments of President George W. Bush and the war. Though the reshot video is more tame, it doesn’t detract from the messaging of the song.

“American Life” sets the tone for the album to come. It’s a touch flippant at moments, but delivers a crisp commentary on the American experience, interwoven with her own experiences. She recalls the numerous extremes she’s tried, yielding very mixed results. There’s also the revelatory case of the literal “fuck it”’s that she catches mid-record, which precedes the rap verse to end all rap verses. Is it absurd? Yes. But maybe it’s supposed to be. What better way to mock the American experience and dreams than to have a 40-something mother of two rapping about her soy latte, Mini Cooper, and yoga?

And if you didn’t think she had street cred after that, think again, and listen again. Better yet, spin the Missy Elliott remix, which laced Madonna with a dose of Virginia hip hop flavor. The verse actually lands much better over the rap-oriented beat, and Missy drops some fire herself in addition to her ever-underrated production contributions. Regardless of the rest of the verse, Madonna’s closing line in the rap, “I’m just living out the American dream, and I just realized that nothing is what it seems,” does have a certain resonance to it.

That bar also serves as a perfect precursor for the continued commentary on “Hollywood.” She offers a flippant take on the glamour and ghoulishness of the city of dreams. “There’s something in the air in Hollywood,” she muses. Even that can be interpreted two ways: either the air of opportunity and success, or the literal toxicity in the air that makes the LA environment infamous.

She encourages shining your light, but offers the reminder, “this time it’s got to be good… cause you’re in Hollywood.” She even offers a brief but searing commentary on the music industry, by complaining “music stations always play the same song.” The song serves as a warning, and at the end of the video, she simply unplugs the television responsible for the music and finds relief in the silence.

As she continues to critique the American dream, Madonna also offers commentary on herself. On the self-deprecating midtempo “I’m So Stupid,” she reflects on her own past mistakes and naïveté. The song, which begins with an acoustic introduction, gets pierced by an over-processed note that makes it hard to discern where Madonna ends and the computer begins.

Things take a notable turn after the album’s first three tracks, and Madonna points further inward. “Love Profusion”’s dismissive opening line, “There are too many questions,” is striking over strumming guitars, which expand into driving beat with electronic flourishes. She’s stuck, but still defiant as ever, making the first of a few Christian-dismissals with “There is is no resurrection.” However even that could be taken to simply be saying “you only live once.” Madonna has a knack for layering meaning within her lyrics.

She cleverly shrouds herself in Auto-Tune adjacent vocal effects on “Nobody Knows Me,” as she issues warnings of the world (which is “a setup”), and dismissals of people’s views (“I won’t let a stranger give me a social disease”). It makes for a striking, yet satisfying contrast.

“Nothing Fails,” which sits squarely in the middle of the album, is a tremendous love song and serves as the album’s glorious centerpiece. The song was written by Guy Sigsworth and Jem Griffiths, who produced a Dido-esque demo under the name “Silly Thing.” Listening to that demo against the final product showcases how Madonna’s small lyrical changes and the trio of Madonna, Mirwais and Mark “Spike” Stent on the boards transform the record into something fully her own. Against “Don’t Tell Me”-esque strumming Madonna declares “I’m not religious, but I feel so moved, makes me want to pray.” With a choir that follows, it’s a clear-cut nod to “Like A Prayer,” albeit a less cheeky version. Absent are the double entendres (and music video) that made it so controversial, and what remains establishes a deeper emotional connection.

On two back-to-back ballads, “Intervention” and “X-Static Process” she’s at her most vulnerable. She exudes uncertainty on both songs, but in different capacities. She’s conscious of the changes love will affect on “Intervention.” She’s in the throes of love at the tiny hands of her son Rocco, fully confident in love’s ability to ultimately solve and save everything. It’s a fantastically crafted pop song, with just enough percussion to tap your feet to, a chorus that’s catchy, and a hard-hitting bridge that opens with the gut-punching “In the blink of an eye, everything can change.”

She continues that vulnerability on “X-Static Process,” where she departs from pop sensibilities and instead leans into a poetic folk style for this confessional. She opens the song in front of acoustic guitars with a meek vocal. “I’m not myself when you’re around,” she confesses. The song is a rumination on her mistakes in previous relationships. The song ruminates on the consequences of giving too much power to men (and Jesus/organized religion). She gives men too much power, and in doing that finds herself in an existential crisis. It’s only through developing her own self awareness that she’s able to realize her errors and reaffirm herself.

Though the rapping on “American Life” is largely panned and mocked, Madonna dropped another rap verse on the deeply personal “Mother And Father.” That application proves much more effective in both delivery and content. The whimsical video game-sounding keyboard makes for a much better backdrop for a rap verse. While grappling with the magnitude of the loss, she bluntly describes how she “cried and cried all night and day” after her mother’s death when she was 5. “Oh mother, why aren’t you here with me? No one else saw the things that you could see,” she laments. When she focuses on her father, she concedes how she misconstrued his reaction to her mother’s death. What she initially interpreted as lack of emotion was really just his own processing of grief and enduring his broken heart.

The only significant misstep of American Life boils down to a sequencing decision. The penultimate cut is Madonna’s James Bond theme “Die Another Day,” which was released in late 2002. Though the song was a top 10 hit (making it the most successful on the album then and now; it’s the most-streamed track), and has a sonic profile that’s at home amongst some of these songs, it simply doesn’t fit thematically. It’s also sequenced amongst the album’s otherwise vulnerable and introspective second half, sandwiched ballads about parental grief and life. Though its sonic profile isn’t out of place on the album, the quick tempo and topic-matter don’t fit amidst Madonna’s. It’s a jarring disruption amidst a series of otherwise beautiful and honest expressions. It would have been more apt to simply flip it with the closing track and tack it on at the end and as a bonus track.

She quickly returns to that introspection on the album’s somber closing cut, “Easy Ride.” It serves as a perfect encapsulation for the album. It evolves from an acoustic record, into a trudgery of melancholic determination thanks to an orchestra and evolving complex beat, that at times is throbbing and at others hard and crackling. “I don’t want an easy ride,” she reveals. “What I want, is to work for it.” It’s a powerful statement that resonates differently when considering the commercial deficit that followed American Life. It also resonates when considering the extra work she put in in the weeks around the album’s release to create a new video for her lead single.

Despite scrapping the “American Life” video, Madonna did find a way to leap into some controversy before the American Life album cycle was over. Though it seems like a universe away, in the months following the album’s release, Madonna delivered an unforgettable performance on the MTV Video Music Awards stage, along with a cast of now-legendary women. Alongside Britney Spears and Christina Aguilera, Madonna and her then-GAP collaborator Missy Elliott performed a medley of “Like A Virgin” and “Work It” that was centered around “Hollywood.”

The performance, in which Spears and Aguilera dressed as brides akin to Madonna’s VMAs debut and Madonna dressed as the groom, led to what only needs to be recounted today as “the kiss.” It was one of the most talked-about moments in the show’s history, and today feels like child’s play on the spectrum of controversies. With some different editing, it also might have been an even bigger deal, if that’s possible. Between Madonna kissing Britney and Christina (who’s kiss got nearly forgotten), whoever was in charge of angles had a camera right on Britney’s ex Justin Timberlake. Were that shot not featured, the term might be “the kisses.”

In late 2003, Madonna expanded the album cycle further and released Remixed and Revisited. The 7-track EP compiles four remixes from American Life, an extended version of her GAP collaboration with Missy Elliott, and the aforementioned MTV VMAs performance, as well as a b-side from 1994’s Bedtime Stories.

Depending on who you ask and how you choose to examine the facts, American Life is either a massive flop or a massive triumph. From a chart perspective, it certainly leans towards the former. It marked the beginning of Madonna’s absence from the Hot 100’s summit, which still continues 20 years later. But even that data can be examined from another angle. All five of the album’s singles hit number one on Billboard’s Dance Charts, adding five more to Madonna’s record-setting now-50 number ones on the chart. That’s no easy feat.

Throughout the album, Madonna sounds more herself than ever before. Relying on sparse, folktronic productions, gives her the space to be more raw and honest than she’s ever been. And she shows that she’s still not afraid to stir up some controversy on her own terms, and question the American ideals and way of life.

American Life closed a chapter for Madonna. She’d been careening towards this level of introspection since Ray Of Light, and would go on to squarely abandon it two years later when she returned with the massively successful Confessions on A Dancefloor, led by the ABBA-sampling disco-pop fodder of “Hung Up.” Gone were the ballads and deep reflection, (and military garb and dark hair), and instead here danced Madonna, with red hair and pink leotard. Though she’s found herself in reflection since, nothing has ever matched the depths she reached on American Life.

Stream American Life:

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“Oops!… I did it again, I played with your heart, got lost in the game…”
–Britney Spears

The title track and stratospheric lead single from Britney Spears’ sophomore album, “Oops!… I Did It Again” might be directed toward a silly boy, but with this song and its parent album, breaking a boy’s heart became, in retrospect, a metaphor for much more. Released on May 16, 2000, the album is quintessential Y2K pop. With Oops!, she set the record for the biggest first week sales of any female artist (1,319,193, broken by Adele’s 25 in 2015); Britney Spears was the maven of the movement.

Upon Britney’s debut, we witnessed only the tip of what she was capable of. With her debut single in 1998 and album in 1999, she forever changed the course of Y2K Pop by becoming the Pop Princess that single handedly stared down a boatful of boy bands and girl groups. Imitators quickly followed, but they were mere stones in the shadow of the mountainous Britney Spears. In 2000, the enormity of her power was revealed. Her debut album …Baby One More Time served as a warning (“iceberg, straight ahead!”), but with her sophomore set, Britney Spears was revealed to be the iceberg that sank the titanic of her Y2K Pop peers.

In its wake, her competitors struggled to stay afloat. The Backstreet Boys went into hiatus following what would become their last successful album Black & Blue. *N’SYNC disbanded after their 2001 album Celebrity in light of Justin Timberlake’s solo ambitions. The Spice Girls released their final album, sans Ginger, Forever, in 2000. Competing princesses in waiting like Jessica Simpson and Mandy Moore enjoyed brief but fleeting success. Christina Aguilera‘s egotistical three year wait to follow up her hugely successful debut rendered 2002’s Stripped as her last successful album. P!nk cleverly defined herself as the rebellious anti-Britney, forging her own divergent path away from Y2K Pop. Destiny’s Child announced a hiatus for solo projects after the release of their 2001 Pop/R&B hybrid crossover album Survivor, making way for the rise of Beyoncé.

While all her peers either melted, or morphed to stay afloat, Britney Spears remained unscathed, resting upon her foundation as the reigning Princess of Pop. She continued to have hit after hit (such as two #1 singles in 2011), and even a Platinum single from her most recent album (2016’s “Make Me”). Ever humble, she’d never say it herself, but her motto could easily be: “Oops!… I Did It Again.”

Even in the face of her well-publicized struggles, Britney may have lost her status as the it-girl, but only because she eventually transitioned from girl to woman, from Princess to Queen. Her days of huge hit singles and monstrous albums may be behind her, but her title remains: Queen of Pop. Until her next hit single, let’s enjoy the classic “Oops!… I Did It Again.”

Britney Spears’ Oops!… I Did It Again, ranked.

In celebration of the album, I’ve spent a few days listening to it (and Britney in general) and ranked the songs from my least to most favorite. It was certainly a fun experience to relive this classic album. I felt myself transported back to 2000, when I was 9 going on 10, listening to music on my Discman before the prominence of mp3s and iPods that loomed around the corner.

The Syrupy-Sweet Ballads

Britney’s biggest fans may feel differently, but generally speaking when I think Britney Spears, ballads such as these are not my go-to. Her forte is genre-melding dance-pop; catchy melodies and anthemic lyrics. Syrupy sweet, dated ballads – not so much. The Shania Twain penned single “Don’t Let Me Be the Last to Know” is an adorable piece of pop, but not a highlight. Still, they are enjoyable moments within the context of the album. Shout out to Britney for garnering her first songwriting for “Dear Diary,” as well.

12. “Don’t Let Me Be the Last to Know”
11. “Where Are You Now”
10. “Dear Diary”

Millennial Moments

All album tracks, these bops are 100% Y2K, and products of the very Swedish team behind Britney’s beginnings. They’re all such fun songs, catchy and perfect sonic captures of the time. However, in comparison to my top 4 songs from the album, they don’t have the same resounding nostalgia. Though, “What U See (Is What U Get)” is definitely a personal favorite. I recall many moments jamming to that song via my Discman in 2000.

9. “One Kiss From You”
8. “Can’t Make You Love Me”
7. “Don’t Go Knockin’ on My Door”
6. “What U See (Is What U Get)”

5. “When Your Eyes Say It”

Upon re-listening to this album in its entirety to write about it, this song became a standout for me. It gives a hint of the more matured, sultry sounds Britney would explore beginning with 2001’s Britney and 2003’s In the Zone. No surprise as to why it stands out, the song is penned by Diane Warren; one of the few non-Swedish contributors to the set. Check out this adorable video of Britney recording the song:

The Iconic Singles

4. “Lucky”

Of course, “Lucky” is a classic offering from this set. Perhaps more so for its video, “Lucky” is one of those unforgettable Y2K Pop moments. The song itself is no masterpiece, but nevertheless it’s relatable and the perfect karaoke song.

3. “(I Can’t Get No) Satisfaction”

Beginning a trend of rock-n-roll covers for Britney, “(I Can’t Get No) Satisfaction” is also, surprisingly, a collaboration with turn of the century (and beyond) hitmaker Rodney “Darkchild” Jerkins. It’s also a nice showing of Britney’s vocal talent and versatility.

2. “Oops!… I Did It Again”

The iconic lead single and its out-of-this-world music video defined a generation. From the random Titanic reference in the spoken bridge, to its Martian setting, red latex jumpsuits, pyrotechnics and lyrical allusion to “…Baby One More Time,” the song is pure pop brilliance, and the video is part of pop culture history, defining for the TRL generation.

1. “Stronger”

Whether you love it for the iconic, Janet Jackson-inspired chair routine in its video, or just for its empowering and anthemic message, “Stronger” might have been overshadowed by the album’s namesake then, but “Stronger” has perhaps endured the best over time. Certainly a staple on any good gay bar’s playlist, “Stronger” is what Christina wishes “Fighter” was: an anthem for the gays and anyone else who has ever faced some sort of struggles in their life.

While its title track provides a long-standing motto for Britney and her professional successes, “Stronger” provides the motto not only for Britney’s own personal victories, but for anyone who has ever loved her music. In celebration of “Oops!… I Did it Again,” let’s all face it, who hasn’t?

Listen to Britney Spears’ ‘Oops… I Did It Again”

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October marks the 10th anniversary of Britney Spears’ sixth studio album, Blackout. Before getting into the crux of things, it’s important to set the scene.

2004

It’s 2004 and In The Zone is still a recent release. The album hit No.1 and produced worldwide hits ‘Me Against The Music’, ‘Toxic’ and ‘Everytime’, Spears is midway through her most ambitious and provocative tour to date: The Onyx Hotel Tour. A true spectacle, Onyx featured celebrity cameos, acrobatics, and a host of hit singles in its setlist. However Spears sought creative freedom. Whilst on tour she penned the hauntingly premonitory track ‘Mona Lisa’:

“Ladies and gentlemen, I’ve got a little story to tell

About Mona Lisa, and how she suddenly fell…

…Now, see, everyone’s watching as she starts to fall

Now don’t have a breakdown, you will hit the freaking wall”

And this is where we’re meant to believe that the breakdown started. First, Britney suffered a knee injury during the music video shoot for ‘Outrageous’. As a result, the Onyx Hotel Tour was cancelled. Future promotion for In The Zone was also concluded. Damage control came in the form of Britney’s first greatest hits collection, and a reality TV show (or should I say docuseries?).

Original Doll?

‘Mona Lisa’ premiered at the end of 2004 on radio station KIIS FM as the lead single from Spears’ upcoming album. Prospectively titled Original Doll, it was said to be halfway completed.

However, promotional efforts continued for the greatest hits collection – in the form of the music video for ‘Do Somethin’’. Spears’ label Jive Records said there were no plans for an album release. It appeared ‘Mona Lisa’ was going to be left in the dust. It did eventually have an official appearance, remixed and rerecorded for Britney’s docuseries EP.

‘Mona Lisa”s official release was overshadowed by the whirlwind of personal changes the star was going through. A second marriage and a child on the way prompted what many believed to be Spears’ break from music. Spears reiterated that the break was from ‘being told what to do’ and not music, but with Original Doll seemingly shelved, ‘Do Somethin’’ stood as the only remnant of the pop princess’s attempt to take creative control.

Blackout

The year and the half between the release of the EP and Britney’s next studio album are a messy and well documented period (see: head shaving, attacking a car with an umbrella, divorce) so I won’t get into it here. But somehow, through all of this, Spears was still making music. Work on Spears’ next full studio effort begun in early 2006. Leaks gave fans a mix of sombre ballads and club bangers, with Sean Garrett and Pharrell Williams noticeably present, but no one knew what exactly to expect from the singer’s next studio album.

The final product was Blackout: a dark, brooding pop experience which mildly hinted at Spear’s personal life. Gone were the radio-friendly bops that filled Zone; replaced by a more hard-hitting and club-ready sound. Our first official introduction to this was the now infamous VMA performance of lead single ‘Gimme More’.

You Need More?

From the blue contacts to the awkward side stepping across the stage, the whole performance was a mess. It rightly went down in infamy. The official music video didn’t do much to instil anymore faith in the general public about Britney’s return to the pop scene. It was a far cry from the Onyx Hotel Tour three years prior.  Considering what happened in between those three years, it’s important to remember that Blackout is now considered as some of Spears’ best work.

First, we have aforementioned album opener ‘Gimme More’. The songs iconic opening line ‘it’s Britney bitch’ demanded attention and served as a reintroduction to the new darker Britney (dubbed by fans as Darkney). What started off as a joke between Spears and producer Danja became an emblem of confidence. The line rightfully went down in pop culture history, with a will.i.am feature cashing in on its relevance five years later.

Even now, those three words are enough to fill a dance floor or make an arena erupt in cheers. When Danja’s floor-filling beat kicks in, it’s clear from the get-go that Britney is not playing games. The beat hits hard yet Britney’s vocal delivery is sweet as ever. This juxtaposition creates a contrast that many a pop starlet still try to imitate. Talkney is also in full effect, with every song on the album having Britney’s trademark spoken ad-libs.

Of the deluxe album’s 16 tracks, 4 were produced by Bloodshy & Avant who had previously collaborated with Spears on her EP and In The Zone, and 8 were produced by Danja, who was relatively unknown in the mainstream at the time. It was the producer’s first big project without his mentor, Timbaland – needless to say the stakes were high for both he and Spears.  Danja’s production create the moody backbone of the album but the other producers don’t give you a let up; ‘Heaven on Earth’ and the Neptunes produced ‘Why Should I Be Sad’ are the closest the album comes to balladry and even they are a far cry from Zone single ‘Everytime’.

Piece Of Me

If ‘Mona Lisa’ was Spears’ premonition of her own downfall then ‘Piece of Me’ acts as the perfect sequel. ‘Piece’ sees Britney truly take her crown as ‘the legend of the fall’, biting back at haters, paparazzi and naysayers in the best way possible: with a hot pop bop:

I’m Mrs. Lifestyles of the rich and famous (You want a piece of me?)

I’m Mrs. Oh my God that Britney’s shameless! (You want a piece of me?)

I’m Mrs. Extra! Extra! This just in (You want a piece of me?)

I’m Mrs. she’s too big now she’s too thin (You want a piece of me?)

On an album that was blacking out negativity (which subsequently led to an essentially promo-less era) ‘Piece of Me’ acted as the perfect reasoning why: Britney had become more of a staple in the tabloids for her personal life than her music. As a song and a single, ‘Piece of Me’ was a middle finger to those who thought they knew Spears ‘oh so well’. ‘Piece’’s warped guitar intro almost act as a warning to listeners that ‘Gimme More’ was not a fluke, Britney was coming for everyone that was out to get her.

The vocal production was also stellar. The use of vocal pitch-shifting in ‘Piece”s chorus and middle 8 put the production front-and-center whilst simultaneously also keeping a focus on Britney’s vocals. This technique would also noticeably feature on dub-step infused album cut ‘Freakshow’. It’s hard to imagine that such a sound would be absurd and different in 2007, due to its prevalent use in pop music today. It’s fair to say that ‘Piece’ brought the effect to that mainstream.

Similarly to ‘More’’s VMA performance, ‘Piece’’s lyrics, although not penned by Spears’ herself, became a pop culture hot topic. It perfectly encapsulated what made Britney so interesting: her ability to bring herself to the table as a talking point as a popstar should. The song almost acts as a game of cat and mouse between Spears and the media, basically saying ‘if you’re going to talk about me, then I’m going to talk about you talking about me’. She would again address the media with Circus album cut ‘Kill The Lights‘ (produced by Blackout frontman Danja).

‘Piece’’s video went even further to approach the media’s treatment of Spears, with Britney addressing the invasive nature of the paparazzi, and how manipulative and sleazy they can be. The video is self-parody tongue-in-cheek genius, from the literal ‘Britney army’ to the end scene of Britney watching herself visit the club televised as ‘news’. Although there’s no choreo per se, that club bathroom dance sequence is sure to be repeated. The video rightfully went on to win big at the 2008 VMA’s, including ‘Video of the Year’ solidifying Britney’s triumphant return as the princess of pop.

Number… Two?

Blackout became Britney’s first album to miss the No. 1 spot due to an midweek decision allowing albums sold exclusively at one retailer the opportunity to chart. From the internet leaks to the VMA performance, it would seem that Blackout had so much going against it. However this made Blackout the album of the underdogs, with a rebellious pop princess at its forefront. The album is rightfully considered as one of pop’s best, being featured at No.7 and No.5 respectively on Rolling Stone and Times album of the decade lists, as well as being inducted into the Roll & Roll Hall of Fame.

Many pop artists attempted to imitate the urban influenced sound that Blackout captured, but they fall flat. Blackout stands out the way it does because of its authenticity. Blackout was not an album littered with rap verses in order to make Britney appear more urban and edgy, nor was it a shift so far out of the realm of pop that it made Britney unrecognizable.

Bloodshy & Avant’s production was new yet familiar, allowing Blackout to fell like a natural progression from Spears’ earlier work. This progressive yet mainstream sound made Blackout cohesive & unique. So much so that it’s a sound that fans still clamor for with each new Britney release. Blackout stands as the only album executive produced by Spears. Fans believe it was this hands on approach which helped make Blackout the revered pop gem it is today.

To Be Continued?

The era ends with a ‘to be continued…’ at the end of music video for final single Break the Ice. Fans are still waiting for Blackout’s sequel. Circus could be described as Blackout’s popier companion, it’s production more slick & polished than brooding. Subsequent albums Femme Fatale and Britney Jean slip further into a more EDM, sometimes unrecognizable sound.

Celebrating it’s 10 year anniversary, Blackout still stands as one of pops most interesting and captivating releases. It has stood the test of time and feels as fresh and exciting today as it did on initial release. Spears’ most recent album Glory was on the right track to show that Britney can still deliver a great pop album. Fans still want Danja and Britney to reunite. One has to wonder if we will ever get the Blackout 2.0 that’s teased during the run-up to every Britney release since 2007.

Thank ya’ll for the #blackout love. I wish I could explain to you what it means to me that you love that album as much as you do ???

— DANJA (@only1DANJA) October 25, 2017

Listen to Britney Spears’ Blackout:

The post ‘It’s Britney Bitch’: 10 Years of Blackout appeared first on THE 97.

Deliberated on by our team of writers, we’ve ranked the top albums of 2016 that we loved. If you’re familiar with the way we review songs/albums, then you know that “97” is our top score, and not because we’re featuring 90s bands in our list. We love every album on this list, ranked them according to how much, and weighed in with a few thoughts about each. Please feel free to comment with your thoughts, as well! We’d love to hear from you and engage in any discussion. Now, without any further ado…

EST 1997’s Top Albums of 2016: The 19 “97” Albums

19. VIEWS, Drake

There’s often a sense of contradiction when an artist’s biggest album is their weakest material wise, something that makes the era bittersweet in retrospect. That is the case with VIEWS, an album that could’ve been so much more if only Drake had bothered to trim it down a bit and maybe explore with new lyrical ideas and some new sounds. As it is, it’s a safe album that works fine as a collection of tracks that are meant to launch him as a superstar. There are more Pop-leaning songs than the usual but the ones that are not meant to be singles don’t really bring anything new to the table, except when they sample some throwback classics. Perhaps it works best as someone’s first introduction to Drake and his music. As a fan, unfortunately it hasn’t exactly been his best work to listen to. Still, there’s no denying its impact on music and pop culture in 2016. Highlights: “Controlla,” “Keep the Family Close,” “U With Me?” –Mario

18. Smoove Jones, Mýa

Since her last successful album, 2003’s Moodring, Mýa languished through the pangs of the music industry, grappling to find her place. Eventually, she did – via her own Independent label, like so many other artists. The positive side of being Independent is the creative freedom and control, but of course that comes with a lack of promotion and access to big-name producers. Smoove Jones indeed suffered from a lack of promotional awareness, but creatively it is a cohesive, solid body of work and a return to form for one of R&B’s brightest stars. Smoove Jones seemingly picks up where Moodring left off, with Mýa sliding through many different styles of R&B, throwing it back as suggested by the album’s old school radio themed storyline of sorts. Whether you want a sassy bop (“Spoil Me”), a love-making groove (“Afta Glow Show,” “Coolin’”) or a self-proclaimed “Ol’ Skoo’ Joint” (“One Man Woman,” “Circle of Life”), Smoove Jones radio host Mýa has you covered. Don’t hesitate; just tune in. Highlights: “Afta Glow Show,” “Elevator” –Vincent

17. “Awaken, My Love!,” Childish Gambino

Seriously, is there anything that Donald Glover, can’t do? With a starring role in the hit show FX Atlanta, an upcoming feature in the future Star Wars films, and this latest offering released under his alter ego, Childish Gambino, Glover is the epitome of the modern day renaissance man. Everything from his third studio offering, “Awaken, My Love!,” from the content of the album, the live instrumentation, to the cover art is simply mystifying. In Awaken!, we see Gambino take a complete departure from his earlier hip-hop work in lieu of a true funk record. Calling on the spirit of Prince, with clear derivatives from P-Funk pioneer George Clinton, Soul pioneers The Isley Brothers, and Earth Wind and Fire, and Rock god Jimi Hendrix, Awaken! was created for the eclectic listener with a nostalgic soul. Like Bruno Mars did with 24K Magic, Gambino managed to take influences from these aforementioned artists and create his own unique sound; all while managing to sound current. Highlights: “Redbone,” “California,” “Boogieman” –Jordan

16. No Hard Feelings, Dreezy

Dreezy did something most other artists this year could not: she compiled a consistent body of work with a plot. Her debut album No Hard Feelings showcases the dissolution of one relationship while another one begins to blossom. She does double duty throughout, striking an ideal balance of singing (without auto-tune, by the way), and spitting nothing short of straight fire. Whether she’s firing off warning shots on the menacing “Spazz”, lamenting an incomplete relationship on “Wasted” (“I’m only on yo mind when you wasted”) or declaring superiority on “Invincible” (“You can imitate it but no bitch you cannot replicate it”), Dreezy proves herself to be versatile, formidable, and powerful figure in hip-hop. Highlights: “Spazz”, “Wasted”, “Invincible” –Andrew

15. Milestone, Chrisette Michele

Indeed, Chrisette Michele’s Milestone comes at a monumental moment for her. She now heads her own Independent label, and is newly engaged. As a result, her sound is more refined, and more liberated, too. For years, Chrisette seemed to be boxed into the realm of adult-leaning contemporary R&B, but with Milestone, her sound is a bit more youthful. Lead single “Steady,” for example, is a complete and total bop; as is the celebratory “Black Girl Magic.” The ballads are still there, though. Look no further than “To the Moon,” an ode she wrote to her fiancé, after they became engaged. On Milestone, Chrisette came into her own, and that’s probably because she is now her own boss. One thing remains the same though: a phenomenal (and meticulously-trained) voice that makes her a diamond in the R&B crowd. Milestone, for sure. Highlights: “Steady,” “To the Moon,” “My Body” –Vincent

14. The Human Condition, Jon Bellion

If his ElectroPop sleeper hit “All Time Low,” (which could be the sole song to describe 2016) has yet become a staple for you, Jon Bellion and his music is soon to. Not only is his debut studio album, The Human Condition, extremely diverse, combining Hip Hop, Pop, ElectroPop and beyond, Bellion co-wrote and produced the entire album! Long Island, New York native Bellion utilizes his singing and rapping skills to create an album that sees him tell introspective stories about relatable life experiences us humans live daily. On The Human Condition Jon Bellion offers a taste of nearly everything; from throwback Hip-Hop (“New York Soul” Pt. II) head bopping-radio Pop tunes (“Overwhelming,” “All Time Low”) introspective, Gospel-infused, Alternative R&B (“Hand Of God” Outro) to soundtrack oriented Pop (“80’s Films,” “Fashion”). Mike Posner returned to the music scene this year, but it seems like Jon Bellion created the album he should have. Joining fellow breakout act Twenty One Pilots couldn’t have been a better pairing, their Emotional Roadshow World Tour seems like it’s going to be a great live show filled with tons of future hits we’ll hear throughout 2017. Highlights: “Overwhelming” “80’s Films” “All Time Low” –Keenan

13. The Altar, Banks

Banks proved that second time’s the charm with The Altar. While her first album Goddess was a great body of work, The Altar is concise in length. This abbreviated length finds her both more adventurous musically, while more focused lyrically. Don’t mistake though, she’s as dark and angsty as ever, especially on “Fuck With Myself”. One surprising highlight is the beautiful and unapologetic “Lovesick,” where she begs “please call me your baby, baby, baby”. If Banks’ The Altar was intended to evoke praise, then consider it a success. Highlights: “Gemini Feed,” “Lovesick,” “Fuck With Myself” –Andrew

12. Mind of Mine, ZAYN

Zayn Malik quit One Direction in 2015 to live the life of a normal 22-year old. Releasing Mind of Mind, his chart-topping debut R&B album, he has clearly achieved just that. The normal 22-year old life according to Zayn is one where he can freely belt about fucking, which, snark aside, can be truly liberating, indeed. Central to his desire to come off as “normal” is being able to serenade the lady(ies) of his affection – the same ones he previously sang to in chaste terms while in One Direction – in loving, lovely tones smothered in falsetto that evokes lust in all the right ways, as in the two-punch album stand-outs, the gorgeous midtempo slow jam, “She,” which beautifully flows into “Drunk,” an exquisite, 90s R&B-evoking ode to the joys of intoxication – never had a song about falling down from being so smashed sounded so uplifting. The lengthy track list evidences a mind that is not fully made up, but it’s still a stellar display of what lies ahead for the former One Directioner. Highlights: “Drunk,” ‘She,” “Rear View” –Patrick

11. Ology, Gallant

While we awaited the return of Maxwell (which ended up arriving this year as well), Gallant debuted a stellar body of work in Ology. His voice and vocal tendencies are pretty much where the Maxwell comparisons stop though. The album is dark, moody, and self-reflective, starting with the internalized “Talkin’ To Myself”. The album is urban rooted, but has a number of alt-pop and even electronic tendencies. Take “Weight In Gold”, where bluesy guitars fuse with EDM-esque drops to create one of the most memorable songs of the year from a debut album. Gallant’s ability to let his passionate vocals captivate and shake your soul is a unique way. Highlights: “Weight In Gold,” “Talkin To Myself,” “Chandra” –Andrew

10. Mad Love, JoJo

It has been ten long years since JoJo released an official album, but Mad Love. proved to be worth the wait. JoJo did a lot of growing in 10 years, in more ways than one, and that growth is ever-present throughout the album. From her vocals, to the lyrical content and the range of sounds, Mad Love. is a reintroduction to an artist that deserves, well, mad love. The opening track “Music.” is gut-wrenching, the singles “Fuck Apologies” and “FAB” are both sassy and commanding, the title-track and soaring ballad “I Am” are soulful vocal masterpieces, mid-tempos “Wreckless,” “Honest” and “Edibles” drip in sensuality and honesty and truly show how much she’s grown, while songs like “Clovers” and “Good Thing” showcase JoJo’s ability to move a dance floor. There’s a song for every mood and stage of life – fittingly so, considering it’s an album that’s been 10-years-in-the-making. Let’s hope the wait for the next one is a bit shorter. Highlights: “High Heels.,” “Music.,” “Honest.” –Vincent

9. Joanne, Lady Gaga

Lady Gaga ditched the costumes and the dancefloor to bring us into the world of Stefani Germanotta pre-fame. The world of a Pop singer/songwriter with a passion for acoustic songs and Rock ‘n’ roll. That’s what Joanne is all about: showcasing the real, honest Gaga. Dedicated to her prematurely deceased aunt, the album is a collection of songs that retain most of Gaga’s writing sensibilities and taste for metaphors, while pairing them with organic productions and live instruments. With influences spanning from 70s soft rock, to Country, doo-wop and early 80s R&B, Gaga as an artist has created an album that allows her to finally shine bright without being suffocated by the heavy beats and the attention seeking costumes. Highlights: “Million Reasons,” “Diamond Heart,” “Dancin’ in Circles” —Mario

8. ANTI, Rihanna

When you’re an artist who, year after year, releases gems like “Umbrella,” “Rude Boy” or “Diamonds,” releasing an album with a Tame Impala remake, a 1-minute ode to smoking weed, a couple of FKA Twigs-sounding sex jams, and with only the vaguest notion of what you want your album to sound like, it unnerves people who expect another Sia chart-topping pop ballad. But ANTI seems built to overcome its initially alienating-inducing sound, with tracks like “Work” that sounds about as much like any popular song today. ANTI’s second single, “Kiss It Better,” brings out Rihanna’s greatest instincts for flawed singing: Belting lines where her rasp complements rather than hinders the song.

This can’t be said of the album’s other ballads that capitalize on her charming lack of control as in “Love on the Brain” or “Higher.” Those songs are probably calculated to sound exactly the way they do – imperfect. Even those fiercely opposed to lazy guitars-and-vocals, though, will be charmed by ‘Never Ending’, and find solace in its tenderness in an album that seems to repel it. Like most of the production on ANTI, Rihanna’s attempt at being a serious artiste seems unfinished. It’s not an album that you’d embrace at first listen; with ANTI, she serves up this album that is by turns unpredictable and sultry, infuriating and mesmerizing. Highlights: “Kiss It Better,” “Never Ending,” “Same Ol’ Mistakes” —Patrick

7. 4 Your Eyez Only, J. Cole

J. Cole followed up 2014 Forest Hills Drive with yet another unexpected album release, again with no singles or features. Well, sort of. 4 Your Eyez was prefaced by two singles that were not on the album, but he certainly got people talking. 4 Your Eyez Only continues the storytelling motif of Forest Hills Drive, in that the album takes the listener on a journey. This time, the story is not his own, with the exception of the pair of “She’s Mine” Parts 1 and 2 – the latter on which he revealed he is now a father of a baby girl. Ultimately, though, 4 Your Eyez Only is a story for a different young lady: the daughter of his friend who was killed at the age of 22. The friend’s story runs parallel in comparison to Cole’s own story.

The album is yet another session of heavy, thought-provoking lyrical content. By now, however, it has been pretty much established that Cole is a skilled lyricist. What is new and notable about 4 Your Eyez is that he is the sole composer of all of the album’s 10 tracks — and there are no musical samples, either. Cole built these tracks from the ground up, which isn’t something that can be said for most his peers. Y’all need to stop underrating this man! Please throw all the GRAMMY’s at him in 2018. Highlights: “Neighbors,” “4 Your Eyez Only,” “For Whom the Bell Tolls” –Vincent

6. Starboy, The Weeknd

The Weeknd was back with one of the best albums of this year, if only for the production work. With impeccably crafted Pop smashes, Starboy feels like the natural evolution of the transformation Abel started with his last album, Beauty Behind the Madness. The level of success he’s obtained has prompted him to further explore his newfound mainstream sensibilities and mesh them with the moody R&B sound he debuted with, working with producers such as Daft Punk and Max Martin without ever feeling forced. The results are exquisite experiments in throwback, but progressive Pop numbers that are sure to capture the public. The Weeknd has now completely transitioned into a Pop star, but he’s definitely earned it for his work first and foremost. Highlights: “Secrets,” “Sidewalks,” “Die For You” —Mario

5. blackSUMMERS’night, Maxwell

“In the age of immediacy, the idea waiting seems hopelessly outdated. But that said, there’s something to be said about anticipation…” – Maxwell.

If there’s anything that can be said about Maxwell, it’s that he will definitely make you wait for an album. Similar to the seven year gap between 2001’s Now, and 2009’s BLACKsummers’night, Maxwell held on to the second installment of his “blacksummers’night” trilogy for six years, and while the musical climate of R&B has changed drastically in that time, Maxwell proved that he was worth the wait. As always, Maxwell’s work reflects his endless pursuit of love, and his need to relate to his audience through that journey. With songs that showcase the varied stages of relationships, such as infatuation (“1990X”), trepidation (“Fingers Crossed”) harmony, (“Lake By The Ocean”), anger, (“Gods”), and finally cessation (“Lost”), Maxwell includes us in the story, and makes us look forward to the next chapter. Highlights: “Gods,” “Lost,” “Lake By the Ocean” –Jordan

4. 24K Magic, Bruno Mars

Of all the albums on the list, this is the one that you’ll party to the most. On Magic, Mars takes his cues from some of the pioneers of the modern R&B sound. Whether it comes from Teddy Riley-esque New Jack Swing, (“Finesse”), James Brown tinged funk, (“Perm”) or hip-hop reminiscent of Jermaine Dupri’s prime, (“That’s What I Like”), 24K Magic will make you sweat, sway, and swoon. On Magic, Mars never takes himself seriously, almost to a fault. Lyrically, the album is far from innovative, however, the innovation lies in Mars’ ability to take nostalgic sounds and create material that sounds current. In a time where tensions are globally high, 24K Magic serves to be a fun, albeit brief, distraction from the madness. Highlights: “Chunky,” “Calling All My Lovelies,” “Finesse” —Jordan

3. Glory, Britney Spears

It had seemed that, since 2007, Britney Spears’ creative direction was more or less on autopilot. Her music, despite the quality track (and hit) here and there seemed impersonal and vapid. Her vocals were heavily filtered and computerized. It was all very calculated. The once Princess of Pop seemed to had lost her “pop.” However, Glory changed all that, reintroducing the world to an bubbling Britney filled with personality, depth, emotion and enthusiasm, representing the most consistent and organized body of work from Britney Spears since at least Femme Fatale, if not Blackout. The set begins with an “Invitation,” welcoming the listener back in the musical world of a very present and vibrant Britney Spears. This Britney didn’t even rely on her constant go-to hit makers (Max Martin and Dr. Luke), but sought a more subtle approach. She felt hungry for more once again.

Britney Spears: The Pop Icon

Jumping genre-inspirations but never leaving the realm of Pop, Glory reminds us why Britney Spears is a Pop Icon. It’s well-produced with light, digestible lyrics, and that signature Britney voice. No matter how produced they are, for once she delivers worthy vocals that don’t make you wonder why anyone gave her a singing contract in the first place. Songs like “Man On The Moon” and the surprising all-French “Coupure Électrique” showcase a chill side of Spears, while the majority of the album is upbeat and club-ready. “Slumber Party” is the standout, but the erratic “Clumsy,” classic-Spears “Do You Want To Come Over” and church-revival-esque “What You Need” all bring out the best in Britney. The album works because it is what her die-hard fans wanted from her: some Dance, some Pop, and some Urban Pop. If her beloved In The Zone (2004) and Blackout (2007) had a child, Glory would be it! Yes, Britney’s still got it, and glory, we should rejoice. Highlights: “Change Your Mind (No Seas Cortes),” “Just Like Me,” “Better,” “Moodring” –Vincent, Andrew, & Keenan

2. A Seat at the Table, Solange

It’s been three months since A Seat At The Table dropped, and Solange STILL has us shook. It seems as though the element of surprise is one that the Knowles sisters are fond of. The only other common element between the sisters’ albums (aside from being R&B) is that they celebrate Blackness. A Seat at the Table is a masterclass in conversing about race relations in 2016. To summarize our in-depth review, Solange pervaded the inner most thoughts of today’s modern day Black woman, and offered up soul, sass, and self care. Literally.

From “Weary,” to “Mad,” to “Don’t Touch My Hair,” and “F.U.B.U.,” Solange tackles topics that very much needed to be brought to the table. Woven together by interludes featuring Master P., Tina Knowles-Lawson, and Matthew Knowles, the album is flawless and holds the potential to be (and probably already is) the springboard to an array of think-pieces or, hell, a course in Black women’s rhetoric. Inspired largely by the poetry of Claudia Rankine’s Citizen, Solange creatively and concisely addresses issues most are afraid to. Fearless is something she has always been, and with A Seat at the Table it has finally paid off, earning her a #1 album and widespread critical acclaim. There isn’t anything left to say about it, other than constant expression of gratitude for such an amazing body of work. Let’s hope Solange is slept on no longer. Highlights: “Don’t Touch My Hair,” “F.U.B.U.,” “Mad” –Jordan & Vincent

1. LEMONADE, Beyoncé

Where do you even start with LEMONADE? Beyoncé began 2016 in her newfound, truly trolling fashion — by teasing the hell out of the Beyhive with random moments and elusive unconfirmed rumors. She dropped a single that pissed off White America (“Formation”), proceeded to perform it at their Almighty Superbowl, hid the song on YouTube and Tidal … and disappeared. Nobody knew what the hell was going on and then April 23rd came around and Beyoncé decided to debut a visual album on HBO, because why not? LEMONADE was inescapable, dominating the music world and pop culture. It’s filled with bites that can be hashtagged, thrown on shirts, and even used in daily conversation. It’s the perfect album for a social media-driven market.

A Concept

What makes LEMONADE interesting is surely the visual component of the project, but it’s definitely also its nature as a true concept album; an epic. Opening with “Pray You Catch Me” and its Greek chorus-like chants, the album starts as a tragedy: the tragedy of betrayal. The suspicion starts to make its way into the mind of the woman who finds her husband is cheating. From then, the songs are a chronicle of the relationship going south, reaching the lowest point only to resurface until its happy ending. The suspicion turns into a warning (“Hold Up,” “Don’t Hurt Yourself”), it grows into nonchalance with “Sorry,” then becomes a celebration of female independence and work ethics (“6 Inch”). The woman starts then a process of self-reflection and self-doubt, exploring the roots of her distrust towards men (“Daddy Lessons”) and questioning her own role in the relationship (“Love Drought”).

The latter part of the album is occupied by a gradual, growing sentiment of forgiveness, culminating in the reconciliation of the beautiful “All Night.” Amid the story of lost and regained love, Beyoncé also took the time to make a couple of social statements with “Freedom” and “Formation,” positioning them at crucial points in the album and tying them with the main theme by also making the film a social statement. It also comes as a tremendous surprise that there’s still some joy to be had from listening to songs like “Don’t Hurt Yourself,” “Freedom” and “Formation.”

Genre-Less

We’ve never truly seen a genre-less Beyoncé… until now. On LEMONADE, she collaborated with musicians whose artistry she appropriated for her own nefarious purposes – to show every living human that she truly is a grown woman who can do whatever she wants. If 2016 showed us one thing, it’s that Beyoncé is comfortable tackling any genre out there, similar to her idol, Michael Jackson. Like the King of Pop, King Bey slayed in varied, new musical waters, infusing genres from country to rock into her native R&B and pop. If she wanted to, she could become a legitimate Rock star or a Country crooner, too. Through it all, she tells a story that, whether true or false, runs its course throughout the album with an unexpected, yet happy ending; she weaves a fantastical yarn of betrayal, hurt, anger, then forgiveness.

For Women

Though she unleashed a flood of speculation about her marriage thanks to said storyline, LEMONADE is not only the story of Beyoncé and her marriage, but the story of women in general (specifically, Black women) their psychology, their feelings and their often troubled universe. Beyoncé, as a role model for many, captured the essence of being a Black woman in 2016 and that’s how she was able to make THE album of the year. Nothing has come close to this level of depth and power, even in her own discography.

You wouldn’t think anyone would ever be capable of putting Beyoncé in an emotional state where she is made to feel like someone’s inferior, but in this tight piece of work, she succeeds in letting us think she can be. Of course, in true Beyoncé fashion, nobody knows what the truth is. Indeed, it is her secrecy that makes her so captivating. LEMONADE was a seeming unveiling of her private life, thwarted by the fact that she refuses to comment on it. Beyoncé’s control over her personal narrative is of equal parallel to her control of the music industry. Beyoncé holds the reigns, and we’re all just waiting on her to quench our thirst with her next concoction.

Until then, we’ll be sipping LEMONADE. –Staff

Listen to our Spotify playlist featuring our favorite highlights from the top albums of 2016 below. For LEMONADE, you’ll need TIDAL.

The post The 19 “97” Albums of 2016 appeared first on THE 97.

At EST. 1997, we chose the 19 “97” singles of 2016, which simply means the 19 best singles of 2016. If you’re familiar with the way we review singles/albums, then you know that “97” is our top score. We love every song on this list, ranked them according to how much, and weighed in with a few thoughts about each. Please feel free to comment with your thoughts, as well! We’d love to hear from you and engage in any discussion.

EST. 1997’s Top Singles of 2016: The 19 “97” Singles

19. “Come Down,” Anderson Paak

If you don’t know who Anderson Paak is, please leave and go to your Apple Musics or your Spotifys or your Tidals and listen to him right now. Nah, for real. RIGHT NOW. You’re missing out if you don’t. Anderson Paak is the free and wild child of 2016 R&B, with a raspy timbre and expert usage of instrumentation to match. Following a stellar year in which he was heavily involved with Dr. Dre’s Compton album, Paak seems to have stumbled upon the cusp of a full on commercial breakthrough. In “Come Down”, which stems from his second full length studio effort Malibu, Paak utilizes a deep bass line and a crisp usage of the high hat to carry the track the whole way through. In terms of lyrics, the track is a feel good anthem for being lack of a better word, lit. Paak’s performance of Come Down at the 2016 BET Awards was a standout of the night, and served to put him on a lot of people’s radars, and I am ecstatic to see that his time for greatness is truly drawing near. —Jordan

18. “Chantaje,” Shakira featuring Maluma

Continuing with the trend she began after her debut English language album Laundry Service in 2001, Shakira is seemingly following up her last album, the eponymous and English-language Shakira., with another Spanish-language album to be released in 2017. “Chantaje” is the lead single from that set, featuring Colombian sensation Maluma. The song is a return to form for Shakira, recalling her 2005 collaboration with Alejandro Sanz, “La Tortura,” in its reggaeton-inspired, danceable-duet nature. The song is intoxicatingly catchy and oozes sex appeal; you certainly wouldn’t notice that Shakira is 17 years Maluma’s senior, either. Perhaps that is the “Chantaje” they sing of… (chantaje translates to blackmail). Their chemistry is fierce, and the song is an infectious smash because of it. –Vincent

17. “Twist,” Nathan Sykes

Nathan Sykes may not be the former boy band heartthrob getting all the attention in 2016, but believe this: His voice is a force to be reckoned with. He abandons the dance pop of his former boy band The Wanted and goes full-blown retro-soul on this foot stomper. It could fit in fabulously with the upbeat 60’s guy group classics, but Sykes shows that his voice can carry the whole show solo. —Andrew

16. “Starboy,” The Weeknd

After obtaining success on the Pop and international charts, The Weeknd enlisted Daft Punk for the lead single and title track of his new album. “Starboy” is a thumping mid-tempo with Electronic influences that finds him reflecting on his newfound stardom, the beginning of a new era in his artistry and the possible negative consequences of this new journey. While it appears as a catchy cute track, it’s actually a unique song in the current Pop landscape for its theme and dark imagery. But that’s also exactly what makes Abel fascinating and mysterious, despite now being a Pop star. —Mario

15. “Don’t Let Me Down,” The Chainsmokers featuring Daya

Move over Calvin Harris, Major Lazer, and Zedd. The Chainsmokers have finally arrived as a new pair of EDM kings. If you remember back in 2014, the same duo created the nearly ear jarring, but viral smash “#SELFIE.” Over the years since The Chainsmokers fine-tuned their sound, and found something that works for their genre and more importantly radio. Explosive drops perfect for raves mixed with simple relatable lyrics was key; not only to keep them in constant rotation, but helped solidify themselves and Indie-Pop newcomer Daya as Top 5 artists. The two newbie acts came together and presented their best work to date. “Don’t Let Me Down” was inescapable in 2016, and became a massive hit. “Down” succeeded the Top 10 hit “Roses” which began the new string of Chainsmokers hit music. The Daya collabo was also the perfect setup to their followup summer smash hit, “Closer.” A hit that managed to out peak the former, and top the Hot 100 for an impressive 12 consecutive weeks after “Don’t Let Me Down,” finally decided to retreat. Drew Taggart and Alex Pall seem to have finally found the perfect formula for EDM Pop success. 2017 looks bright for the duo! —Keenan

14. “Hymn For the Weekend,” Coldplay featuring Beyoncé

A sign of a great song is when it can be transformed from one sound or genre to another. That’s exactly what Coldplay’s “Hymn For The Weekend” was; a great song, with an even better remix thanks to Seeb. With lyrics “feeling drunk and high” it made perfect sense for a rave-ready EDM remix. Seeb adds additional pulse to the alternative jam, which features vocals by Chris Martin’s personal friend Beyoncé, and tackles the original vibe Martin desired for the jam. Usually known for their melancholy music, it was nice to see Coldplay try a new more experimental sound on “Hymn,” truly showing why they have managed to become a premiere Rock act due to classic hits like “Speed Of Sound” and “Viva La Vida.” If you want to please a diverse crowd or bop to something (vibey cue original, dancey cue Seeb remix), add this to your playlist. —Keenan

13. “Death of a Bachelor,” Panic! At the Disco

My friend put me on to this song over the summer, and I’ve been completely addicted ever since. Mix one part Frank Sinatra bossa nova and one part Beyoncé’s “Drunk In Love”, with the angst of Panic! At The Disco’s early days, and you have this brilliant composition. It’s a complete departure for the Brendon Urie-driven vehicle, but his admiration for Sinatra and contemporary pop sensibility create the perfect genre fusion. —Andrew

12. “Pillowtalk,” ZAYN

“Pillowtalk” is a great showcase of what Zayn Malik can do solo, without any of his verses being countered by former bandmate Niall Horan’s underwhelming vocals. 2016 paved the way for Zayn to make baby-making jams that are “100% honest“, and “Pillowtalk” served as the perfect conveyor of that honesty. The “alternative R&B” debut single is sung with singular passion that the video comes off as an affront to that passion, as Zayn listlessly acts out “pissing off neighbors” as a result of all the pillow-fighting, -talking and fucking. Nonetheless, “Pillowtalk” drips with all the charisma and horniness that Zayn had been wanting to show as his god-given right since stepping on to the stage of X-Factor. The reckless behaviour in which he engages in is in stark contrast to the discipline in which he sings it; in his former life as one-fifths of a boy group, that would have been shocking. Freed from all that, we get to see the artist he’s always wanted to become: a bearded, grown-up crooner with serious R&B chops. —Patrick

11. “Million Reasons,” Lady Gaga

The current single from Joanne, “Million Reasons” is also arguably Lady Gaga’s best ballad thus far. What makes it special is its incredible honesty and the fact that, for once, she wrote a song that many can relate to. The lyrics are simple and clear, there are no innuendos, nothing to decipher here. The structure and the instruments used allow her to showcase her singing abilities, to bare her soul and every live performance she’s done of this song has been unique because Gaga really wears her heart on her sleeve. You can really feel every bit of the emotion she’s put into it. —Mario.

10. “Everybody Dies,” J. Cole

“GODDAMN GODDAMN GODDAMN!” This was my genuine reaction to the surprise track, “Everybody Dies”, by lyrical master J. Cole. 2016 nearly came and went without a peep from Cole, until late November when “Dies” and the Kanye West pointed “False Prophets” leaked online. Jermaine, why you gotta ether everybody like that?! Now, as far as diss records go, this one takes a stab that all who fill up rap’s current musical landscape. In a market that is oversaturated with talentless, dispassionate, cookie cutter hacks, Cole takes everyone to task in hopes that his art, and the art of the true rap performer shines through. Instrumentally, the song is simple, and very reminiscent of Nas’ Illmatic era. In this abbreviated two minute track, Cole’s message is quite clear: he’s back, and everyone else has to go. –Jordan

9. “Fuck Apologies.,” JoJo featuring Wiz Khalifa

“Fuck Apologies.” officially reintroduced JoJo to the airwaves once again. It was a daring choice to release a song with profanity in its title, but, well, JoJo was unapologetic. The talented vocalist and songwriter has a lot to say and “Fuck Apologies” is a symbolic anthem for her struggles over the last ten years with the music industry. For all that she’s been through, she has no regrets. “Fuck Apologies.” was the perfect reintroduction because it represents JoJo so well. She is sassy, confident, honest, raw, and delivers it all with powerful, skilled vocals. The catchy hook shows her pop sensibilities, while the hard urban beat, soulful vocals and guest feature from Wiz Khalifa remind us that her heart lies in R&B and hip-hop, straight from the Mariah Carey school of Pop. –Vincent

8. “24K Magic,” Bruno Mars

Any song that can incorporate influence from Roger Troutman and Zapp is an automatic BOP. I mean for real, Bruno was serving some serious Dr. Dre, Death Row Records circa 1995 realness on this one. The song is downright infectious, and a much needed light hearted offering, served in the midst of more self-introspective work from other artists of today’s musical landscape. While the feminist in me isn’t thrilled regarding Mars’ slightly misogynistic lyrics on the track, you honestly can’t help but hit a two step with a drink in your hand to this one. Sorry morals, you lose today. Anyway, the song is a great opening to a smartly done album, and most definitely a standout on the body of work as a whole. TENS! —Jordan

7. “Kiss It Better, Rihanna

If there is a true casualty to the ANTI’s messy release, it’s the gorgeous, smoldering baby-making slow jam, “Kiss It Better,” arguably one of the most underrated singles of the year. “What are you willing to do? Tell me what you’re willing to do” Rihanna inquires on the chorus of this unconventional earworm. With a hazy and strange guitar-driven instrumentation, there are so many reasons the song shouldn’t work, but it does, and so well. The layered vocals and catchy lyrics make it an irresistible standout from the already unique ANTI. –Andrew & Patrick

6. “Don’t Touch My Hair,” Solange

Solange introduced A Seat at the Table with two singles, “Cranes in the Sky,” and “Don’t Touch My Hair.” The song’s title is an extended metaphor for one’s identity being questioned, invaded and appropriated. For Solange, that means her identity as a woman of color. For Black Americans, hair is a controversial topic, and one that White people like to touch on; literally and figuratively. “Don’t touch my pride,” Solange sings, warning those who seek to appropriate or question her identity to reconsider. As a later track on A Seat at the Table chides, some things are not for “you” – not for everybody. “Don’t Touch My Hair” is a statement that needed to be proclaimed, and major props to Solange for bringing it to the forefront by promoting the song not only as a single, but by performing it on Saturday Night Live, as well. It’s as though Beyoncé’s call to Black women to get into “Formation” was answered by the best possible responder: her own sister, who was able to go much deeper and further, taking very specific conversations… to the table, if you will. —Vincent

5. “Into You,” Ariana Grande

The second single off Dangerous Woman starts with a pulsating beat and sultry vocals by “princess-turned-bad bitch” Ariana Grande. It builds up to a euphoric pre-chorus where Ariana puts into excellent use her skill of embodying the persona of someone left hanging by a man whom she always courts back by her sensual vocals. She emotes with precision that all too familiar feeling of longing directed at people who just won’t make a move. Ariana is very much in her element here and her emotive vocals saves this beat-driven, infectious slice of dance-pop from being just a product of Max Martin’s lab, and turns it into one of her finest moments. In an album filled with high profile guest verses, it’s quite telling that she stands out when left to shine on her own. The very sly, very cute nods to Elvis and Mariah in the chorus don’t hurt, either. —Patrick

4. “Sorry,” Beyoncé

In the context of LEMONADE and its story arch, “Sorry” represents the moment the wife has stopped caring about her husband’s sexcapades and decides to leave and not look back. In Beyoncé’s world, it was the song that created the “Becky with the good hair” controversy that had fans, haters and the tabloids talking and speculating for weeks. That’s not to say the song should be reduced to that, because it deserves more attention for being one of the most commercially viable songs on the album, first of all. It’s catchy, it’s empowering and the music video has Serena Williams bopping and twerking like her life depends on it. However, the choice to include Serena is likely deeper than that. Serena is the ultimate unapologetic Black girl, after years of being made to feel out of place in, as someone once said, “the most Lily White” sport there is. Serena’s inclusion was indeed a political statement. If that isn’t reason enough to love it, then you’re simply not a fan. And I ain’t sorry to make that clear. —Mario & Vincent

3. “Slumber Party,” Britney Spears, featuring Tinashe

Catchy is an understatement to describe “Slumber Party.” From the first listen of Glory this song stood out as something special (and hearing Britney say “fuck” is always an added bonus). It could have easily been buried under Glory’s many stand-outs, but, instead, it was chosen as a sensible follow-up to the sultry, low-key first single “Make Me.” The assist from the underrated Tinashe adds a slight but refreshing splash of sultriness. With slinky, sensual verses and upbeat hooks, Britney shines strong here. Tinashe adds a welcomed layer of vocal diversity, meshing well with Britney’s. The pair took it the next level in the fantastic video, only adding to the song’s overall wow-factor. –Andrew & Patrick

2. “Cranes in the Sky,” Solange

When speaking of “Cranes in the Sky,” Solange recounted that it is actually a song she began in 2008, but finished in 2016 at the end of her sessions for A Seat at the Table. Now, “Cranes in the Sky” is the nucleus of the album. The mellow groove is R&B perfection that encompasses Solange’s style in a cool four minute jam. The jazzy vibe, the soft vocals and the lyrics all work together to create an ethereal and captivating track. Lyrically, it is a thematic focal point to which all the tracks go back to: feelings of pain as a result of being rejected and outcast; it is this struggle that is the focus of the album as a whole.

There’s nothing particularly catchy about “Cranes,” but each of these elements contributes to making it as great as it is and that’s the brilliance of the song. The track does what so many great songs do: it transcends the intended specificity of its theme by being a song that is relatable to all. It’s no surprise it is the track that got the most attention when the album came out. There’s really something about it that makes you stop for a moment and realize that you’re listening to an R&B masterpiece. –Mario & Vincent

1. “Formation,” Beyoncé

Who would’ve thought Beyoncé would release the most politically charged, controversial song and video of 2016? When you’re Beyonce, you can either come out of the gate swinging, or come out of the gate slaying. When Beyonce opens “Formation” with “Y’all haters corny with that illuminati mess”, every Queen in the land, male or female raises a hand and emits a collective “YAS”. The biggest statement Beyoncé could make this year was “Formation.” 

Beyoncé has come a long way from her humble Destiny’s Child beginnings where she simply bashed her imaginary male suitors. But oh, how times have changed. With the Black Lives Matter movement in full force, racial and social injustice reaching new heights in the US and her natural disposition towards feminism, it now seems only natural that she would address all of that. The best thing about it is that she did so during Black History Month, with some of the most powerful visuals she’s ever created: the image of Beyoncé sinking on top of the police car alone is goosebumps inducing. With one song, Beyoncé smashed White Supremacy and Patriarchy by celebrating her Blackness and her Womanness without giving a single solitary fuck. “Formation” is the truest expression of black girl magic, giving space not only for the diva herself, but for all Black women to be their magical Black girl selves, and be proud of it, with nary a fuck to give.

Once again King B was able to create awareness and controversy by using her platform and influence to shake the institutions and the masses alike, over possibly the only Mike Will Made It Beat that doesn’t have a drop. Regardless, nae naes were hit, folks were dropped, edges were snatched, and life was gotten. With “Formation,” Beyoncé to solidified her place as a leader in today’s music industry. Hot sauce? Check. Swag? Check. “You know you that bitch when you cause all this conversation,” she drawls as the song closes… a self-fulfilling prophecy. –Vincent, Andrew, Mario & Jordan.

Press play on our YouTube playlist below for the perfect soundtrack to your New Year’s Eve get together, or any occasion, really! So long, 2016!

The post The 19 “97” Singles of 2016 appeared first on THE 97.

Her 9^th studio album Glory is a true comeback. She can deny it all she wants (she so far hasn’t because she really has no reason to) but it is a triumphant return from Britney Jean, an album that tarnished an otherwise stellar discography. Maybe it’s just me, but to this day I still think of her discography as great – not perfect (except In the Zone), sometimes derivative (when it was released, ‘Oops I Did it Again’ had the gall to deceive everyone into thinking it’s anything other than a reworked  ‘Baby… One More Time’ with negligible key changes), but always radiating pure joy and good, sexy times.

On some of her recent interviews and promos, Britney has been swearing off men, but on this 9th glorious record, she makes invitation to guys and remains perfectly capable of pulling off a seductress persona. In real life, she’s living a perfectly unsexy existence (because class dictates you don’t post pictures of your sexy time on social media and it is a lesson she learned the hard way), but, truthfully, we can never really know the real Britney Jean.

She has also been swearing off marriage. Throughout the album, she sticks to her true feelings about how romantic entanglements should strictly be, ie, filed under flings, quickies, romps only. Occasionally we get glimpses of vulnerability in tracks like “Just Luv Me” which is reminiscent of early chill out tracks like ‘Out from Under’ from Circus and it’s a fitting nod and a good reminder of what she can do with a proper downtempo production.

Quenching thirst is her forte and from the first track, she sets the stage for her thirst’s satiation. “Invitation” is lush and gorgeous and makes great use of Britney’s effortlessly airy vocals that go so well with producers Monson & Mischke’s light beats. It provides the perfect segue for first single ‘”Make Me,” which for a Britney Spears first single is an unbombastic entrance into the pop scene. “Make Me” is a slow burning track that raptures into a melodic chorus with Britney doing some of the most demanding vocal work for a first single. It is a slow burn that erupts in flames soon enough. All that fire is doused by the unnecessary rap verse, but that’s cool.

“Private Show” momentarily interrupts the calm and makes way for wacky Britney. In it, she sings of twerking on a pole and does not for a second scrimp on the silliness. She’s always been adept at appropriating her producers’ sounds and in this wacky track, she sure does “work it, work it” and those who gave in to her early invitation would have already been too involved to turn away. This private show is rowdy, ridiculous and riveting.

“Do You Want to Come Over” pulsates with sexual energy backed by guitar licks whose presence are as essential as those violins and bhangra elements in ‘Toxic’. When she sing-talks the line ‘Do you want to come over?’ it sounds like it’s coming from someone who is legitimately thirsty – one of many sides to Brit-brit that we can relate to. We know she’s just playing temptress but she pulls it off grandly anyway. After all, she learned from the best. This sublime track is co-written and produced by Swedish duo Mattman & Robin, who also co-wrote and co-produced Carly Rae Jepsen’s “Run Away With Me” and other tracks off the gravely overlooked album, the excellent Emotion, one of 2015’s greatest which, sadly, fell victim to pop listeners’ misguided attention.

Co-written by Britney, “What You Need” is just fantastic. It sounds like something she would perform on a dare on a night out with friends. It’s the kind of song in a musical where the downtrodden musical genius is provoked into showcasing her mad skills by hopping on stage after beeing mocked for so long. The joyful band then joins her, then the backup singers in a triumphant performance, after which she nonchalantly declares, ‘That was fun’, which is subtext for ‘I showed those bitches’.

Maybe on album #10 we will look back on one of Glory’s best tracks as actually underwhelming and just okay because we sometimes couldn’t help but fall into the trap of being condescending toward Britney’s ability to sing (she can really sing), but for now, we can bask in the glory of her most impressive vocal work to date.

There have so far been no pronouncements of ‘most personal album’ on Glory from Britney herself as to its overall vibe, but it may as well be (and honestly, if it has to take a Britney Jean to tell us who the real Britney us, then by all means feel free to give us just a tiny piece of you, Brit!).

The most severe criticism of Britney Spears albums is their lack of personality. That and her lip-syncing, which may be valid criticims but which are also tired and lazy. On Britney Jean, we were tricked into thinking it’s going to be a confessions-fest, on how hard it is to be a single mom of two who has to do grocery shopping while at the same time fulfill obligations to make or record relevant-sounding singles. We didn’t get confessions; we got will.i.am abominations. She tried it and it wasn’t well received, so now she’s just being herself – a cool chick who invites (hot) guys over. Glory is probably the best showcase of who Britney is and for a pop star who has given us so much, it is more than enough.

Grade:
95/97

Stream Glory by Britney Spears:

The post Review: ‘Glory’ by Britney Spears, a glorious return appeared first on THE 97.

Forget 2015’s “Pretty Girls” ever happened. On paper, a Britney Spears/Iggy Azalea collaboration sounded like pure magic. 2014’s breakout female rapper alongside America’s Sweetheart, what could go wrong? Nearly everything, minus the hilarious watch-worthy music video…

Going back even a bit earlier, things began looking a bit shaky for Britney Spears in the prior years. First, 2013’s Britney Jean album came off rushed and void of classic Spears hits. Secondly, Brintey decided to become a Las Vegas residency act instead of traditional touring. Not a common career move for modern Pop stars in their early 30s.

Britney’s last major impact came in the form of 2011’s Femme Fatale. Light years ago in the Pop music landscape.

Finally our Pop Princess is back to make her rightful comeback, perhaps even with a summer smash. Britney Spears’s worldwide sex appeal oozes all over “Make Me…” while rapper G-Eazy comes in for an added dose of testosterone while paying homage to “the biggest star” and her stint in Vegas.

Spears means business as she coos, “No shame in the game/Just cut the shit, be honest/Yeah, you know what you gotta do tonight” in her most aggressive, yet still flirty tone.

“Make Me…” is enough of a Pop song, while still managing to hold the attention of Hip Hop & R&B lovers too. With G-Eazy’s strategically placed rap verse, perfectly suited for Rhythmic radio spins, Britney easily could have a major crossover hit on her hands.

One thing is for sure. When team Britney gets it right, they hit it right on the mark! Bring on album number nine Miss Spears!

Grade:
85/97

The post Single Review: Britney Spears Makes an Eazy Hit with “Make Me” appeared first on THE 97.