There’s something magical that happens when a pop princess finds her dance DJ prince. Just ask Kelly Rowland. The collaboration between KAROL G and Tiësto, “Don’t Be Shy,” was a worldwide hit for the Colombian superstar singer and Dutch DJ, so it’s a no-brainer that the pair hooked up once again. The newly-released “PROVENZA (REMIX)” is a dancefloor-ready mix of one of her more laid-back tracks, transforming its vibe from beach day to night club. KAROL G’s signature slinky, tongue-twisting style of rap singing is abundant in rhymes and criminally catchy — even if you don’t speak Spanish.

Watch the “PROVENZA (REMIX)” live, stream it, or pre-order the BICHOTA SEASON vinyl.

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

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

The post 97 Words: “PROVENZA (REMIX)” by KAROL G & Tiësto appeared first on THE 97.

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

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

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

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

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

Born Stefani Joanne Angelina Germanotta, Lady Gaga was once upon a time just a New York-based aspiring singer-songwriter. That is, until she landed a deal with Interscope Records after working on demos with producer Rob Fusari for a couple of years, following a failed deal with Def Jam, who dropped her.

By the summer of 2008, very few people outside of the music industry knew who Lady Gaga was when her record label launched her debut album on August 19, 2008 in Canada without knowing that it would soon go on to become a Pop phenomenon.

Looking back at Lady Gaga’s “The Fame,” her weird fashions and costumes may immediately come to mind, but a lot of what made Lady Gaga who she is today also comes down to the music. She introduced herself on the music scene with one of the strongest Pop albums in a while and she had the whole package: the hits, the mysterious aura, the fascinating personality, and the talent that distinguished all of the great ones that came before her.

The music

Lady Gaga’s “The Fame” is a meticulously crafted record. It’s jam-packed with catchy hooks and strong melodies, even if they are often disguised under layers of electronic production and synths. The lyrics are sleek and clever with just that touch of ambiguity that will make you listen twice just to grasp what she’s actually saying.

The album slowly began to be released around the world as the first single “Just Dance” picked up steam on radio and in the clubs.  Produced by Akon, it is a Dance track about being lost in the music and dancing wasted in the club. What made it click with people was its catchiness, the fact that it’s a fun and light song, but also it being released at the cusp of the Electro-Pop era, of which Gaga became the epitome.

As soon as “Just Dance” reached #1 on the Hot 100, Interscope was ready to hit with the centerpiece of the album, “Poker Face.” This time Gaga showcased her quirky lyrics, built around metaphors and innuendos, but also her vocals and musical skills by opting to perform the song in a stripped, piano-only arrangement that shed light on her as a songwriter and not just an image-driven label puppet.

“Poker Face” was also accompanied by an impactful music video, another aspect that would characterise her future releases and her career as a whole. Lady Gaga basically grew as an artist as more people became aware of her and her “crazy” image and speculation arose around her persona. Her label knew this, she knew this and they took advantage of it, creating one of the most iconic eras ever.

With two #1 hits on the Hot 100, the album quickly started increasing in sales over the course of winter and then spring of 2009, capturing the attention of chart followers for such organic growth at a time when first-week numbers were crucial. The following two singles released, “LoveGame” and “Paparazzi,” solidified the success of the album, reaching #1 at Top 40 radio and respectively #5 and #6 on the Hot 100. The former is another catchy Electro-Pop number about the club scene, while the latter is a rather sultry mid-tempo track about a woman stalking a man to obtain fame and success.

A number of songs on the album deal with the theme of fame as suggested by the title: “Beautiful, Dirty, Rich” is a synthy Pop/Rock song depicting Gaga’s life as a struggling aspiring artist in the Lower East Side; “The Fame” and “Money Honey” are about the correlation between celebrity and materialism and the promiscuity that comes out of fame.

The two “ballads” of the album “Eh Eh (Nothing Else I Can Say)” and “Brown Eyes” draw inspiration from Gwen Stefani‘s brand of synthy 80s-influenced Pop/Rock and they interrupt the flow of Dance uptempos on the tracklist with a nice change of pace.

Visual artist

Starting with the “Paparazzi” music video, Lady Gaga also introduced a new side to her artistry. Directed by Jonas Åkerlund, the video is a short film centered on a murder plot and features numerous movie references and some of Gaga’s trademark costumes, making it the first of a series of elaborate productions that constitute in a way her legacy as a visual artist and reviver of the music video as a form of marketing and music promotion. The iconic performance of “Paparazzi” at the 2009 MTV Video Music Awards, along with the nominations and awards she received, truly felt like the culmination of Lady Gaga’s journey to fame and superstardom.

That was the moment everybody knew this girl was here to stay. In retrospect, it is amazing to see how much hard work must have been put into the creation of what became a phenomenon. In the years since her debut, none of the new girls in the Pop scene has come close to having such an immediate impact on pop culture. And even if Lady Gaga were to be remembered for her costumes and antics, they will always be attached to her biggest and most iconic songs to date. She’s gained her rightful spot in culture, no matter what the detractors may think.

Listen to Lady Gaga’s “The Fame,” or purchase the vinyl

The post How Lady Gaga’s “The Fame” became a landmark for Pop music appeared first on THE 97.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

On the Tropical House tune “It Ain’t Me,” Selena reminisces about a past relationship that has since expired. She coos, “I had a dream/we were back to seventeen/summer nights and the liberties/never growing up.” All before questioning who’s going to be there for her former beau when they need her the most, because frankly “it ain’t me,” Gomez proclaims on the sassy kiss-off.

Hearing the lyrical content of the song while knowing her current love life (recently she has been linked to Canadian Alt-R&B star The Weeknd), it makes you wonder if its actually semi-autobiographical. Selena Gomez co-wrote “It Ain’t Me,” and has had a widely publicized on/off relationship with Canadian Pop superstar Justin Bieber. The Biebs hasn’t exactly responded well to news of his former girl going public with his musical peer.

One thing is for sure, if you have continued public interest with all things Selena, a new power-couple blooming, plus new music just in time for Spring, all could certainly add up to a massive hit for Kygo and Gomez. Expect “It Ain’t Me” to become another hit song for Selena and help her delve further into the EDM realm come time she drops her third studio album. An album likely due out this year if we follow her past release schedule (2013, 2015, 2017?).

Rating:

75/97

The post Single Review: Selena Gomez teams with Kygo on “It Ain’t Me” appeared first on THE 97.

Yes, Gaga, because for the 15 minutes of the show Stefani returned to her former self and only gave a glimpse of Joanne for the obligatory promotional moment. The Halftime was an opportunity for this popstar to remind people why she became such a huge phenomenon when she first hit the scene and why she was able to capture audiences around the world in such a short span of time.

The Setlist

It’s no surprise, then, that the setlist was largely occupied by her 2008-2011 hits, the ones that made her a household name in the mainstream landscape.

With a brief patriotic intro sung on the roof of the stadium with the American flag behind her in the sky Gaga made her political statement on the state of her country in the most subtle way. Not by making a critique, not by taking a side (even though her views have been widely known), but by reminding people that America is for everyone and not just a select few. Perhaps this is one of the reasons why Americans adore her. May be her patriotic songs inspired the citizens to decorate their homes and businesses with the national flag, and thus house mounted flagpoles could be seen. Then, she literally dived onto the stage and started showcasing her catalog of Dance Pop mega hits: “Poker Face” was the first number complete with acrobatics, followed by the inclusive statement of “Born This Way,” which became an athem for the social outcasts upon its release.

The show continued with “Telephone” (though with no appearence by Beyoncé) and her very first single “Just Dance.” Gaga then slowed things down at the piano to perform her current single “Million Reasons,” delivering a powerful and emotional vocal performance that made for a beautiful moment. The now officially Pop classic “Bad Romance” closed the set with an energetic and epic performance and Gaga left her indelible mark amid choreography, live vocals and outfit changes.

Evidently absent from the setlist were the singles from her 2013 album Artpop, though “Applause” felt like a given due to its upbeat nature (it could’ve perhaps replaced “Just Dance” as it slowed down the momentum) and no other songs from her current album were performed. A choice that perhaps has to do with the reflective nature of this show, where Lady Gaga chose to highlight the things that made her an iconic artist and not the ones that made her mainstream relevance tumble.

The Aftermath

This morning, Gaga occupies a large part of the album and singles top 10 on iTunes, a sign that her performance last night captured the audience and made people rediscover her as an artist. And the positive publicity will surely shift a lot of tickets for her summer tour announced shortly after, even though Gaga has always been a big concert draw.

Here are the dates for the Joanne World Tour:

The post Lady Gaga stuns at SuperBowl LI 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.

July 26, 2011.

Five years ago today, Kelly Rowland released her third album, Here I Am – a proclamation of freedom and artistic rebirth that cemented her place as not just the chick who was second to Beyoncé. However, it seemed, as with every Kelly Rowland album, there has been some sort of unforeseeable fuck-shit to get in the way of the great potential that the body of work held. Unfortunately, with Here I Am (and Talk a Good Game that followed), the same was true. Make no mistake; I have been a fan of Kelendria Trene Rowland since 1999 when I was perched at my TV watching the “Bills, Bills, Bills” video and have supported her every step of the way since; with and without Destiny’s Child. However, stan as I may, I can recognize the flaws in her album campaigns. Not from a place of critique, but from a place of frustration that these awesome albums she created went largely unnoticed and underrated by the general public.

Before I get into the specifics on Here I Am, allow me to recount the eras that preceded it. For her debut album, which ended up being released in October 2002 and titled Simply Deep, the plan was for her to be the last of the DC trio to release an album – after Beyoncé. However, in the summer of 2002, Nelly released his Nellyville album featuring a little duet you might recall, “Dilemma” – and that created a dilemma indeed. Though it was planned for release later down the line, “Dilemma” ended up being picked up by radio and shot to the top of the charts where it stayed for 10 weeks. Kelly was the first to have a #1 single (though, it was her last in the US) and the pressure was on from Columbia, and Mathew Knowles, for Kelly to deliver an album to capitalize on its success. In a months time, Kelly cranked out Simply Deep, its lead single, “Stole,” and its rush release hurt its chances for success. It was too little, too soon for America; though it was a big hit internationally. Similar issues arose for her sophomore set. Originally titled My Story: Kelly Rowland, the follow up to Simply Deep was set to be released in the summer of 2006. However, under the guise of “not being finished,” Kelly was sent back to the studio and her album pushed back to 2007 in favor of Beyoncé’s B’Day release going forth in September 2006. Mathew didn’t want them to compete, understandably. She released Ms. Kelly in 2007 to moderate success in the US, and generating a huge hit internationally in 2008 with the Freemasons Mix of “Work” that introduced her to the dance music scene.

The next year, in 2009, love took over, and so did Kelly, when she collaborated with David Guetta on the worldwide smash “When Love Takes Over,” fired Mathew Knowles as her manager and left Columbia Records. Kelly became the modern day Donna Summer and the uncrowned, pioneering Queen of vocal Euro-dance-Pop. To this day, she does not receive the due credit that she deserves (and DC sister Michelle Williams – just listen to her 2008 dance-pop album, Unexpected). Rihanna and others would never have had the dance hits they had if not for Kelly Rowland’s “When Love Takes Over.”

Anyway, hot off the success of “When Love Takes Over,” she began work on her third studio album. The campaign began in 2010 with the release of “Commander,” “Grown Woman,” “Rose Colored Glasses,” “Forever and a Day,” and a series of other leaks, but ultimately the dance-pop album never came to fruition due to a messy new label.

With no release date in sight, Kelly decided to go back to studio and back to her R&B roots, from which she birthed Here I Am and its lead single, “Motivation.” Released in 2011, during the same period as Beyoncé’s 4 era. This time, there was no Mathew Knowles to stop them from “competing.” With Here I Am, Kelly sought to break free of the Queen B’s shadow.  And she succeeded.

“Motivation,” helmed by Rico Love and featuring Lil’ Wayne, was a monster hit. It peaked at #1 on the Billboard R&B songs chart where it stayed for nearly the entire summer. It even managed to peak at #17 on the Hot 100 and #24 on the Mainstream Top 40. Had the song been sent to Pop at the same time as it was to Urban/Rhythmic radio, it likely would have placed much higher overall. Regardless, it went on to sell over 2 million downloads and cemented Kelly’s place as an R&B superstar in her own right. Finally, here she was: Kelly Rowland. Not “of Destiny’s Child.” Just Kelly.

Unfortunately, her label dropped the ball after that. Promotion for the album itself was weak, and, in general, it was released too long after the song’s peak. The second single, “Lay It On Me,” had all the makings of a hit but none the push. Sent to radio in August, but with no music video til October, and then they wondered why it flopped. Unsurprisingly, it ended up being the album’s last single stateside, with dance number “Down For Whatever” getting a release internationally. With her follow up album, Talk a Good Game, it was more of the same messiness despite the fact that she had delivered the best album of her career. We’re still waiting on the next one… but, back to Here I Am.

Now, to get a little more personal. I have so many fond memories surrounding this album and its songs, all the way back to its 2010 beginnings. Success and all that aside, I loved the music and in the summer of 2010, I was so hype because I got to see Kelly not once but twice in two different free, small-venue shows in NYC that August. She performed the singles thus far, some older cuts, and famously debuted “I’m Dat Chick,” which ended up being the first track on Here I Am. Here’s my video from the front row of that performance, all those moons ago, there I was:

The best memory of all about this night was not only that she made incessant eye contact with my friends and I, but because she so graciously stopped to take selfies with us after the show. Not only did I forge new, long-lasting friendships from those two back-to-back days of Kelly Rowland shows, but also unforgettable memories with one of my favorite divas. She slays. We slay.

Anyway, unfortunately, we had to wait until the NEXT summer for the album, but that’s fine, because that meant more NYC appearances. The week of the album release, she appeared on BET’s 106 & Park and there I was. I don’t know where the screenshot is now, I’m sure it’ll pop up on my Facebook Memories soon, but I was perched right behind her as she was interviewed, wearing a shirt with the album cover on it. During one of the breaks from filming, she recognized me and gave me a big ole hug. Life made.

But, Here I Am means more to me than just a few good memories in the presence of Kelly herself. I have specific memories attached to many of the songs. For “I’m Dat Chick,” it’s for sure seeing it performed live for the very first time. For “Motivation,” it’s being in Salamanca, Spain when it was released and listening to it on repeat in my single dorm room and wishing I was home in the US to experience how it was blowing up on the airwaves. I was so proud of her. “Lay It On Me” reminds me of my summer in NYC, in my own apartment, dating a special someone. “Feeling Me Right Now” is just a damn anthem, especially if you’re #teamsingle. “Turn It Up” is the sort of Mariah-level shade I LIVE for, and became particularly appropriate for a situation I went through. “All of the Night” and “Keep It Between Us” (along with “Motivation”) made their way onto a certain, frequently used playlist ;). As well, “Keep It Between Us” had a gorgeous, self-funded video filmed in Paris which makes me yearn to return to the city every time I watch it. The song is definitely an underrated gem in her catalogue.

“Commander” takes me back to the early days of the era, when my friends on my message board DC3 Forever and I all thought Kelly was going to blow up as the Queen of Dance (but, instead, the world picked Rihanna). “Heaven and Earth” became an anthem for me in a very personal family struggle, while “Each Other,” one of my favorites, was a frequent spin while living in Manhattan during the fall of 2010. “Down For Whatever” is good for a dance moment, but doesn’t compare to some of the left-off cuts from the original 2010 sessions, such as “Forever and a Day” (an anthem even now, when driving my new convertible). “Grown Woman” became a go-to when dealing with messy friend-drama, and “Shake Them Haters Off,” too. “On & On” is dance-pop perfection that was a hit waiting to happen! Kelly gave us a lot of music over this two year span; so much that I have it all separated into two albums in my iTunes: Commander, and Here I Am. 

Here I Am, in the end, turned out to be an amalgamation of nearly every sound that Kelly had flirted with over the years. R&B, Pop, Dance, Hip-Hop, and the like, spanning topics of self-empowerment, sex, love, break-ups, and, well, good ole’ fun, were all represented on the album. Not only that, but she completed revamped her image too, owning her sexuality, and most importantly, her dark-skinned goddess status.

So, while it isn’t her best album, with Here I Am she made her most important statement and found her best success yet in “Motivation,” cementing herself as a solo star and as an artist with a voice. When she followed it up just two years later with Talk a Good Game, her sound and voice were both poised, defined and undeniably Kelly Rowland. And, as a fan, I couldn’t have been prouder.

The post Where I was when Kelly Rowland declared ‘Here I Am,’ 5 years ago – a fan’s retelling appeared first on THE 97.

Today is Mariah Carey’s birthday, or as she prefers to call it, her “anniversary.” Since we are huge Mariah fans, it’s only natural for us to honor and celebrate her today with a special Anniversary playlist.

The Dance Diva

When people think of Mariah Carey, likely their first thoughts include her voice and her ballads. However, our playlist explores another side of her catalogue: her festive upbeat moments and stone-groove-smash-hit-wonder club mixes. Not enough people are familiar with her club mixes.

However, in the 90’s and into the 2000’s Mariah was one of the few pop divas who took the time to actually work with remix producers. She would re-record her vocals over new house, dance, and hip hop beats to craft a second incarnation (or in some cases, third and fourth) of her biggest hits.

Take songs like “Heartbreaker” and “Fantasy”. Of course we know these originals versions of these classic Mariah Carey songs. But have you ever heard the completely reimagined and rerecorded dance and hip hop remixes? Each song essentially has at least 3 versions.

We’ve included those remixes as well as our favorite up-tempos from her albums. Press play on this festive Mariah anniversary playlist, We hope it makes you feel like you too are a diva as fabulous as the legendary Mariah Carey.

The post Playlist: Celebrate Mariah Carey’s Anniversary with her festive upbeat moments appeared first on THE 97.