Before they were dismissing a “Bug a Boo” for not paying the “Bills, Bills, Bills,” declaring their independence, or quoting Biggie to dish out reminders that “UPS is hiring,” Destiny’s Child made it clear they did not have the time for mess junk. On “Get on the Bus,” the budding divas slide atop a slinky Timbaland-produced, Missy Elliot-penned track that foreshadowed the best that was yet to come. With Beyoncé and Kelly taking turns to deliver some sass-filled verses, Timbaland’s whiny boyfriend character never stood a chance. Here, it became very clear: somebody could send your luggage.

Watch the “Get on the Bus” video, stream it, or get a coveted vinyl single.

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

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Record labels sure loved to have teen stars sing songs they were probably not old enough to be singing in the 1990s. “With Me,” the second single from Destiny’s Child’s debut album, is a fine example of that. Recorded when the girls were just 16 years old and produced by go-to hitmaker Jermaine Dupri, it’s essentially a side chick anthem. Problematic as it may be, it’s a bop in all four of its iterations. Perfect evidence that Beyoncé and Kelly were vocally talented beyond their years, nobody would guess that the young girls singing it weren’t grown-ass women.

Watch the “With Me” video, stream it, or grab some Destiny’s Child 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: “With Me (Part I)” by Destiny’s Child appeared first on THE 97.

Actually, the group’s foray into Christmas music began in 2000 with the recording of two original tracks. The group lent their talents to a second curated Christmas album by Rosie O’Donnell (yes, you read that right; what a time, chyle) via the song “Spread a Little Love on Christmas Day.” On a special edition rerelease of their sophomore album The Writing’s on the Wall, they also included what would go on to be the title track and lead single of their Christmas album, “8 Days of Christmas.” Beyoncé co-wrote and co-produced both original songs. Though they may sound a bit dated (especially with the Rosie shout out on “Spread a Little Love”), they are both undeniable bops, and the basis upon which the idea for the a Destiny’s Child Christmas album was born.

It’s no surprise that the girls’ label wanted them to do a Christmas album: they were signed to Columbia Records, which was also home to Celine Dion and Mariah Carey (until 2001), whose Christmas albums were monster successes in the 90s. Like Mariah and Celine when they released theirs, Destiny’s Child were at their peak stardom, so what better time to make their mark on the holiday music landscape? Beyoncé, Kelly and Michelle somehow found time in their busy schedules to record covers of a handful of Christmas standards, but also craft a few new tracks, as well.

I briefly chatted with Michelle, not for a formal interview, but just to see if she had any anecdotes to share about her memories attached to 8 Days of Christmas. She recalled that, “It was a very busy time! We were touring and having to find an hour here and there to record!” That certainly tracks; as a fan then and now, I remember being surprised when they announced the Christmas album. My reaction was like, “when did y’all have time to do this?!” Nevertheless, I was perched at home on Halloween at 11 years old, not trick-or-treating, but bopping to Christmas music instead. Anyway, Michelle also hilariously recounted that there might have been some “sinus infections and tons of congestion on a few of the songs!” If so, we would have never known, because the vocals on 8 Days of Christmas are one of its highlights.

Upon its release, reviewers weren’t exactly kind to the trio’s take on Christmas. In fact, I remember writing a scathing response to one Tracy E. Hopkins (I still remember her name to this day) for the way she dragged the album in her Rolling Stone review. I was eleven years old at the time, so surely that was not my finest nor most mature piece of writing. Twenty years later, I can understand why critics didn’t quite get the album. In 2001, most Christmas music adhered to the notion that it should be able fit in with the classics. While that remains true today for the most part (especially if you want your own perennial hit like Mariah Carey’s), things have evolved a bit. Dare I say, Destiny’s Child made it cool to make Christmas music that sounds more modern. They took their early 2000s sound, tossed in some sleigh bells and tidings of comfort and joy, and said “Merry Christmas, from Destiny’s Chiiiild!” The ladies harnessed their “girl power” and channeled it into a festive moment that, 20 years later, still has fans saying, “yes it feels like Christmas!”. Plus, the new girls since have definitely taken note: from Ariana Grande’s Christmas and Chill, to JoJo’s December Baby, it’s clear there is a market for more modern sounding Christmas music. It’s time to embrace the modern Christmas bop, people; give Phil Spector’s wall of sound a rest.

Twenty years have passed since Destiny’s Child released 8 Days of Christmas, and while the album might not sound like what most consider to be “classic” or “timeless” Christmas music, it gave us several gems and holds a special place in my heart. Surely, any Destiny’s Child fan must feel the same. In celebration of the album, I have ranked all 14 tracks: the 12 from the original release, plus its two 2005 bonus tracks.

8 Days of Christmas, Ranked

14. Little Drummer Boy (featuring Solange)

“Little Drummer Boy” is one Christmas song that I just do not like, and not even my favorite artist Destiny’s Child can save it here. Still, it was cute to hear a young Solange again join the trio for this Christmas moment. Four years later, she would pen an original Christmas song for the girls. More on that one further up the list.

13. Platinum Bells

A spin on the carol “Silver Bells,” DC3’s “Platinum Bells” is more like an interlude on the album. It’s cute and fun, but clocking in at 90 seconds in length, it doesn’t quite stack up to the rest of the songs.

12. Silent Night (Beyoncé’s solo)

I might get dragged for this, but I hope the Hive can find it in their hearts to chill this holiday season. I was in the BeyHive before there was a Hive, so let’s not okay?! “Silent Night” has never been my favorite Christmas song… I’ve always found it kind of boring, to be frank. Yes, it’s a beautiful song and I can respect it as such, and most talented vocalists tackle it gorgeously, but I can never really get into it. Maybe once per season, maybe during a live performance, but, otherwise… I usually skip it. Beyoncé serves up some vocal acrobatics on her version, as expected, though at times it does feel like a bit too much.

11. Rudolph the Red Nosed Reindeer

The ladies’ rendition of “Rudolph” ranks this low not necessarily because I don’t love their version, but I just don’t really adore this song in particular. Of course, it’s a classic and conjures up childhood memories, but it’s still a children’s song at its core, so I listen to it sparingly. That being said, they certainly sound great here. Their version was not released in 2001, though. It sounds as though it was recorded then (I asked Michelle, she couldn’t remember), but it wasn’t released until 2005. They promoted it with an adorable claymation video that acted as a cross promotion for the 2005 DVD rerelease of the classic 1964 animation film. The song was also added to 8 Days of Christmas as a bonus track for its 2005 rerelease on DualDisc (surely the kids have NO clue what that is!).

10. White Christmas

Though it might be of the shortest Christmas carols, “White Christmas” is also one of the most beloved. Destiny’s Child takes it on similar to how they later collaborated on Michelle’s “Say Yes” – they each sang the carol through once, putting their individual vocal spins on it on each go-round, and layering it up with their signature harmonies. They sound great doing so, of course, but it sort of leaves us begging for more. This might’ve been another moment to go the “medley” route, perhaps mixing it in with “Winter Wonderland” or “Let It Snow,” to make the moment last a bit longer.

9. Do You Hear What I Hear? (Kelly’s solo)

For her solo track, Kelly chose to take on a religious song as well. Modeled after Whitney Houston’s definitive version of the classic, Kelly’s rendition of “Do You Heart What I Hear?” is simply beautiful. Kelly has made it well known that she has always been a huge Whitney fan, so it is no surprise that she was heavily inspired by Ms. Houston for this cover. Had she differentiated her version a bit more, it might rank higher here. Still, don’t let its placement here take away from the fact that the Kelly’s version is well worth a listen and placement on your Christmas playlists!

8. This Christmas

The trio takes on Donny Hathaway’s classic “This Christmas,” giving it an early 2000s modern twist musically, with a vocal arrangement that is mostly faithful to the original. The fact that it’s a trio singing the song, each taking their own verse, helps to differentiate the Destiny’s Child version from the many other covers (most good, some bad) that exist of this classic.

7. A “DC” Christmas Medley

As the title suggests, this is a medley of Christmas classics, with a Destiny’s Child spin. The trio sleighs through bits of several holiday favorites: “Jingle Bells,” “Frosty the Snowman,” “Holly Jolly Christmas,” “Deck the Halls,” and “Here Comes Santa Claus,” with “Santa Claus Is Comin’ to Town” functioning as the song’s hook. It’s a clever way to quickly bop through these short little classics, and works especially well as a group moment, which each of the ladies leading a carol of their own.

6. Home For the Holidays

“Home From the Holidays” is a song recorded for a Walmart ad campaign in 2005, and was included on a Walmart-exclusive edition of the album. Co-written and co-produced by Beyoncé’s sister Solange, “Home For the Holidays” is yet another Christmas jam by the trio. Truly, its beat slaps, and is good enough to be a non-Christmas song. However, its lyrics about going “home for the holidays” to celebrate with family make it a bop fit for the holidays. If it was a little more Christmas-y, musically, it’d likely rank higher on my list. Still, I love the song, and I am so glad that it was finally uploaded to streaming this year!

5. O’ Holy Night (Michelle’s solo)

Of course, Michelle Williams reminds us of the true reason for the season with her solo number, a gorgeous cover of the classic hymn, “O’ Holy Night.” Produced by her brother Erron Williams, Michelle’s rendition is a fresh, soothing reimagining of the heavenly hymn. The song was actually the first time fans ever got to hear Michelle solo track. She masterfully glides through the lead vocals, and the layered background vocals. Michelle’s version remains one of my favorite takes on “O’ Holy Night.”

4. 8 Days of Christmas

With its simple refrain of “Doesn’t it feel like Christmas? Yes, it feels like Christmas!” this song is one that never fails to conjure up the Christmas spirit within. Sure, it’s one of those love songs with a little Christmas cheer sprinkled on top. Some might call the song “superficial” because its verses are about all of the gifts “mybabygaytame” but let’s remember, the song is clearly inspired by “12 Days of Christmas,” which is just the same. Ultimately, the song is a fun, festive romp that is the perfect combination of early 2000s pop and cheer-full Christmas vibes. Also, you’ve gotta love the Tina Knowles Lawson designed Sexy Santa outfits they wore during the promo tour.

3. Spread a Little Love on Christmas Day

“It’s beautiful outside and the wind is whistling; I look outside my window as I see my neighbor’s Christmas tree; the snow is falling, my spirit’s feeling happy, I’m feeling even better ’cause I got my family next to me,” Beyoncé sings to open Destiny’s Child’s first-ever Christmas song. It’s a sentiment that is repeated in countless Christmas songs, and one that never fails to lift spirits. On “Spread a Little Love on Christmas Day,” the girls express gratitude for their blessings and, as the title suggests, spread love to all of their listeners, no matter where in the world they may be. Musically, the song sounds like it could’ve fit in on Survivor, but lyrically, there’s no mistaking that the song is filled with Christmas cheer. For that reason, it has always been one of my favorites.

2. Opera of the Bells

Certainly the best cover on the album, Destiny’s Child’s version of “Carol of the Bells” is aptly retitled “Opera of the Bells.” This a cappella moment finds the trio united in harmony, and impeccably so. As with most versions of this classic carol, DC3’s version is equally haunting and powerful. It’d truly be something to hear Beyoncé, Michelle and Kelly perform this one today; their voices have only improved over the years, and no doubt they would slay this, effortlessly. The last time they performed it live was in 2004.

1. Winter Paradise

This has always been my favorite song on the album. It’s simple, yet perfectly heartwarming. Co-penned and co-produced by Beyoncé, this DC3 original is underrated and deserving of its flowers. I wish it had been a single so that it could have received more shine. Lyrically, it hits all the Christmas points and serves up all the Christmas warm and fuzzies. I also love the vocal arrangements here; Michelle, Kelly and Beyoncé all have equal opportunities to shine.

Listen to Destiny’s Child’s 8 Days of Christmas

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VOLUME 2, CURATED BY VINCENT

Trimming my personal Christmas vibes playlist down to just 97 minutes proved to be a more difficult task than I expected. You mean, I won’t be able to include every Mariah Christmas song, plus my other favorites? Blasphemy!

In the end, the Queen of Christmas still managed to occupy six slots on my playlist, the most of any artist that I included. Runners up include Destiny’s Child (2 group songs, 2 solo songs), Kelly Clarkson (3 songs), and The Jackson 5 (2 songs). DC3’s “Winter Paradise,” an original penned by Beyoncé, has always been one of my favorite, along with their haunting rendition of “Carol of the Bells,” entitled “Opera of the Bells.” Michelle Williams’ take on “O’ Holy Night” is one of my favorites, and Kelly Rowland’s “Love You More at Christmas Time” is an original worthy of future canonical status. Kelly Clarkson, the budding Princess in Mariah’s Queendom of Christmas has a slew of worthy songs herself. It was hard to narrow down which to include, so I opted for a few less obvious choices (surely you know her biggest Christmas hit, “Underneath the Tree”). “Just For Now” is a favorite of mine, as well as two other impeccable uptempo, “Christmas Eve” and “Wrapped in Red.”

Rounding out the playlist are appearances by Nat King Cole (“The Christmas Song” of course, but really, you need his whole album), The Carpenters (I love their Christmas album), Tori Kelly, JoJo, TLC, Joe, Stevie Wonder, Monica, Boyz II Men, Britney Spears, Toni Braxton, and one of my favorite, but not so well known, oldies, “Dónde Está Santa Claus” by Augie Rios. I always loved that song as a kid, it’s just adorable. I hope you enjoy the playlist, if you do, you can also take a listen to my extended “Christmas Vibes” playlist here. Also, shout out to my baby girl Bones in the playlist cover photo.

LISTEN TO VINCENT’S 97 MINUTES OF CHRISTMAS PLAYLIST

Also available on: Spotify – Tidal 

The post Playlist: 97 Minutes of Christmas, Vol. 2 appeared first on THE 97.

On November 16, 2004, Beyoncé, Kelly Rowland and Michelle Williams reunited once more as Destiny’s Child for their final album, Destiny Fulfilled. However, to fully understand the magnitude of this moment, one must travel back and truly relive this unprecedented moment in music history.

The Anticipation Was Real.

It was the one year anniversary of Beyoncé’s debut solo album, Dangerously In Love, when Destiny’s Child announced that their return was imminent, sending fans into a frenzy on June 24, kicking off the summer of 2004. In September 2004, they would debut their comeback single and perform it on Pepsi’s “Play For a Billion” television show.

All summer, fans waited with bated breath for the trio’s return. Unlike other superstar groups, Destiny’s Child had done what none had done before. They kept their promise. In 2001, they announced plans to go solo and record their own, individual albums following their World Tour’s conclusion in 2002.  During the group’s hiatus, Michelle released two albums, Heart to Yours (2002) and Do You Know (2004), while Beyoncé and Kelly (2002’s Simply Deep) each released one. They remained supportive of each other’s solo efforts over the course of their 2 year hiatus, and with their sisterhood intact, moved forward with their promise: a comeback.

Their Return Was Televised.

The group made a surprise appearance together at the 2004 Fashion Rocks concert at New York City’s Radio City Music Hall. That same night, they snatched the collective breath of their fans by unleashing their comeback single, “Lose My Breath.” Following the concert, their team distributed copies of the single to fans as they left the show.

Breath, Lost.

At midnight of September 9, 2004, AOL Music officially premiered the single and it was immediately pumped to radio stations. Met with rave reviews, the song was a fierce and fitting comeback for the powerhouse trio. With the release of the single came the announcement of the album’s title and release date: Destiny Fulfilled would be released a little over two months later, on November 16, 2004.

From this point on, the promotion for their comeback was in full swing. The ladies were everywhere promoting “Lose My Breath.” The same day of its release, they appeared on the NFL Kickoff show to celebrate their comeback and debut the song via a live performance. Complete with a dramatic introduction and fierce choreography, Destiny’s Child made it known that they were back, with a vengeance. Just two days later, they continued to promote the song with the performance promised in June – on Pepsi’s “Play For a Billion.” The hype paid off, as “Lose My Breath” made its at #30 on the Hot 100 based on radio play alone – one of the highest debuts in the chart’s history for a song with no commercial single available.

DC3, x 3.

In a move that is almost unheard of in today’s music climate, the music video for “Lose My Breath” was released about a month and a half following the song’s release, in late October. One of their best, it quickly became popular for its high-energy choreography and interesting concept. There were 3 incarnations of Destiny’s Child in the video: a sophisticated DC3, a street DC3 and a seeming amalgamation of both: a fierce, couture DC3. They competed with each other in a dance battle and the fierce, couture DC3 prevails perhaps introducing us to their new image (and, House of Deréon). Needless to say, its live performances and video helped the song’s popularity grow, and it eventually peaked at #3 on the Billboard Hot 100.

Soldier-ing On

In the few weeks prior to the album’s release, once “Lose My Breath” had peaked, Destiny’s Child dropped the album’s second single, “Soldier,” featuring Lil’ Wayne and T.I. (before they both became superstars in their own right). “Soldier,” although more hip-hop orientated than “Lose My Breath,” fit right in with radio at the time and also became an instant smash. Eventually, the song also peaked at #3 on the Hot 100. At this point, the ladies seemed unstoppable.

Numbers Don’t Lie

However, the album’s release week was met with a challenge.  Some retailers received the album early and sold copies of it (61,000 in fact) during the weekend prior to its newly bumped November 15th release date (their label, Columbia, moved it up one day to avoid piracy).  Due to this error, the album prematurely debuted at #19 with 61,000 copies sold.  The following week, the album jumped up to #2, selling an additional 497,000 copies.  No doubt, this impressive total proved just how hotly anticipated the Destiny’s Child’s comeback album was.

3 Voices, 3 Pens.

The album was a return to R&B for the group. Not since their debut album had they made an album so purely R&B. Aside from its first two singles, “Lose My Breath” and “Soldier,” there were no obvious single choices. The album was by no means a commercial one, nevertheless, it was a deeply personal, quality album. The songs were inspired by their life experiences after spending hours talking, rather than recording, in the studio when they began the recording process for the album. With the exception of Kelly’s solo song, “Bad Habit,” all the songs were cowritten by the trio. Beyoncé acted as vocal producer for every group song, as well. Most significant, though, was that for the first time all three ladies had a lead verse on every song on the album (aside from “Bad Habit,” of course).

Star-Studded Production

Production on the album was done by a team of talented producers, some of whom had worked with the ladies on both solo and group projects before, giving each of them a chance to bring their own, newly developed solo sounds to the group. Rodney “Darkchild” Jerkins, producer of 1999’s “Say My Name,” was behind the boards for the album’s first single “Lose My Breath” and its final single “Cater 2 U.”

Rockwilder, who produced the remix to the group’s smash hit “Bootylicious,” provided the tracks for “If” and “Free.” Rich Harrison, producer of Beyoncé’s “Crazy In Love” and Kelly’s “Can’t Nobody” served the track for “Soldier.” Beyoncé also brought frequent Dangerously In Love collaborator Scott Storch (“Me Myself and I,” “Baby Boy” and “Naughty Girl”) to the group via “2 Step” and (solo song) “My Man,” bonus tracks for Walmart. Friend to Beyoncé and Kelly, Bryan Michael Cox produced Kelly’s “Bad Habit” alongside Beyoncé’s sister Solange Knowles. Meanwhile, Michelle brought her brother, Erron Williams, in to produce “Love,” as well as two other prior collaborators: Mario Winans, on “Through With Love” and PAJAM on Japanese bonus track “Why You Actin'”. Finally, producers like Dre. & Vidal (“T-Shirt”) and 9th Wonder (“Girl,” “Is She the Reason” and “Game Over”) were new to “the wonderful world of Destiny’s Child” (as Da Brat said on the “Survivor” remix).

The Dirty Laundry

However, perhaps one of the most notable things about Destiny Fulfilled is the fact that it tells a story – a story about a woman dealing with the ups and downs of a relationship. Beyoncé in particular harped on this fact in a number of interviews, noting how “the woman” begins fiercely with “Lose My Breath,” searching for her “Soldier” and then finding and “Cater[ing] 2” him. However, things get rocky midway through the album and eventually “she” finds love again with the help of God, and her sisters.

Nine years later, “she” was revealed to be Kelly. With the release of 2013’s “Dirty Laundry,” it became quite clear that she was the main inspiration behind Destiny Fulfilled’s story (though, Michelle has admitted that songs like “Free” and “Through With Love” were inspired by her almost-marriage prior to the album’s creation). Songs like “Girl” and Kelly’s solo track “Bad Habit” were not just a coincidence. They were taken from a very personal place. Unbeknownst to fans then, the songs were Beyoncé and Michelle’s way of supporting their sister through a hard time. It makes the Sex and the City themed “Girl” video with Kelly at the center of the storyline make all the more sense.

The Sisterhood

Destiny’s Child’s bond has remained strong in the years since the release of their final album. In 2013, they had several reunions: a new song (“Nuclear”), an appearance during Beyoncé’s Super Bowl set, a collaboration on Kelly’s album (“You Changed”) and in a video on Beyoncé’s visual album (“Superpower”). In 2014, they reunited on Michelle’s song and video for “Say Yes”. Most recently, the trio reunited for Beyoncé’s 2018 Coachella set, along with countless other moments through the years. They continuously support each other in their personal and professional endeavors.

When Destiny Fulfilled was released in 2004, Beyoncé and Kelly were 23, and Michelle was 25. Grown women, for sure, but still just at the beginning of their lives and careers. They would go on to achieve and experience so much more. Looking back in retrospect, it’s astounding to see how they much they have grown as artists and women – but also, how much they have remained true to themselves. Though so much has changed, their heart and soul live in perpetuity within these songs. Most of all, their sisterhood is still intact and, likely, stronger than it was in 2004.

It’s hard to believe, but Destiny’s Child has now been inactive longer than they were active (eight years, from 1997 to 2005). Yet, in the decade plus since they disbanded, their sisterhood and their star has grown stronger.

Destiny Fulfilled exists as a monument of their sisterhood; an iconic legacy untarnished. If they never reunite again, their status remains unquestioned. However, if (speaking it into existence: when) they do, it will surely be unlike anything the music world has experienced before. Until then… Destiny Fulfilled. 

The post Destiny Fulfilled, Relived: A Reflection of Sisterhood appeared first on THE 97.

When Beyoncé released “Dangerously In Love,” her debut solo album, there was a lot on the table. As the lead vocalist of the biggest girl group in pop music, she had a lot of pressure to succeed. We won’t go into the album’s resume, because it’s long and can be easily found on Wikipedia. However, what is perhaps most important and significant about the album is that it laid the blueprint for her long, iconic career. Each of the album’s fourteen tracks helped lay the groundwork for further innovations in her catalogue. So, to celebrate the album, Vincent and Mario walk through each song and discuss just how she has matured from each since then.

The Smash Singles

When the horns of “Crazy In Love” dropped for the first time, it was most definitely a pivotal moment in music: Beyoncé had ARRIVED. The hard beat, the union between soul and modern with the sample, the infectious hook and Jay’s rap verse, were the recipe for a smash hit. The most acclaimed single of 2003, today “Crazy In Love” is still lauded as one of the most recognizable R&B/Pop numbers of that decade and of Beyoncé’s’s career. Its energetic and performance-ready nature also made it a blueprint for future Beyoncé uptempos, designed to re-create the magic. Much of “B’Day” follows the template set by this iconic track and other R&B starlets have tried to forge their own hommages to it. Still, Beyoncé incorporates live horns into her music and continues to amplify the fierceness that began with this track.

On “Naughty Girl,” Beyoncé flipped her script. On the prior Destiny’s Child album “Survivor,” the trio sang “Nasty Girl,” about a “nasty, trashy, classless girl,” so naturally criticism came when Beyoncé dropped a song called “Naughty Girl.” Nevertheless, however naughty she’s gotten since, she’s never been a “Nasty Girl.” The Scott Storch production has Arabic influences and boasts a Donna Summer interpolation, and of all the album’s singles, felt the most Destiny’s Child-like in nature/sound. Still, it established that Beyoncé could and would own her sexuality. It also inspired further experiments with Arabic sounding songs, like “Beautiful Liar” with Shakira.

“Baby Boy,” the second single from “Dangerously In Love,” was an even bigger chart success than the lead single. This island bop produced by Scott Storch features Sean Paul and mixes Bey’s creole background with Sean Paul’s Caribbean origins. Steamy and passionate, the song was accompanied with a hot music video that captured the essence of Beyoncé as a performer. Unfortunately, Bey hasn’t really explored this sounds much further on her later albums, although the Caribbean groove “Standing on the Sun,” used for her 2013 H&M campaign, came very close to matching it. “Hold Up” from “LEMONADE” also boasts a Caribbean flare, and gives hope that she will continue to delve into those sounds.

Two Sides, One Songstress

On “Hip-Hop Star,” Beyoncé came with more urban edge than ever before. Alongside Outkast’s Big Boi, she rode a hard-hitting hip-hop beat, rapping, singing and delivering some (then-) shocking lines. It was out of character for Beyoncé to make a song like this at the time, but since then, she has gone on to create a number of similar songs that are heavily hip-hop. In fact, her joint album with Jay is essentially a rap album, as are many of the songs on “The Gift.”

“Be With You” samples two soul jams, “Strawberry Letter 23” by Shuggie Otis, and “I’d Rather Be With You” by Bootsy Collins. Brilliantly woven together, “Be With You” is a highlight on the album. It showcased that Beyoncé wanted to go beyond the pop-crossover R&B that she did with Destiny’s Child, and into a more soulful arena. The raw soul of “Be With You” is repeatedly reflected on “4,” with songs like “1 +1” and “Rather Die Young.”

Independent Woman

Beyoncé has always been one to advocate for female empowerment since the early Destiny’s Child days. “Me, Myself and I” fits that bill. On her first solo album, she delivered this Jazz-ish smooth R&B number, talking about finding herself as a woman and being her “own best friend” after a bad relationship. The topic would be a recurring one in her solo discography, starting with her #1 hit “Irreplaceable” on “B’Day” which bears a similar empowering message, or even the biting “Best Thing I Never Had,” from “4.”.

On “Yes,” Beyoncé showed us how she could put her pristine, beautiful vocals over a bass driven mid-tempo. While the bass knocks, she effortlessly glides atop the beat to deliver a slow read of a man who could not take “no” for an answer. While the songs themes of female empowerment have no doubt been emulated throughout her career, so has the style of this song. Tracks like “Love Drought” and “No Angel” achieve the same effect. Meanwhile, on “Signs” a trend of Missy/Beyoncé collaborations continued, though her presence on a Beyoncé album since the debut has been sorely missed.

Dangerously In Love

“Speechless” is the baby making jam of the album, and is just straight up fire. From the bluesy electric production to the sensual vocals, this is one of the best Beyonce deep cuts. Its sexual nature is also the prelude to more to come later in her output: on the Prince-esque “Dance For You” from “4,” she declares to be charge of the bedroom duties with her man, while in her iconic self-titled set, Beyoncé explores her sexuality and newfound sexual awakening after her pregnancy. “Rocket” is the prime example of this, one that shares sonic similarities with “Speechless” as well.

“Crazy In Love” and “That’s How You Like It” co-existing on the “Dangerously In Love” album initiated the tradition of Bey & Jay collabos that would bring us  to their first joint album in 2018 (even though they already had an EP worth of material just from past album tracks). “That’s How You Like It” is a cute light bop that samples DeBarge’s “I Like It.” It’s one of the most likable album tracks, although not as famous as others and a valid addition to the track-listing.

Classic Balladry

Already an icon in the making, Bey collaborated with the legendary Luther Vandross on a cover of the 70s Roberta Flack/Donny Hathaway classic, “The Closer I Get to You.” This soulful and sweet remake stays true to the spirit of the original, with a classic sounding production and Luther’s buttery tone complimenting Beyoncé’s softest vocals perfectly. a worthy hommage to a quintessential old school record. Before it was clear that she was the force she now is, Beyoncé was already getting praise and respect from legends like Luther Vandross. She has since gone on to collaborate with other R&B greats, such as Prince, Stevie Wonder and Tina Turner, among others.

“Dangerously In Love” was actually born on the Survivor album, but was remixed with a more bass-heavy version to become the title track of her debut. A saccharine love ballad, the song was clearly Beyoncé’s favorite ballad of hers for years. She dedicated at least 7-8 minutes in all of her shows to the song, from 2002’s world tour with DC, up until she finally removed it from her setlist with 2009’s “I Am… World Tour.” If anything, we have this song to thank for Beyoncé experimenting with her voice and live covers further. If “Dangerously In Love” has a younger sibling, it’s certainly “All Night” from “LEMONADE.”

Gift From Virgo

On “Gift From Virgo” Beyoncé showed once again a penchant for Shuggie Otis’ jazzy soul, and also for recreating a song she loved. “Gift From Virgo” was actually written atop an Otis instrumental that she loved and decided to make into her own song. Obviously an ode to her then-new-boyfriend Jay-Z, it was the most honest track on the album, lyrically. Beyoncé later did similar interpolations, such as “Still In Love (Kissing You),” “Resentment,” and frequently live, mashing “Sweet Dreams” with Anita Baker’s “Sweet Love” and “Dangerously In Love” with Jill Scott’s “He Loves Me.”

Daddy Lessons

Before the blogs gave us the tea on Mathew Knowles, all we knew was that he was Bey’s and DC’s manager and “hero.” On “Daddy,” a grateful Beyonce tells us how Mathew pushed and supported her through her rise to stardom, inspiring her drive and ambition to always better herself. It is interesting to look back on this track in light of two other tracks in her discography: one is “Ring Off” in which Beyoncé commends her mom, miss Tina Lawson, for getting herself together after the divorce; the other is “Daddy Lessons” from “LEMONADE,” which while not explicitly about Mathew, is a track about the relationship between father and daughter from a more mature perspective. On “Daddy,” Beyoncé sang “I want my husband to be like my daddy.” Sadly, that became all too true. Elsewhere, in the “LEMONADE” poetry, she incants, “you remind me of my father, a magician, able to be in two places at once.”  Though, unlike her daddy, her husband redeemed himself in the end.

“Dangerously In Love,” The Blueprint

In short, “Dangerously In Love” was a defining debut for both artistic and commercial reasons. It’s hard to believe that Beyoncé was just 21 years old when it was released; it’s hard to imagine a time when the now undisputed Queen still had to prove herself. Before she became the most awarded woman in GRAMMY history, before she “renamed Coachella, to BEYCHELLA,” before she graced the Super Bowl stage not once but twice, before she redefined the way in which albums were released… she was a young woman who was “Dangerously In Love.” Now, she’s a grown woman for whom “Everything Is Love.”

Listen to Beyoncé’s “Dangerously In Love”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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What no one knew then, was that the only “no” this group would hear would be coming from their own mics as they sang this song over the twenty years that followed. On November 11, 1997, LaTavia Roberson, LeToya Luckett, Kelly Rowland, and Beyoncé Knowles became stars. They were just sixteen years old, hailing from Houston, Texas, but they were about to become the biggest girl group in pop music. And it all started with one song.

The year was 1997, and pop music was at the pinnacle of its newfound trend: the mixing of R&B and hip-hop on songs that had pop sensibilities in their catchiness. Destiny’s Child’s “No, No, No” was the perfect storm for this climate. Their team knew what they were doing when they enlisted Wyclef Jean for this single. Columbia Records labelmate Mariah Carey had just completed her transformation from pop princess to Hip-Hop Queen with the release of 1997’s “Honey” in August, and “No, No, No” followed its blueprint to a T.

Throwback sample? Check. Production by a Hip-Hop hitmaker? Check. Feature from said Hip-Hop hitmaker? Check. Tongue-twisting, rhythmic lyrics? Check. Skilled vocal runs and harmonies? Check. Music video with choreography and inexplicably 90s sets? Check. “No, No, No” Part 2 had it all – and performed accordingly, peaking at #3 on the Billboard Hot 100 and #1 on the R&B chart.

The story goes that after recording Part 1, Wyclef Jean was enlisted for the remix. Pressed for time in the studio with Wyclef, Beyoncé improvised and sang the verses in a rapid-fire, staccato type way. Wyclef loved it, and so they recorded the remix in that style. It would go on to become one aspect of Destiny’s Child’s (and Beyoncé’s) signature sound, that went on to be replicated by their peers, too. For this contribution, however, Beyoncé didn’t receive any sort of writing or production credit. It was a learning experience for her, from which she learned her worth (she received writing and production credits on the group’s next album).

Part 1 is a subdued slow jam, tailor-made for quiet storm radio. Beyoncé delivered an understated yet beautifully rich and mature vocal performance, perfectly accentuated by the group’s four-part harmonies. In the video, they look even more mature, dressed like grown-ass women, performing in a nightclub. While it’s a nice vibe, Part 2 is clearly the more renowned version, and rightfully so.

On “No, No, No” (both versions), Beyoncé was at the forefront vocally, while Kelly, LeToya, and LaTavia provided prominent background vocals. On other songs, Kelly would get the chance at lead vocals, too. As teenagers, she and Beyoncé sounded quite similar and many casual listeners likely couldn’t differentiate between the two.

It’s hard to believe that the girls were just sixteen at the time of the song’s release. They looked and sounded, lyrically, well beyond their years. Vocally, their skills were far more advanced than one would expect from a sixteen-year-old.

In being well beyond their years, “No, No, No” also introduced us to Destiny’s Child – thematically. “No, No, No” was assertive and empowering. It put the power in the woman’s hands. In a landscape of hyper-masculine R&B, Hip-Hop, and Pop that objectified women, here Destiny’s Child was challenging a weak man who won’t, well, man up. Such themes would go on to become a trend throughout their music, aligning them with the girl-power movement.

Upon their debut, most probably considered Destiny’s Child’s competition to be that of SWV, 702, Escape, Total, Blaque, Allure, Brownstone, etc. as well as their inspirations who maybe could become competition: EnVogue and TLC. They likely were not expected to crossover. Based on the content, sound, and success of their debut set that assessment would have been accurate. However, in 1997, another girl group also debuted in the US who would go on to become Destiny’s Child’s biggest rival: the Spice Girls. All that would change two years later, in 1999.

Wyclef predicted it best, “Went from a dream, to a young Supremes…” It all began in 1997, with “No, No, No” …and we’ve been saying “yes, yas, YASSS” ever since.

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October 22, 2002.

In October 2002, I was twelve years old, eagerly anticipating the release of the second solo album from the ladies of Destiny’s Child. They were, and are, my favorites. I refused to choose a favorite between the three ladies, and that still holds true today. Regardless, I was hype to hear Kelly’s album.

Originally scheduled for a mid-2003 release with Beyoncé’s solo set slated for the fall of 2002, what would become Simply Deep was born prematurely. Due to the massive success of Kelly’s duet with Nelly, “Dilemma,” she was rushed into the studio to start – and finish – her debut solo album. The goal was for the album to be released before anyone had the chance to forget about “Dilemma.” As logical as this might have been from a commercial standpoint, it was hardly fair to Kelly from an artistic one. Still, she got it done. Kelly Rowland, at 21, managed to craft an album boasting a unique fusion of Pop-rock, R&B and Hip-Hop sounds she wanted represent as the burgeoning starlet and artist she was then.

In Destiny’s Child’s autobiography, released earlier in 2002, each of the ladies outlined their solo album wishlist, if you will… and tried to detail what vibe they hoped their albums would give, sonically. Kelly expressed a desire to add a pop-rock flare to her sound, and mentioned something to the effect of having female “Lenny Kravitz” aspirations. In an interview I personally conducted with Kelly in 2008, she laughed when I brought that up, but simply said that had since changed her focus, despite still loving Lenny and rock music. However, on Simply Deep, the desire was quite clear.

Despite her label wanting to capitalize on the success of “Dilemma,” Kelly’s debut solo single sounded nothing like it. “Stole” is a pop-rock ballad, guided by guitars, with a socially conscious message – not a soulful, Patti LaBelle sampling Hip-Hop love ballad. Still, “Stole” managed to crack the top 40 and perform even better outside of the United States, helping Simply Deep to sell around 600,000 copies stateside.

With “Stole,” Kelly showed that she wanted her music to have some depth by talking about serious topics like teen suicide and school shootings. Aptly titled Simply Deep, the album introduced us to Kelly Rowland – the solo artist, an artist who has become multifaceted, but still, ultimately just that – simply deep.

Aside from it’s lead single “Stole,” Kelly’s debut is filled with songs that go beyond the commercial sensibilities one would expect from one third of music’s biggest girl group – they go deeper. “Haven’t Told You,” for example, is a gorgeous guitar-driven acoustic ballad showcasing her vulnerability via its lyrics, and her gorgeous, soulful, yet pristine voice via a subdued but apt vocal performance. The title track, a duet with (and co-written by) a then 16 year old Solange Knowles, further showcases this side of Kelly. Most notably, the pair collaborated on “Beyond Imagination,” the album’s most personal moment. Here, Kelly expresses pain related to her childhood.

“Beyond Imagination” is a metaphorical rock-tinged ballad detailing her pain, and opened the floodgates to what would be a long career of very cathartically personal songs for Kelly Rowland. On each of her albums, there is at least one, if not more, deeply and directly personal song. In this way, Kelly makes herself akin to inspirations such as Janet Jackson and Mariah Carey. Like those two, she avoids being indirect or generalizing – instead, she speaks directly about her experiences and in very specific in detail. It has something that her fans have come to expect, and a reason for her having such a strong connection. “Beyond Imagination” was indeed a prelude to songs like “Still In Love With My Ex” and “Dirty Laundry.”

Elsewhere on the album, things are a bit less serious. On uptempo jams like third-single “Can’t Nobody” (a Rich Harrison production before Beyoncé’s “Crazy In Love” made him a go-to producer), “Past 12,” and “Love/Hate” (penned by then-BFF Brandy) show Kelly could serve a cute, danceable bop.

On the guitar driven tracks “Every Time You Walk Out That Door,” “(Love Lives In) Strange Places” and the album’s final single “Train on a Track,” the pop-rock influence continues. Meanwhile, mid-tempo grooves like “Obsession” and “Heaven” showcase a clear affinity for yet another one of her inspirations, Sade. Still finding her voices, it was great to her Kelly explore sonic landscapes, building harmonies and arrangements on her own on tracks like these, and her voice truly soared.

In short, Simply Deep was the first and necessary step for a then 21 year old Rowland into adulthood, womanhood and independence. She expanded beyond the confines of her group Destiny’s Child, delving into different sounds, lyrical themes and deeper levels of introspection within her music. After all, as a member of a unified group, there’s naturally a limit to how truly personal the music can be. When solo, all that changes. And, for Ms. Rowland, it changed for the deeper.

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July 3, 2007

Kelly Rowland’s solo career has seen many stages. For most, her return with 2007’s “Like This” was the first solo move she had made in the nearly five years following the release of her debut album. However, true fans knew better. She had a busy few years, but her 2007 return was significant for many reasons. Most notably, it was significant because she solidified her solo sound: a little R&B, a little pop, a little dance, and a little hip-hop.

Ms. Kelly, from 2002 to 2006

In 2002, Destiny’s Child finished up their world tour. That summer, she had a smash hit #1 song with Nelly and their ubiquitous “Dilemma.” In the fall, she released her debut solo album, Simply Deep. Kelly snagged her first film role in 2003’s Freddy Vs. Jason and continued promoting Simply Deep, embarking on a solo European tour. The next year, Destiny’s Child reunited for their final album, Destiny Fulfilled, for which they toured the world in 2005. She also scored another Top 20 hit with Trina, on their collaboration “Here We Go, released in late 2005.

All the while, Kelly had been in the studio working on her sophomore album, of which fans got their first glimpse with the release of the film The Seat Filler. Released on DVD in early 2006, The Seat Filler featured several new recordings by Rowland – for the film. However, there was one more song, “Flashback,” that played in the credits. “Flashback” was billed as an all-new Kelly song, intended for her next album. It was also included on the Destiny’s Child Live In Atlanta DVD release that same month.

My Story: Kelly Rowland

She had a title, and even a first single, but things did not go as planned. Originally, the album was titled My Story: Kelly Rowland, with a release date slated for spring and eventually July 2006. The lead single was slated to be “Gotsta Go,” an uptempo, girl-power anthem featuring Da Brat, and she even performed the song on the MTV Awards in Asia. However, the project was ultimately pushed back in favor of Kelly returning to the studio to work on more material. Some suspected this was due to the pending release of Beyoncé’s next album, B’Day, but Kelly insisted that she was simply not satisfied with the album just yet. As it stood, My Story was full of mid-tempos and ballads; a heartbreak record.

However, fans got a pretty substantial taste of what the album would have been. In the early months of 2006, before the pushback, a number of My Story songs leaked on the internet. First, there was an alternative version of “Gotsta Go,” featuring Eve. As well, clips of future-Ms. Kelly tracks “Ghetto,” “The Show,” “Every Thought Is You,” and “This Is Love” were leaked online. A clip and a full, but remixed, version of the heartbreaking “Still In Love With My Ex” also leaked. All of these songs found their way onto the 2007 iteration of the album, but there were some more songs that never did. “What It Do” was one of these songs, as well as “Blaze,” “Tell Me,” and “Get Back.” Kelly also recorded a gospel song for a Music World compilation record, penned by Michelle Williams, entitled “You Will Win,” and a collaboration with an Arabic artist Amine, “H’Bibi I Love You.” Ultimately, none of these tracks ended up on Ms. Kelly, though. Kelly expressed interest in recording some more upbeat songs for the album so that it was not so weighed down by the heartbreak.

Enter “Like This.”

Released in March 2007, “Like This” was just what Kelly needed to reignite some fire under her sophomore solo set. The Eve-assisted song quietly took off at urban radio, ultimately becoming an underrated yet classic moment in Kelly’s career. It also helped to solidify Kelly’s place in Hip-Hop as a go-to collaborator for female and male rap artists. Not to mention, the Destiny’s Child reunion during its performance at the 2007 BET Awards certainly helped make the song iconic:

Ms. Kelly: The Bops

However, most of the album still delved into the very personal details of her experiences with love and heartbreak over the last few years. Only the up-tempos stray from this subject matter. “Like This” celebrates being single after a break-up, while “Comeback” is a hard-hitting bop laced with braggadocio. The album’s final single, “Work,” is a dance floor ready jam similar in vein to the subject matter of Destiny’s Child’s “Lose My Breath. The song went on to become a smash hit internationally, thanks to its Freemasons Remix, helping to position Kelly as a dance-pop icon. Meanwhile the second single “Ghetto” is a slinky R&B track produced by Tank and features Snoop Dogg. With “Ghetto,” Kelly proved she could hang alongside one of hip-hops most iconic figures. (It, however, did not perform as well as the other two singles).

Ms. Kelly: The Romantic

The album’s other Tank production is “The Show,” which is actually a duet between the pair. The sensual mid tempo is quintessential baby making music, a niche that Kelly would continue to master as her solo career continued. Another romantic number, “Every Thought is You,” is another highlight of the album. On it, Kelly flows impeccably over the eclectic beat, weaving rhyme after rhyme, creating an infectious track. It details that moment of infatuation when you start dating someone new; it perfectly embodies the newness of it all. It goes on to talk about going past that honeymoon stage as the level of commitment heightens.

Ms. Kelly: The Personal

Perhaps the most personal song on the album is should-have-been-single, “Still in Love With My Ex.” In it, Kelly details just why she ended her engagement to ex-fiancé Roy Williams. The record is an apology to him, explaining that she could not go through with it because she was still in love with her ex. It’s a heartbreakingly honest confession, and had the potential to be a hit like Usher’s “Confessions” or Mariah’s “We Belong Together.” Little did we know then, that the song would be a key factor in decoding just what she was talking about on 2013’s “Dirty Laundry.”

Ms. Kelly: The Innovative

Also fitting into that narrative is “Flashback,” the first song fans heard from the project in early 2006. The song finds Kelly lamenting on love lost, reminiscing about better times with her ex. Assumedly, its the same “ex” in “Still in Love With My Ex,” who would theoretically be the same ex from Destiny Fulfilled’s “Bad Habit,” and Talk a Good Game’s “Dirty Laundry.” Though, here, she sounds more hopeful than later on in the album. “Flashback” is a standout track on the album, however, for many reasons. Musically, the track is quite unique and has this futuristic intro that will catch your attention right away. The song prods along with intricate musical and vocal production that is sure to impress and have you discovering new subtleties with each listen.

Ms. Kelly: The Kiss-Offs

However, later in the album, it becomes clear that Kelly was becoming increasingly over her ex. “Love” is ironically a scathing song dedicated to her ex (co-penned by Solange!). Essentially, the song rests on the sentiment that, “I thank you for showing me that world don’t turn because of you. And, love… feels so good now that someone stopped the storm. I’m so wrong, with you.” Put into context with the events of “Dirty Laundry,” and the song becomes all the more powerful. Considering it being written from the perspective of an abusive relationship, the song reflects the moment when someone in an abusive relationship finally realizes that the world does not revolve around the abuser. It is an emotional moment of realization, followed by an even more pensive track.

The contemplative “Better Without You” finds Kelly reflecting on leaving the wrong one, and focusing on her own happiness first and foremost. It’s not clear whether this song was recorded before or after the delay, but it would make sense if it was recorded after. Without it, the album might’ve felt a bit incomplete. She sings, “I’m not reminiscing, I am living in this moment, I am moving forward because the worst is far behind me.” It provides closure to her emotional turmoil that we now know, from “Dirty Laundry,” came from an abusive relationship.

Ms. Kelly: The Future

Finally, the album ends on a positive note: “This Is Love.” The song’s orchestral introduction sounds like it came straight from a Disney film, before sprawling into an acoustic ballad. She sings, “I can’t wait another day, to say, this is love.” The ballad is perfect wedding song material, and it’s placement in the track-listing is indeed thought-provoking. Following “Better Without You,” it feels almost as though “This Is Love” represents Kelly’s desire for love; her dream for the perfect love. Ten years ago, it was only a fantasy, yet, today, amazingly it is a reality. She is a wife to her husband Tim, and the mother to her beautiful son, Titan. It must feel so surreal for Kelly now, ten years later, to look back and see how much her life has changed for the better. Ms. Kelly, released 10 years ago today, is the perfect time capsule of a much different time in her life. Different, yet essential to her journey.

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