Beyond Khaled’s overbearing ab libs, Khaled Khaled is a par for the course Khaled LP. Bloated with guests and the occasional unique or exciting-looking pairing, it’s another mediocre album that fails to innovate, and far from classifies as a body of work. It rarely prompts strong performances out of the legends and up-and-coming stars Khaled lines up to perform around his vocal drops.

One of the most anticipated records on the LP reunites Nas and Jay Z. “Sorry Not Sorry” is a slow burner that evokes the immaculate “Song Cry.” But “Song Cry” this is not. Instead, the two legends drone on and deliver tepid lyrics that don’t stick. Okay, they’re getting older and it’s time to stop talking about the pre-fame days. But do they have to make middle age sound so boring? These are two artists who once hurled some of the most legendary diss records at one another. And this is the best they’ve got? No one will even remember this record by the end of 2021. Beyoncé buzzes through to drop some harmonies and ad libs under the pseudonym “Harmonies by The Hive,” but even she can’t save this snoozefest. Sorry not sorry.

Cardi B’s contribution “Big Paper” got added to the track list less than a day before the album’s release. It sounds like it too. For all her bars her delivery isn’t quite on-beat; at least not for the first or second listen. During initial listens it lands harshly on the ears and detracts from the punch her rhymes could pack. Best guess: someone edited the record incorrectly. By the third listen it starts to make sense, but no record should take 3 listens just to sound relatively on-beat, especially coming from someone who can ride a beat like this.

As has been the case with other recent Khaled successes, the album relies on weaving in familiar melodies to a fresh beat to evoke nostalgia. Opener “Thankful”’s use of “Ain’t No Love In The Heart Of The City” executes this well and exudes a triumphant energy, but the song itself is tepid. “I Did It”’s incorporation of the universally known “Layla” by Derek and the Dominos fares better. With a familiar sample and cast of Megan Thee Stallion, Post Malone, Da Baby and Lil’ Baby, it certainly has hit potential.

Diddy (returning to his initial “Puff Daddy” moniker because sure) pops up on “This Is My Year” to play the hype-man role he began nearly 3 decades ago. Big Sean delivers some strong bars with a strong flow “My momma pray to God and she got me; She pray to god and I was the reply; I’m my only enemy if I don’t win it’s self-sabotage. You chasin’ the hoes that chase money that chase me.” But Rick Ross steals the show here. Gliding in over a percussion-free break in the beat, Ross delivers a barrage of bars flexing as only he can. It feels like his song and his year. Then Puff yells for longer than anyone cares to pay attention, for reasons that are still unclear. This is not his record.

One of the album’s strongest performances comes late though. Academy Award winner H.E.R.’s appearance on “I Can Have It All” (her second feature on the LP), hits all the right notes. She compliments and elevates the sample-laden beat. H.E.R.’s performance epitomizes putting a track in the hands of a capable and complimentary voice. The rest of the album could take notes.

Khaled Khaled neither breaks new ground nor leaves a lasting impression. It’ll likely launch another hit or two (Drake’s two solo lead singles “Popstar” and “Greece” both cracked the top 10 over the summer), and fade from memory. And that’s exactly what the album’s feature-bloated track list is supposed to do: generate hits. Unfortunately it doesn’t leave anything that has the potential to linger beyond one season, aside from the nails-on-a-chalkboard sound of DJ Khaled yelling an oversaturated catchphrase over an otherwise fine set of songs.

Rating: 30/97

Stream Khaled Khaled:

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Whether it be one of many iconic remixes, a scathing diss track, a bonafide money making anthem, or a one off song… our list this year feels rather random, but full of bops all the same. Scroll down to delve into our favorite singles of 2017.

At EST. 1997, we chose the 19 “97” singles of 2017, which simply means the 19 best singles of 2017. 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 2017: The 19 “97” Singles

19. “Caught In The Middle” Anastacia

After years of building a solid catalog, Anastacia finally came through with something progressive. “Caught In The Middle” takes a touch of the influence of “Sick And Tired”, but keeps it fresh. -Andrew

18. “Love So Soft,” Kelly Clarkson

It was the Kelly Clarkson single we’d all been waiting for. Not since her debut on American Idol had Kelly Clarkson released a single so soulful, so R&B. “Love So Soft” is a soul bop of mighty proportions with soaring vocals, just vague enough innuendo and pristine production (Earth Wind & Fire play in the band! C’mon!). While it’s still poppy, treading dangerously close to Meghan Trainor territory, Kelly’s genuine love for the genre and her undeniable vocal talent makes “Love So Soft” an authentic reading of 1960s soul. It is respectable blue-eyed soul. Oh, and the video is glorious. -Vincent

17. “Love Galore,” SZA

In “Love Galore”, R&B songstress SZA basically says what a lot of single black women like myself want to say, but are probably afraid to… at least publicly. In the Travis Scott assisted track, SZA lyrically takes a “love ‘em and leave ‘em” stance towards love and relationships, opting for casual liaisons with her lovers, as opposed to full blown romantic attachments. At the surface, it seems like a very narcissistic take on matters of the heart, but in a world where Issa Rae’s hit show reins supreme, this song is one where many young women may find common ground. On top of all of that, the song is an absolute vibe. Mood for this year, next year, and the next decade. -Jordan

16. “SHEther” Remy Ma

Call it the diss track that shook a million teenagers. Remy Ma released one of the most seething, aggressive, and lengthy attacks in recent memory. Opening with Nicki Minaj yelling “fuck you! Free Remy!”, Remy unloads round after round after round after round of attacks on Nicki, over the unparalleled beat of Nas’ “Ether”. From her relationship with Meek Mill and the authenticity of her body, to attacks on Nick’s spars with pop stars and the child molestation accusations against Nicki’s brother Jelani, Remy lets it all hang out. It’s unprecedented. Crown achieved. -Andrew

15. “LOYALTY,” Kendrick Lamar ft. Rihanna

14. “Slow Hands” Niall Horan

The black sheep rides ahead of the pack as One Direction’s left fielder comes through with the strongest post-1D single to date. Who expected Niall Horan had this in him? This song is absolutely irresistible, and arguably the best solo single post-One Direction from any member of the band. -Andrew

13. “U + Me (Love Lesson),” Mary J. Blige

This was the second single released from Strength of a Woman and the moment I knew the album would be amazing. The production is contemporary, but still has that throwback gusto and Mary took us through what was going on in her mind after the divorce. It’s a reflection on her relationship with Kendu and all the feelings separation brings to the surface. -Mario

12. “Mi Gente,” J Balvin, Willy William and Beyoncé

After each and every national or worldwide tragedy, a group of musicians usually gathers to record a charity single to benefit relief efforts. Usually, these songs are some sort of overwrought yet heartfelt ballad. Unfortunately, that more often than not results in a song you probably won’t want to stream, listen to on the radio or even buy. Not in this case. In reaction to the devastating hurricanes that hit Puerto Rico, Houston, Texas and other areas of the Caribbean, Beyoncé teamed up with Colombian artist J Balvin and French DJ Willy William to remix their hit single “Mi Gente.”

The result reminded us of Bilingualoncé, who has been hiding since 2008. She flawlessly rides the song’s Reggaeton beat while singing in Spanglish before dropping a new few bars of her own in English. The remix catapulted the song to #3 on the Hot 100. That makes it J Balvin his biggest hit to date. It’s also Beyoncé’s biggest hit since “Drunk In Love” in early 2014 (until, of course, that other duet came out…). –Vincent

11. “Unforgettable (Mariah Carey Remix),” French Montana, Mariah Carey & Swae Lee

“Unforgettable” was already a certified summer hit in its original form, but the addition of Mariah Carey took it up a notch. This was what people want a Mariah single to sound in 2017 and she gave us what we wanted. Her echo-y vocals slide smooth over the beat and elevate the already infectious track. The “Mariah Carey Remix” package also came with an acoustic version of the song. That version is only has piano, guitar and a minimalistic drum beat that showcase the Queen’s contribution. Too bad the label chose the wrong week to release it and never properly pushed the remixes. This collabo would and should have been a smash. Know that. -Mario

10. “What About Us,” P!nk

P!nk really put her foot down as one of the Pop greats this year when she came back with her new album, Beautiful Trauma. The lead single, “What About Us,” was an unusual choice from what we were expecting from her. Instead of being the classic rocker single, full of attitude, the song is an anthem for love, equality and unity. P!nk sounds as great as ever on the track and it rightfully became a hit on the charts as well. It was also really good to see her finally getting recognition for her consistent achievements in music. -Mario

9. “The Star,” Mariah Carey

With her eyes clearly set on Oscar gold, Mariah Carey fulfilled her latest calling as the Queen of Christmas by delivering this impeccable new ballad about the birth of Jesus for the animated Nativity story film, The Star. No stranger to penning her own classics, whether they be for Christmas or in general, the legendary diva does not disappoint with “The Star.” She teamed up once again with the extraordinary Marc Shaiman to co-pen and co-produce this gorgeous ballad, featuring guest vocals from her children. Already nominated for a Golden Globe for Best Original Song, “The Star” is a welcomed addition to Carey’s iconic Christmas catalog. -Vincent

8. “Took Us a Break,” Lil’ Kim

The buzzing of the introduction creates the buzz, and then that voice! On the warm up single to an album more than a decade in the making, Lil’ Kim makes it clear: She’s back. Marrying mumble rap with her own flow, she doesn’t mince words. She fires off everything from “bitter bitches, got em mad now” to “givin y’all my old clothes, my old flows, like hand me downs (y’all can have that!)” 21 years later, Kim still has No Time for the haters, and still knows how to turn heads with her lyrics (case and point: “Bomb pussy, that’s a boom box”). -Andrew

7. “Wild Thoughts,” DJ Khaled ft. Rihanna and Bryson Tiller

Sometimes all it takes is a simple 808 to take you back. When I first heard the opening seconds of “Wild Thoughts”, I was taken back to third grade, and the little girl who sang “Maria Maria” by Carlos Santana and Wyclef Jean. In this updated track, Khaled masterfully blends a classic hit with very some contemporary vibes, accented with the partnership between Rihanna and Bryson Tiller (though it remains questionable if Tiller’s involvement was really needed). The lyrics, which speak to seduction, and lust, mixed with Santana’s patented guitar riff, and Rihanna’s sex appeal, made for one of the hottest songs of the summer, and one of the best of the year, hands down. -Jordan

6. “Skywalker,” Miguel ft. Travis Scott

Miguel glided into Star Wars season on the Millennium Falcon alongside Luke Skywalker with his latest single. Not really, but that’s how metaphorically fly this new song is. It won’t hit you in the face right away, but “Skywalker,” featuring Travis Scott, is an infectious mid tempo house party jam. It’s no wonder its walking toward sky-high levels on Billboard’s R&B charts. -Vincent

5. “The Cure,” Lady Gaga

https://www.youtube.com/watch?v=RP3UsFrDJfY

Nobody expected Gaga to debut a Pop single at Coachella this year because she had just wrapped her Joanne era with the Superbowl. And yet, she came with one of her strongest bops in a long time. Supposedly written during the Artpop era and then scrapped for the album, “The Cure” is dedicated to one of Gaga’s closest friends who was, at the time, battling cancer. Its personal nature is probably why it never got the promotional push that it deserved or a music video, but she finally decided to give a live performance at the AMAs, live from her tour. If this is what it feels to have a focused Lady Gaga then we can’t wait for the next album because she sure hasn’t lost her touch! -Mario

4. “That’s What I Like,” Bruno Mars

3. “HUMBLE,” Kendrick Lamar

Hip-hop and “HUMBLE” are oxymorons. They rarely fit together in a literal sense, and Kendrick’s “HUMBLE” is no exception. He relentlessly berates his peers on “HUMBLE.” He embodied a swag that was anything but humble and ordered everyone else to sit down. And they did… because they had no choice. King Kendrick reigned in 2017, and it all started with “HUMBLE.” -Vincent

2. “The Story of OJ,” Jay-Z

2017 saw the re-emergence/rebirth of the Jigga Man himself, Jay-Z. After a whirlwind three year period, which included the infamous 2014 MET Gala elevator incident, and Beyoncé’s revelatory album, LEMONADE, the world had long-awaited a musical response from the rap legend. The subsequent album, 4:44, resulted in a conglomeration of some of his most detail oriented, thematic, and introspective works yet. In the single, “The Ballad of O.J.”, Jay uses the plight of disgraced former football star O.J. Simpson as a metaphor for capitalism, and the financial status of blacks in America.

In the song, he muses about financial responsibility among black people, and more so the need for blacks to work more towards investing in a financial legacy, and in black commerce, as opposed to the instant gratification of purchasing materialistic things, all while saying true to one’s roots, and refusing to sell out. The track masterfully samples the Nina Simone classic, “Four Women”, in which the phrase, “my skin is black” hauntingly echoes all throughout, and the accompanying video, which was shot in the style of a classic Looney Toons short, is one of the best visuals I’ve seen in a really long time. -Jordan

1. “Bodak Yellow” Cardi B

Everyone loves a a come up, and Cardi B fulfilled that story line fully and effortlessly. “Bodak Yellow” is catchy and motivational, simple as that. She says it all, “I don’t dance now, I make money moves.” With the first #1 by a solo female rapper in 19 years and 2 Grammy nominations, it’s safe to say she makes a lot of money move. -Andrew

What makes “Bodak Yellow” a special song is not about the song itself but its performance. The fact that a Rap single by a female was able to dethrone a powerful Pop star like Taylor Swift and her lead single on the charts in 2017 is a victory for the genre. And it was definitely needed. -Mario

At some point in 2017, I found myself hearing about Cardi B incessantly but not knowing who the hell she was. And then I heard “Bodak Yellow.” And then I knew why. Unfortunately, it’s rare that a worthy female rap star comes along and has success. Fortunately, Cardi B came to see that changed. -Vincent

I have never wanted to see someone win so badly as I did for Cardi B. From stripper, to Love and Hip Hop star, to a genuine rap powerhouse in only a few years; Cardi reminds me of that friend that you watch struggle until they find their glo’ up. Should Bodak Yellow be praised for it’s lyrical prowess? Is Cardi a very technically sound rapper? No. But there’s a undeniable charisma that this Bronx bred artist has that is simply infectious. Make ya money moves, sis! I stan. -Jordan

Talk about a come up, glo up, #Goals, which ever way you see it, Cardi B is the 2017 definition of all that. Without featuring any other artists, her crossover smash hit “Bodak Yellow (Money Moves)” became an anthem that managed to make her the first female rapper to top the Billboard Hot 100 since Lauryn Hill’s ’98 hit “Doo Wop (That Thing).” If thats not a money move, just think Cardi’s rise to the top saw previous stints like being a cast member of Love & Hip Hop: New York. Cardi B’s music career has quite easily become the biggest success story of any member from all incarnations of Mona Scott-Young’s Love & Hip Hop franchise. No wonder why Cardi gave Scott an epic shoutout, alongside her own bragging rights on her debut single. -Keenan

The post The 19 “97” Singles of 2017 appeared first on THE 97.

The playlist

…opens with every white girl’s best-known Kim verse, “Lady Marmalade”. Kim was the only artist on the song contributing a new piece. The following two songs are both iconic, career-defining Kim moments: “It’s All About The Benjamins (Remix)” and “Quiet Storm (Remix)”. Beyond that are iconic collaborations with Mary J. Blige (“I Can Love You”) and Christina Aguilera (“Can’t Hold Us Down”).

Deep Cuts

Dig a little deeper and discover her 2000 Will Smith collab “Da Butta”. Will recruits the Queen Bee to trade bars over a funky beat. Kim’s on her braggadocios flow. She shares life lessons like “You know what i learned? let them keep talking. Pull up in the Azora and let them keep walkin”. And when Will admits that “haters be makin’ me wanna flip and react” Kim cuts him off with “nah nah nah nah chill Will. Let me do that.” Always the ride or die.

Then there’s the amazing, “Get Money”-sampling, “Still Rich” with Berner and Wiz Khalifa from 2016. Kim demonstrates her ability to own a beat she defined over 20 years earlier with a new verse. She takes an old Biggie line and again flips it, referring to herself as a “Moschino hoe” with a “Valentino flow” while admitting that she’s a shopaholic.

There’s also the little-known official remix to Britney Spears’ “Gimme More (Kimme More Remix)”, where Kim details “hooking up with a fan” and “getting freaky with this video cam.” Salacious, sexy, and form-fitting for the classic Britney track.

Menacing Kim

Puff Daddy’s “Real N*ggas” is a hard track. Kim’s verse initiates a dark piano loop, as she relentlessly spits that she’ll “put a contract out and stop ya lungs” “buy out everything you playin’, including your name” and declares “screw barking, I take bites out of you niggas”. She plays scorned lover on Biggie’s “Another”, a track from Life After Death that often gets overlooked. “Why go from first class to coach?” Kim wonders after lyrically annihilating Biggie. One of the few who holds that accolade.

On “Do Wrong” she does a formidable Twista impression, keeping up with the rapid-fire rapper himself. Listen to the way she delivers “Shit he about to be rockin it, lookin sweeter than chocolate, he got the smell of a Reese’s.” Amazing.

Dirty Kim

It wouldn’t be a Kim playlist without some raunchy lyrics. She goes rock and roll with Tommy Lee on “Get Naked”. “Call me black Barbie” she commands before delivering the delicious “fuck a blow job it’s a motherfucking hobby” and then “under 7 inches? Eh! Sorry.”

“You want a freaky girl? Welcome to Kimme’s world” she opens with on Gucci Mane’s 2007 “Freaky Girl”. She brags about her deep throat, multiple orgasms and potential for orgies among other things. The kicker is the closer, where she admits that she’s got a man so whipped and all she did was “let him eat my coochie.” Pussy = power.

Bonuses

There are a few Kim features from over the years that you won’t find on Spotify/streaming, but still warrant mentioning:

Floatin’ On Your Love (Puff Daddy Remix)

“Mr. Biggs, you know you got to keep me jiggs.” A gem among Kim’s early features. She links up with the legendary Isley Brothers and delivers the unforgettable “make it shift in my uterus” line. Filthy, fearless, and fierce.

Satisfy You (Remix)

A true rarity. Kim spits for just over a minute straight on this 2000 Puffy remix.

Naughty Girl (Remix)

This bares the ‘remix’ name, but it’s arguable that this is actually the original version of the song. Take a look at the Dangerously In Love thank you’s and Kim’s name appears under ‘producers and artists who contributed to this project’. There are 2 versions of this remix, one featuring two verses from Kim, and another featuring one and a spoken intro. In that intro, Kim calls herself and B “the Queen Bees”, the first time Beyonce is ever referred to by her now-ubiquitous nickname.

We Takin’ Over (Remix)

A little known (official) remix from 2006, and one of her first post-prison appearances. Kim annihilates this early DJ Khaled track. Most notably she pops off  “I’m in a new state, a new place, with new plates, shit damn near a new face.” It’s one of the few times she addresses her plastic surgery, but does so in a masterful way.

Anything (To Find You)

An unfortunate consequence of circumstance. Kim was originally the sole feature on this, then 1 of 2, and then removed from the song due to disputes with the estate of BIG (specifically Ms. Wallace). Kim’s verses pack a punch as she flows over the BIG-sampled Missy Elliott beat, dropping lines that include “just cause you make me cum, don’t mean that you’re the one. Most dudes only good for they tongue”. She’s even acknowledging her public perception when this record dropped in 2011 (due to her physical appearance and budding Nicki Minaj beef) “I ain’t felt hypnotized since Biggie left, now I’m public enemy… me against the world is my mindset.”

The post Playlist: Lil’ Kim’s Top 20 Features appeared first on THE 97.

While the message of the track, its title, and the sheer hip-hop star power attached to the track certainly pack a heavy punch, the song itself does not quite live up to expectation.  However, in this case, it’s not the quality of the song that matters, it indeed is the star power.  If this cast of artists can bring people together to not only raise money for the cause but also awareness, then I think the mission can be deemed a success.

While I commend The Game and crew for doing this song, I do hope that in their future music they work harder to promote a more positive image and message, in general.

Purchase the song on iTunes by clicking here.

Grade:

80/97

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