The album is rooted in the 1980s sound that has quickly become associated with The Weeknd’s rise to Pop stardom ever since his massive 2015 album Beauty Behind the Madness. Less new wave-y than its predecessor After Hours, Dawn FM veers more into Quiet Storm, synth and Pop/funk tones.

After the intro, we’re escorted into the thumping beat and distorted voice of “Gasoline,” which harkens back to early Depeche Mode and Duran Duran. All through the euphoric singles “Take My Breath” and “Sacrifice,” the first part of the album is filled with uptempo numbers.

Then something shifts as we enter the Quiet Storm atmosphere of “Out of Time,” built on a sample of “Midnight Pretenders” by Aran and by far the closest he’s come to touching the Michael Jackson sound. “Is There Someone Else?” continues in the same midtempo spirit, but with a more modern edge to it.

The Weeknd enlisted Tyler, the Creator and Lil Wayne as guest stars on “Here We Go… Again” and “I Heard You’re Married” respectively (the latter is co-produced by Calvin Harris), which are both highlights. Then it ends with “Less than Zero,” which is a clear contender for the next single and “Phantom Regret by Jim” featuring Jim Carrey.

The spoken outro perfectly sums up the overarching theme of the album: to live life without regrets and be at peace with oneself is the key to reach the dawn, the light at the end of the darkness.

After the gloom of After Hours and its visuals, The Weeknd is giving us the key to end the journey on the other side. Truly a brilliant message of hope for the new year. May we all find the dawn on the horizon.

SCORE:
90/97

Listen to Dawn FM by The Weeknd 

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In Control

Jackson’s 1986 third studio album, appropriately titled Control (released February 4, 1986), marked the reintroduction of Janet Jackson – this time as a mature woman who was entirely on her own and making all her decisions for herself. As Janet sings on the first verse of the title track, “When I was 17, I did what people told me / I did what my father said and let my mother mold me / But that was long ago, I’m in control…,” she is making her own statement, declaring her own independence and moving to her own groove. There was nothing bubblegum pop about her this time around. If anything, she was paving her own lane into the competition with assertiveness, drive and pristine dance steps.

Control wasn’t just a collection of pop and R&B melodies. It was a fusion of sharp, industrial beats, packed with layered vocals that screamed dominance, all laced with a hint of attitude. This particular style of music created by Jam and Lewis would become known as “new jack swing,” and Control brought it to the mainstream. The album also helped Jackson score her very first number-one hit on the Billboard Hot 100 with “When I Think Of You.” Its other singles – “What Have You Done For Me Lately,” “Nasty,” “Control” and “Let’s Wait Awhile” – all peaked within the top five of the Hot 100, while “The Pleasure Principle” became a top 15 hit for the singer. What set these tunes apart from those of her past was that these songs weren’t just masterfully crafted hits, these songs were her stories.

While the title track set the tone for the album’s self-assured girl power, songs like “What Have You Done For Me Lately” and “Nasty” were all about demanding respect, with the latter coming to fruition after Jackson was catcalled by a group of guys on the street – resulting in one of the most iconic lines in pop music, “No, my first name ain’t ‘baby’ / It’s Janet, Miss Jackson if you’re nasty.” The abstinence anthem “Let’s Wait Awhile” came to be after a conversation Jackson had with her friend about whether or not she was ready to have sex with her boyfriend. After Jackson advised her to wait it out, the song was born and millions of younger listeners decided to wait a little while longer before they hit the sheets.

After soaring to the top of the Billboard 200 Albums Chart, Control is still in demand to this day. Selling more than 10 million copies worldwide, the album has even been listed by the National Association of Recording Merchandisers and the Rock and Roll Hall of Fame as one of the 200 Definitive Albums of All Time. Through carefully choreographed music videos – thanks to on the rise choreographer Paula Abdul, who would soon become Jackson’s contemporary – and songs that became staples of the Janet Jackson repertoire, Control made this Jackson a household name, and she didn’t need to thank her brothers for it.

Bringing Rhythm to the Nation

After the massive success of Control, A&M Records wanted another album of similar content. Jackson, however, opted otherwise. Her direction this time was less personal and more national. As a means of bringing awareness to the societal issues of drugs, violence, racism and poverty, she turned action into song. Thus, Janet Jackson’s Rhythm Nation 1814 (released September 19, 1989) turned Janet’s mantra from insisting command to insisting change.

She enlisted Jam and Lewis for assistance (and would do so for every album, except 2008’s Discipline), and like Control, their Flyte Tyme Studios in Minneapolis, Minnesota was the dwelling place for the magic. The album’s lyrical content touched on socially conscious themes, as well as love and romance. To date, it is the only album to have seven commercial singles peak within the top five positions of the Billboard Hot 100, with “Miss You Much,” “Escapade,” “Black Cat” and “Love Will Never Do (Without You)” all reaching the summit. It also became the first album to have a number-one single in three separate calendar years (1989-1991). The album’s concept, as well as Jackson’s militaristic approach to styling and dancing, helped turn Janet Jackson into a role model for younger audiences.

Lyricism and advocacy weren’t the only factors to propel Jackson during this era; her performances and visuals were also next-level. In support of the album, Jackson embarked on her very first concert tour. The 10-month long Rhythm Nation World Tour became the most successful debut concert tour in history. At a time when Madonna laid the decade’s feminine pop template and Paula Abdul’s budding career was a top contender for a stiff rivalry, Jackson distinguished herself from her opponents with clean-cut dancing and must-see music videos.

“Escapade” took watchers on a journey to a Mardi Gras-esque extravaganza, while “Love Will Never Do,” directed by legendary photographer Herb Ritts, seemed more like a gleaming Vogue photoshoot brought to life. “Alright” was a 1950’s inspired jazz fest packed with color (and zoot suits), as Jackson and her two backup dancers tear up the streets with leg splitting and head bopping precision, all while being accompanied by guest stars Cyd Charisse, The Nicholas Brothers and Cab Calloway.

A “telemusical,” titled Rhythm Nation 1814, was produced in aid of its parent album. The 30-minute long-form music video consisted of three separate pieces: “Miss You Much,” “The Knowledge” and “Rhythm Nation.” Directed by Dominic Sena, the film chronicles two young boys whose dreams of becoming musicians are lost to drugs. For “Rhythm Nation,” Jackson and her army of backup dancers, all dressed in black military gear, are in synch like soldiers – dancing, stomping and reminding us that we are in unity, “Sharing a common vision / Pushing toward a world rid of color lines.” For “Miss You Much,” the depth of the conversation is much lighter, but Jackson’s movement is just as vigor and intense, with a staggering chair routine to close out the catchy number

Where Control left off, Rhythm Nation picked up – garnering Jackson even more praise from critics for her defying of abiding by the direction of mainstream pop music. The album earned nine Grammy nominations, making Jackson the first woman to be nominated for Producer of the Year. Jackson was later awarded the MTV Video Vanguard Award and a star on the Hollywood Walk of Fame for her musical contributions. Janet Jackson’s Rhythm Nation 1814 went on to becoming the best-selling album of 1990, and remains one of Jackson’s most recognizable works to date. In 2021, the album was selected by the Library of Congress to be preserved in the National Recording Registry for being “culturally, historically, or artistically significant.”

Be sure to check back in next week for the next part of our series, Janet Jackson: Then, Now & All the In-Between!

The post Janet Jackson: Demanding Control, Demanding Change appeared first on THE 97.

First released on her second Christmas album, 2010’s Merry Christmas II You, “Christmas Time is in the Air Again” is simply perfection. Composed by a pair who are independently legendary, together, Mariah Carey and Marc Shaiman literally crafted up magic.

The exquisitely orchestrated ballad is has that classic, timeless feel that one would expect to hear from a vintage Christmas song. Lyrically, Mariah expertly weaves ornaments of Christmas into a relatable love story. The song is structured into four verses, with no real hook — just the repetition of the song’s title. Really, each verse is like a hook itself, the way Mariah has skillfully structured it. Throughout the four verses, she mentions Christmas chimes and cheer, evergreens that “sparkle with lights,” falling “like the snow, so deep in love,” occupied mistletoe, and the memories that come along with it all. Even Christmas icons Mr. Grinch (who “can’t resist warming up”) and Ebenezer Scrooge (who “makes a Christmas wish for a honey to hold”) are mentioned.

Melodically and vocally, Mariah delivers on both fronts with a melody that sticks and vocals that warms the soul. There is no reason this song should not be perched among the most beloved Christmas songs of all time. To her credit, Ms. Carey has certainly done her due diligence in promoting the song throughout the years. Let’s go back in time, shall we (with the Ghost of Christmas Past)?

“Christmas Time is in the Air Again”
Live Through the Years

On her ABC Christmas special in 2010:

At the Rockefeller Center Tree Lighting in 2012:

At Michael Buble’s Christmas Special in 2013:

At the Beacon Theatre “All I Want For Christmas is You” residency, 2014-18:

With Babyface, at Mariah Carey’s Merriest Christmas special, 2015:

On The Late Late Show, in 2019:

In Mariah Carey’s Magical Christmas special, 2020:

The post Mariah Carey’s “Christmas Time is In the Air Again” Through the Years 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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This year, Kelly reasserts her place in the Christmas canon with the release of When Christmas Comes Around…, her second Christmas album. The follow up to 2013’s classic-in-waiting Wrapped In Red, the new set is perhaps Red’s antithesis. In 2013, Clarkson was a newlywed and even dedicated one of the album’s songs to her new groom. This year, her tone has changed: “Christmas Isn’t Canceled (Just You),” she sings to her ex on its lead single. When Christmas Comes Around… is certainly a Christmas album, and it for sure has its festive, cheerful moments. However, it’s also Kelly’s first post-divorce album, and it shows on several of the album’s original compositions.

There’s the aforementioned lead single, “Christmas Isn’t Canceled (Just You)” which is one of those uber-up-beat sort of Christmas songs moulded in the image of Mariah Carey’s “All I Want for Christmas Is You.” Clarkson is no stranger to this type of track; she has quite a few, but this one sits at the bottom of the pile, frankly. Melodically, it’s catchy; musically, it’s fun. Lyrically, though, it just doesn’t match. She would’ve been better off saving her break-up angst for her next proper album. Well, at least when it comes to this track.

Her pair of “Merry Christmas” songs, however, are both much better Christmas takes on heartbreak. “I’ll let my absence show you/ What I got you for Christmas/ Is losing me/ Merry Christmas, baby,” she sings, stingingly. An effortless drag, and it works splendidly. Sure, the song ain’t filled with Christmas cheer, but, hey, it’s real, and many of the lyrics are clever as can be.

Meanwhile, on “Merry Christmas (To the One I Used to Know)” is utterly heartbreaking. It sort of sounds like something that could’ve been sung by Idina Menzel’s Elsa in Frozen; not lyrically, but in every other way. I had to check the writing credits for the Lopez pair, but in fact the song was penned by Clarkson, her musical director Jason Halbert, and songwriter Aben Eubanks. Adele might be famed for her ability to send listeners scrambling for tissues and wine, but Kelly Clarkson is no stranger to such power, and this track is more than proof enough.

The album is not entirely a cause for seasonal depression awareness though. Clarkson covers standards such as “It’s Beginning to Look A Lot Like Christmas,” “Santa Baby,” “Jingle Bell Rock” (ended The Plastics, to be honest) and “Rockin’ Around the Christmas Tree” (Brenda Lee has reason to be shook) all with ease to be expected from the original American Idol winner and Queen of Kellyoke. The best among the covers, though, is Kelly’s reworking of the George Michael classic “Last Christmas.” She slows the song down, giving it a gorgeous new spin.

Another standout is one of the album’s duets: “Glow,” featuring Chris Stapleton. The two sound so good together, and the song is another clever one, lyrically. It’s a love song and not overtly festive, but still just enough to evoke those lovey-dovey Christmas feels. On the other hand, “Santa, Can’t You Hear Me,” Clarkson’s duet with fellow Voice coach Ariana Grade, falls flat. Vocally, there’s just a little too much going on, and in every other area… the song is just sort of lacking, and a bit trite. I deleted it from my library.

Closing out the new album proper are “Blessed” and “Christmas Come Early.” The former is a gorgeous ballad of gratitude that is reminiscent of something Lin-Manuel Miranda might’ve written (but it’s not). The latter is another one to put you in your feels, touching and heart-warming. Understandably, Kelly begs, “Christmas Come Early” – she’s had quite the year, and probably in need of some good cheer.

Fortunately, the album doesn’t end there — Ms. Clarkson included the three one-off Christmas singles she released over the last few years, which includes two more originals, “Under the Mistletoe” and “Christmas Eve,” as well as a cover of the other “All I Want For Christmas is You.” Of the three, the standout by far is “Christmas Eve,” which is just… immaculate. Honestly, it should become another modern classic; the song is just perfection. It has everything one expects from a Christmas classic, the one thing lacking is time. As the years go by, I can definitely see this sitting among the most beloved Christmas songs.

In short, Kelly Clarkson’s second Christmas album is a welcomed addition both to her catalog, and to the Christmas music canon. With plenty of originals and a handful of covers, Clarkson ensures her place as a holiday hitmaker. She’s set herself up perfectly to become one of the season’s most prominent figures. Only time will tell, When Christmas Comes Around… 

Listen to Kelly Clarkson’s When Christmas Comes Around…

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Alecia “P!nk” Moore hit the scene in 2000 with Can’t Take Me Home, her debut album that was largely a pop-tinged R&B affair. Led by the She’kspere produced “There You Go,” plus “Most Girls” and “You Make Me Sick,” P!nk seemed to be yet another addition to a line-up of R&B starlets; her sound more akin to  Destiny’s Child, Mya, and TLC, than her the Pop girls like Britney Spears, Christina Aguilera, and Jessica Simpson. P!nk, however, had no interest in being boxed into either of those lanes. Enter M!ssundaztood.

Released less than 18 months after her debut, P!nk’s sophomore set M!ssundaztood was a reinvention; or, rather, a reveal. Originally shepherded by Antonio “L.A.” Reid, signed to his and Kenny “Babyface” Edmund’s label, LaFace Records, it’s not surprising that P!nk debuted sounding more similar to the R&B of the new Millenium, than Y2K Pop. Plus, she certainly possessed the voice for it. Full of soul, no doubt influenced by her Philadelphia roots, P!nk’s voice exuded the essence of a soul much more mature than her then 21 years might suggest. Still, truth be told, P!nk was not strictly an R&B act, nor a Pop act, and with M!ssundaztood, she defied expectation to redefine her artistry.

The story goes that when it became time for P!nk to begin the sessions for her sophomore album, she had one woman in mind as her muse: Linda Perry, of the 4 Non Blondes. Perry told Rolling Stone, “She left me this really crazy message how she would come find me if I didn’t call her back … I said, ‘I think you have the wrong Linda Perry.’ She’s like, ‘Is this the Linda Perry who sang ‘Dear Mister President’ in 4 Non Blondes?’ I’m like, ‘Yeah.’ She’s like, ‘Well, I have the right person.’ The first result of their union was “Get The Party Started,” which Perry says she originally offered to Madonna. Together, they crafted eight more of the album’s fifteen tracks. P!nk’s other chief collaborators on the album were Dallas Austin, perhaps most famous for his work with TLC, and Damon Elliott.

M!ssundaztood is notable for its genre-melding sound. While it still possessed strong R&B influences, P!nk leaned into more of a singer-songwriter, Pop/Rock sound that was elevated by her soulful, one-of-a-kind vocals. Not to mention, her bad-ass attitude. P!nk gave no fucks. She exuded “tough girl” on her debut album, but Missundaztood amped it up a notch by not only being tough, but vulnerable and unfiltered. P!nk was living her truth, sharing her truth; the album was like a confessional. On it, P!nk revealed her true self both as an artist and as a person. She let us into her soul, baring it all for the sake of her art, but also likely for the sake of her own sanity. The album’s fifteen songs encompass a journey of self-discovery; one that allowed a budding starlet to become a bonafide superstar.

The Angst

Anyone who experienced the era firsthand will probably associate M!ssundaztood with the image of an angsty young P!nk who pushed the envelope visually, sonically, and lyrically. There was no one else quite like her at the time, and two of the album’s biggest hits are largely responsible for this take: “Just Like a Pill,” and “Don’t Let Me Get Me.” In both songs, P!nk is equal parts vulnerable and angsty. Both co-written with and produced by Dallas Austin, it’s interesting that an era that finds its success largely attributed to P!nk’s partnership with Linda Perry actually owes two of its biggest hits to another partnership: P!nk and Dallas Austin. The pair also concocted “Numb” and “18 Wheeler,” both bubbling with P!nk’s signature, feisty attitude.

It’s interesting, on all four of these songs, as well as on the Perry collaboration “My Vietnam,” P!nk uniquely conveyed both maturity and immaturity, simultaneously. She came across as amazingly self-aware in her vulnerability, yet almost naive.

Think of “Don’t Let Me Get Me.” The video, specifically, takes us back to her teenage years that she is lamenting upon as an adult. “Just Like a Pill,” meanwhile, paints the picture of a run-away. It sounds like a teen girl running away from her troubles, but really, it’s a burgeoning young woman dealing with the traumas of her teen years. These guitar heavy anthems redefined the perception of P!nk. No longer was she another young girl singing “male-bashing” R&B-inspired pop. Now, she was dragging herself through the mud in the name of self-improvement.

On “My Vietnam,” she further laments teenage emotions, while “18 Wheeler” has almost cringe-worthy lyrics. On “Numb,” she compares herself to a “battered child.” These songs are like a therapy session in which the patient wrestles with the childhood trauma that is crowding their subconscious. Then again, perhaps that is exactly what they are.

The Confessionals

The bulk of M!ssundaztood consists of confessional songs on which P!nk bears her soul. The majority of these are collaborations between P!nk and Perry: “Dear Diary,” “Eventually,” “Gone to California,” and “Lonely Girl” (which also features Perry, and written solely by her). There’s also “Misery,” which P!nk didn’t pen and features Steven Tyler of Aerosmith. However, the cream of the crop is “Family Portrait,” on which P!nk literally places herself in her youngself’s shoes, taking us back to when her parents divorced, walking us through how it affected her. It’s perhaps one of the most heartwrenching “pop” songs ever recorded. While it might have been the least successful of the album’s singles (peaking at #20), it is by far the best of the bunch.

All of the Perry collaborations have similar vibes: prodding, moody with soulful vocals and unrelentingly honest lyrics. Of them, the standout is “Eventually,” perhaps because it’s especially heartbreaking, yet still maintains P!nk’s tough girl attitude: “you’ll get yours, eventually,” she sings vindictively. On “Misery,” P!nk doesn’t hold back vocally, going blow for blow with Steven Tyler and winning handedly. In fact, on the original pressings of the album, there is no Tyler. His vocals hadn’t been recorded yet, so they released the album with P!nk’s solo version. While P!nk indeed sings her ass off, and it is a nice song, it does feel a bit out of place on the album.

The Bops

The album isn’t all heavy, though; there are a handful of bops to lift your spirit. Of course, the album’s lead single and biggest hit, “Get the Party Started” leads the way. Penned by Perry and produced by Damon Elliott, the song is best described as bad-ass pop. It serves dance-pop, yet hip-hop, and P!nk is probably the only artist of the time who could’ve pulled it off so perfectly. Its now-obscure and underrated Rockwilder remix, though, is actually the superior version. Mashed up with The Eurythmic’s “Sweet Dreams,” the remixed incarnation of “Get the Party Started” features a guest verse from Redman and P!nk gliding atop a slinky, hip-pop beat. It has a sexy and mysterious, yet equally danceable vibe that the album version just doesn’t. The remix is sorely missed from streaming services.

Aside from “Party,” there’s the title track, and “Respect” which appears to be some sort of maniacal ladies’ anthem that doubles as somewhat of a tribute to Aretha Franklin’s classic. At the start, P!nk refers to it as her “rap-song.” Both songs are rather strange (the former mentions being an “Exlax” commercial, while the latter features a beatboxer, Scratch) but are still undeniably fun in that sort of “no fucks given” way. Very P!nk indeed. Rounding off the bops is the equally strange and equally fun bonus track “Catch 22.” On it, P!nk plays the role of stewardess of “P!nk Airlines” for an all around good time. Personally, I’d have included this one on the main tracklist in favor of “18 Wheeler.”

The Impact

In the United States, M!ssundaztood has sold nearly 6 million copies and is currently certified 5x Platinum by the RIAA. Worldwide, it has sold several million more, having gone 6x, 5x and 4x Platinum in the United Kingdom, Canada and Australia, respectively. The album’s first three singles peaked within the top 10 of the Hot 100, with “Get the Party Started” landing at #4 in the US and in the pole position in a number of other countries. However, sales and chart success are not where the album’s impact ends.

More significantly, M!ssundaztood marked a shift in pop music. P!nk not only inspired her peers to bear their souls, confessional-style, but she also inspired a reemergance of angsty pop that would once again find itself at the top of the charts. Kelly Clarkson, who won American Idol that same year, would go on to follow in P!nk’s footsteps by following up her R&B leaning debut album with an angsty, pop/rock sophomore album, Breakaway, in 2004. Avril Lavigne would debut to similar success, with a similar sound, in 2002. However, perhaps the most inspired by P!nk’s Missundaztood was also her fiercest rival and fellow “Lady Marmalade,” Christina Aguilera.

On her own sophomore album, 2002’s Stripped, Christina enlisted the help of both Linda Perry and Scott Storch to co-write and produce the bulk of her album. For her lead single, “Dirrty,” Christina tapped Rockwilder and Redman for a feature. Sound familiar?

Linda Perry, of course, was involved in 9 of M!ssundaztood’s 15 songs, and Storch collaborated with P!nk on the standout track, “Family Portrait.” While Storch had been an in-demand R&B producer for many years prior to collaborating with P!nk, she was indeed one of the first “pop stars” he worked with, and the collaboration only helped raise his profile. No doubt, his work with P!nk likely put him on Aguilera’s radar.

However, as far as working with Perry, P!nk’s impact was. She had not done much of anything since her early 90s peak with the 4 Non Blondes. P!nk had essentially plucked her from obscurity to collaborate on her album. Suddenly, Perry became a sought after writer and producer, and Christina Aguilera benefitted beautifully.

Aguilera wasn’t the only one, though. Perry went on to collaborate with dozens of other acts over the years, from Alicia Keys to Adele, and she had P!nk to thank for it all. However, Aguilera’s “Beautiful” aside, no one quite found as much success with Perry as P!nk had. Sadly, the pair only collaborated again for a few trakcs on P!nk’s Try This, the commercially disappointing follow up to M!ssundaztood, and never again.

In the music industry, there is a history of pop stars, women especially, being forced into sounds, looks, and songs that didn’t genuinely reflect the artists they wanted to be. P!nk fell victim to that when she debuted, but fought for her artistic freedom in order to bring her vision to fruition on M!ssundaztood. Her label doubted her, but she prevailed: M!ssundaztood remains the best-selling album of her career, and inspired other artists to follow in her footsteps. She might’ve felt M!ssundaztood before the album’s release, but afterward, who she is as an artist had never been more clear.

Listen to P!NK’s M!ssundaztood

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To nobody’s surprise, there is already Best Original Song buzz surrounding the track; could this be the song to land Beyoncé her long-coveted Academy Award? Written and produced by Beyoncé and Darius “DIXSON” Scott, “Be Alive” looks like it could be her surest shot since Dreamgirls. Read our staff’s first thoughts below.

Beyoncé, “Be Alive” Staff Reactions

It’s always a pleasure to hear Beyoncé’s crisp, clean vocals telling the story of Black excellence and perseverance. The track, with its thumping marching beat and the organic production, is very simplistic, but it is effective in making the vocals and message shine. The harmonies and the backing vocals provide an echoing choir to complete the scene. This is definitely Beyoncé’s most melodic song in a while, catchy and to the point. If there is Oscar buzz, it’s well deserved. —Mario M.

From the clip in the film trailer, I was expecting a bombastic anthem filled with dramatic, theatrical orchestration and a showcase of Beyoncé’s vocal prowess. “Be Alive” only delivers on half of that. The version released today is stripped of the orchestral score found in the film trailer, leaving behind a beat that’s bare, but filled with bravado. Beyoncé’s vocals here are perhaps more authentically emotive than ever before. She sings from her gut, letting her soul and electrifying vocals carry the track. Lyrically, it boasts a moving message of empowerment that’s on-brand and as inspiring as ever. Still, the song feels like an impassioned march toward a finale that never comes. Perhaps there is a “film version” on the way to really bring the song to life. Time will tell. —Vincent Anthony

Listen to Beyoncé’s “Be Alive”

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The wait is over, because when the Queen of Christmas says it’s time to get festive, that means it’s time to get festive. At midnight on November 1, she let us know “IT’S TIME!”. Time to start the countdown to Christmas, time to let the holiday spirit move us again and time to fall in love. On November 5, Mariah Carey unleashed her latest self-penned Christmas original: “Fall In Love at Christmas.” Watch the video, then read our staff’s reactions below:

Staff Reactions

“Fall In Love at Christmas” is a lush, beautiful ballad that borrows the melancholic sentiment of “Miss You Most,” mixes it with a gorgeous guitar-laced melody and completes it with a baby making R&B beat (remember when Mariah made “Born Is the King” into a sexy interlude on Merry Christmas II You?). The apparent sadness of the track is, however, mitigated by the gentle touch of Mariah’s beautiful tone blending with Khalid’s lower register and the hopeful lyrics about finding love in the holiday cheer. As if all of this weren’t enough, Kirk Franklin leads the outro into a Gospel frenzy: Mariah harmonizes with the choir, the piano chords get thumping and the whole crew catches the Holy Ghost. —Mario M.

Featuring R&B’s Khalid and Gospel’s very own Kirk Franklin, the new single combines Mariah and Khalid’s plush vocals together, as they magically glide over frost-covered chimes and jingles, with a surprising Spanish guitar tuning in the outskirts. The centerpiece, though, of the five-minute-long track (which is a practical eternity by today’s standards) is the choir-assisted outro. As Franklin conducts each voice in perfect harmony, Carey’s high notes soar to the stars, making it almost impossible for listeners to handle both the Holy Ghost that’s being summoned and Carey’s still perfect pitch. A song for either a cozy night in by the fire, or a meeting under the mistletoe, “Fall In Love At Christmas” proves that nobody can do Christmas quite like Mariah Carey can. Complaints? Not one. —John Antonucci

Mariah Carey wrote her first Christmas song in 1994, and it went on to become the most successful Holiday song of all-time. So, no pressure, right? Adding yet another original song to her Christmas canon is surely not a responsibility that the reigning Queen of Christmas takes lightly. “Fall In Love at Christmas” is the eleventh, and proof that Mariah is Queen for a reason. Carey has not lost her touch. Akin yet unlike any of her previous originals, the duet packs a variety of Christmas-favorites; it’s got all the bells and whistles — literally, and figuratively; musically, and vocally. Khalid joins Mariah for the fireside, Latin-tinged groove that makes up the bulk of the song, before Kirk Franklin brings in the choir for a moment of “grace upon grace.” The song serves a lot in its five minutes, and is the perfect chill counterpart to the frenetically festive behemoth by which all of Carey’s Christmas originals are inherently overshadowed. In time, we can only hope that this and her other originals receive their fair share of the shine. —Vincent Anthony

Stream Mariah Carey’s “Fall In Love at Christmas”

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Beyoncé has recorded an extensive body of work over the course of her twenty plus year career in the music industry. She has sold millions of albums, singles, and concert tickets. She’s starred in blockbuster films, and created her own documentaries. However, if we’re speaking strictly about the music, there is one project that, for now, is perhaps the most underrated: her concept album inspired by The Lion King, a curated compilation entitled The Gift.

Since 1997, Beyoncé has recorded five albums with Destiny’s Child, four movie-musical soundtracks, six solo albums, five live albums, and one collaborative album with husband JAY-Z. Conceptually, structurally and sonically, her 2019 release, The Gift, is unlike any body of work that came before it. It is based on the story of The Lion King, but it is not a soundtrack. It is a reimagining of the classic tale, and her upcoming Disney+ film BLACK IS KING will serve to bring her vision to life.

THE CONCEPT

Upon its release, reactions to The Gift were mixed. Released three years after 2016’s LEMONADE, one year after The Carters’ EVERYTHING IS LOVE, and just three months after HOMECOMING, it’s understandable that the Beyhive’s response was lukewarm to yet another pit stop on the road to “B7”. The Gift is a curated collection of songs by Beyoncé and various other artists. She enlisted a long list of collaborators; some familiar (JAY-Z, Pharrell Williams, Kendrick Lamar) and some up-and-coming (Jessie Reyez, Tierra Whack) but the majority of the songs feature African artists, writers and producers.

Beyonce’s mission to spotlight African musicians on an album bearing her name is, of course, commendable. Surely, she introduced them to a wider audience; a feature on a Beyoncé album is perhaps the best co-sign any artist could ask for. However, it’s almost a double-edged sword. The album has ten songs that feature Beyoncé, and as a result, the four songs that don’t almost get lost in her immense shadow. The most effective moments on the album are when the two sonic worlds collide. On album highlights such as “Brown Skin Girl,” “Water,” and “My Power,” Beyoncé elevates the tracks with her contributions but her presence doesn’t overshadow.

THE HIGHLIGHTS

“Brown Skin Girl” and “My Power” are both unlike anything she’s ever recorded, and completely different from each other. While both tracks have numerous vocalists, Beyoncé fits right in. Despite different languages, accents, flows and styles, the tracks just work. In different ways, both songs are empowering and exude pride and strength. They both sound and feel effortlessly genuine. Of course, Blue Ivy’s guest verse and the Kelly Rowland shout out are both adorable.

Cameroonian singer Salatiel leads “Water,” joined by Beyoncé and Pharrell Williams to create one of the album’s smoothest grooves. The title is apt, because the trio rides the “Water” beat like they’re professional surfers. Vocally, Beyoncé swells to new heights, proving that though she’s pushing forty, she’s lost none of her vocal chops.

THE BALLADS

The Gift also boasts Beyoncé’s best ballads since the 4 album: “Bigger” and “Otherside.” They are both lyrically poignant and vocally breathtaking. Gorgeously raw, these ballads take inspiration from The Lion King story, but when repurposed from Beyoncé’s point of view, sound all the more powerful. “Otherside” has guest vocals from Nigerian singer Bankulli, sung in Yoruba, while Beyoncé closes the song singing in Swahili. “Bigger,” meanwhile, is a sort of reconceptualization of the idea of “The Circle of Life”; it’s music video features Beyoncé and her eldest daughter Blue Ivy, likely intended to be a female equivalent to the father-son dynamic between Mufasa and Simba. Last summer, she released the visual as a short film alongside the Academy Award nominated ballad, “Spirit.”

THE BOPS

One of the two songs most akin to the rest of Beyoncé’s catalogue, though, is the undeniable bop that is “MOOD 4 EVA.” While she never says it in the song, the interlude that precedes the song references “Hakuna Matata,” and it is to be assumed that the famous Lion King catchphrase is the #Mood she’s referencing. Featuring Beyoncé’s signature rap-sung speed singing atop a multifaceted, afrobeat track, “MOOD 4 EVA” would’ve been the perfect contender to represent the album as its lead single. This unique amalgamation also features her favorite collaborator (JAY-Z), film co-star Childish Gambino (aka Donald Glover, aka Simba), and a sample from Malian artist Oumou Sangaré. This infectious jam is endlessly quotable and will surely put you in a good mood – 4eva and eva.

The other moment of more typical Beyoncé fare is “NILE,” a short and sparse duet with Kendrick Lamar that ends when it feels like it’s just getting started.

THE GUEST STARS

There is no shortage of bops on the album, though. “Already” intersects Beyoncé, Major Lazer and Ghanaian singer Shatta Wale for an energetic dancehall moment. Meanwhile, on “Find Your Way Back,” Beyoncé stands alone for what isn’t the album’s most interesting song, but a jam nonetheless. The standout non-Beyoncé song is by far “JA ARA E” by Burna Boy, but “Don’t Jealous Me” is a close second in the uptempo category, followed by “Keys to the Kingdom” in third.

The only ballad not sung by Beyoncé, “SCAR,” features hip-hop artist 070 Shake and singer Jessie Reyez taking on Scar’s point of view. It takes the album for a chilling, dramatic turn on what is otherwise a rather uplifting and upbeat album. However, Beyoncé’s “Spirit” quickly lifts the mood once again, closing out the album with all of its theatrical flourish.

LISTEN TO THE GIFT:

Take out the distracting interludes, skip over the non-Beyoncé songs if you must, but do not write off The Gift. Simply put it is one of the most unique and interesting projects in the Queen B’s catalogue. No, it wasn’t made for mass commercial consumption and, “MOOD 4 EVA” aside, there is nothing remotely (US) radio-friendly. Nevertheless, if you are looking for an album with diverse sonic landscapes, meaningful themes in its lyrics, and movingly soulful vocals — Beyoncé certainly has just The Gift for you.

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