Time to get your passport stamped! With production reminiscent of Pharrell’s “In My Mind” era, the hilariously yet trendy titled “Passport Bros” by Bas and J. Cole easily mixes Afrobeat and Bossa Nova with a jazzy string section that serves up a beachside bop perfect for the summertime.

Bas’ laid-back, rhythmic flow, along with some cleverly used product placement, lends itself well to the song’s intercontinental instrumentation. Comparatively, Cole’s signature staccato aligns with his masterful wordplay to make the track’s two halves fuse together perfectly to create a referential, yet original track. Let me drive the boat!

Watch the “Passport Bros” video, stream it, or purchase some J. Cole or Bas on vinyl

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

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

The post Review: “Passport Bros” by Bas & J. Cole appeared first on THE 97.

Her debut album The Bridge was just being released internationally at the time. It came out in Italy, then her native Canada. England followed a month later. The United States had to wait though, with a release date set for November 10, 2009. I don’t like to wait. So I did the rational thing, found the leak, and spent my summer engulfing myself in The Bridge. When November 10 came around, I unapologetically cut biology lab to hit F.Y.E. in Center City, Philadelphia and secured my copy. Frankly, I’ve barely used biology since then and I still listen to The Bridge often, so cutting class was clearly the right move. It’s always important to me to buy a copy of an album, and I felt that to a higher degree with Melanie. 

Guided by the late, great Andrea Martin (who co-wrote half of Melanie’s debut and received associate producer credit on both of Melanie’s albums), Melanie bridged the gap between classic soul/R&B and today’s sonic landscape. Her voice was built for the task. Whether she was waxing poetic over a sample-laced record like the immense, sweeping “It Kills Me” or flexing her chops over an original like the Motown-esque “Monday Morning,” she captured the essence of a tapestry of soul sounds. She even went beyond, like on the acoustic “Teach Him” and the reggae “Sad Songs.”

Between projects, Melanie continued to soar. Most notably, she appeared on the single version of “Fool For You” from Cee-Lo’s acclaimed album The Lady Killer. That version was so well received that it won Melanie her first two Grammy Awards. 

I couldn’t get enough of her, and was ecstatic when the first taste of her next album arrived in early 2011. The one thing that really resonated with me was how she was describing her next album. She was calling her sophomore effort an album of “stadium soul.” Melanie already had me eating out of the palm of her hand, but now I was imagining an expansion of the soulful sounds she captured so effortlessly on her debut, magnified for the larger stage she was destined for, accompanied by bigger hooks. The title had a helluva ring to it too, and was a clever double entendre: The MF Life, which was released on March 20, 2012. I put together a ‘Top 5‘ to celebrate the 5th anniversary in 2017. Now I’m going deeper to celebrate a decade.

“Gone And Never Coming Back” was that first taste of The MF Life. Co-written and co-produced by Andrea Martin, it vacillates between quiet verses and surging choruses, something Andrea had been doing well for at least a decade and a half (see En Vogue’s “Don’t Let Go [Love]”). Though quiet on the verses, those choruses hit like a tidal wave. They encapsulate the ‘stadium soul’ sound Melanie used to describe the album. The title implies finality, and the delivery of the song perfectly reinforces that. It already represents growth from the material on her The Bridge, which didn’t delve into situations in such definitive scenarios. 

The next single, “4AM,” produced by Rico Love, couldn’t have arrived at a better time. “This muhfucka thinkin’ I’m stupid,” she sings as she vents her heartbreak over her man out cheating on her. “It’s 4am and my lover won’t answer,” she laments as she’s seen vacillating between concern and frustration in his cold, empty home, before alleging, “he’s probably somewhere with a dancer.” Once again, it has a big chorus that soars above the ruminating verses. The moody, 808’s fueled beat was complimentary to the sound that was surging to the top of the R&B and hip hop charts at the time thanks to Melanie’s former bandmate and fellow Canadian, Drake. That sound can be heard prominently throughout 2011’s Take Care. Interestingly, there’s even a hint of UK garage as the bridge reconnects into the hook.

Drake doesn’t just appear here in reference, either. He wrote “I’ve Been That Girl,” alongside longtime producer T-Minus, making it one of the few records Drake has written for other artists. With T-Minus handling production and Noah “40” Shebib handling vocal production, this song unsurprisingly sounds like it could fit perfectly alongside the more melodic side of Take Care. The hook is catchy, but reserved.

Though she didn’t score a Drake feature on The MF Life, Melanie stacked up a goldmine of first-rate features for the album, greatly contrasting her no-features debut. The album opens with the hard-hitting “This Time.” The song is poignantly declarative, opening lines “if only you knew, all the love I have inside,”  to a hook that radiates with optimism. “This time, I’m doing much better, love you like I’ve never, ever loved you before. Oh baby now this time, I’m giving my heart and soul and every drop of my love.” She also nabbed a feature from J. Cole at the optimal moment: just as he was breaking through. He bookends his verse with the killer bars, “if looks kill then Melanie you a felony,” and “know it’s deep when the girl of his dreams is the same one to wake him up.” 

She closes the record with the cool, chill “L.O.V.E.” featuring John Legend, returning the favor for Melanie’s help on the title track to his 2010 covers LP with The Roots, Wake Up! The call for unity has a retro, Philly soul essence that compliments the source of their first collaboration. She even manages to recruit the legendary Nas on the Salaam Remi-produced, boom bap-laced “Running.” 

The top collaboration on the album though, goes to her record with B.o.B., “Change The Record.” “If you don’t like how he’s playing then change the record,” she advises as she aligns men’s shortcomings to records, some with scratches, fade outs, and skips. It works a perfect metaphor over a glittering staccato piano and hard-hitting bass drum beat. 

On the solo front Melanie is much more adventurous on this outing. She doesn’t confine herself to traditional R&B sounds on this stadium soul album. She reaches into other connected genres, delivering a twisted, dark, torch song in the form of “Bones,” which credits dynamic British vocalist Paloma Faith as a co-writer. The hook is a monster in both lyric and melody. “Straight through your skin past your soul to your bones… I need your bones… gimme gimme gimme gimme your bones!” It’s engulfing, and slithers inward with a progression that recalls Screamin’ Jay Hawkins’ haunting “I Put A Spell On You.” 

There’s also a gritty, sassy, high energy record that orbits in the realm of Tina Turner’s solo rock material. “Watch Me Work” is “something different, something new. Out the box, out the blue.” It’s a much more overt rock-leaning track, unlike the rock undertones that filled out The Bridge’s playful “Bang Bang.” This is music that drives and energizes, with a motivational message. It’s best listened to while strutting in some high heels a la Melanie in the video (or me on a Friday night). 

While “Gone And Never Coming Back” was the lead heartbreak record, the album’s true heartbreak standout is the gut-wrenching “Wrong Side Of A Love Song.” Like “Gone,” the verses are mellow, and crescendo as they approach full choruses that pushes Melaine to the outer limits of her range as she wails “And I don’t wanna be, without you, cause I can hardly breathe without you. This is what it feels to be the one that’s standing left behind.” She emotes every single line and refuses to back down as she mourns the heartbreak. This is soul music at its finest. 

A bonus moment serves as a cheeky reminder of a coincidental fixation R&B had with late night/early morning hours at the time. Melanie had “4am,” and T-Pain had a record called “5 O’Clock.” Naturally, T-Pain suggested that they come together, and they created “6AM.” The record merges the two worlds, with T-Pain playing Melanie’s cheating lover, arriving home two hours after she’s wondering where he is. It’s an amusing convergence of two otherwise unrelated records. They each possessed enough ambiguity that they could be connected based on their timestamps. It’s fun, lighthearted, and features an entertaining back-and-forth between the two, best summed up by the first two lines of the bridge, where T-Pain chides Melanie with “what’cho ass doing up anyway?” and she instantly shoots back “fuck that! I was sittin’ here worried ‘bout you.”

A deluxe edition of the album adds four songs, and iTunes also added their own exclusive bonus track. The best of the deluxe bonuses is “Like I Love You,” a mellow, vocally heavy reggae record which harkens back to Melanie’s roots as a reggae singer and her first formal release (under the name Syren Hall), “Somebody Come Get Me.” 

The iTunes bonus is also notable. “Gone (La-Dada-Di)” is driven by ominous keyboard chords and accentuated by flourishes from a tuba. It’s one of those records that has some stellar storytelling bursting from the lyrics. A strained relationship is shattered by tragedy, as Melanie tries to process the horror, “hoping it was all a dream.” It’s one of the most impassioned vocal performances Melanie delivers on the album. Snoop Dogg glides through to deliver a verse that ties it all together before the record fades out. 

It’s been a decade and The MF Life remains the latest full-length release from Melanie Fiona, and it still hits just as hard as it did the day she released it. Since then, Melanie released a few singles in the mid-to-late 2010’s including the searing, reggae-driven record “Bite The Bullet,” and teased a third album that was to-be-titled Awake. As she continued to tour throughout the 2010’s she performed a number of songs that have never been released including “Love Needs Love” and “I’ll Love You More Than You’ll Ever Know.” In the time since she released The MF Life, she found love and became a mom, twice. Her daughter was just born in late 2021. Suffice it to say, she’s got no shortage of important things in her MF life, but music is still on the list. Two days before The MF Life turned 10, Melanie dropped a cover of “Don’t Explain” as part of a Nina Simone reggae tribute LP. It’s her first solo recording to be released in three years. 

Listen to The MF Life:

The post Melanie Fiona’s The MF Life- Album Retrospective appeared first on THE 97.

Deliberated on by our team of writers, we’ve ranked the top albums of 2018 that we loved. If you’re familiar with the way we review songs/albums, then you know that “97” is our top score. We love every album on this list, ranked them according to how much, and weighed in with a few thoughts about each. Please feel free to comment with your thoughts, as well! We’d love to hear from you and engage in any discussion. Now, without any further ado…

19. Joyride, Tinashe

To say this album was anticipated would be an understatement. After three years of teasing, false starts, shelved first singles and “coming soon” we finally received Tinashe’s Joyride. Mostly gone were the poppier elements teased with tracks like “Player” and “Flame,” in favor of a more alternative R&B sound. The 13 track set had some Tinashe’s greatest work, from the brazen first single “No Drama” (featuring Offset) to the sultry and moody “Salt” at the tail-end of the album. It’s when Tinashe lets loose that her greatness shines, “No Drama” still stands as one of the years best hype tracks and the summer anthem “Me So Bad” (featuring Ty Dolla $ign & French Montana) is reminiscent of the Fifth Harmony sound. Joyride goes a long way in showing Tinashe’s versatility, let’s just hope she can get the recognition she deserves. –Reece

Highlights: “No Drama,” “Salt,” “Ain’t Good For Ya”

18. beerbongs & bentleys, Post Malone

Becoming a pivotal year in his career with his now Platinum-certified sophomore album, beerbongs & bentleys clenched a total of three Top 5 hits on the Billboard Hot 100. Two of which peaked at number 1 and gave fellow collaborators their first number 1 hit singles too (2017’s “Rockstar” with 21 Savage, this year “Psycho” with Ty Dolla $ign). With four GRAMMY nominations, including the coveted Album and Record of the Year categories, it’s clear Post avoided the dreaded sophomore slump. –Keenan

17. Life After Love Pt. 1 & 2, Victoria Monét

You may not have heard of Victoria Monét but she actually has the #1 song in the U.S. right now. A frequent collaborator of Ariana Grande, Monet co-wrote “thank u, next” as well as a slew of other hits for Fifth Harmony, Travis Scott and Chris Brown. This year she released her two part EP Life After Love, chronicling her break up and rediscovery of love and self love. It’s a story we know all too well but Monét makes the material fresh. From the absolutely heartbreaking and brutal “Water Fall Out of Love” (“you should cry until you make a river deep enough to motherf*cking drown in”) to the masturbatory anthem “Ten New Friends,” Monét is as strong at the forefront as she is behind the scenes. Here’s hoping to more great music from her. –Reece

Highlights: “Freak,” “Love You Better,” “Ready”
Click here for Life After Love, Pt. 2.

16. Ella Mai,Ella Mai

With the success of her breakout hit single “Boo’d Up” transforming her into a star and becoming her first Billboard Hot 100 Top 5 hit, Ella Mai made it known that R&B is still a contender for the pop charts and radio.

On her debut self titled album, Ella Mai manages to create classic R&B records while remaining relevant, youthful and true to the genre’s core: being real, emotive and relatable. Cuts like “Good Bad” and “Sauce” help showcase fun modern vibes while Mai gets her grown and sexy classic R&B on with “Everything” alongside John Legend, and “Naked.” Altogether easily making the set one of the most solid debuts from an R&B act in quite some time. Ella was even nominated for two GRAMMY Awards! –Keenan

15. MIH-TY, Jeremih & Ty Dolla $ign

From Ty crooning the opening line (“let’s have sex…” on “The Light,” you know what you’re in for with MIH-TY. The Hitmaka produced collaborative album sees Ty & Jeremih trade off on some of the best baby-making anthems of the year. The year has been a controversial one for both stars but you couldn’t tell listening to MIH-TY. Vocally, Ty continues to showcase his pipes with riffs and runs that easily make him a contender for the King of R&B title lessers are so quick to claim. After the stellar Beach House 3 it’s great to see that Ty has no intention of slowing down his work output, especially if the material is this good. Together, both Ty & Jeremih create R&B magic and this project easily stands as a genre highlight. –Reece

Highlights: FYT, These Days, Perfect Timing

14. Palo Santo, Years and Years

There’s something about Years & Years: musically, they know how to hit all the right spots. Their mix of synth-pop, disco, electronic, and soul is impeccable. On songs like “Sanctify” they talk about sex- with closeted men, while others tackle deteriorating relationships and love. It’s a solid record end to end. –Andrew

13. Love Yourself: Answer, BTS

In 2018, K-Pop officially infiltrated American pop culture via the domination of BTS and their latest album, Love Yourself: Answer. The culmination of a three part series, Answer follows two EPs (Tear and Her) and combines songs from those sets with more new music. Debuting at #1 on the Billboard 200, BTS became the first K-Pop act to achieve such a feat twice in 2018 with Tear and Answer. Meanwhile, Answer has become the first K-Pop album to be certified Gold by the RIAA. Success aside, BTS is a stellar act with catchy, quality K-Pop jams. It’s only a matter of time before they (or at least Rap Monster) attempt domination fully in English with a K-Pop sound. Look out. –-Vincent

Highlights: “Airplanes, Pt. 2,” “Singularity,” “Fake Love”

12. Scorpion, Drake

A relentless Drake returned to form with Scorpion, his first true album in 2 years after a series of mixtapes and side projects (that were full blown albums nonetheless). The samples are the shining points of this album, from Mariah Carey to Lauryn Hill to Aaliyah and even a posthumous Michael Jackson collaboration, but as always the tracks wouldn’t be the same without Aubrey’s smooth flow and the lyrics that set him apart. —Mario

Highlights: “Emotionless,” “That’s How You Feel,” “After Dark”

11. Voicenotes, Charlie Puth

For some reason, Charlie Puth is not getting the respect he deserves on most lists. His sophomore LP Voicenotes is exceptional, to say the least. Song after song, his perfect pitch allows him to craft these tracks that are catchy and clever. His album goes from soft-rock anthems written with Hall & Oates, to gorgeous synth-pop, all the way to strange yet brilliant deviations like an acapella track with Boyz-II-Men and a call for change with James Taylor. —Andrew

10. A Star is Born, Lady Gaga & Bradley Cooper

Lady Gaga took 2018 as the year when she would prove ALL of her haters wrong. She put her heart and soul into her first acting performance, but she also delivered some of her best work on the soundtrack. The epic ballads are the true gems of this album, something that Gaga had not exactly focused on early in her career. As well, Bradley Cooper’s performance as a singer is truly an unexpected, but very pleasant, surprise. —Mario

Highlights: “Shallow,” “Heal Me,” “Always Remember Us This Way”

9. Golden, Kylie Minogue

30 years into her music career, Kylie Minogue is still embarking on new ground. On her latest, Golden, she gives you pop, with a country twist. While it’s a far cry from “Can’t Get You Out Of My Head”, there’s something about this musical deviation that works. Her voice suits the records, and still sounds magnificent as she crosses beyond 50. –Andrew

8. Sex & Cigarettes, Toni Braxton

A bit disappointing that she only gave us eight new songs, but the album is tight and nice. Toni’s voice has held up amazingly over the years and it still retain the buttery sultriness we fell in love with in the early 90s. Toni definitely knows how to give us that sexy yearning, but also the scorned woman emotions. Definitely one of the best R&B releases of the year. —Mario

Highlights: “Deadwood,” “Long As I Live,” “Sorry”

7. KOD, J. Cole

KOD will always hold a special place in my heart because of having been one of the first 500 people to hear it at Cole’s surprise release event in New York City, but regardless of that, it is a phenomenal album. Thought-provoking and hard-hitting at the same time, KOD only further cements J. Cole’s status as a hip-hop legend in the making who makes his own rules. Indifferent to having hits or doing big numbers, Cole is more concerned with making music that can affect his listeners. Dealing with the themes of vices, addiction and mental health, KOD is an album for life, not for a moment. –Vincent

Highlights: “KOD,” “Photograph,” “BRACKETS”

6. Phoenix, Rita Ora

Like a true Phoenix, Rita Ora rose from the ashes of drama to release a beautiful Pop album filled with passion, hard work and catchy tunes. The songs range from the typical 2018 Pop productions to some experiments with retro vibes and harder EDM, focusing on Rita’s vocal ability which can’t and shouldn’t be overlooked. —Mario

Highlights: “Only Want You,” “Cashmere,” “Anywhere”

5. EVERYTHING IS LOVE, The Carters

On The Run II reignited rumors (did they ever really die) of a joint Beyoncé and Jay-Z album. Although what we got was short, it was still a nice addition to each’s discography. “APESHIT” is a perfect example of the power of The Carters. Though quintessentially a Migos track, the energy brought to the track by both Bey & Jay elevate it to that superstar level, the implied double entendre of “can’t believe we made it” and Bey’s rapid fire flow during the song’s middle 8 are sure to make it a staple on fans’ hype playlists. The album is more interesting on the introspective tracks like “Friends,” where the pair seem more subdued yet as fascinating as ever. Finally, let us not forget Beyoncé dragging Jay on “LOVEHAPPY” by “keeping it real with these people.” —Reece

Highlights: “LOVEHAPPY,” “Summer,” “APESHIT”

4. Boy in Jeans, Ryan Beatty

After years in limbo and developing himself and his sound, Ryan Beatty unleashed one of the best albums of the year in the form of Boy In Jeans. A far cry from the Cali surf-pop and Bieber-esque image he emerged with as a teen, Ryan Beatty in his twenties is someone with a clear sense of his musical aspirations. With hooks like “god is real, he was sleeping in my bed last night, we were naked with the radio on, I played him my favorite song”, he’s hitting his stride. —Andrew

3. Dirty Computer, Janelle Monáe

Janelle Monáe has been in the game for over ten years, but in 2018 she finally got her due shine. Before even garnering the coveted Album of the Year GRAMMY nomination, Dirty Computer changed the game for Janelle. In the five years since her last album Electric Lady, Monáe furthered her brand by acting in Academy Award nominated films, Moonlight and Hidden Figures. This steady rise in notoriety gave a lot of attention to Dirty Computer and its “Emotion Picture”. More blatantly personal than any of her previous work, on Computer Janelle Monáe celebrates her Blackness, her sexuality, and her womanhood. Whether on the “highly melanated” rap track “Django Jane,” the sexual and suggestive “Pynk” or the defiant “Americans,” Dirty Computer is the album that American needed in 2018. —Vincent

Highlight: “Americans,” “Make Me Feel,” “Django Jane”

2. Invasion of Privacy, Cardi B

It’s the story no one expected from the most unlikely of circumstances. From stripper, to social media star, to reality television star, to worldwide superstar… who else could we be talking about but Cardi B? And, she did it all on the basis good music, indifferent to scandals and publicity ploys. We’ve heard many a story from an upcoming female rapper that labels have tried to pit them against Nicki Minaj. Although a beef with Minaj would eventually become a part of the narrative, Invasion of Privacy stands on its own two feet as the best rap album of 2018.

Braggado, sensitivity and enough mainstream appeal without seeming like it’s pandering allowed Privacy to flourish on the charts, housing two Billboard Hot 100 #1 singles with “Bodak Yellow” and “I Like It” (not everybody has that). The mixing of trap, R&B and Latin music create Cardi’s own brand of musical magic that allow her to experiment without stretching herself too thin. Invasion of Privacy showcases her versatility and potential for longevity in this business. Not only is Cardi smart and savvy, but she’s actually likable too. In an age where a flash in the pan is literally a viral moment for a week, it’s great to see Cardi and her music still flourishing almost a year after being released. –Reece & Vincent

Highlights: “Get Up 10,” “I Like It,” “Be Careful”

1. Caution, Mariah Carey

THE album of 2018. No one except for Mariah can make this kind of fresh and sleek album 28 years into her career with such nonchalance. Truly effortless. –Mario

The ten track all-killer-no-filler affair may have been one of the last releases of the year but it’s still one of the strongest. Mariah doesn’t sound like she’s chasing a modern sound, nor does she sound dated. Caution stands as the perfect blend of Mariah Carey and 2018; beautifully crafted R&B where there is more than meets the eye. –Reece

It’s almost as if the warning that we must heed with Caution is that Mariah Carey will no longer accept being underrated and disrespected; she has returned to claim the notoriety and respect that she had been denied for so long. She has done so by releasing an album that will stand the test of time as one of her best albums because it is both timely and timeless. Mariah has long held a reputation of being fashionably late, in “Diva” fashion, but Caution proves she is just in time, and ever present. —Vincent

Highlights: “Caution,” “Giving Me Life,” “8th Grade,” “The Distance”

The post The 19 “97” Albums of 2018 appeared first on THE 97.

I arrived thirty minutes later, and once I found myself on the line, it was already wrapped around the block. Within a half an hour, I had a wristband for access to an event I knew nothing about. Considering the strict policy of no phones or cameras, one could easily assume it might be new music. Before we entered the venue, we were instructed to turn off our phones and given pouches that locked with a magnet to encase our phones. Cole was not here for the leakage.

Once the venue was at capacity, Cole took the stage and the crowd erupted. People pushed forward, stampeding toward the stage. Here were, mostly, some of his most loyal fans – and that energy emanated with vigor. Once Cole was able to calm us down, he dropped the bomb on us: “Why do you think you’re here? New music? Nah, I just came to talk.”

He laughed, “Nah, I got a new album.”

From there, Cole went on to explain a little bit of the background behind its creation. Apparently, he recorded the first draft of the album in just two weeks, sometime in 2017. He said it just came to him; the words fell out – it sounded almost supernatural, the way he described it. Then, after spending some time with the record, he decided he wanted it to be even better. He scrapped some of the songs, and created more over the last year or so; while he was on tour in Europe and Australia.

Fast-forward to April 2018, and the album is here, ready for release this Friday, April 20th. The title, K.O.D., he explained, has three meanings. He said the letters came to him before the meaning did; but once it did, the three meanings fell out in some sort of spiritual moment.

The first, is “Kids on Drugs.” He gave the example of how, if you were to turn on the TV, “every 7 minutes,” you’d hear a commercial asking you, “are you okay?” and recommending some sort of drug to medicate yourself with. Then, of course, he mentioned more recreational drugs – pills, weed, alcohol, crack, etc. Finally, there are our addictions that are drug like: sex, money, love, technology, etc. Basically, the point is, kids these days grow up on some sort of drug, with at least one addiction.

Next, is “King OverDose(d)”. I’m not entirely sure if the D is on the end or not, but same meaning. He referred to this as being himself within the album. He personifies the character of “King OverDose” on the album by exploring the different ways in which people overdose on the above mentioned drugs. All the while, thinking and feeling as if you are the King of the world.

Finally, the last and perhaps most powerful meaning is “Kill Our Demons.” He said this is the goal; the place he hopes that we all can get to. To find peace, we all must kill our demons and let go of our addictions that negatively impact our mental health. J. Cole, a hip-hop star, a King of rap, has essentially recorded an album about mental health. As he said when telling us about the album, the shit he had to say is important. Very important, he said. Indeed, it is.

Without further adieu, he allowed us to hear the album. Before doing so, he joked, that he knows our phones are locked up but just in case someone snuck one in, if we see them with a phone, to slap them. Or, he said, if we see any journalists writing notes, to slap the #2 pencil out of their hands. Luckily, I was able to keep mental notes, which Cole did say he permitted. However, he encouraged us to feel some exclusivity. We were the first 500-600 people to hear the album. In the whole world. Ever. Outside of his team of course. He said we had two choices: share, or be able to say, “nah you have to wait, this is our secret.” Ultimately, though, he acknowledged it’s a free country. So, I’m opting for somewhere in between.

I won’t divulge song titles, and I don’t even want to go into full detail about the songs because I do not feel I will do the album proper justice without being able to refer back to the songs, to quote the lyrics, to  live with this immensely profound body of work. I won’t disrespect Cole.

However, I will say this. The album is phenomenal. I’ve only heard it once (and Cole asked us to please, listen with headphones when we get it officially), but I remember my first listen of each of his albums… and I feel like this might be his best body of work yet. Cole has always been a storyteller, that’s why I admire him. There has always been some sort of cohesive theme in his albums, even with his pre-contract mixtapes. Sideline Story and Born Sinner had themes, but they still felt like your standard album. With 2014 Forest Hills Drive, that changed; Cole’s approach to albums changed. The album was released all at once, and experienced as one. Thus, it felt more like one body of work, rather than a group of song. The album felt cinematic, in a way, yet still each song was rather distinct. They came together to be an impressively cohesive body of work, but still could stand on their own.

With 4 Your Eyez Only, he delved further into the realm of a storybook, cinematic album. It was a true concept album, with a main character; an ongoing plot. It all sort of came from the same place. It is striking, but it’s the kind of album you need to give your full attention to; always. There are jams on the album, of course, but they’re courses best served as part of the full meal. Separated, they were not quite as powerful.

Essentially, Forest Hills Drive could be played on shuffle and you can rock with it just the same. Play 4 Your Eyez on shuffle, and you sell the album short. With K.O.D. it is the perfect amalgamation of those two philosophies. The album has the profound content that is found on every track of 4 Your Eyez Only, linked together as part of a larger, overarching story. There are spoken word interludes to bring it all together. The album, like 4 Your Eyez, comes full circle at the end. Yet, like Forest Hills Drive, the songs can stand on their own without feeling like lost puzzle pieces. Just about every song, realistically, could be a hit. They’re substantial in content yet will have you lit, for sure. They’re anthemic, yet literary. They are straightforward, yet intricate. They will get you hype, yet have you dissecting – depending on the moment, the setting, your mood. The songs are about love, money, greed, temptation, drugs, addiction, pain, and meditation. Oh, and taxes – that might be my favorite song. It is “Neighbors” level realness. K.O.D. is indeed like a therapy session with the mission of killing our demons.

Finally, the set ends with perhaps what will be, if I know the media well, the most talked about track. Without spoiling it, although I am sure someone else will, sadly, Cole strays from the album’s theme for what he called “an intro” to something else. His implication with that was not exactly clear – whether he was hinting at another album or just the drama that is undoubtedly sure to follow after folks hear this song. The title of the song is “1985,” and, without giving too much away, Cole is making quite a blunt assessment of the state of hip-hop today, and offering a few choice words, and some well-meaning yet probably hard-to-swallow advice for some artists we might call sell-outs. Though, if they take Cole’s advice to heart, they might end up on his level… and then maybe, he won’t have to keep dropping albums with no features.

That’s a joke you won’t fully understand until you hear the album, but yes, before you ask – there are, once again, no features.

In short, K.O.D. is an album best experienced by listening to it, in full, and at Cole’s advice – with headphones. I hope that I gave you an idea of what to expect, while still allowing for those feelings of anticipation and curiosity to fester until it drops this Friday. Only 3~ days to go, depending when you’re reading this. I can assure you, you won’t be disappointed that you waited. Don’t go looking for spoilers. You might say that’s easy for me to say, but I know I wouldn’t want it any other way.

The post An overview of J. Cole’s new album: K.O.D. appeared first on THE 97.

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

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

19. VIEWS, Drake

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

18. Smoove Jones, Mýa

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

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

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

16. No Hard Feelings, Dreezy

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

15. Milestone, Chrisette Michele

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

14. The Human Condition, Jon Bellion

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

13. The Altar, Banks

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

12. Mind of Mine, ZAYN

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

11. Ology, Gallant

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

10. Mad Love, JoJo

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

9. Joanne, Lady Gaga

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

8. ANTI, Rihanna

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

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

7. 4 Your Eyez Only, J. Cole

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

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

6. Starboy, The Weeknd

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

5. blackSUMMERS’night, Maxwell

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

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

4. 24K Magic, Bruno Mars

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

3. Glory, Britney Spears

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

Britney Spears: The Pop Icon

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

2. A Seat at the Table, Solange

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

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

1. LEMONADE, Beyoncé

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

A Concept

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

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

Genre-Less

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

For Women

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

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

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

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

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

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

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

19. “Come Down,” Anderson Paak

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

18. “Chantaje,” Shakira featuring Maluma

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

17. “Twist,” Nathan Sykes

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

16. “Starboy,” The Weeknd

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

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

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

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

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

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

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

12. “Pillowtalk,” ZAYN

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

11. “Million Reasons,” Lady Gaga

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

10. “Everybody Dies,” J. Cole

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

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

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

8. “24K Magic,” Bruno Mars

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

7. “Kiss It Better, Rihanna

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

6. “Don’t Touch My Hair,” Solange

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

5. “Into You,” Ariana Grande

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

4. “Sorry,” Beyoncé

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

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

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

2. “Cranes in the Sky,” Solange

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

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

1. “Formation,” Beyoncé

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

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

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

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

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

Andrew- Working J. Cole & Cole World: The Sideline Story

One of the most exciting things about being part of a record label in college, was watching new artists actually break. We represented a major market as college students, and a big part of our job was to participate in spreading awareness when a new artist was breaking. Our greatest achievement during my tenure was easily that of J. Cole’s Cole World: The Sideline Story.

We were already working Cole when I joined Sony in spring of 2010. “Who Dat” had just dropped, and we hit the ground running, promoting the song and driving traffic to purchase/listen to the song. Within 2 months, the video was out and his debut album was scheduled for an October 26 release.

https://www.youtube.com/watch?v=6o9dXLNuXic

Then, mid-summer, there was a leak. A few songs were out there and getting ready to hit the internet, so in anticipation, Cole decided to drop “Blow Up” before the leakers could. We got on a big call with Cole, and he spoke to all the college reps. We’re a few years younger than Cole, and being a recent college grad himself, he conveyed his appreciation for our roles and how his own college experience had opened his eyes to the way music spread (he name checked Kanye’s “Through The Wire”, Lil’ Wayne’s Dedication mixtapes and The Carter III).

We heard “Blow Up” and we blew up. It was incredible. The song hit, and continued to build a buzz for Cole. At some point, the October 26 release date was scrapped, and no new date was given… yet.

October rolled around, and we found ourselves in New York for annual Sony meetings full of mind-blowing surprises. One such surprise was J. Cole himself. We assembled after a long day of meetings in the penthouse suite of the hotel we were using as our hangout and were told that Cole was coming through to give us a little listening party. He arrived, we all freaked out internally and sat around him as he played tracks for us. Some of those tracks ended up on the Friday Night Lights mixtape, and some ended up on the album.

Most notably I remember him playing “Can’t Get Enough” without any feature on the hook, he was singing it himself. He told us that he really wanted to get Cee-Lo to sing the hook, and as we all know, Trey Songz ended up taking that spot. I got to talk to Cole afterwards and I went as far as to tell him to put Mary J. Blige on the hook. He seemed into the idea, but hey, I can’t win em all.

Shortly after, a box showed up at my door full of 200 copies of Friday Night Lights. We all remember that mixtape dropping because it was nothing short of incredible. It also contained Cole’s show-stealing appearance on Kanye West’s “Looking For Trouble”. The anticipation for Cole was high.

For the next 6 months, Cole was off our radar. We didn’t talk about him, there was nothing to promote, and he was quietly making a few tour stops on the BET Music Matters tour. Finally, at the end of June 2011, it was time to get back to work. Cole World: The Sideline Story was scheduled for a September 27 release, and we were ecstatic.

The next few months were high activity. We were driving traffic to numerous links: first the “Workout” single purchase and videos, then there were some Cole World viral videos, and of course eventually the album pre-order. It was at this time that I got to see Cole perform, opening for Rihanna during the Loud tour. His set was short, but he was stadium status and the crowd was definitely feeling him.

“Can’t Get Enough” soon followed, as did the video. It was (and still is) the perfect summer song. We continued to promote Cole and the album hard both physically and digitally as September 27 approached. Finally the day came. Despite receiving a quantity of promo copies, I made a point to go out and buy a copy to support the album. As I thumbed through the liner notes, I found myself ecstatically re-reading one line of the liner notes: “All the college reps” It may not have been my name, but damn if it wasn’t incredible to have been recognized by the artist for putting our work in.

As if all of that wasn’t good enough, the following week, I was glued to HitsDailyDouble watching the album sales come in. Blink 182 also released an album the same week, so it was pretty much understood that Cole would not hit #1 on the Billboard 200, until something changed. There was a groundswell of support for Cole and low and behold, Cole World: The Sideline Story debuted at #1 on the Billboard 200. Watching an album that I worked so hard hit number one, was an indescribable feeling.

Vincent- Revisiting Cole World: The Sideline Story

So, what makes Cole World: The Sideline Story so special? Was it deserving of the praise and #1 debut? Absolutely. As a fellow St. John’s University alum, you may call me bias but I promise you it’s not that. It is a solid album, an exemplary debut album, a breath of fresh air for the genre.

The Sideline Story was a fitting title for the album; aside from the connection to his mixtapes (The Come Up, The Warm Up and Friday Night Lights), the title essentially articulates the scope of it’s content. In fact, one line from one of the title tracks, “Sideline Story,” does a good job of summing it up: “I wish somebody made guidelines, on how to get up off the sideline.” Cole seemingly made the wish come true with his debut set. It is indeed a guideline of how he left the sideline and entered the mainstream court, so to speak.

Like many of the greats before him, Cole too uses his debut as a means of introduction; the album informs of his pre-fame struggle and the life experiences that brought him to this point in life. It begins with “Dollar and a Dream III,” the final installment in a series of songs that began on his first mixtape, it is an inspiring anthem of rags to riches that encapsulates Cole’s particular rhetoric of coming up with nothing but his talent. While it might be a common tale within hip-hop, Cole is unique in that he pursued a college education prior to finding fame. “Dollar and a Dream II” details this more specifically, while part 3 is more generally ambitious.

Of course, the album has some more standard, commercial fair such as hit single “Can’t Get Enough,” featuring a barely-there Trey Songz, “In The Morning” with Drake, the perfection of “Nobody’s Perfect” and Nas-disappointing lead single “Work Out.” The four tracks are the album’s only moments surrounding topics of the romantic persuasion. The rest are tackle other issues.

https://www.youtube.com/watch?v=9Pt0RHz_tno

“Sideline Story,” as mentioned details his come up, while “Mr. Nice Watch” (featuring President Carter) talks about the financial rewards of it, viewed through an apprehensive lens. One standout, thought-provoking line of the song is when he states, “They say time is money, but really it’s not/If we ever go broke, girl, then time is all we’ve got.” Really, when you ponder on it some, it’s quite true in fact.

“Cole World” brings Cole from being merely on the sideline to having “a hundred fifty bitches in the club staring at” him, reveling in how fame has changed his world. More significant in topic is “Lost Ones,” a song that Cole actually saved for four years until he was ready to release his debut album. Its music video was actually shot in 2008, when he was fresh out of college, and he saved it for release via his debut set – in 2011. The song deals with the topic of teenage pregnancy and abortion, written from the perspective of the two protagonists, the man and the woman, involved in the situation. It’s change in point of view is a bit reminiscent of Lupe Fiasco’s “He Say, She Say,” but if possible even more emotionally charged. It’s a standout on the album and within his entire discography.

“Rise and Shine” shows Cole reveling in his rise, cleverly including a quote from Jay-Z in which he says he’s going to find the next big hip-hop artist who wants Jay’s spot; that he’ll find him and sign him. Cole was the first rapper signed to Jay’s new imprint, Roc Nation, and his protege in some ways. “God’s Gift” continues that line of thought and braggadocio while he asserts the notion that he is indeed that very gift Jay spoke of.

The album gets more serious once again with “Breakdown,” a song about his broken relationship with his absentee father, his mother’s drug addiction and society, and the effects of incarceration. While the song is certainly sad, it attempts to be inspiring through the message of the chorus. “Breakdown” set the tone for Cole to release more similarly thought-provoking, socially conscious and profound content within his lyrics on future releases. (Interesting side note, the original version of “Breakdown” used a brief interpolation of the Mariah Carey song of the same name, but the sample wasn’t cleared in time to be used)

Cole World: The Sideline Story was technically the album that put J. Cole on the map; though really it all began with his 2009 mixtape, The Warm Up, which was ultimately the reason Jay-Z signed him. Regardless, Sideline Story has a certain finesse and cohesiveness that was not as present on his mixtape work. Cole World presented an artist that was poised and ready to be taken seriously as hip-hop’s next big thing. Not only is he a genius rhymer, but he is also a producer; he helmed the majority of the album himself – a fact that often goes overlooked. However, there is something uniquely personal and authentic about a hip-hop artist who can play the keys he laments over. Not only can you feel the emotion in Cole’s voice and words, but you can feel it in the soul he exudes into his self-production. Few hip-hop artists can claim to participate in such a dynamic, but for that reason and many more, J. Cole became one of hip-hop’s most highly regarded artists, one of the new kings of hip-hop. Not too bad for someone who was on the self-assigned sideline. He certainly morphed hip-hop into a Cole World.

Stream J. Cole’s Cole World: The Sideline Story below:

The post J. Cole’s Cole World: The Sideline Story Turns 5 appeared first on THE 97.

Announced just a few short weeks ago, J. Cole’s third album, 2014 Forest Hills Drive is now upon us.  Cole earns his third #1 album on the Billboard 200 this week with it’s debut, selling 354,000 copies without any singles and minimal promotion.  However, quite literally, 2014 Forest Hills Drive finds J. Cole going back to his roots.

The album’s title and concept are centered around a significant moment in his life: the first house he lived in growing up, during his teenage years. Perhaps it’s no coincidence then that the album sounds a little more like mixtape-Cole. Without a doubt, this is his least commercial body of work since 2010’s Friday Night Lights mixtape (unless you want to count the Truly Yours EPs released in conjunction with last year’s Born Sinner). The album has no features and, as usual, production is done almost entirely by Cole. While the album is not immediate in terms of being catchy or commercial, it’s immediate in that it feels like a classic album that has organically made itself a part of your life. It’s just pleasing to the ears; it feels right; it sounds right… alongside other great hip-hop, and alongside Cole’s very strong body of work.

The project was unofficially preluded by the release of 2014’s most important song, “Be Free,” which Cole recorded in response to Michael Brown murder and the state of race in America.  Fittingly, he continues the message of “Be Free” on the album’s intro, which acts a preface introducing the album’s theme: the quest for success, fulfillment, freedom, love, and happiness. From there, the album enters it’s conceptual, retrospective arc as Cole reflects on growing up and how he became the person he is today.

The first full length track on the album is “January 28th,” fittingly titled after his birthday (perhaps a nod to Jay-Z’s “December 4th”). The track begins the self reflection with a look at his youthful desires. While “January 28th” is one of the album’s strongest tracks, it’s the similarly youthful “Wet Dreamz,” which immediately follows it, that quickly takes the title of standout track. The internet was abuzz with hype over the track upon the album’s release, and rightfully so. As usual, Cole takes an unfiltered and honest approach to the most relatable of topics: his first time. In a manner of story telling that is uniquely J. Cole, he captivates the listener with his lyrics, flow and sparse production. “Wet Dreamz” is not only a standout track on the album, but one of the best songs in his catalog.

Following “Wet Dreamz” are two more reminiscent tracks, focusing on Cole’s early years and growing up: “’03 Adolescence,” and “A Tale of 2 Citiez.” On the former, he talks of high school and going off to college, which continues on the latter, as he juxtaposes life in 2 cities: New York, and his home of Fayetteville. While in college at St. John’s University in Queens, he found success by releasing mix tapes which eventually lead to his signing to Jay-Z’s Roc Nation. Naturally, his life experiences changed drastically from this point on and his songs are a reflection of such.

Next up is the controversial “Fire Squad,” followed by “St. Tropez,” “G.O.M.D.,” and “No Role Modelz.”  All of these songs in one way or another deal with his success and the state of hip-hop.  Cole evaluates his success, reacts to it, and wonders what it all really means.  While “G.O.M.D.” is a bit jarring, the other three are all strong tracks all around.

The final trio on the album is “Hello,” “Apparently,” and “Love Yourz.”   Once again, on “Love Yourz” we see Cole using a “z” to replace an “s.”  As this is not something he’s done before, I can’t help but wonder if this is because that was the trendy thing to do back when he lived on Forest Hills Drive. These three songs, though, are different from the last four. The topic of the songs changes to love and relationships. On “Hello,” he talks to an old lover and speaks of regrets (“shit seems so sad when you look back”), and on “Love Yourz” and “Note to Self,” he talks more of his relationship with himself. None of these topics are new territory for hip-hop or Cole for that matter, but his perspective on these relationships is an uncommon one. He displays a vulnerability rarely seen in hip-hop.

It is in his honest vulnerability on “Apparently” that we see Cole at his best. Here, he addresses his relationship with his mother and his “girl” (Angie Martinez asked him if he was single, and he declined to respond, but did mention that he says enough in the music). “Apparently” encapsulates all that makes J. Cole great:  self-assessing, introspective, personal lyrics, organic, soulful production, and an emotionally delivered melody all topped off with, of course, an impeccable flow. Unsurprisingly, he opted to release a video for the song because he doesn’t want the song to be “slept on.” Hopefully the track receives the attention it deserves.

Closing the album out is “Note to Self,” bringing the album’s themes full circle, uniting it with one word: “love.” The extended “thank you” outro aside, the album clocks in just under 55 minutes, significantly shorter than his last set, Born Sinner, which ran for 78 with bonus tracks, and felt a bit too long.

2014 Forest Hills Drive defines quintessential J. Cole. “Defines” because before now, “quintessential J. Cole” hadn’t been quite yet defined.  In other words, 2014 Forest Hills Drive may very well go down as his defining album. It is far to deep even for this (relatively) short review to do it justice, and there may be further reflections on it and its songs here on EST. 1997. As a whole, it stands as a cohesive body of work unified not only by it’s sound and production, but by its lyrical content, as well. It is conceptual and thematic, with a distinct storyline. Is there a happy ending? Not exactly, but like any true great he acknowledges he is a work in progress and seems well aware that this isn’t the end for him. He also acknowledges that happiness is an ever fleeting and intangible perception. You can’t always have material things, success, or happiness, but you can always have love…

There’s something more

Something that holds us together

The strangest feeling but I can’t be sure

Something that’s old as forever

Love

Grade:

97/97

The post Album Review: 2014 Forest Hills Drive by J. Cole appeared first on THE 97.

Now, without further adieu, Songs About Divorce, Week 4:

“Son of a Gun” by Janet Jackson samples Carly Simon’s “You’re So Vain,” and what is interesting about both songs is that they were released following both singers’ divorces. Janet’s, however, was a special case: no one knew she was married until she was divorced. However, like Carly, Janet denies that the song is specifically about her ex-husband, as did Carly with “You’re So Vain.” However, essentially that is the entire point of the song, isn’t it? “I betcha think this song is about you… don’t you?” Without a doubt, the sassiest track on Songs About Divorce, “Son of a Gun” is full of biting lines from Janet directed at her ex. Such lines include, “I’d rather keep the trash and throw you out.” There’s no holding back on this track. Sometimes, the pain of divorce can morph into anger… and “Son of a Gun” is proof of that. While, again, Janet says the song isn’t specifically about “him,” I don’t doubt he was one of the inspirations. For a song undoubtedly about her divorce, check out “Truth” from the same album, All For You, which was featured in the Journey to Freedom playlist, Week 2, on the topic of honesty. “Truth” is probably a more apt choice for this list, but for the sake of not having a repeat, “Son of a Gun” was chosen.

Lindsay very courageously shares this point of view via “Confessions,” asking her father heartbreaking questions such as, “why’d you have to go?” and “did you ever love me?”. She laments on how she misses him, wears his old clothing, and expresses how she wished he would’ve been part of her life, admitting “I don’t know you, but I still want to.” It’s accompanying video, which she directed, is equally moving as well.

In the video, she also addresses how hard it is to deal these issues in the public eye. The video’s premise is a recreation of some of her family’s darkest moments, but it takes place in a store window as people walk by… looking in and judging her family. Take a look below.

“He Say, She Say” by Lupe Fiasco is another song from a child’s point of view, but also the mother’s. However, on this track Lupe utilizes different and interesting approach. He raps the same monologue twice: first, from the point of view of the mother, and, second, from the point of view of her son. The song does not come from personal experience, rather Lupe acts as an omniscient narrator. The lyrics detail how the child has been affected by his father’s absence and why the boy needs his father. It’s far more effective to simply take a listen to this track, as its pretty straight forward lyrically.

“Breakdown” by J. Cole is one of the highlights from his Roc Nation debut album, Cole World: The Sideline Story, for it’s emotional and introspective lyrics. Not only is the song personal for Cole as it’s about his family, but he also provides some commentary on the state hip-hop in the context of the song. The first hint of this is in the opening line in which he admits to shedding tears about his dad and not being “too proud to admit it.” Clearly he felt the need to note this because crying isn’t exactly a “cool thing to do” for hip-hop artists, especially men.

The remainder of the first verse is about his relationship with his estranged father: “I feel like you barely know me, and that’s a shame cause our last names are the same, the blood type flowing through our veins is the same.” Cole also talks about how he feels it was selfish his father to abandon him and, while he is hurt by this, admits he still feels inherent need to have a father in his life. It’s a poignant and touching moment that allows the listener to really connect with how he feels about the situation. He ends the verse with these words: “Maybe I should be telling you cause you selfish, but I want a father so bad I can’t help but breakdown.”

In the second verse, J. Cole talks about his mother and her unfortunate struggle with drug abuse. He expresses his anger with the hip-hop community for glorifying drug dealing and related situations in their lyrics because he has witnessed the horrible side of that: his mother’s crack addiction. “You made a milli off of serving hard white? Yeah right, my mama tell you what addicted to that pipe feels like,” he raps to his comrades. His lyrics shine an important light on the cruel side of drug abuse that most rappers don’t tend to address in their music. However, J. Cole was able to witness the consequences of drug abuse first hand. Hopefully, by having rappers bring this issue into their lyrics, more people should understand the impacts of drug abuse. If anyone reading this does have a drug addiction, it might be a good idea to visit a rehabilitation center, like West Coast Recovery Centers (find more information here). Rehabilitation centers can help people overcome their addiction, ensuring that no one has to suffer like J. Cole did as he watched his mother struggle. Generally, there are two types of rehabilitation centers; inpatient and outpatient, although many places offer both. If you are looking for outpatient rehab then you might want to visit the Enterhealth website, as this should provide the information you need. In addition to him discussing drug abuse, he also moves on to talk about police violence against African Americans even before high profile cases like Treyvon Martin and Mike Brown, which he addressed in the song “Be Free” last month. In the third verse, he speaks about a friend of his who is serving jail time. In one song, Cole tackles more issues than most other more popular rappers have in their entire career.

Below is the entire playlist, with the exceptions of Beyoncé’s “Mine” and Lindsay Lohan’s “Confessions of a Broken Heart” which are not available on Spotify. The order of the tracks has been rearranged for thematic purposes and if you listen closely, you’ll find that it flows quite nicely. Place Beyoncé at the beginning and Lindsay after Kelly Clarkson to complete the playlist!

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For this week’s Journey to Freedom challenge, Michelle Williams challenges us to “celebrate a mindful moment of self-love.”  Self-love, Michelle says, is an essential precursor to being able to obtain romantic love.  After all, if you don’t love yourself… how can you expect someone else to love you?  This is an important stepping stone in one’s journey to freedom, especially if one of the goals of your journey is to experience love from another person.

With the songs selected this week, the artists all have very courageously shared their own internal conflicts with the world.  Some of the songs also encourage the listener to love his or her self as well.  So, without further adieu, lets take a look at the list!

1.  “One Is the Magic #” by Jill Scott puts things very bluntly on this midtempo, latin-flavored track off her debut album released in 2000, Who Is Jill Scott?.  With a sass that only Jill can infuse into a neo-soul song, she asserts that “there’s just me, one is the magic number.”  While illustrated through a series of clever wordplay, her point is clear, that she must live for herself and disregard the opinions of others.  My favorite lyric: “So many times I defined my pride through somebody else’s eyes.  Then I looked inside and found my own stride, I found the lasting love for me.”  Well said, Miss Scott.

2.  “Me,” by Tamia has an interesting concept.  In the song, taken from 2006’s Between Friends, Tamia is ending her relationship with an unfulfilling lover.  As she does, he asks if there’s someone else, and she says yes, there is… another woman.  However, that other woman’s name is “Me.”  She proceeds to tell him about all of the things that he has done wrong to “Me.”  This cleverly written, emotional track is most definitely worth the listen.

3.  “Crooked Smile” by J. Cole features TLC on this “Unpretty” reminiscent track from his 2013 sophomore release, Born Sinner.  I considered including “Unpretty” on the list as well, but since both essentially share the same thing, I opted for the song I prefer: “Crooked Smile.”  On this song, Cole directs his words towards anyone who is insecure, but specifically women, encouraging women to embrace their imperfections.  It is nice to see a male hip-hop artist send such a positive message to women considering the rampant degradation that lives in music by some other rappers.  Cole has always set himself apart from the rest by having a mostly positive, socially conscious air about his work.  My favorite line, though, is about himself:  “I keep my twisted grill, just to show the kids its real.  We ain’t picture perfect, but we worth the picture still.”  

4.  “Take Me As I Am” by Mary J. Blige is pulled from her 2005 album, The Breakthrough, which, like No More Drama, is seen as one of her defining albums released at one of the defining moments of her life, for several reasons.  Mary sings to her haters in this self-love anthem.  “She’s confident this is not the end.  Ask me how I know?  Cause she is me,” sings Mary.  There comes a point in every person’s journey to freedom where they finally come to love who they are, as they are.  This song encapsulate’s that moment.

5.  “Pretty Hurts” by Beyoncé is another song dealing with the topic of imperfection, which was a theme across the BEYONCÉ album.  However, “Pretty Hurts” is a bit different.  The song is beauty-pageant-themed, and opens with “Miss Third Ward” being interviewed, and asked what her aspiration in life is.  Her response?  “To be happy.”  And really, that is what the journey to freedom is about.  A journey to freedom… to find fulfillment, and happiness.  However, “Pretty Hurts” specifically deals with the unhealthy expectations to be “pretty” and thin that is placed on young girls in our culture.  Beyoncé ends the song with this affecting verse:

“When you’re alone all by yourself, 

And you’re lying in your bed,

Reflection stares right into you, 

Are you happy with yourself?  

You’ve stripped away the masquerade, 

The illusion has been shed… 

Are you happy with yourself?”  

Self-love is about finally being capable of looking at your reflection in the mirror, and loving who looks back for you… physically, and mentally.  When you can truly do this, then you truly love yourself; imperfections and all.  Beyoncé closes the song by answering her own question, with a ‘yes.”

6.  “I Can” by Nas is an uplifting inspirational track aimed at young people.  The song encourages the youth to follow their dreams and strive toward whatever dream they most desire.  Specifically, the song encourages young African-American children to aspire without limitation.  Nas serves a history lesson on “I Can,” with a flow and a vocabulary that few of his peers can compete with.  I still recall how impressed I was by Nas’ historical flow on this song when I first heard it back in 2002.

7.  “Can’t Take That Away” by Mariah Carey is also called “Mariah’s Theme.”  The song, released on the Rainbow album in 1999, came at a pivotal, transitionary moment in Mariah’s career.  She had just divorced her husband (and head of Sony Music), Tommy Mottolla, and was on her way out of the label.  Feeling as though “people” were out to get her and sabotage her career, she wrote this song about perseverance and self-love.  She also says that it was in part inspired by the tragic Columbine Shooting in 1999.  “Can’t Take That Away” also became a single from the album after an intense fight with the label ensued.  Mariah eventually won, with the help of a fan petition, and got the song released with an emotional video featuring her fans. Unfortunately, it wasn’t very successful.  Regardless, the song is a highlight in her catalogue for both personal and musical reasons.  The vocal run at the end of the bridge is perhaps one of her most impressive.  Its lyrics, while a bit cliché, are extremely relatable and inspirational, and often cited by fans as a song that has helped them through hard times.

8.  “Dot” by Destiny’s Child is a bonus track on the Charlie’s Angels Soundtrack which birthed the more notable “Independent Women Part 1.”  While it’s title really makes no sense aside from the fact that the sound is repeated on the song’s chorus, otherwise, the song is most likely born from a personal place.  Written by Beyoncé following the drama that swirled around Destiny’s Child in 2000, it features lyrics like, “if something’s wrong, blame it on me, B-E-Y-O-N-C-E.”  Undoubtedly, Beyoncé wrote this song to uplift herself after having been torn down by the media who called her dozens of harmful names.  Which would be a hard thing to deal with for any 19 year old.  Perhaps, that’s why she felt the need to pass this inspiration message along to her fans: “Love yourself enough to live life for you, and nobody else.”  

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