After decades in the public consciousness, some songs you just know somehow, perhaps due to sheer ubiquity, or sampling. JAY-Z’s “Can I Get A…” featuring Amil and Ja Rule is one of those tracks. J. Cole fans will recognize, “Can I hit it in the morning?” … Janet Jackson fans will recognize its “bounce.” However, in the summer of 1998, “Can I Get A…” was a big hit in its own right, helping inch JAY-Z closer to crossing over and establishing new acts Amil and Ja Rule. The infectious, Irv Gotti-produced bop lights up any club — then, and now.

Watch the “Can I Get A…” video, stream it, or purchase the album on vinyl.

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

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

The post 97 Words: “Can I Get A…” by JAY-Z, Amil & Ja Rule appeared first on THE 97.

Executive producer Swizz Beatz is the biggest problem with Exodus. He doesn’t bring his A-game to the album as a producer or in his occasional vocal contributions. Swizz’s lackluster work is apparent from the album’s opener “That’s My Dog.” It’s a far cry from the classics X and Swizz have crafted over the years (think, “Ruff Ryders Anthem” and “Party Up”), and while The LOX go hard over the menacing beat, Swizz’s near-monotone “that’s my dog-yeah” hook disrupts and diminishes their impact. X doesn’t even appear on the song until 3:35, which becomes a common thread throughout the album. In fact, X only raps for about 10 minutes total throughout the entirety of Exodus.

After a rocky start, things go further south on the long-anticipated “Bath Salts” featuring Jay-Z and Nas. It should be a monumental occasion to have this trio of 90’s New York legends united. Instead it’s a jumbled mess. There’s a quality issue with the mix. Jay-Z sounds so muffled it’s hard to even listen to him. X sounds similar, like he’s rapping in a tube. Nas is the only one who sounds okay, and drops a few decent bars (but not memorable enough to quote). The drastic contrasts in quality detract from the final product. It’s a major disappointment after being teased for years. The retooling done by Swizz for the album removes the song’s hook and Jadakiss’ verse heard on the initial version of the record (as well as a recently-teased J. Cole verse).

The rest of the album’s first half is full of misses. “Dogs Out” featuring Lil’ Wayne (a far cry from the song of the same name on Grand Champ) sounds like Swizz retooled his superior Lil’ Wayne record “Uproar,” to diminished results. “Money Money Money” featuring Moneybagg Yo is annoying and forgettable. Pop crossover attempts “Hold Me Down” featuring Alicia Keys and “Skyscrapers” featuring Bono are generic and underwhelming. The latter is like Eminem and Ed Sheeran’s “River.” With the big hook delivered masterfully by Bono it had potential, but the production by Swizz sank this record before it even had a chance to float (which may be why it’s been sitting in a vault for 10 years).

For some reason, an intense “Stick Up Skit” follows the inspirational Bono record, but it marks a turning point. Immediately after, X feeds off the energy of the Griselda Records crew on “Hood Blues” and delivers one of his best verses on Exodus. The beat is simple, but effective. The sad jazz vibe sets the tone for the verses that follow. X goes off, threatening “I got that cannon that’ll remove your head and shoulders” before tossing out the scariest threat: “Sometimes I can’t manage all the shit in my head.” It’s an intense verse that closes with X yelling “I’m not 50 years old for nothin!” He sounds ready to fight, rob, and attack. It’s classic X. No doubt he needed to be calmed down after getting so in the zone on this one.

Snoop Dogg and X trade bars over a masterfully chopped up “Sexual Healing” sample on “Take Control.” The verses aren’t anyone’s best, but the sample is so strong it makes up for it. X delivers another strong verse on “Waking In The Rain,” once again alongside Nas. It’s an introspective cut about resilience with reflective bars like, “Every time you go through somethin’, there’s somethin’ to gain, And you only truly suffer if you remain the same, Let the dirt you go through change you, Don’t forget, evеn Satan was an angel.”

“I don’t know what you thought about my use of drugs, but it taught you enough to not use them drugs” X delivers on the sobering “Letter to My Son (Call Your Father).” Despite X’s largely heartfelt verse delivered as a letter to his oldest son, he disappears after delivering the single verse. Usher delivers a strong hook, and a violin solo is emotionally ravaging. But like other records on Exodus that only possess a single X verse, they’re just filling the gap. At first it’s frustrating, but then it’s depressing. It begs the question: Is it sadder that Exodus is DMX’s final body of work, or that X isn’t still here to give us the hope for a musical redemption in the future?

Listen to DMX’s Exodus:

The post Review: DMX “Exodus” appeared first on THE 97.

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

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

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

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

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

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

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

Rating: 30/97

Stream Khaled Khaled:

The post Album Review: DJ Khaled’s Khaled Khaled 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.

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

The Smash Singles

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

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

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

Two Sides, One Songstress

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

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

Independent Woman

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

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

Dangerously In Love

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

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

Classic Balladry

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

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

Gift From Virgo

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

Daddy Lessons

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

“Dangerously In Love,” The Blueprint

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

Listen to Beyoncé’s “Dangerously In Love”

The post Beyoncé’s Dangerously In Love: The Debut Blueprint of an Icon appeared first on THE 97.

Whether your thing is Hip-Hop, R&B, Pop, or something else, the music world delivered several albums that we found to be worthy of being called the top albums of 2017, or as we like to call them, “97s.” We saw the long-awaited return of several of our favorites, and debut albums from a number of notable new talents, such as SZA, AlanMichael, and Declan McKenna. But, how did they all rank in our list?

Deliberated by our team of writers, we’ve ranked the top albums of 2017 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…

THE 97’s Top Albums of 2017:
The 19 “97” Albums

19. Entrancing, AlanMichael

AlanMichael is an up-and-coming independent artist that you need to know. Our readers might recall his 1997 mix of Beyoncé’s “Pray You Catch Me” with Janet and Mariah. He’s a multi-threat: singer-songwriter-rapper-producer-dancer … and probably more. Entrancing is his first official release after a series of EPs and mixtapes. The set is short, but striking nonetheless — striking enough to stand worthily alongside a list of his big-named, mainstreamed, soon-to-be peers. On Entrancing, AlanMichael showcases his versatility, vanity and vulnerabilities. The album is an introductory journey that takes the listener through this captivating new artist. Not only that, it is also a journey through a multitude of fresh and varied musical landscapes, innovative vocal intricacies and subtleties, and dynamic lyrical themes. However, the Entrancing experience doesn’t stop at your ears: it has a visual component available now on YouTube. Highlights: “Vanity,” “The Lux” and “Is This Where We Are?” -Vincent

18. DROGAS Light, Lupe Fiasco

A mix of new material and refined older recordings, Lupe Fiasco‘s sixth studio album DROGAS Light is a prequel to the coming DROGAS Wave. While not his most profound or innovative work, DROGAS Light is a solid set packed with several bops and that signature Lupe flow. The unique storytelling is there (“Jump”), alongside a heartfelt dedication to his mom (“More Than My Heart”), thought-provoking moments (“NGL”), and even a little romance (“Pick Up the Phone”). One of my favorites, though, is “Promise,” where Lupe cleverly makes a very simple, sing-songy rap track to show, “yeah I could do that too… but I’m above it.” When I first heard the song, I thought it was a guest artist rapping. But it’s Lupe being messy, as per usual. Highlights: “Promise,” “It’s Not Design,” “Wild Child” -Vincent

17. ?VOLVE, Imagine Dragons

16. El Dorado, Shakira

Shakira’s El Dorado is almost like a greatest hits compilation of her year prior to its release. Of the album’s 12 tracks, 5 had been released prior to the album. Three of those were duets with other artists, while the other two were her own promotional singles. It was an interesting but effective strategy. The album’s highlights are in fact its duets, notably the new additions “Chantaje” and “Trap” with Maluma and “Perro Fiel” with Nicky Jam. On El Dorado, the 40-year-old Shakira proved she can still hang with los jovenes and churn out the hits. Highlights: “Chantaje,” “Trap,” “Me Enamoré,” “Perro Fiel” -Vincent

15. What Do You Think About The Car?, Declan McKenna

There was a LOT of hype around Declan McKenna and his debut album. Multiple times, by multiple outlets, he’s been called ‘the voice of his/a generation’. While he may not have proven (or accepted) that title, his debut alum is a solid body of work. He showcases his covers a unique group of topics such as LGBT teen suicide and corruption in FIFA. He accomplishes this over a surprisingly welcoming indie-rock-themed body of work (with some clear inspiration from Bowie and Dylan). Highlights: “Why Do You Feel So Down?”, “Humungous”, “Brazil”, “Paracetamol” -Andrew

14. More Life, Drake

Many people probably don’t really consider this a Drake album, but why not? It has all the elements that make a Drake album: the mellow R&B-ish undertones, the ear to the streets to know what’s hot and the tropical bops. And speaking of bops, More Life gave us a couple of Pop crossovers that rank up there with the likes of “Hotling Bling” and “Hold On, We’re Going Home.” Drake is maybe still trying to find a balance between the street cred and the Pop superstar life, and he may get a little repetitive, but since this isn’t really an album, maybe he will explore new ground on the next chapter. Hopefully. Highlights: “Passionfruit,” “Blem,” “Glow.” -Mario

13. Double Dutchess, Fergie

12. The Autobiography (As Told By), Vic Mensa

I saw Vic Mensa live twice this year. First, at the Tidal charity concert, and most recently at Jay-Z’s 4:44 Tour. His live performances left me so impressed that I decided to listen to his album. I was even more impressed. The set is aptly titled. Autobiography plays like a confessional. Mensa is no-holds-barred in his honesty and emotional delivery. He cascades subject matters, ranging from relationships to race in America. It’s not perfect, but its imperfections add to its character. He is a raw, unfiltered artist whose voice and artistry are only going to become more refined and defining. Highlights: “Say I Didn’t,” “Homewrecker,” “We Could Be Free” -Vincent

11. Ctrl, SZA

The plight of black women and the pursuit of love and happiness is something that I’ve written about extensively, and the narrative is often one of despair and heartache. In Ctrl, SZA not only changes that narrative, she completely turns it on its head, leaving little to the imagination, and changes the conventions entirely. In songs like “Supermodel”, “Love Galore”, the Kendrick Lamar assisted track “Doves in the Wind”, and most notably, “The Weekend”, SZA frankly discusses her need for unattached, no strings, relationships, matters of the heart, and one’s almost self-destructive need for sex.

There have been people I’ve discussed album’s subject matter in great detail, and some find her messages unappealing, for it is “unladylike” for a woman to speak so candidly about sex in such a “vulgar” manner. However, SZA does nothing more than speaking to the same things that have been the status quo for men for centuries. Feminist teas for the win! In reality, the album’s content is what for the most part, represents our generation’s attitude towards love and sex, and truthfully, unabashedly takes full ownership of that attitude. Highlights: “The Weekend” “Love Galore” “Doves in the Wind” “Go Gina” “20 Something” -Jordan

10. CollXtion II, Allie X

Allie X affected me this year. This album captivated me from the very first listen. Allie already demonstrated her songwriting abilities contributing to Troye Sivan‘s stellar Blue Neighbourhood. Now she showcases the full picture on her debut LP. CollXtion II combines dark, synth-driven pop with clever lyrics, catchy melodies with Allie’s haunting vocals. At times it’s dreamy and effervescent. Other times it’s nightmarish and downtrodden. One thing’s for sure: This isn’t the picture-perfect love created in a Disney cartoon. Highlights: “Old Habits Die Hard”, “Casanova”, “True Love Is Violent”, “Vintage” – Andrew

9. Bluebird of Happiness, Tamar Braxton

On her fourth album, Tamar Braxton decided that she was not going to highlight the cons of a relationship, but instead, she focused primarily on what made her feel happy. This was probably just an effort to mask the difficulties and the struggle she was going through while making this record: just after the release of the album she and Vince decided to announce their separation. Nonetheless, Bluebird of Happiness showcases Tamar’s qualities as an R&B songstress and her ability to put emotions on wax-like very few can do in the current music landscape. Highlights: “Wanna Love You Boy,” “The Makings of You” “Pick Me Up.” -Mario

8. Evolution, Anastacia

Anastacia is a veteran in the industry, with hits under her belt, in Europe that is. In her native USA though, she’s fairly unknown beyond “I’m Outta Love”. This year’s Evolution was her 7th studio effort, and one of her best to date. More than a decade after she discovered her Sprock (soul-pop-rock) sound, she grows beyond it to a unique mix of pop and rock. She’s not chasing trends here, nor is she going retro. Despite a tragic lack of push from her label, Evolution sounds fresh, expansive, and contemporary. Highlights: “Redlight”, “Before”, “Higher Livin'” -Andrew

7. Grateful, DJ Khaled

I’ll be the first one to admit that I’ve never been a huge fan of DJ Khaled. While I’ve always respected his hustle, some of his productions never really caught my eye. Amidst his massively popular social media presence and his involvement with one of last summer’s anthems, “All The Way Up”, Khaled absolutely won with this year’s LP, Grateful. Enlisting the help of Drake, Rihanna, Migos, Alicia Keys, Nicki Minaj, and of course, Beyoncé and JAY-Z, Khaled really crafted a work that full of simple good vibes. Not every album needs to evoke deep thought; sometimes, especially in this day and age, it helps to just bop. His inclusion of his son Asahd on the final track “Asahd Talk (Thank You Asahd), as well as on the album cover, is icing on the cake. Highlights: “I’m The One”, “Shining”, “Wild Thoughts”, “Billy Ocean” -Jordan

6. Beautiful Trauma, P!NK

It’s been five long years since P!NK released her last solo effort, The Truth About Love, and she returned this fall with Beautiful Trauma. A pensive collection of reflections, the album is an emotional rollercoaster that plays like the lyrics might have just fallen out of P!NK, in a stream-of-consciousness style. Never one to hold back, she once again does not disappoint in that regard. Whether it’s by delivering a subtle political message (“What About Us”), an honest take on her relationship (“Beautiful Trauma”), vindictive hurling of insults (“Revenge”), or a battle with her own insecurities (“Better Life”) she always takes it there.

There are more touching moments, too, such as the nostalgic ballad “Barbies,” emotionally and vocally raw “You Get My Love,” and the anthemic “I Am Here.” The title perfectly encapsulates the album, indeed it is beautiful, yet slightly traumatic. Highlights: “Secret,” “But We Lost It,” “Barbies,” “I Am Here” -Vincent

5. Strength of a Woman, Mary J. Blige

The Queen of Hip-Hop/Soul‘s 13th studio album comes at a time in her life when she’s facing the struggle of a failed marriage. The name of the record, however, shows that Mary’s not about to let this drama sink her heart. Instead, she’s taking the opportunity to remind us that she’s a survivor. Strength of a Woman is the work of a scorned woman who’s found her inner light to shine, an artist who’s adding one more block to an already solidified legacy. This album is ultimately also a reminder that Mary’s ability to bare her soul to us is something that’s always set her apart. Highlights: “U + Me (Love Lesson),” “Set Me Free,” “Love Yourself.” -Mario

4. Meaning of Life, Kelly Clarkson

I have wanted Kelly Clarkson to release an R&B album since I heard her half-baked, directionless debut set. From there, as we all know, she rebelled with pop-rock via Breakaway, My December and other solid, but predictably pop cuts. Along the way, there were hints of soul, such as “What’s Up Lonely” from Thankful, “Why Don’t You Try?” from Stronger, and “Bad Reputation” from Piece By Piece. However, on Meaning of Life, Clarkson went full-throttle. Sure, the album still has pop sensibilities, but there’s no rock flair or country twang on any of these songs. There’s slinky R&B (“A Minute”), supersonic throwback soul moments (“Love So Soft”), and even some clear Mariah inspiration (“Medicine”). Then, of course, there is “Whole Lotta Woman,” on which Kelly must’ve been channeling Beyoncé’s role as Foxxy Cleopatra as she announces: “You ain’t know!? Texas women do it bigger!”

The vocals are glorious. The album is full of life. I don’t know that I know the Meaning of Life after hearing it (I don’t) but Ms. Clarkson certainly solidified her status among the New School of Divas and gave me my whole life in the process. Highlights: “Whole Lotta Woman,” “Would You Call That Love,” “Cruel,” “Medicine” -Vincent

3. DAMN., Kendrick Lamar

The mumble-rap sub-genre continues to dominate mainstream culture. However, Kendrick Lamar compiled his third solid body of work in a row, relying on strong lyrics backed by strong beats. Kendrick isn’t afraid to take risks, speak his mind, and do so in a manner that’s digestible and prophetic to the masses. DAMN. was a cultural phenomenon: the album cover meme, its ubiquitous lead single, and the viral moments that followed with “DNA.” and “LOYALTY.” Highlights: “DNA.,” “PRIDE.,” “FEAR.” -Andrew

2. War & Leisure, Miguel

Highlights: “Pineapple Skies”, “Banana Clip” “Told You So”, “Anointed”, “Come Through and Chill”

Of all the albums on our countdown, this one is among the newest. After a shaky third album, Miguel came back this year with War & Leisure and dare we say it, it’s a return to form. It’s not like Wildheart was a bad effort, but it was at points too daring and too much – and sometimes less is more.

In his fourth studio effort, Miguel created what is in my opinion, the most consistent work of his catalog, as he really strove to mix the sounds that he is most well known for, as well as those more aligned with his Mexican heritage, which all blend to create a really full-bodied album. With this album, Miguel was able to capture the essence of what we’ve come to expect from him as an artist: the writing is great, the melodies are punching and the productions are stellar.

What can be found across all of Miguel’s albums is his endless adoration of love. The album’s content is as carefree, (“Pineapple Skies”) as it is lovestruck, (“Banana Clip”), and seductive (“Come Through and Chill”). The work’s instrumentation is at a lot of points very reminiscent of some of Prince’s mid-1990’s catalog, and with some appearances from Rick Ross, J. Cole, Travis Scott, and Kali Uchis, the result is an extremely solid, albeit quirky album. He’s once again managed to create an atmosphere with his music that just wraps your ears and never lets you go until the music’s over.

Finally, Miguel is perhaps the voice of our generation that we didn’t know we needed, and might not even realize that we have. With the embodiment of the millennial penchant for Netflix and Chill (because we can’t afford to go out), the self-love party anthem that is “Pineapple Skies,” the culture melding Spanglish of “Caramelo Duro,” or his critical letter-in-song to the “CEO of the Free World” on “Now,” Miguel speaks for our generation whether we asked him to or not – whether he realized it or not. -Jordan, Mario & Vincent

1. 4:44, Jay-Z

Highlights: “The Story of OJ”, “Smile,” “Caught Their Eyes,” “4:44,” “Family Feud,” “Moonlight”

Ohhhhhhhhh Jay. We was waitin’ on you at da doe! You found a magical way to make your epic fuck up a learning moment. The world waited in utter anticipation for a response to all of the allegations of his supposed infidelities, and those were all but confirmed in the track of the same name. 4:44 references the time he wrote the title track. “4:44” is about doing the unthinkable: cheating on Beyoncé. But to merely write this work off as a response to LEMONADE would not only discredit this album but Bey’s as well.

4:44 is our album of the year this year, and LEMONADE was just that for 2016. The two are companions not just for their marriage-related subject matter, but for much more. Jay-Z’s 4:44 is for Black men what LEMONADE was for Black women. Both delve into subject matters related to the Black experience in America and try to make sense of it all. In the case of 4:44, Jay explores why and how he got to where he is today in many facets. And all of it is glorious.

The album is probably the most socially conscious of Hov’s career, as it touches on a wealth of topics, such as embracing his mother’s homosexuality (a rarity in the hip hop community), capitalism, greed, race relations, and of course, fidelity. In a long and storied career that at times has fixated on the superficial and materialistic, it’s really dope to see the full breadth of Jay’s creativity in full force.

What is equally important, is the actual musicality it the album. The production value is insane, as Chicago’s very own No I.D. skillfully samples varied artists such as the pioneering Nina Simone, (“The Story of O.J.”), Stevie Wonder (“Smile”), and Hannah Willams & The Affirmations (“4:44”). Then, of course, there is the epic freestyle from Miss Blue Ivy Carter herself. -Jordan, Vincent & Andrew.

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

Once again graduation season is coming to a close. Hats off to the Class of 2017, the latest crop of grads, you did it!

Can you believe it, it’s been 10 years since the graduating Class of 2007 walked across the stage in their cap and gown to receive their diplomas or degrees?!

So let’s take a moment a go down memory lane, and remember some of the biggest hits that the Class of 2007 was jamming out to back during their 2006-2007 school year!

Fergie and Ludacris, “Glamorous”

Justin Timberlake and T.I., “My Love”

Beyoncé, “Irreplaceable”

MIMS, “This Is Why I’m Hot”

Gwen Stefani and Akon, “The Sweet Escape”

Pretty Ricky, “On The Hotline”

Nelly Furtado, “Say It Right”

Jibbs, “Chain Hang Low”

Rihanna and Jay-Z, “Umbrella”

Shop Boyz, “Party Like A Rockstar”

Gym Class Heroes and Patrick Stump of Fall Out Boy, “Cupid’s Chokehold”

Danity Kane and Yung Joc, “Show Stopper”

Definitely a great year of music! Which songs from the 2016-2017 school year will we be remembering come a decade from now, during the graduation 2027 season?

The post A Year in Music: The Class of 2007… A Decade Later appeared first on THE 97.