Having too many cooks in the kitchen is often discouraged. In the case of ’90s girl group Total’s classic hit “Trippin'” the phrase simply does not apply. Released via Puff Daddy’s Bad Boy label, this jam had several multi-platinum hands involved. Missy Elliott, Timbaland, Mario Winans, Darryl Pearson, and of course, Puffy himself, contributed to writing and producing the LL Cool J-sampling track, with DMX dropping a verse on its remix. It’s no wonder the song peaked at #7 on the Hot 100. “Trippin'” might’ve been their last hit, but unlike the group, their biggest hit has stuck around.

Watch the “Trippin'” video, stream it, or pre-order the “Kim, Keisha & Pam” vinyl reissue.

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

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

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In Hip-Hop, the come-up is cyclical; good karma yields great success. In the case of Missy Elliott, she’s essentially Hip-Hop’s Buddha with all the good karma she’s put into the genre… but even she started somewhere. The reputation she cultivated as a songwriter, producer, and force of female empowerment manifested via several high-profile features on her debut. On its final single “Hit Em Wit da Hee,” she managed to secure features from not one but two fellow female rap stars: Lil’ Kim and Mocha. The result is a fierce, hard-hitting romp that’s all bite, yet no fight.

Watch the “Hit Em Wit da Hee” music video, stream it, or buy “Supa Dupa Fly.”

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

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

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Once songs from your adolescence become the go-to source of samples, you’re officially grown. And, if you’re Missy Elliott, well… that’s just another reminder that you’re that bitch. Up-and-coming British girl group FLO sampled Elliott’s 2001 classic “Work It” on their single “Fly Girl,” and even managed to snag a co-sign from the legendary Misdemeanor. The track leans heavily on nostalgia in sound and lyrics, referencing another 2001 classic by Jagged Edge as they confidently sing, “I don’t need a man to tell me where the party is.” Like the hits they’ve sampled, expect these fly girls to stick.

Watch the “Fly Girl” video, stream it here, or check out their latest EP.

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

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

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If there was ever a golden age of the remix, it was the 1990s. There were house, hip-hop, and R&B mixes galore — and they were all on point! When Janet Jackson enlisted Timbaland and Missy Elliott to remix the fourth single from “The Velvet Rope,” she flipped it from funky bop to hip-hop groove. While Missy’s take on the hook lacks the catchiness of the poppier original, it definitely makes the song slap with a sly, sexy edge atop the Timbaland beat. Whichever variation you choose, Janet’s “Go Deep” will have you partying late into the night.

Watch the “Go Deep” video, stream the remix, or get “The Velvet Rope” 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.

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I was just shy of 13 when Madonna released American Life, and it became the first Madonna album in my ever-growing music collection. I got my copy two weeks after it was released, for my 13th birthday, alongside The Very Best of Cher and a brand new 5-CD, 2-cassette stereo (which still works, by the way). I was a full-fledged VH1 junkie by this time, and had gotten a solid education in Madonna, her controversies, and the music she’d released over the half-decade leading up to American Life. My formal entry into Madonna’s albums had been years in the making.

I devoured American Life. I wouldn’t realize it until later, but it stands as one of Madonna’s most personal and vulnerable, not to mention cohesive bodies of work. It’s folktronica-tinged pop with deeply introspective lyrics. She not only provides critique on the American life and dream, but also does some significant reflecting on herself, career, love, motherhood, and loss. Listening to it today, with a matured ear and the glimmers of nostalgia sprinkled throughout the listening experience, American Life feels like brilliance in all its honesty.

“Do I have to change my name? Will it get me far?,” she considers on the eponymous opening cut. American Life marked yet another sharp turn for the ever-shape-shifting Madonna. After conquering techno and electronica and touching on country, Madonna found folktronica as she examined the American way of life and looked within herself to create her most introspective record to date. Celebrated by fans and dismissed by many critics, American Life remains a polarizing record from one of music’s biggest names.

At times, American Life looks and at times feels like a rebellion. The imagery of the album features Madonna, dressed militantly, wielding guns, and even imitating the famous shot of Che Guevera on the album’s cover. The entire packaging imitates redacted government documents and wielding an uzi. Yet for all the militant influences of the exterior, it’s actually more of a statement of brutal vulnerability. She juxtaposes her critiques and analyses of the American dream and experience with songs about love and reflection, touching on motherhood and the loss of her own mother.

Madonna crafted almost the entire album alongside Mirwais Ahmadzai, who she began working with on 2000’s Music. In leaning into the folk aesthetic of the album she even learned how to play guitar in the ramp up to the album’s release. And while she doesn’t appear to have performed any of the guitar parts on the album itself, she often played it during the album’s promotional appearances and subsequent tour, the Re-Invention Tour.

The title track also represented another notable moment in Madonna’s career. It’s one of the only times she didn’t push ahead with a controversial visual. The woman who had drawn attention to herself for everything from rolling around on stage in a wedding dress, rocking a cone bra, releasing a sex book, and cavorting with a Black Jesus elected to shelve the song’s music video due to the United States’ entry into war with Iraq.

Make no mistake, war was already raging in Afghanistan in response to the September 11, 2001 attacks on the United States. Madonna was aiming to make an anti-war statement, at one point even saying, “at any given moment there’s at least 30 wars going on in this world and I’m against all of them.” However, the entry into Iraq proved to be more significant enough to warrant reconsideration.On April 1 (of all days), Madonna made the following statement:

“I have decided not to release my new video. It was filmed before the war started and I do not believe it is appropriate to air it at this time. Due to the volatile state of the world and out of sensitivity and respect to the armed forces, who I support and pray for, I do not want to risk offending anyone who might misinterpret the meaning of this video.”

Talk about a significant move. Madonna never shied away from controversy. However, to get a fuller sense of what was happening at this time, not long before, The Dixie Chicks faced severe backlash in the face of critical comments of President George W. Bush and the war. Though the reshot video is more tame, it doesn’t detract from the messaging of the song.

“American Life” sets the tone for the album to come. It’s a touch flippant at moments, but delivers a crisp commentary on the American experience, interwoven with her own experiences. She recalls the numerous extremes she’s tried, yielding very mixed results. There’s also the revelatory case of the literal “fuck it”’s that she catches mid-record, which precedes the rap verse to end all rap verses. Is it absurd? Yes. But maybe it’s supposed to be. What better way to mock the American experience and dreams than to have a 40-something mother of two rapping about her soy latte, Mini Cooper, and yoga?

And if you didn’t think she had street cred after that, think again, and listen again. Better yet, spin the Missy Elliott remix, which laced Madonna with a dose of Virginia hip hop flavor. The verse actually lands much better over the rap-oriented beat, and Missy drops some fire herself in addition to her ever-underrated production contributions. Regardless of the rest of the verse, Madonna’s closing line in the rap, “I’m just living out the American dream, and I just realized that nothing is what it seems,” does have a certain resonance to it.

That bar also serves as a perfect precursor for the continued commentary on “Hollywood.” She offers a flippant take on the glamour and ghoulishness of the city of dreams. “There’s something in the air in Hollywood,” she muses. Even that can be interpreted two ways: either the air of opportunity and success, or the literal toxicity in the air that makes the LA environment infamous.

She encourages shining your light, but offers the reminder, “this time it’s got to be good… cause you’re in Hollywood.” She even offers a brief but searing commentary on the music industry, by complaining “music stations always play the same song.” The song serves as a warning, and at the end of the video, she simply unplugs the television responsible for the music and finds relief in the silence.

As she continues to critique the American dream, Madonna also offers commentary on herself. On the self-deprecating midtempo “I’m So Stupid,” she reflects on her own past mistakes and naïveté. The song, which begins with an acoustic introduction, gets pierced by an over-processed note that makes it hard to discern where Madonna ends and the computer begins.

Things take a notable turn after the album’s first three tracks, and Madonna points further inward. “Love Profusion”’s dismissive opening line, “There are too many questions,” is striking over strumming guitars, which expand into driving beat with electronic flourishes. She’s stuck, but still defiant as ever, making the first of a few Christian-dismissals with “There is is no resurrection.” However even that could be taken to simply be saying “you only live once.” Madonna has a knack for layering meaning within her lyrics.

She cleverly shrouds herself in Auto-Tune adjacent vocal effects on “Nobody Knows Me,” as she issues warnings of the world (which is “a setup”), and dismissals of people’s views (“I won’t let a stranger give me a social disease”). It makes for a striking, yet satisfying contrast.

“Nothing Fails,” which sits squarely in the middle of the album, is a tremendous love song and serves as the album’s glorious centerpiece. The song was written by Guy Sigsworth and Jem Griffiths, who produced a Dido-esque demo under the name “Silly Thing.” Listening to that demo against the final product showcases how Madonna’s small lyrical changes and the trio of Madonna, Mirwais and Mark “Spike” Stent on the boards transform the record into something fully her own. Against “Don’t Tell Me”-esque strumming Madonna declares “I’m not religious, but I feel so moved, makes me want to pray.” With a choir that follows, it’s a clear-cut nod to “Like A Prayer,” albeit a less cheeky version. Absent are the double entendres (and music video) that made it so controversial, and what remains establishes a deeper emotional connection.

On two back-to-back ballads, “Intervention” and “X-Static Process” she’s at her most vulnerable. She exudes uncertainty on both songs, but in different capacities. She’s conscious of the changes love will affect on “Intervention.” She’s in the throes of love at the tiny hands of her son Rocco, fully confident in love’s ability to ultimately solve and save everything. It’s a fantastically crafted pop song, with just enough percussion to tap your feet to, a chorus that’s catchy, and a hard-hitting bridge that opens with the gut-punching “In the blink of an eye, everything can change.”

She continues that vulnerability on “X-Static Process,” where she departs from pop sensibilities and instead leans into a poetic folk style for this confessional. She opens the song in front of acoustic guitars with a meek vocal. “I’m not myself when you’re around,” she confesses. The song is a rumination on her mistakes in previous relationships. The song ruminates on the consequences of giving too much power to men (and Jesus/organized religion). She gives men too much power, and in doing that finds herself in an existential crisis. It’s only through developing her own self awareness that she’s able to realize her errors and reaffirm herself.

Though the rapping on “American Life” is largely panned and mocked, Madonna dropped another rap verse on the deeply personal “Mother And Father.” That application proves much more effective in both delivery and content. The whimsical video game-sounding keyboard makes for a much better backdrop for a rap verse. While grappling with the magnitude of the loss, she bluntly describes how she “cried and cried all night and day” after her mother’s death when she was 5. “Oh mother, why aren’t you here with me? No one else saw the things that you could see,” she laments. When she focuses on her father, she concedes how she misconstrued his reaction to her mother’s death. What she initially interpreted as lack of emotion was really just his own processing of grief and enduring his broken heart.

The only significant misstep of American Life boils down to a sequencing decision. The penultimate cut is Madonna’s James Bond theme “Die Another Day,” which was released in late 2002. Though the song was a top 10 hit (making it the most successful on the album then and now; it’s the most-streamed track), and has a sonic profile that’s at home amongst some of these songs, it simply doesn’t fit thematically. It’s also sequenced amongst the album’s otherwise vulnerable and introspective second half, sandwiched ballads about parental grief and life. Though its sonic profile isn’t out of place on the album, the quick tempo and topic-matter don’t fit amidst Madonna’s. It’s a jarring disruption amidst a series of otherwise beautiful and honest expressions. It would have been more apt to simply flip it with the closing track and tack it on at the end and as a bonus track.

She quickly returns to that introspection on the album’s somber closing cut, “Easy Ride.” It serves as a perfect encapsulation for the album. It evolves from an acoustic record, into a trudgery of melancholic determination thanks to an orchestra and evolving complex beat, that at times is throbbing and at others hard and crackling. “I don’t want an easy ride,” she reveals. “What I want, is to work for it.” It’s a powerful statement that resonates differently when considering the commercial deficit that followed American Life. It also resonates when considering the extra work she put in in the weeks around the album’s release to create a new video for her lead single.

Despite scrapping the “American Life” video, Madonna did find a way to leap into some controversy before the American Life album cycle was over. Though it seems like a universe away, in the months following the album’s release, Madonna delivered an unforgettable performance on the MTV Video Music Awards stage, along with a cast of now-legendary women. Alongside Britney Spears and Christina Aguilera, Madonna and her then-GAP collaborator Missy Elliott performed a medley of “Like A Virgin” and “Work It” that was centered around “Hollywood.”

The performance, in which Spears and Aguilera dressed as brides akin to Madonna’s VMAs debut and Madonna dressed as the groom, led to what only needs to be recounted today as “the kiss.” It was one of the most talked-about moments in the show’s history, and today feels like child’s play on the spectrum of controversies. With some different editing, it also might have been an even bigger deal, if that’s possible. Between Madonna kissing Britney and Christina (who’s kiss got nearly forgotten), whoever was in charge of angles had a camera right on Britney’s ex Justin Timberlake. Were that shot not featured, the term might be “the kisses.”

In late 2003, Madonna expanded the album cycle further and released Remixed and Revisited. The 7-track EP compiles four remixes from American Life, an extended version of her GAP collaboration with Missy Elliott, and the aforementioned MTV VMAs performance, as well as a b-side from 1994’s Bedtime Stories.

Depending on who you ask and how you choose to examine the facts, American Life is either a massive flop or a massive triumph. From a chart perspective, it certainly leans towards the former. It marked the beginning of Madonna’s absence from the Hot 100’s summit, which still continues 20 years later. But even that data can be examined from another angle. All five of the album’s singles hit number one on Billboard’s Dance Charts, adding five more to Madonna’s record-setting now-50 number ones on the chart. That’s no easy feat.

Throughout the album, Madonna sounds more herself than ever before. Relying on sparse, folktronic productions, gives her the space to be more raw and honest than she’s ever been. And she shows that she’s still not afraid to stir up some controversy on her own terms, and question the American ideals and way of life.

American Life closed a chapter for Madonna. She’d been careening towards this level of introspection since Ray Of Light, and would go on to squarely abandon it two years later when she returned with the massively successful Confessions on A Dancefloor, led by the ABBA-sampling disco-pop fodder of “Hung Up.” Gone were the ballads and deep reflection, (and military garb and dark hair), and instead here danced Madonna, with red hair and pink leotard. Though she’s found herself in reflection since, nothing has ever matched the depths she reached on American Life.

Stream American Life:

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Age Ain’t Nothing But A Number

Before Brandy and Monica came Aaliyah, the teen protégée of R. Kelly, who was omnipresent during her early career. And yet, Aaliyah’s first album contains the germ of her mystique – flawless vocals that flowed effortlessly over the new jack swing that was all the rage.

Was she singing about things that she actually knew about? Was age really nothing but a number? Surely half of the point of what made Aaliyah such an impressive talent from album one was that she was young, and yet her voice had the confidence and finesse to believably communicate love and yearning without ever growling or straining. The album’s success relied on the listener divorcing the effortlessly smooth and mature vocals from the fact that they were coming from a 14-year-old.

Age Ain’t Nothing But A Number then is the debut album of a teenager with bags of streetwise style and an innate uniqueness (the cover includes a guide to pronouncing her one-of-a-kind name, marking her out from the pack). It’s also a very real examination of deep teenage feelings of first-time love and lust when we don’t understand the new feelings that we experience during adolescence and thus mistake sexual and emotional awakenings for true love, readiness for sex and all of the emotions and consequences that go along with it. And Aaliyah sings about these topics earnestly and believably, but the problem was that these were not her words; they were the words and yearnings of a 26-year-old man who not only produced and wrote her entire album and rapped on some of its tracks but still needed to cameo in the background of the cover. It’s a problematic first chapter in Aaliyah’s legacy, and we never truly know how much of the album’s sultry attitude is hers and how much is his.

One In A Million

Following the public revelation of Aaliyah’s underage marriage, the union was annulled, Kelly was swiftly excised from her narrative and Aaliyah started afresh (the thank-yous in the booklet allude to “skies… not as clear as they are now!”). And how much fresher could she have been than with a sonic backdrop that not only departed from what she had done before but had never been heard before. One In A Million was one of the major breakthrough albums (Ginuwine’s The Bachelor being the other) to first showcase the production majesty of Timbaland and Missy Elliott (both of whom appeared on “Hot Like Fire”).

Image-wise, we see that Aaliyah is still wearing sunglasses or shielding one eye with her hair, maintaining her mystique. The very first words of the album’s intro proclaim that she’s “got beats for the streets”, a direct continuation of Age Ain’t Nothing But A Number‘s opening song “Throw Your Hands Up”. But looking at the young woman on the cover in a long black tracksuit, and in the inlay wearing what would become a signature look: baggy jeans, long coat and tight crop top, it’s also clear that Aaliyah has grown a lot. There’s also another Isley brothers cover (“Choosey Lover”) for continuity, and all of the above is reassuring evidence that Aaliyah’s personality and musical taste did shine through, at least in parts, on her debut.

Another important point I’ll raise here is that Aaliyah rarely wrote her own songs. A common assumption is that the more “genuine” an artist is, the more input they have into the creative process: songwriting, arranging, producing, playing. I myself earlier made the link between R. Kelly writing and producing all of Age Ain’t Nothing But A Number, and him having control of the project. However, there is skill in taking a song that has already been crafted and making it your own, moulding it to fit your vision. I believe that One In A Million allowed Aaliyah much more space to express her own vision, as well as displaying her increased skill as an interpreter and performer. Although Missy and Timbaland’s production takes the lion’s share of the album, other producers and songwriters also contributed to the project, including Rodney Jerkins (“Everything’s Gonna Be Alright”, one of his earliest outings) and Diane Warren, who wrote the closing ballad “The One I Gave My Heart To”. The latter is a prime example of an Aaliyah we hadn’t heard before: a traditional R&B ballad building to an emotional bridge where she displays a vocal surprising in its power and technique, since we had previously only heard smooth nonchalance.

This song was a little bit of an anomaly on an album filled with spacious and off-kilter beats, odd sound effects, sumptuous backing vocals (check out the layers on the bridge of “Heartbroken”), and an inventiveness that is relaxed throughout but just doesn’t quit. I can’t help but think of Prince’s “When Doves Cry” as an effective counterpoint to lead single “If Your Girl Only Knew” – whereas the former is famously bassless, the latter is all about the bass. As handclaps add to the song’s final choruses, the top line is entirely helmed by Aaliyah’s voice and the melody of the song. “One In A Million” repeats this even more so: the first verse is nothing but crickets, bass and layered vocals. Wind chimes and a DJ’s record-scratch buried low in the mix create a lush backdrop that nevertheless pushes Aaliyah’s voice centre stage, as she is the only instrument carrying the melody. As the song progresses, additional effects add to the soundscape before it all drops out for the final chorus.

“4 Page Letter” sees Aaliyah giving direction as she asks for “my music” to be turned “up a little bit more”. It’s a subtle but notable assertion of ownership as she talks about the advice her parents gave her about finding a good boyfriend. Although two years older during the recording of One In A Million than she was for her first album, the songs that discuss love and its emotional highs and lows this time are lyrically age-appropriate and more universal in content than those from Age Ain’t Nothing But A Number: “I’m sending him a 4 page letter and I enclosed it with a kiss” is certainly more elegant, and nearly everyone can relate to both “Your love is one in a million” and “I’m tired of my heart being broken”. Even the most ambiguous lyrics of “Giving You More”, such as “I got what you like, and your love I won’t deny” is mitigated by the song’s promise of devotion and companionship: “You don’t have to worry, I’m with you”… “Call on me and you know that I’ll be all you need.” Of course, everyone involved with Aaliyah’s career at this point had to have been mindful of rebuilding her image, but One In A Million saw this done successfully, with ageless lyrical themes paired to avant-garde musical backdrops.

One cannot close a discussion of the album without mentioning its videos, which also showcased aspects of Aaliyah’s identity and abilities the public hadn’t seen before: fashion-conscious confidence and slick dance moves. Age Ain’t Nothing But A Number‘s videos were nothing to write home about, and the most Aaliyah had to do in them was wander about in shades and a bandanna while she nodded her head and lipped along. “If Your Girl Only Knew” starts off similarly, but sans baggy clothes and instead with startling green and red backgrounds, the video soon establishes a language all of its own, with key words from the song’s lyrics writ large in black paint.

We truly see Aaliyah’s dancing chops in the title track’s video, when she is dressed all in white (quite the contrast from her usual black attire) and executes a routine with a male dancer where they interact as if conversing through their movements, but without touching until the end, when she embraces him. Meanwhile, she also shares screen time with Ginuwine, who is revealed to have her name tattooed on his arm. Aaliyah’s agency in these videos is amplified, where she is front and centre, not in anyone’s shadow and certainly not with Timbaland and Missy peeping over her shoulder at every opportunity. “4 Page Letter” finds Aaliyah creeping through a forest to observe a male dancer; by the video’s end she frees her love interest from slavery, blows some dust that sets their campsite on fire, and then dances with him in a silver two-piece outfit. It’s all a bit silly but throughout it all, Aaliyah is in control. Now, her maturity beyond her years has become her strength.

A cinematic interlude…

It would be a long 5 years before Aaliyah would follow up One In A Million, during which she sought to develop her career as an actress. As well as playing roles in front of the camera, she contributed to the soundtracks of Anastasia (“Journey To The Past” allowed her another opportunity to flex her vocals), Dr. Dolittle and Romeo Must Die.

Dr. Dolittle‘s contribution, “Are You That Somebody?”, remains a prime example of the classic Timbaland sound, with the prominent use of a baby’s cry, myriad clicks and whirrs, and a hyperactive bass guitar forming the song’s musical bed. The whole thing sounds like an experiment in weirdness, with repeated occurrences where the whole song falls silent mid-verse and operatic call-and-response in the second voice – but it utterly works and teases the listener’s ear until resistance is futile.

Romeo Must Die had four contributions. Single “Try Again”‘s acid bassline would later be sampled by George Michael on “Freeeek!”, and adds a sinister urgency to the song’s jumpy snare and syncopated bass. The melody is simple and catchy, but Aaliyah is content to play a supporting role in the music. “Come Back In One Piece” is a rote collaboration with DMX, and “I Don’t Wanna” is a sweet R&B ballad that’s acceptable without being remarkable. “Are You Feelin’ Me”, meanwhile, is a hyper club jam that is one of Aaliyah’s most uptempo songs, and the hidden gem among her contributions to the soundtrack. The song is less than three minutes long but is never less than musically engaging, with Timbaland announcing a “switch” near the song’s end, causing the bassline to morph into something different as the song plays out. It’s exciting and fun, and all of these songs only heightened fans’ anticipation for what Aaliyah would bring next for her third album.

Aaliyah

“We Need A Resolution” lived up to expectations. The opening frame of the video showed Aaliyah sitting front and centre, both eyes regarding us coolly as if she had been waiting for us. The song was an elegant reintroduction to Aaliyah as a singer, and it also demonstrated that she was still pushing the envelope. The video combined the gothic (Aaliyah’s black sheer outfit, long straight hair and fierce makeup linked with her recent role in Queen of the Damned) with the futuristic (she levitates, she sits in a curved chair that hurtles through cyberspace) as Aaliyah lamented the absence of her lover. The most arresting scene of the video is when she writhes in a pit of snakes; we realise that Aaliyah is not only dangerous but also fearless – and grown.

These adjectives perfectly encapsulate what Aaliyah the album set out to achieve – a variety of styles and collaborators never before heard on one Aaliyah album and a range of subject matter that showed her as the arbiter of her own destiny. “Rock The Boat” was an instructive sex jam where Aaliyah takes the lead; “Never No More” sees her leaving an abusive lover and not looking back; “I Refuse” is an epic ballad that dismisses a partner that has taken advantage of her affection one too many times. Aaliyah was also feeling herself: “Extra Smooth”‘s bump and grind mocked suitors who thought a little too much of themselves, while “More Than A Woman” trusted in her transformative abilities as an unparalleled lover. Musically, the album was less chilled than previous efforts: while “Rock The Boat”, “It’s Whatever” and “Those Were The Days” sounded effortlessly relaxed and fluid, “Loose Rap”, “More Than A Woman” and “U Got Nerve” showcased some of the most dynamic production of her career. Her vocal performances were as accomplished as ever, with “Never No More”, “I Care 4 U” and “I Refuse” unleashing the power and an expressive range that had first been teased on One In A Million‘s “The One I Gave My Heart To”.

The imagery of Aaliyah (as well as the fact that it was self-titled) was vital to the album’s statement: the cover was washed in a bright, statement red, and Aaliyah did not wear sunglasses or a coat for the first time. She was unveiling herself, fully blossomed and at the height of her powers. Every photo in the album booklet displayed a different, poised and confident look, and each was a facet of Aaliyah’s developed identity. The cartoon version of her on the album’s limited edition cover was no joke; instead, it perhaps represented Aaliyah’s ability to morph into whatever form she desired. While the “Rock The Boat” video was bright and summery in a way that Aaliyah had never really been before, “More Than A Woman” found her inhabiting various parts of a motorcycle zooming through the city. (Sidebar: cars and motorbikes are omnipresent throughout Aaliyah’s videos and photoshoots.) These videos demonstrated Aaliyah’s stylistic growth and confidence to take risks with her image.

Upon the release of Aaliyah, it felt like she was on the cusp of something greater. With the help of smart management and staff, she managed to somehow navigate her career smoothly past her association with R. Kelly (a feat perhaps not so easily done today, in an age of blogging and social media journalism) to focus on creating music that broke new ground and building a career that balanced her musical and cinematic ambitions. It’s important to remember that Aaliyah always seemed older than her years – it’s quite surprising that even in the “One In A Million” video, she was 17 years old, and only 20 by the point of “Try Again” and Romeo Must Die. But although the songs that she sang and the clothes that she wore were crafted by other, extremely talented people, I do think that we also witnessed Aaliyah developing her own identity as her career progressed and the confidence to express this identity through her art. By the time she passed away, Aaliyah was the executive producer of her final album, and so I firmly believe that we witnessed Aaliyah discovering and expressing herself through her art in real-time. One can only wonder what her career would have become had she lived on. We miss you, Aaliyah.

Playlist: Remembering Aaliyah

The post Remembering Aaliyah: A Young Woman Asserting Her Identity appeared first on THE 97.

In 2001, Mary J. Blige was publicly riding high. Her personal demons were still privately fighting her, but she was fighting back. 2001’s No More Drama was a proclamation of that, as well as a return to form for Mary musically. 1999’s Mary was a departure, and found Mary exploring adult contemporary and more organic neo-soul sounds, as opposed to gritty hip hop beats that gained her the title of “Queen of Hip Hop Soul”. Though she found success in that avenue, it was time to get back to business.

Initially, Jay-Z and Lenny Kravitz were tapped for lead single “Rock Steady,” with a bridge that nods to the Aretha Franklin song of the same name. Unfortunately, due to a leak that found the song on the radio and mixtapes, the song was scrapped and Mary went back to the drawing board. A chopped up piece of the song can be heard here:

No Hateration

After some regrouping, Mary emerged with lead single “Family Affair”. The song showcases Mary continuing to progress the hip hop/soul sound she helped create nearly a decade prior. With signature production from Dr. Dre and bass-extraordinaire Mike Elizondo, Mary cruises over the beat and delivers one of the most iconic (and misheard) hooks of the decade:

Let’s get it crunk upon, have fun upon

Up in this dancery

We got ya open, now ya floatin’

So you gots to dance for me

Don’t need no hateration, holleratin’

In this dancery

Let’s get it percolatin’, while you’re waiting

So just dance for me

If “Family Affair” wasn’t enough of an indicator, the opening triumphant horns and hard-hitting bass drum of “LOVE” make it clear that No More Drama is a return to form. It’s one of her best openers to date. Mary even drops in a searing, rapid-fire rap verse mid-song where she proclaims that she’s not “the same old givin’ ‘way love for free” and she’s “focused now (to the point where) people sayin’ ‘Wow!’ in place of a frown on my face, a smile”. She’s showing her progress.

Slow Burners & Ballads

One of the most poignant and discussed album cuts is “PMS”. Mary flips Al Green’s “Simply Beautiful” into a full blown blues testimonial about the woes of PMS. She holds back nothing, going as far as “the worst part about being a woman is PMS” and discusses feeling ugly, clothes not fitting, and lower back pain. It transforms a beautiful sample into the ultimate torch song.

Meanwhile, the album’s namesake is easily one of the most powerful Mary songs to date. Produced by legendary duo Jimmy Jam & Terry Lewis and driven by an unexpected sample from The Young & The Restless, it captures the essence of what makes people love Mary: her raw, unfiltered proclamation about her life and her struggles. Her performance of the song at the Grammy Awards the following year is regarded as one of the greatest Grammy performances ever, as she absolutely lets loose vocally, sending chills up and down spines and receiving a standing ovation as she damn near drives out the devil.

https://www.youtube.com/watch?v=_se5P3yioO4

Gems

The album contains quite a few other gems such as “Keep It Moving”, a Rockwilder production. It furthers the theme of distancing oneself from drama and living positively, over a classic drum-bass combination with a touch of funky synths. “Destiny” on the other hand is arranged with lush strings and keys as Mary discusses her past, present, and the fate of her future. She initiates one hell of a bounce on “Crazy Games”, and lets out an addicting ascending chorus on “2U”.

Mary doesn’t take on her message alone. She recruits a few heavy hitters to help convey her message. Eve joins Mary for the retrospective “Where I’ve Been”. They speak to the kids who were once just like them, living in the ghetto, growing up in a difficult environment, and reinforcing that they’ve transcended that place and that it gets better. Pharrell blends his vocals with Mary’s on his slick Neptunes production “Steal Away”. Missy Elliott provides production and some background vocals on the soul-sampling love song “Never Been”.

The Reissue

Just 5 months later, the album was re-released with a brand new album cover, and 3 new tracks. “Crazy Games”, “Keep It Moving”, and “Destiny” were replaced by “He Think I Don’t Know”, “Rainy Dayz (featuring Ja Rule)”, and a remix of “No More Drama” reuniting Mary with longtime collaborator Puff Daddy. “Dance For Me” was also updated to include a verse from Common.

“He Think I Don’t Know” is a perfect fit for the album It also became Mary’s first Grammy-winning song, at the 2003 Grammy Awards. Mary cuts into a cheating lover who thinks he’s pulling the wool over her eyes. She marinates over his shady behavior: extensive unsuccessful trips to the store, his expectation of more trust, assumption of her naivety, and her own experience of (unbeknownst to him) catching him in the act.

“Rainy Dayz” went on to become one of the biggest R&B songs of 2002, just as “Family Affair” did in 2001. Ja Rule was a hot commodity at the time, fresh off his crossover success collaborating with Jennifer Lopez on “I’m Real”. The Irv Gotti-produced track was initially meant for TLC (as a follow up to “Waterfalls”). Instead it ended up in Mary’s hands, and she turned it into another hit. The song even caught the ear of Whitney Houston. Whitney showed up to perform the song with Mary at the 2002 VH1 Divas Las Vegas show.

15 years later, No More Drama continues to shine amongst Mary J Blige’s catalog. Like the closing track “Testimony” the album serves as a declaration of Mary’s continued growth and struggles. That declaration isn’t without her strive for improvement, making mistakes, and acknowledgment of the woman she was, and the woman she continues to become. No More Drama is a brilliant and crucial chapter in the story of Mary J. Blige.

Dig into No More Drama and the re-release below:

The post 15 Years Later, Mary J. Blige’s No More Drama Still Reigns appeared first on THE 97.

“Not Tonight,” featured on Kim’s 1996 debut Hard Core, was already all-sorts of female liberation. Kim was happy to rhyme about the guys who wanted her to get down and dirty but wouldn’t return the favor. This was lyrical sexual empowerment. While some artists defend their tepid lyrics with “if a man said this, you wouldn’t have a problem,” Kim dove head first into a male-dominated category and made sure we knew what she wanted – and how she wanted it.

Fast forward to the summer of ’97 and “Not Tonight” gets a revamp for its single release. The Ladies Night Remix featured guest verses from Da Brat, Missy Elliott, Angie Martinez and Lisa Left Eye Lopes. Now, to put this into a bit of context, these were all hot female rappers, but at the same time up-and-comers. Lil’ Kim’s album had been released the year before, Missy had a slew of guest appearances and production credentials but was still gearing up to release her solo effort, Da Brat was two albums deep into her career, Angie Martinez had only appeared on one guest verse and Left Eye was achieving mainstream success as part of TLC. The beauty of the “Ladies Night Remix” is that is shows the versatility of rap, with each woman bringing their signature style and flow to the song. Each artist was at a different point in their career but when they came together there was a sense of unity. This continued on in the music video.

The summer-themed visual featured all the ladies together, riding jet skis, speed boats, and performing together in a safari themed setting. There was also a host of cameos from the likes of Queen Latifah, SWV and Mary J. Blige. It was truly a star-studded affair and can still be appreciated today where feature videos tend to literally be (video) phoned in.
The song was a success, charting at #6 on the Billboard Hot 100 and being featured on the Nothing to Lose Soundtrack. It’s no surprise given the talent on the track, as well as Missy Elliott’s Kool and The Gang inspired chorus:

“cause this is ladies night, and our rhymes is tight,
yeah this is ladies night, oh what a night,
cause this is ladies night, and the feelings right
yes this is ladies night, oh what a night”.

The song has stood the test of time, being greeted with roars of applause when Lil’ Kim, Da Brat and Missy got together to perform the song at the 2014 Soul Train Awards.

It’s been 19 years since the “Ladies Night Remix” was released. With all the potential among today’s female rappers, it would be interesting to hear and see how they would come together on a single track. Sure, Nicki Minaj delivered arguably her best verse of Kanye West’s “Monster,” but imagine that with a host of other female rappers! “Ladies Night” is exactly what a collaboration should be: a mix of styles coming together on a singular track with the music video to match. So this summer, get the cocktails together, add this jam to your playlist and Get. Your. Life.

The post Throwback Jam: it’s the “Ladies Night” anniversary! appeared first on THE 97.

There’s something to be said for Trina’s longevity as an artist, and a female rapper. She’s on the Louboutin heels of releasing her 6th album, something that puts her ahead of every single notable woman with bars in music today. Her closest competition in number of albums released is her friend Missy Elliott, who also may finally be on the heels of releasing a new album, tieing her with Trina for most albums released.

Regardless, Trina has remained a mainstay in music since her debut album was released 15 and a half years ago. She has managed to overcome beefs and align herself with every prominent female rapper throughout the years, from Eve, Da Brat, and Missy Elliott to even Foxy Brown, Lil’ Kim, and Nicki Minaj. Trust, it’s not an easy task to be cool with every one of these women. The only women who don’t like Trina are her geographic peers Khia and Jacki-O (the latter of which probably doesn’t have a problem since she is of the church now).

As Trina prepares her 6th album for release, she takes perhaps the ballsiest and most impressive move she has in years and samples Eazy E on her first/buzz single, “Fuck Boy.” Emulating the attitude that gained her notoriety when her debut single dropped a decade and a half ago, she incorporates her ‘no fucks given’ mantra with contemporary slang and slays her way through the track.

I’m in an unpopular position here, and not trying to start mess. However, I believe that “Fuck Boy” is superior to Missy Elliott’s comeback single “WTF” with Pharrell. That’s no disrespect. I LOVE Missy, and the “WTF” video. But “Fuck Boy” invigorates and inspires. I want to walk outside of my office and scream these lyrics to random men in midtown Manhattan, unapologetically. And that’s something Trina has and will always be good at, lyrically annihilating a no good man, effortlessly. I can’t wait to see what else album #6 brings to the table. Da baddest bitch is in the building, and you best listen da fuck up.

https://www.youtube.com/watch?v=dt4O5NZ44UQ

Grade:
90/97

The post Single Review: Trina’s “F**k Boy” affirms that she’s still Da Baddest appeared first on THE 97.

As an established artist, Aaliyah lent her vocals to help sing the chorus of their debut single “Up Jumps Da Boogie,” alongside a feature from fellow frequent collaborator and crew member Missy Elliott.  Released as the first single from their album Welcome to Our World, in July of 1997, it managed to peak at number 12 on the Billboard Hot 100 and number 58 on the year end chart.

“Boogie” was released at the perfect time, just after Timbaland and Missy Elliott’s production success with Aaliyah’s sophomore album One In A Million was building her as a premiere R&B act; and likely marked the beginning of the superstar career which translated to success for Tim and Mag.  Certainly setting the tone for Hip-Hop and R&B music of the time, their entire crew received success during that era of music.  Timbaland and Magoo, Aaliyah, Missy Elliott, Ginuwine and to a lesser extent, success for Playa and Nicole Wray as well.  For Timbaland this success wasn’t ending anytime soon either.  In the mid 00’s he achieved another whirlwind of success with popular crossover acts Justin Timberlake and Nelly Furtado to name a few.  While on the other hand Magoo hasn’t really remained active within popular music outside of the Timbaland and Magoo success which seemed to become a pastime memory post releasing their throwback infused single “Cop That Shit,” released in 2003.

The post For The Nostalgia: “Up Jumps Da Boogie” by Timbaland & Magoo appeared first on THE 97.