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

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

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

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

The Angst

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

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

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

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

The Confessionals

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

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

The Bops

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

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

The Impact

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

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

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

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

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

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

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

Listen to P!NK’s M!ssundaztood

The post M!ssundaztood: How P!nk Defined Herself by Defying Expectation 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.

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

At EST. 1997, we chose the 19 “97” singles of 2017, which simply means the 19 best singles of 2017. If you’re familiar with the way we review singles/albums, then you know that “97” is our top score. We love every song on this list, ranked them according to how much, and weighed in with a few thoughts about each. Please feel free to comment with your thoughts, as well! We’d love to hear from you and engage in any discussion.

EST. 1997’s Top Singles of 2017: The 19 “97” Singles

19. “Caught In The Middle” Anastacia

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

18. “Love So Soft,” Kelly Clarkson

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

17. “Love Galore,” SZA

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

16. “SHEther” Remy Ma

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

15. “LOYALTY,” Kendrick Lamar ft. Rihanna

14. “Slow Hands” Niall Horan

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

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

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

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

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

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

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

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

10. “What About Us,” P!nk

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

9. “The Star,” Mariah Carey

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

8. “Took Us a Break,” Lil’ Kim

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

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

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

6. “Skywalker,” Miguel ft. Travis Scott

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

5. “The Cure,” Lady Gaga

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

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

4. “That’s What I Like,” Bruno Mars

3. “HUMBLE,” Kendrick Lamar

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

2. “The Story of OJ,” Jay-Z

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

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

1. “Bodak Yellow” Cardi B

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

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

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

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

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

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

Today was met with an unexpected new single release from pop superstar P!nk… however, it’s not what you’d expect.  The single is actually the debut of music’s latest duo, comprised of P!nk and Dallas Green, also known as City and Colour.  Together, they equate to You+Me.

The duo’s debut album, Rose Ave., is due October 14th, and is lead by the single, “You and Me.”  This romantic, acoustic ballad finds P!nk exploring territory that was usually regulated to one track per album on her own projects.  It is comparable to songs like “Crystal Ball,” “Beam Me Up,” and “The One That Got Away,” but still fresh and different.

This spontaneous and creative move brings a refreshing change to P!nk’s catalogue.  Just as it felt she was an creative halt with her last album, The Truth About Love (which, while great, didn’t show much artistic growth), she follows up with this organic new single and album release.

The pair’s vocals mesh well, and the song is sung almost entirely in harmony.  It is a different approach to the traditional duet and it works remarkably well. P!nk’s soulful, bluesy vocal is complimented perfectly by Green’s wonderful low tones. Not only that, but its lyrics are simple yet moving and after one only listen the song feels like an old classic.

Thankfully, the album will be released in just over a month, so we do not have to wait too long to hear the rest of what is sure to be a great body of work from P!nk and Dallas, or rather… You+Me.  Take a listen to the single below.

Grade:

97/97

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“Family Portrait” by P!nk creates quite the juxtaposition with the last track, but it is a necessary exhibition of the spectrum of effects that divorce has upon children. What makes “Family Portrait” so especially heartbreaking is that P!nk wrote the song from the point of view of her younger self. It’s as if she has given her childhood a voice. Without a doubt, her words resonated with listeners, giving a voice to countless other children of divorce. One particular focus of “Family Portrait” is how the child feels as though he or she is in the middle of the two fighting parents, and sometimes even feels like the divorce is his or her fault. She shows this through lines like, “I told dad you didn’t mean those nasty things you said,” and “I promise I’ll be better, daddy please don’t leave.” She deals with the very difficult question that if her father leaves, does that mean he doesn’t love her? Or, the insecurity that develops in relationship to love: “I don’t want love to destroy me like it did my family.” (A fear that becomes all too real for P!nk, but more on that in the weeks to come.) There are so many emotions that P!nk punches through in this song that it’s a wonder she is able to perform it on tour. For me, the most emotional moments of the song are when she sings, “I don’t wanna have to split the holidays, I don’t want two addresses, I don’t want a stepbrother anyways, and I don’t want my mom to have to change her last name” and then pleads, “Daddy don’t leave, turn around please… Remember that the night you left, you took my shining star…” The delivery is so childlike, so innocent, yet so heartbreaking.

“Mine” by Beyoncé features Drake, as well, and could be considered a controversial selection. However, it has not been chosen to feed into the divorce rumors I so adamantly spoke against last week… but rather, to help refute it. My favorite part of “Mine” is its piano-driven ballad introduction that features some of the most honest, candid lyrics in Beyoncé’s catalog, sung quite emotionally. I also think it’s no coincidence that she chose to open her VMA performance with this track, and end it with “Blue” and “XO” followed by a touching family moment on stage. “Mine” is clearly referencing imperfections in her marriage to Jay-Z. There’s no telling when this momentary trouble occurred, but she does sing, “I’m not feeling like myself since the baby, are we gonna even make it?” so it can be assumed it was recently. However, one cannot ignore what follows: “Oh, because if we are, we’re taking this a little too far…” which is eventually followed by the more uptempo portion of the song, in which she sings lyrics like, “we should be married,” and “fuck what you heard, you’re mine, you’re mine.” It was courageous of Beyoncé to share this vulnerable, confessional track, ultimately showing the world that not all marital issues need to end in divorce. As she sings in “Pretty Hurts,” “perfection is the disease of a nation.” Beyoncé and Jay-Z’s marriage is an example of a relationship that should be looked upon with admiration by the public for working through their imperfections, rather than ridiculed for said flaws.

“Papers” by Usher, ironically, was written and recorded before he was divorced, and apparently before he was even considering it. Regardless, the lyrics to the song are still very heartfelt and come from a very real place. In it, he sings about how his marriage has changed him as a person – and not for the better. He was discontent with becoming “the man that I never thought I’d be,” he sings. He also references a falling out he had with his mother, and other drama in his life, which ultimately leaves him feeling like he’s “ready to sign them papers.” Divorce papers, that is. By the time the song was released, he was in fact divorced. While I appreciate the honesty and introspective nature of the song, I do feel it was a bit tactless of Usher to attempt to capitalize off his divorce by releasing the song to ignite conversations around its controversial subject matter.

Listen to the Songs About Divorce playlist, so far, here:

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Week two’s word in Michelle William’s Journey to Freedom journal contest is “honesty.”  Once again, when prompted with the word “honesty” the first thought that came to my head was again in the form of lyrics: “honesty, is such a lonely word, every one is so untrue, honesty is hardly ever heard, but mostly what I need from you” from Billy Joel’s “Honesty.”  And, well, honestly, that about sums it up.

Thinking about my own “journey to freedom,” this holds true for my most defining life experiences.  As Michelle says in her video, being honest with yourself and with others is crucial.  I know Michelle and I are not alone, because everyone experiences this, and some of music’s biggest stars have all released songs that deal with this issue quite poignantly.

On the songs I’ve selected, the artists delve into their personal life experiences and very vulnerably share these private emotions with their listeners.  These cathartic expressions are no doubt therapeutic for the artists, but also for the listeners.

1.  “Honesty,” by Billy Joel is the quintessential song dealing with the theme of honesty.  Joel does a wonderful job of encapsulating this theme in the lyrics to this piano ballad.  The quote I included above does a wonderful job of summarizing the song’s message: “honesty, is such a lonely word, every one is so untrue, honesty is hardly ever heard, but mostly what I need from you.”  The song was released in 1978, but no one’s said it better since.  (However, Beyoncé did cover it.)

2.  “Honestly” by Kelly Clarkson is an emotional ballad from her 2011 album, Stronger.  On this track, though not written by Kelly, she deals with the frustrating feeling of wanting someone to be honest with you about their feelings.  She sings pleadingly, “if you’re hating me, do it honestly.”  We probably all know the feeling of being in a relationship where you can tell your significant other is unhappy but won’t admit it.  On this song, Kelly is expressing those feelings, demandingly singing, “Face me, make me listen to the truth even if it breaks me… you can tell me.”  

3.  “Losing You” by Solange is from her 2012 EP entitled True.   Like Clarkson on “Honestly,” Solange is seeking honesty:  “Tell me the truth, boy am I losing you for good?  We used to kiss all night but now there’s just no use.  I don’t know why I fight it, clearly we are through.”   She too shows her vulnerable side on this track, grappling with the same frustrating uncertainty as Clarkson on “Honestly.”  While the vibe of the production harkens back to 80’s R&B, the vocal arrangements and vulnerable nature of the lyrics are both a bit more in line with one of Solange’s inspirations, Mariah Carey, who appears later on this list.

4.  “Can’t Handle the Truth” by JoJo is brutally honest, but not in the way you’d expect.  On this track lifted from her 2012 mix tape, Agápē, JoJo tells her man, “I hate lying to you, but you can’t handle the truth.”  This song explores the reason why people opt to lie instead of being honest: because the truth hurts.  Here, JoJo is confessing to infidelity, but blames it on his mistakes.  It is not the kind of track typically heard from a woman (though, Destiny’s Child did something very similar, more on that here), but her honesty is commendable, despite her actions being a bit questionable.

5.  “Confessions Part II” by Usher is very similar to JoJo’s “Can’t Handle the Truth,” and also preceded it.  This song was huge in 2004, and is the title track of the diamond selling album.  While it actually is not a true story (for Usher; apparently it’s cowriter Jermaine Dupri’s story) the messy honesty of “Confessions” turned the catchy song into a huge hit for Usher, and made Confessions his most successful album to date.  The public loves a good, dramatic confession, it seems…

6.  “Truth” by Janet Jackson is a mid tempo from her 2001 album, All For You.  The song, a kiss off to her ex-husband Rene Elizondo, finds Janet reflecting on her career and defunct marriage.  She urges him to accept the truth in this very honest, diary-like track.  The song seems sweet but there are several rather shady lines laced within, such as, “It’s sad to think we couldn’t work it out, but how much is enough to pay for this mistake?”  The song ends with the repetition of a question: “Do you know the truth?”  as Janet commands him to: “Feel it.  Live it.  Trust it.  Believe it.  Embrace it.  You want it.  And need it. Find it. Embrace it and never let it go.  The truth will set you free.”  Here, Janet flat out says that on a journey to freedom, honesty and truth are essential elements.

7.  “Resentment” by Beyoncé has been a controversial track as of late with her performing it on tour as divorce rumors swirl around her marriage to Jay-Z.  The song, recorded for 2006’s B’Day album, was actually first recorded by the Spice Girls’ Victoria Beckham, and perhaps written about an affair by David Beckham.  Beyoncé did however change some of the lyrics, perhaps to suit her own life experiences.  Her rendition of the song drips with soul and intricate harmonies.  Her vocal performance is gritty and raw, filled with intense emotion.  Victoria’s is… well… quite understated.  One of the most hard hitting lyrics to the song strikes at the very end, when Beyoncé quite vulnerably sings, “I can’t stop crying… You could’ve told me, you weren’t happy.  I know you didn’t wanna hurt me, but look what you’ve done done to me now.  I’ve gotta look at her in her eyes, and see she’s had half of me… how could you lie?”  This bit also illustrates why this song is a perfect addition to this list.

8.  “Languishing” by Mariah Carey falls in line with a number of her other introspective ballads (such as “Petals,” “Looking In,” and “Sunflowers”) however, it’s theme is a bit different.  On “Languishing,” Carey is seemingly speaking to the public.  She is essentially asking the listener whether or not they’d care if she was in pain.  She opens the song by stating, “I was not put here for you to judge me and dispute my innermost truths.”  The song is from her 2009 album Memoirs of an Imperfect Angel, which was released only months after the passing of Michael Jackson, and Mariah dedicates the album to him in its booklet.  It is curious that Carey chooses to dedicate the album to him, and also this song about fame, questioning the public’s response if perhaps she too were suffering like Michael.  The media and public love to ridicule celebrities for their struggles and hardships while they’re alive, but the tune changes with their death as evidenced by the reaction to Michael Jackson’s death compared to his public perception when he was alive.  Even now, with recent rumors and seeming confirmation of a separation and looming divorce between Mariah and Nick (as well as Beyoncé and Jay-z), the media and the public already are saying negative and defamatory things, blaming Mariah, when no one knows the true story.  It’s truly a shame, and Mariah poignantly handles the issue on “Languishing.”

9.  “Dope” by Lady Gaga is a heartbreaking piano ballad from her latest album, ARTPOP.  Here, Gaga sings about her struggles with substance abuse, which includes alcohol and other drugs.  She asserts her desire to be clean and pleads for the love of someone – perhaps a significant other, or her fans.  The audience is unclear, however, Gaga is being gut-wrenchingly honest with herself on this track and it is a truly moving listen.  Her vocals are emotive and imperfect, yet beautiful, as she sings lines like, “Each day I feel so low from living high.”  “Dope” is one of the highlights from ARTPOP.  

10.  “Don’t Speak” by No Doubt was a colossal hit in 1996, written by Gwen Stefani about fellow No Doubt member, Tony Kanal.  The pair dated for seven years, but it ended, causing Stefani to write this emotional ballad of heartbreak.  Again, we find the public gravitated towards a song with a confessional style lyric, dripping with honesty.  “Don’t Speak” is filled with fear, as Gwen begs, “don’t speak, don’t tell me cause it hurts.”  She knows the truth, but doesn’t want to know it.  It would pain her to hear him say it because it would make it true.  Honesty has an intense power and the truth really can be painful at times.  Her emotional, pleading vocal is impassioned and moving which makes the song irresistible and moving.

11.  “Dear Lie” by TLC is a song with an interesting concept.  It’s essentially a letter from lead singer T-Boz, to a “lie.”  She explores the problems with lying and ultimately realizes that the truth will set you free.  The lyrics acknowledge how lies can have power over people, and that it takes a certain amount of strength to be honest and truthful: “Won’t let you control me, the truth will only free me and your lies won’t hurt no more.”

12.  “No More Drama” by Mary J. Blige marked a pivotal moment in her career.  The album, of the same title, brought Mary crossover success like never before thanks to its lead single, “Family Affair,” but “No More Drama” became her signature song.  With this album’s release, Mary was honest with herself and admitted to dealing with substance abuse and, with this song, found a way to break free from those demons.  The song is liberating, as Mary declares her freedom from the pain that suppressed her for so many years.

13.  “My Vietnam” by P!nk is a metaphorical song comparing her childhood, to the Vietnam.  This has a particular significance for P!nk, since her father actually served in the war.  The song lives on P!nk’s breakthrough album, M!ssundaztood, on which P!nk opened up with several confessional like songs, under the guidance of Linda Perry.  This is a lesser known song, hence why I chose it for this list.  A companion to the better known “Family Portrait,” “My Vietnam” talks more specifically about her parents and life’s challenges with unrestrained honesty.  On “Vietnam,” P!nk creates an honest dialogue with the listener and the people in her life.

14.  “Beyond Imagination” by Kelly Rowland is one of several very personal songs in Rowland’s catalogue.  Of course, the more obvious choice for this list might have been “Dirty Laundry,” but I think most are quite familiar with that song (and I plan to do a more in-depth article on it at a later date).  However, “Beyond Imagination” was Kelly’s first introspective song, from her solo debut, Simply Deep, and was written by Solange Knowles.  The song is a metaphorical pop/rock ballad that discusses Kelly’s childhood, more specifically, how her father abandoned her.  It is written in a more relatable fashion (similar to the way Mariah Carey often writers her introspective tracks) so that the listener can apply it to their own situation.  Kelly uses the pronoun “you” as if she’s saying that she knows what you’re feeling, and even sings “I hear your tone, and you’re so not alone.”  However, the most telling line of the song is “father’s vacation tonight, is somewhat permanent…”

15.  “Childhood” by Michael Jackson is one of his most moving songs, and perhaps even more so following his passing.  Throughout the later years of his life, Michael was ridiculed for his “immature,” childlike personality.  On 1995’s “Childhood,” the theme song to the film Free Willy,  Michael is open and honest about this – he knows he is different.  Asking the listener, “before you judge me, try hard to love me, look within your heart, then ask… have you seen my childhood?”  He attributes his “strange eccentricities” to his lack of a childhood growing up as child star in the Jackson 5.  While this song is well-known and was undoubtedly heard by many in 1995… I am not sure anyone really listened until it was too late.

16.  “15 Minutes” by Michelle Williams is an epic, almost theatrical ballad from her 2004 solo album, Do You Know.  In “15 Minutes,” Michelle vulnerably sings about the gratitude she feels for finding success as a musician.  She attributes this good fortune to God, and thanks Him for the blessing.  On the most telling lyric of the song, she sings, “I should’ve been a one hit wonder, 15 minutes of fame, with nothing gained and nothing left to lose… my only chance was you, and here you come again, I just don’t understand.”  She struggles to understand God’s blessings, reveling in the miraculous nature of it all, in this very honest and humbling ballad.

The post Journey to Freedom, Week 2: Honesty appeared first on THE 97.

In preparation of the release of her fourth solo album, Journey to Freedom, Michelle Williams is hosting a contest via her official website in which fans must write journal entries about their own personal journey to freedom.  The prize is an all expense paid trip to spend the day with Michelle, discussing each other’s journey to freedom.  Over the next six weeks, Michelle will be posting the “word of the week” that should be the theme of each of the six different journal entries.  The contest ends on September 9th with the release of the album.

This week, the word is freedom and I wrote my own personal entry detailing how the theme has been present in my own life experiences.  However, for the purposes of EST. 1997, I will highlight and discuss some songs that I feel best represent the theme of freedom.  This is a common theme throughout music, and there are many songs and even albums that are centered around it.

Freedom is a heavy word.  It can have so many meanings; it is connected and intertwined with so many parts of life.  It is something we all strive for – personal freedom, professional freedom, civil freedom, sexual freedom – there are many incarnations of the word.  It is ancient, historic, current and intrinsic.  It has shaped the world; created and resolved conflicts in history.  World wars occurred as a direct result of humanity’s desire to protect, or limit, the freedom of others.  However, it also can be very personal.  Specifically, musicians tend to delve into the theme through a very personal lens.  These next six songs do an excellent job of embodying the word “freedom.”

1.  “Free” by P!nk was a b-side to the “Trouble” single, and didn’t make the final cut for the Try This album.  However, in my opinion, it most definitely should have.  The song is a raw, honest rock ballad that soars through emotions with powerful and emotive vocals dripping with soul and a yearning for freedom.  The song is unorthodox in structure, with the only “hook” to be found being the line, “why’s it so hard to be free?”  The introspective nature of this song’s lyrics, combined with P!nk’s impassioned vocals make for a truly emotional experience.  It is close to 7 minutes long, but never feels drawn out.  She leaves vocal imperfections as they are, adding a genuine character to the song.  It is a highlight in P!nk’s catalogue, with some of her best vocals and lyrics.

“I’ve gotta get away, oh

From these conditions

Why can’t I just love myself enough?

Instead of looking outside

For what I should have inside…

…All these shackles that I’ve tied myself down with

They’re weighing me down

I wanna fly away, fly away from here, so far

Just give me wings

Oh, God, why’s it so hard, to be free?”

 

2.  “Free Xone” by Janet Jackson appears on her 1997 opus, The Velvet Rope, which will be discussed in greater detail come its anniversary in October.  On this particular song, Janet asserts that there is “one rule: no rules; one love, free zone,” essentially stating that all love is equal, and people should be free to love no matter what their sexual orientation is.  The song denounces homophobia, while celebrating the freedom to love.  Its lyrics are simple, but poignant, and it’s the overall vibe of the song lends itself to creating this sense of celebration and cathartic embodiment of freedom.

“He was on a airplane

Sittin’ next to this guy

Said he wasn’t too shy

And he seemed real nice

Until he found out he was gay

That’s so not mellow

Let’s get free…”

 

3.  “Free” by Jill Scott is yet another song titled “Free,” and it is more like a poem than a song.  Constructed of a series of similes that Jill utilizes to symbolize the feeling of free, the song is effective in creating imagery to evoke its theme.  Jill compares freedom to a host of different things, mostly related to nature, in this short but concisely crafty and insightful song.  It’s best if you just listen to it for yourself.

“Free like a willow tree

Free like a summer’s eve

Free like the waves are crashing

On the side on a solitary beach”

4.  “Freedom” by Brandy is also a song that, like P!nk’s “Free,” was left off an album.  It was recorded for her 2008 album, Human, but didn’t make the cut.  However, it is a great track that tackles this theme of freedom quite well.  While its lyrics are a bit vague and open to interpretation, it is a moving, full song with an epic sound.  There’s many possibilities as to what Brandy might be talking about.  It could be a personal, political or even love-related statement.  She refers to an “us” that doesn’t seem like simply a “me and you” kind of thing.  It almost feels like the song could be referencing civil rights and possibly even racism, at some points. Take a listen and decide for yourself.

“I see the cloaks on the judges

Flaws in the judgements

Beasts in the dungeon

That don’t scare me

And I’ll say it on a mountain

Say it all in public

Hold a press conference

To speak about my freedom, my freedom”

5.  “I Am Free” by Mariah Carey is a gospel-tinged song from one of her defining albums, 1995’s Daydream.  The song talks about how Mariah had once felt trapped, but it seems she is thanking God for helping to find a certain sense of freedom.  On this same album lies the song “Looking In,” in which she more vulnerably discusses how she felt trapped, as well.  Interestingly enough, the album to follow, 1997’s Butterfly (which, like The Velvet Rope, will be discussed on its anniversary in September) is considered to be Mariah’s first emancipation.  “I Am Free” is kind of a statement of her intentions before actually going for it with Butterfly in 1997.  She even references flight, a metaphor later continued on the song “Butterfly.”   See and hear the breakthrough below:

“Free to live

Free to laugh

Free to soar

Free to shine

Free to give

Free to love

Free enough to fly”

6.  “Free” by Destiny’s Child completes the list, of course… Michelle can’t be left out of an article she inspired!  “Free” is a song that Michelle always referenced as being her favorite song from Destiny’s Child’s final release, 2004’s Destiny Fulfilled.  On this track, the ladies revel in their freedom from a no good man.  It is a therapeutic song, that soulfully celebrates a newfound freedom after dealing with an oppressive relationship.  During the live performance, Beyoncé goes into a tangent, preaching “Ladies! Do you know what this song is about? This song is about truly feeling free.  You know you’re free when you finally find enough strength to tell that trifling, good for nothing man, you don’t want him, you don’t want him no more!”  It’s quite the hilarious little monologue, but it’s oh so empowering.  In July, Michelle performed the song during her set at the Essence Music Festival.  Check out both performances referenced below, as well as the lyrics to Michelle’s verse on the track.

“I gave you everything you wanted 

I gave you everything you needed

But you just didn’t do right

So baby I’m leaving

It feels good to be free”

Bonus:

Check out a clip of “Free,” from Michelle’s Journey to Freedom album in stores September 9th.

Other notable mentions:

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