written by Andrew & Vincent

We didn’t rank Cardi B’s “Bodak Yellow” number one on our top singles of 2017 for no reason. When “Bodak Yellow” hit number one on the Billboard Hot 100, Cardi B made history. “Bodak” became the longest running #1 for a female rapper. She was also the first solo female rapper to reach the chart’s summit since Lauryn Hill in 1998. Guest spots on G-Eazy’s “No Limit” and Migos’ “MotorSport” proved her record streak at #1 was just the start. She further became the first female rapper to land 3 tracks in the Hot 100’s top 10. Cardi’s rise to fame culminates with the release of her stellar debut album Invasion of Privacy.

Cardi announced the album’s release less than two weeks before the release. It’s a non-traditional album release strategy, to say the least. It begged the question, why? Was the album rushed? Was it to beat the pregnancy rumors before the reveal? Whatever the reason, Invasion of Privacy indicates that Cardi possesses the potential for longevity in music.

Clocking in at just 13 tracks, Invasion of Privacy proves to be an optimal length for Cardi B’s debut album. The album allows Cardi to flex her ability to craft clever lyrics and captivate using powerful flows and deliveries. There are no fillers. Cardi covers all her bases and proves that she has no intention of being a flash in the pan.

“They gave a bitch two options: Strippin’ or lose”

There’s magic in a strong opening track on a hip hop album. It’s even something of a tradition. They set the tone for each album as a body of work. Cardi continues the tradition and comes out of the gate swinging on her opener “Get Up 10”. From the instant the track starts she professes that her options were “strippin or lose”, and she was not about to do the latter. “Get money, go hard” is her motto, and she lays all of her struggles and obstacles as she raps non-stop for 3 minutes with no hook (which she already excelled at on “Red Barz“). There’s only a quasi-hook that appears in the last minute. She’s succeeded in turning her struggle into a rap about rags to riches.

On “Drip”, Cardi reunites with fiancé Offset and Migos after victories on “Lick” and “MotorSport”. However, she demonstrates that Migos are there solely to back her up. Cardi opens the song and leads the charge. She delivers the strongest and hardest verse of the pack, boasting, “won MVP and I’m still the rookie” and “run through your hood like bitch I’m the mayor”. Cardi’s one verse indicates that she could have bodied 3 verses of “Drip” on her own. Next time, relegate the Migos to a remix.

Pulling A Lil’ Kim

Cardi’s skills impress on every track on Invasion of Privacy. On “Bickenhead” she boasts her ability to pull a Lil’ Kim and turn misogyny into female empowerment. She transforms Project Pat’s ode to mindless women, “Chickenhead”, into a no-fucks-given get-money female anthem. It’s significant that she updated the original, but the effortless makeover of misogyny into female empowerment is magnanimous. Plus, she delivers “guap guap, get some chicken, guap guap, get some bread” with such authority that it’s an instant earworm.

Heartbreak Bardi

While she flexes and boasts throughout much of Invasion of Privacy, Cardi doesn’t shy away from being vulnerable. On the magnificent “Thru Your Phone”, Cardi unleashes a seething attack on a cheating man. She goes through his phone and finds naked photos of another chick. Cardi threatens to throw his side chick’s “boobs on the gram”, and that he’s going to turn her into Left Eye. She’s mad but heartbroken, evidenced by referencing “Beyoncé on my stereo, ‘Resentment’ on repeat.” Her pain is real, flow is impeccable, and lyrics are razor sharp. As if that wasn’t enough she’s the one singing the soft, high alto hook. It’s a mind-boggling juxtaposition next to her deep-voiced, gruff verses.

“Thru Your Phone” is significantly stronger than precursor “Be Careful”. Both have strong beats, and strong lyrics, but their difference lies in the delivery. Cardi’s delivery on “Be Careful” sounds like she’s looking for places to catch a breath. With another take or two or multiple takes spliced together, it could have been stellar. This is further evidenced by her powerful vocal delivery of “Be Careful” during Saturday Night Live.

https://youtu.be/o7f2YSz-y_8

B is for Best Life

Perhaps the album’s most surprising feature comes from Chance the Rapper, on the impeccable “Best Life.” The two hip-hop newcomers unite to celebrate how much they’re loving living their best lives (and stan for Beyoncé, who is mentioned by both). Cardi further celebrates herself on self-appreciating bops “She Bad,” “Money Bag“ and second single “Bartier Cardi,” energized and ready for the club or the cookout. Meanwhile, Cardi continues to unite with her equally up-and-coming peers, joining forces with Kehlani on the laid back “Ring,” which is another highlight.

Claiming Her Crown

There is something special about Cardi B that we’ve not yet seen in female rap: she is a Latina. Cardi is a Dominican hailing from the Bronx, NYC, and the Latin music community has swiftly embraced her. Case in point: “I Like It.” The song features Latin superstars Bad Bunny and J Balvin, and a masterfully utilized sample of the  classic “I Like It Like That.” The song is infectious and the perfect combination of Hip-Hop, Latin music and crossover potential. Apparently, she’s already shot a video. The song is bound to be a hit in Latin America, but it definitely has the potential to takeover US airwaves ala “Despacito” – no Bieber necessary.

Victory Lap

“I Do” featuring SZA closes the album on a stellar note. It’s essentially a victory lap of the last 12 songs. Cardi continues to unapologetically flex. She flexes about sex: “pussy so good I say my own name during sex” She flexes about her success, “for the record, I set record, record sales”, “my little 15 minutes lasted long as hell”. And, one of her best, she flexes about being a lady with “only time I’m a lady’s when I lay these hoes to rest”. It’s the perfect ending to an amazing debut album. All hail Cardi B.

Stream Cardi B’s Invasion of Privacy

The post Review: ‘Invasion Of Privacy’ Proves Cardi B is Here to Stay appeared first on THE 97.

If this is Spicy, so is BBQ sauce.

After creating a strong buzz in the fall with “Took Us A Break”, Lil’ Kim fails to keep the fire going on “Spicy”. She’s joined for the first time by fellow NYC legend Fabolous. The two cut the track barely a week ago and it sounds much more like a work in progress than a finished product. Despite this much-anticipated first union of two New York City legends, this song is the antithesis of “spicy”. On a scale of mild to hot sauce, this is BBQ sauce.

For starters the beat and chorus both feel amateur at best. Every aspect of both is weak. They don’t pack a punch and leave a lot to be desired. Kim’s verses are good with some clever lines (“pull up with the Draco in the trunk, call it Aubrey”; “you bitches couldn’t Xscape with TI’s wife”). However, her delivery leaves a lot to be desired. On “Took Us A Break” she sounded gritty, hungry, and most of all ready. Here she sounds half in it, and unprepared, barely eager to repeat the word “spicy” in an uninspired hook that lasts far too long.

After two hooks and a verse and a half from Kim, Fabolous enters. His entrance is damn perplexing. He starts off auto-tune singing “we steppin’ in hotter this year” like Beyonce & Sean Paul’s “Baby Boy” as a post-chorus. He launches into a hit-or-miss yet timely verse, referencing Salt Bae and Black Chyna’s head game.

These are New York City legends. They can do better. We know it and so do they.

Listen to Lil’ Kim and Fabolous’ “Spicy”:

The post Song Review: Lil’ Kim’s “Spicy” is Disappointingly Mild appeared first on THE 97.

The playlist

…opens with every white girl’s best-known Kim verse, “Lady Marmalade”. Kim was the only artist on the song contributing a new piece. The following two songs are both iconic, career-defining Kim moments: “It’s All About The Benjamins (Remix)” and “Quiet Storm (Remix)”. Beyond that are iconic collaborations with Mary J. Blige (“I Can Love You”) and Christina Aguilera (“Can’t Hold Us Down”).

Deep Cuts

Dig a little deeper and discover her 2000 Will Smith collab “Da Butta”. Will recruits the Queen Bee to trade bars over a funky beat. Kim’s on her braggadocios flow. She shares life lessons like “You know what i learned? let them keep talking. Pull up in the Azora and let them keep walkin”. And when Will admits that “haters be makin’ me wanna flip and react” Kim cuts him off with “nah nah nah nah chill Will. Let me do that.” Always the ride or die.

Then there’s the amazing, “Get Money”-sampling, “Still Rich” with Berner and Wiz Khalifa from 2016. Kim demonstrates her ability to own a beat she defined over 20 years earlier with a new verse. She takes an old Biggie line and again flips it, referring to herself as a “Moschino hoe” with a “Valentino flow” while admitting that she’s a shopaholic.

There’s also the little-known official remix to Britney Spears’ “Gimme More (Kimme More Remix)”, where Kim details “hooking up with a fan” and “getting freaky with this video cam.” Salacious, sexy, and form-fitting for the classic Britney track.

Menacing Kim

Puff Daddy’s “Real N*ggas” is a hard track. Kim’s verse initiates a dark piano loop, as she relentlessly spits that she’ll “put a contract out and stop ya lungs” “buy out everything you playin’, including your name” and declares “screw barking, I take bites out of you niggas”. She plays scorned lover on Biggie’s “Another”, a track from Life After Death that often gets overlooked. “Why go from first class to coach?” Kim wonders after lyrically annihilating Biggie. One of the few who holds that accolade.

On “Do Wrong” she does a formidable Twista impression, keeping up with the rapid-fire rapper himself. Listen to the way she delivers “Shit he about to be rockin it, lookin sweeter than chocolate, he got the smell of a Reese’s.” Amazing.

Dirty Kim

It wouldn’t be a Kim playlist without some raunchy lyrics. She goes rock and roll with Tommy Lee on “Get Naked”. “Call me black Barbie” she commands before delivering the delicious “fuck a blow job it’s a motherfucking hobby” and then “under 7 inches? Eh! Sorry.”

“You want a freaky girl? Welcome to Kimme’s world” she opens with on Gucci Mane’s 2007 “Freaky Girl”. She brags about her deep throat, multiple orgasms and potential for orgies among other things. The kicker is the closer, where she admits that she’s got a man so whipped and all she did was “let him eat my coochie.” Pussy = power.

Bonuses

There are a few Kim features from over the years that you won’t find on Spotify/streaming, but still warrant mentioning:

Floatin’ On Your Love (Puff Daddy Remix)

“Mr. Biggs, you know you got to keep me jiggs.” A gem among Kim’s early features. She links up with the legendary Isley Brothers and delivers the unforgettable “make it shift in my uterus” line. Filthy, fearless, and fierce.

Satisfy You (Remix)

A true rarity. Kim spits for just over a minute straight on this 2000 Puffy remix.

Naughty Girl (Remix)

This bares the ‘remix’ name, but it’s arguable that this is actually the original version of the song. Take a look at the Dangerously In Love thank you’s and Kim’s name appears under ‘producers and artists who contributed to this project’. There are 2 versions of this remix, one featuring two verses from Kim, and another featuring one and a spoken intro. In that intro, Kim calls herself and B “the Queen Bees”, the first time Beyonce is ever referred to by her now-ubiquitous nickname.

We Takin’ Over (Remix)

A little known (official) remix from 2006, and one of her first post-prison appearances. Kim annihilates this early DJ Khaled track. Most notably she pops off  “I’m in a new state, a new place, with new plates, shit damn near a new face.” It’s one of the few times she addresses her plastic surgery, but does so in a masterful way.

Anything (To Find You)

An unfortunate consequence of circumstance. Kim was originally the sole feature on this, then 1 of 2, and then removed from the song due to disputes with the estate of BIG (specifically Ms. Wallace). Kim’s verses pack a punch as she flows over the BIG-sampled Missy Elliott beat, dropping lines that include “just cause you make me cum, don’t mean that you’re the one. Most dudes only good for they tongue”. She’s even acknowledging her public perception when this record dropped in 2011 (due to her physical appearance and budding Nicki Minaj beef) “I ain’t felt hypnotized since Biggie left, now I’m public enemy… me against the world is my mindset.”

The post Playlist: Lil’ Kim’s Top 20 Features appeared first on THE 97.

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

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

19. VIEWS, Drake

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

18. Smoove Jones, Mýa

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

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

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

16. No Hard Feelings, Dreezy

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

15. Milestone, Chrisette Michele

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

14. The Human Condition, Jon Bellion

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

13. The Altar, Banks

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

12. Mind of Mine, ZAYN

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

11. Ology, Gallant

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

10. Mad Love, JoJo

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

9. Joanne, Lady Gaga

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

8. ANTI, Rihanna

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

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

7. 4 Your Eyez Only, J. Cole

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

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

6. Starboy, The Weeknd

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

5. blackSUMMERS’night, Maxwell

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

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

4. 24K Magic, Bruno Mars

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

3. Glory, Britney Spears

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

Britney Spears: The Pop Icon

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

2. A Seat at the Table, Solange

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

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

1. LEMONADE, Beyoncé

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

A Concept

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

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

Genre-Less

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

For Women

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

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

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

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

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

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

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

19. “Come Down,” Anderson Paak

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

18. “Chantaje,” Shakira featuring Maluma

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

17. “Twist,” Nathan Sykes

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

16. “Starboy,” The Weeknd

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

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

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

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

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

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

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

12. “Pillowtalk,” ZAYN

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

11. “Million Reasons,” Lady Gaga

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

10. “Everybody Dies,” J. Cole

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

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

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

8. “24K Magic,” Bruno Mars

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

7. “Kiss It Better, Rihanna

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

6. “Don’t Touch My Hair,” Solange

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

5. “Into You,” Ariana Grande

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

4. “Sorry,” Beyoncé

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

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

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

2. “Cranes in the Sky,” Solange

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

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

1. “Formation,” Beyoncé

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

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

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

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

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

“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.

Menacing. Pusha T knows how to select beats that agree with his unique voice, signature “yuuuh”, and dark, snowy, lyrical content. Bringing back Puff Daddy on the boards results brilliantly in the disjointed, aggressive “Crutches, Crosses, Caskets” and a few more notable moments. Timbaland excels as Pusha projects “The flow plays limbo courtesy of Timbo” over a middle eastern-inspired beat on ‘Got ‘Em Covered’. Beanie Siegel delivers the powerful “you watched me walk through hell, now watch me walk up out it” on “Keep Dealing”. One of the year’s final rap releases is also among the best.

Grade:
90/97

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It’s hard to imagine that there was a time in music when Will Smith was one of the hottest rappers on the scene. Well, it actually happened; many years ago… in 1997.

Though, even then, his credibility as a rapper was debatable. Undeniable was the impact of classic songs such as 1991’s “Summertime” and 1988’s “Parents Just Don’t Understand” alongside DJ Jazzy Jeff, using the moniker The Fresh Prince. However, that success had long since faded and he became best known for his lovable (but, albeit, corny) role on the sitcom The Fresh Prince of Bel-Air.

Following the end of the sitcom in 1996, Will Smith embarked on his solo rap career to compliment his budding film career. With the success of films like Bad Boys (1995) and Independence Day (1996), Smith began to distance himself from his TV role and was about to have his best year yet: 1997.

It began with the release of the film Men In Black and the release of its accompanying single and soundtrack album. “Men In Black,” the song, featured Coko of R&B girl group SWV was released in June of 1997 and became a monster hit. It samples “Forget Me Nots” by Patrice Rushen for its chorus. The subject matter of the song is directly connected to the film, referencing aliens and the like. However, because of how undeniably catchy it is, it was an undeniable hit, peaking at #1 on Billboard’s Hot 100 airplay chart.

From there, the album yielded a string of successful singles. First, was “Gettin’ Jiggy wit It” which shot to the top of the charts, and was the perfect party anthem. It features an inescapable “na-na-na-na-na-na” chant that was annoyingly catchy.

Finally, the singles from Big Willie Style concluded with the international smash party anthem, “Miami.” For anyone alive and breathing in 1997-8, it’s probably impossible to dissaocate the phrase, “welcome to Miami” from the random woman in the song who says it (and then repeats “Bienvendo a Miami” in Spanish).

Otherwise, the album was filled with, in hindsight, lackluster filler tracks. The collaboration with TLC’s Left Eye is passable, as is “It’s All Good” which samples the same track as “Rapper’s Delight,” Chic’s “Good Times.” Perhaps what Smith is most equally praised and criticized for is the fact that his album does not bear explicit lyrics. As a father, Smith made a conscious decision not to make profanity-littered hip-hop music. While some critics (and other parents) praised this positive direction, hip-hop enthusiasts often criticized him for being disingenuous and, well, corny. Be that as it may, Smith still has swag, a respectable flow and a certain musical sensibility. He’s certainly no Nick Cannon.

Indeed, Will Smith’s most successful musical moments were attached to films, such as Big Willie Style’s lead single “Men In Black,” and 1999’s “Wild Wild West” (from the film of the same name, and his 1999 album, Willenium). However, despite Willie Style and “Wild Wild West,” Smith has not been able to reclaim similar success in the music world since the turn of the century. Regardless, it’s hard to look back at 1997 and not remember Big Willie Style with fondness, but Will Smith’s music career quickly became a small footnote, a stepping stone, to his hugely successful, Academy Award nominated acting career.

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In the wake of the horrible tragedy that is swirling in Ferguson, MO, J. Cole responds to the death of Michael Brown and the riots in Ferguson with this track “Be Free.”  Unfortunately, Brown isn’t the only young man who has been killed by law enforcement for no apparent reason.  Not only that, but this sort of injustice have far too frequently plagued people of color, and this gut-wrenching track is J. Cole’s response.

On this song, Cole opts to sing his pain in a cathartic release.  He sounds as though he reached his breaking point; the words seemingly flow off the top of his head.  Begging for freedom for himself, for other people of color.  Of course, the song is specifically referencing the Michael Brown incident, but J. Cole makes his message more universal.  To add to the effect and impact, he includes audio of a friend of Brown’s speaking his account of the incident.

The emotion on this song is intense; it’s not an easy song to listen to.  However, from sadness and pain often comes some of the greatest music and this is no different.  I admire J. Cole for opting to release his feelings in this manner and share it with the world.  I respect him even more because he chose to simply share the song to spread the word and, as he said, not wait to put it on his next album.

In general, J. Cole is such a great role model for young people in comparison to some other hip-hop artists.  Many people criticize hip-hop artists for expressing their outrage with violence such as the Michael Brown incident.  These artists are often labeled hypocrites, since some do perpetuate stereotypes and speak about violence in their music.  For some, this is definitely true.  However, the majority of hip-hop’s greatest and most respected artists do not glorify violence.  They speak of it only because it is their experience, not to encourage it.

J. Cole, however, is an artist who (as far as my memory serves me) never has glorified violence and has overwhelmingly spread a positive message through his music.  His music encourages young people to strive past the adversity they face and achieve their dreams, with songs like “Dollar and a Dream,” “Crooked Smile” and others.

While he is most definitely a big name in hip-hop, J. Cole deserves much more notoriety and success than he has had.  Perhaps in time he his name will be mentioned amongst other greats like his idol, Nas and “boss” Jay-Z.  Where it belongs.

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The acclaimed 23 years old rapstress dropped a hot new single called “Heavy Metal and Reflective,” which is available for purchase on iTunes. The song will serve as the second official single from her debut LP Broke With Expensive Taste.

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