When Ms. Jackson calls, you answer. In the case of the “I Get Lonely (TNT Remix)” from her 1997’s “The Velvet Rope,” Janet Jackson tapped a handful of talented collaborators to add to an already phenomenal track that, frankly, didn’t even need it. With additional production by Teddy Riley and Timbaland, Jackson is joined by BLACKstreet to turn “Lonely” into a duet (well, quintet). In its solo form, the track is classic Janet: emotive, deep, sexy, and timeless. With BLACKstreet, it transforms into a prime piece of 90s R&B with its big vocal runs and flashy production.

Watch the “I Get Lonely (TNT Remix)” video, stream it, or grab “The Velvet Rope” on vinyl.

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

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

The post 97 Words: “I Get Lonely (TNT Remix)” by Janet Jackson & BLACKstreet appeared first on THE 97.

It’s fitting that during the 50th anniversary of Hip Hop, such a catchy and modern tune uses such historical samples as its structure. Similar to the original version, which uses a sample from “The Message” by Grandmaster Flash, Coi Leray’s “Players” remix sounds fresh without getting lost in the enormous legacy of the sampled track. On the Busta Rhymes-assisted remix, which uses his 1997 single “Put Your Hands Where My Eyes Can See” as its foundation, Rhymes crafts an updated verse that showcases his dynamic rhythmical flow. Overall, his inclusion makes for a fresh yet nostalgic listening experience.

Watch the “Players” visualizer, stream it, or pre-order Coi Leray’s album “COI” on vinyl!

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

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

The post 97 Words: “Players (DJ Saige Remix)” by Coi Leray & Busta Rhymes appeared first on THE 97.

There’s something magical that happens when a pop princess finds her dance DJ prince. Just ask Kelly Rowland. The collaboration between KAROL G and Tiësto, “Don’t Be Shy,” was a worldwide hit for the Colombian superstar singer and Dutch DJ, so it’s a no-brainer that the pair hooked up once again. The newly-released “PROVENZA (REMIX)” is a dancefloor-ready mix of one of her more laid-back tracks, transforming its vibe from beach day to night club. KAROL G’s signature slinky, tongue-twisting style of rap singing is abundant in rhymes and criminally catchy — even if you don’t speak Spanish.

Watch the “PROVENZA (REMIX)” live, stream it, or pre-order the BICHOTA SEASON vinyl.

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

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

The post 97 Words: “PROVENZA (REMIX)” by KAROL G & Tiësto appeared first on THE 97.

When the heat becomes too hot to handle, the only way to cool off is to get wet. Beyoncé understood the assignment on the “CUFF IT (WETTER REMIX),” taking a page out of Mariah Carey’s 90s remix handbook to craft a mash-up of her 2022 hit and a two-decade-old hip-hop classic, Twista’s “Wetter.” This quiet-storm-ready version will make things drip where the once-funky original made ’em drop. Sliding atop the throbbing beat, Yoncé serves #BigVersEnergy by delivering both soulful vocal runs and slick-mouthed rap bars that masterfully bring this intercourse between R&B and Hip-Hop to an intense climax.

Stream the “CUFF IT (WETTER REMIX)” here, order Beyoncé’s “RENAISSANCE” vinyl, or get those RENAISSANCE World Tour tickets.

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Beyoncé reunites with her #2 musical husband Kendrick Lamar for another surprise remix. For the pair’s third collaboration and third “RENAISSANCE” remix, Beyoncé takes another page from the 90s playbook by tacking a rap verse on the infectious “AMERICA HAS A PROBLEM.” Lamar rides the beat immaculately, bringing us back to 2023 to dish out some strong words for A.I. and embrace his second-place ranking behind Beyoncé’s actual husband on Billboard’s Best Rappers list (“rightfully so,” he says). Though he knows his place in that relationship, he should reconsider crowning himself “an honorary Beyhive” given the Hive’s polarized reaction.

Stream “AMERICA HAS A PROBLEM” here, order Beyoncé’s “RENAISSANCE” vinyl, or get those RENAISSANCE World Tour tickets.

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

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

The post 97 Words: “AMERICA HAS A PROBLEM” by Beyoncé & Kendrick Lamar appeared first on THE 97.

March 12, 2002.

In late 2001/early 2002, Jennifer Lopez’s music career hit its peak thanks to the release of a series of remixes. These hits spawned the release of a remix album in February 2002, briefly reviving the notion of the “remix album.” While not a new concept (Janet Jackson, for example, had remix albums for Control and janet.) it certainly showed signs of profitability in a time when CDs were selling like hotcakes. Quick to capitalize on one of their biggest names, Columbia Records decided to throw together Destiny’s Child’s first compilation album: This is the Remix, and announced it on the same day J.Lo’s was released.

The title was taken from the group’s very first hit single, “No, No, No (Part II),” on which remixer and featured artist Wyclef Jean announces, “this is the remix! the jeeps pump this new remix!” (oddly, Columbia lazily released a Jessica Simpson remix album of the same title in July that same year). The set was not officially promoted by any single, though it did feature remixes of their biggest recent hits, as well as a bonus track: Michelle Williams’ first solo single, “Heard a Word.”

https://www.youtube.com/watch?v=2f_2yUKxf3g

“Heard a Word”

If you were a big fan of the group, as I was and still am, the collection was a bit of a non-event, save for the bonus track. It was especially exciting to hear Michelle’s first solo single, “Heard a Word,” because it marked the first time we got to hear her sing all by herself, aside from her solo on the Christmas album. Not only that, but it was also the first solo single to be released after they announced their hiatus. Michelle delivered on the warm, inspirational ballad. The song has a soulful and jazzy vibe and while it is indeed inspirational, it is not the sort of gospel track that sounds like it came straight out of the church. Still, Michelle takes it to church vocally on the song’s climax. To this day, it is a treat to her perform the song live. When she does it live, she REALLY goes off – but click here for more on that slay.

The First Remix

Bonus track aside, the collection does do a good job of compiling some of Destiny’s Child’s best remixes. “No, No, No (Part II),” the song that started it all for the group, fittingly kicks off the compilation, providing the collection’s namesake. The remix, originally released in 1997, pioneered Beyoncé’s signature rapid fire, rhythmic singing style that became a trend that continued on most of their biggest hits.

The Hip-Hop Remix

Next comes one of the set’s best moments is the fresh update the ladies gave to “Emotion” on its The Neptunes produced remix. The harmonies on the remix are fiery where the album version’s were smooth. Kelly’s crisp tone in particular shines in the arrangements. The trio laced the track with harmonies that were, fittingly, just as LIT as the Jeep-knocking beat The Neptunes laced it with. “Bootylicious” was also given a harder edge for it’s Rockwilder Remix, which features Missy Elliott and would have been right at home on Janet Jackson’s All For You album, which featured production from Rockwilder, and a verse from Missy on “Son of a Gun”).

Another stellar remix is the Timbaland remix of “Say My Name.” Likely inspired by Mariah Carey’s style of remix (where she keeps the title and theme of the original but more or less nothing else), they turned “Say My Name” into a hip-hop inspired R&B slow jam with a back and forth dialogue with the man in question.

Another Wyclef Remix

Picking up the pace once more, they dusted off an old remix of “Bug a Boo,” which had a new life breathed into it on its Refugee Camp Remix. The track starts with Beyoncé exclaiming “WE AIN’T DO IT RIGHT THE FIRST TIME?! WE GON DO IT RIGHT THE SECOND TIME!” Perhaps alluding to the single’s disappointing commercial success in comparison to “Bills, Bills, Bills,” which proceeded it, the remix gives the song a harder beat with a Latin-inspired breakdown and verse from Wyclef Jean. Indeed, it is much better the second time. In fact, the remix sounds a bit like it was an inspiration to Shakira’s 2006 Wyclef-assisted hit, “Hips Don’t Lie.” There’s even a video for the remix, but it seems to have disappeared into oblivion aside from this one low quality clip…

The Lazy Remixes

More lazy inclusions on the track-listing are the “Survivor” remix (its only change is a verse from Da Brat), the lackluster non-remix “Independent Women Part II” (“Part II” is actually the original version “Independent Women” – Part I is the real remix), a remix of their other Charlie’s Angels soundtrack contribution, “Dot” (which just has a barely updated new instrumental), a more hip-hop sounding version of “Nasty Girl,” and a generic club mix of “Bills, Bills, Bills.” 

The Club Remixes

The inclusion of the “Jumpin’, Jumpin'” So So Def Remix almost feels equally lazy, until the track takes a 180 and flips into its re-sung Maurice club mix, which is actually a bit of a slay. I wish they had axed the So So Def Remix in favor of the full-length club mix. Beyoncé’s ad-libs at the end show she did her club remix homework, likely studying from the textbooks of Ms. Carey. Similarly refreshing is “Maurice’s Soul Mix” of an underrated The Writing’s on the Wall gem, “So Good.”

Missing Remixes

Some remixes that are sorely missing on the set, though. For example, the “DubiLLusions” remix of “Illusions” and “With Me (Part III),” both from their debut album, are both excellent choices. As well, “Bills, Bills, Bills” had a Trackmasters remix featuring the Sporty Theivez of “No Pidgeons” fame that could have been used. While the remix screams “1999,” it would have been much better in lieu of the boring club mix they chose.

So, while This is the Remix was essentially nothing more than a way for the label to make money off of Destiny’s Child one last time before they went on tour and a subsequent hiatus as a group, it still houses some definite must-listens for any Destiny’s Child fan. It’s certainly became a lot easier to find some of these remixes since they were included here. And, its probably a good thing that Destiny Fulfilled didn’t yield any noteworthy remixes, or we might have to worry about Columbia trying to reissue it to tack on a few post-2002 remixes…

The post Destiny’s Child released ‘This is the Remix’ 15 years ago today! appeared first on THE 97.

So, back in April, two days after Lemonade dropped, I wrote a tweet comparing the iconic sixth albums of Mariah, Janet and Beyoncé — Butterfly, The Velvet Rope, and Lemonade. Since then, the comparisons and likeness between those three albums both thematically and within my own life have been running through my mind. One result of that is the brainchild that I happily present to you today, which of course could not have come to fruition without the help of rising indie singer-songwriter, AlanMichael.

Not long after I sent that tweet, Alan and I had a chat about producing a mash-up that combined a song from each of those albums into one, original cover containing elements of each of the three different songs. After deliberating which songs would work best together, we finally settled on Beyoncé’s “Pray You Catch Me” — but you’ll have to listen to the cover to hear the Mariah and Janet choices. Our original plan was to find a singer to sing it… and some weeks (err– two months) went by before anything happened. Last week, Alan surprised me with a demo of the mash-up. He perfected it over the course of the week and finally we are ready to share it with you all:

“Pray You Catch Me (The 1997 Mix)”

I hope that AlanMichael’s cover makes you want to hear more from him, because he is a great artist with an immense amount of talent. He recently released an awesome EP, Honeymoon Motel, via soundcloud – and if you liked his mash-up, you should definitely check out. So that you can learn more about AlanMichael, his EP, and the creative process that went into both that and his cover, I interviewed him for y’all!

Vincent: So for our readers who’ve only listened to our mash-up, describe yourself and your sound in one sentence. Go!

AlanMichael: I can do you one better and use one word: ambitious.

True, indeed, after taking on the challenge I gave you… but more on that later. First – Your EP. Naturally, it’s short, but still manages to have a pretty tight, closely-knit concept. Is that something that is important for you as an artist, to create conceptual works?

Yes and no. I’ve always been a fan of concept albums, so I wanted to try my hand at it. Overall, though, it all just depends on what I’m inspired by at the time or how I’m feeling with the music that I may be recording at the time. The concept for Honeymoon Motel actually happened subconsciously. It wasn’t until after I wrote and recorded each song that I realized it was a bit conceptual. The first song I recorded for the EP was “Paradise”, which was completely freestyled. This actually isn’t my first concept project though. Earlier this year, I gave away a little mini mixtape I originally made for my girlfriend called A.M. Mixtape, which told the story of the very beginning of our relationship. Honeymoon Motel, is kind of the next phase of that. Its the “Honeymoon” phase I guess.

It’s clear that a number of different sounds and inspirations went into the creation of your EP musically – can you tell us about what those were? Was it a conscious effort or something organic?

Each song, except for “Midnight” was produced by a guy named Matt ‘Nastyjazz” Mathie. I was on soundcloud and came across his music and he had the instrumentals up. I sent him a message asking him if I could use them and he was cool with it. He was very pleased and surprised by how it turned out.

Lyrically, there is a lot of storytelling going on here, and it seems like it all comes from a personal place. Is that important to you, to tell personal stories in your music?

YES! I absolutely love storytelling within songs. With this EP, each song is definitely from a very personal place. I usually tend to write songs with double meaning, so you’re getting a story, but if you listen closely there’s something much deeper in there. For instance, “RM. 15” on the surface, sounds like the song is about having wild sex in a hotel room, when its really about the beauty of getting to know and exploring someone mentally; listening to their deepest thoughts and wanting to know their secrets and dreams.

Do you have a favorite song on the EP?

Lyrically, I would have to say that my favorite is “Morning Sex & Macarons”. I love that song for various reasons. It’s not your typical format for a song. Its an intro, one long verse, and then the hook. Its one of theist songs I’ve written so far.

The French, or American (coconut) kind? We must know…

The French kind.

Good answer! Another obvious talking point from your EP (for us) — the “Midnight” interlude is actually a cover of Janet’s “That’s the Way Love Goes”? Why did you choose that song for the interlude, and why title it “Midnight”? Was it a nod to Janet’s “Morning” interlude that precedes the song on her janet. album?

I knew you would pick up on that! Absolutely! Anyone that knows me, knows that I am one of the biggest Janet Jackson fans ever. Her janet. album was a big influence on this EP. I almost went with “Go Deep” from her Velvet Rope album, but something just felt right about “That’s The Way Love Goes”. The janet. album is such a sexy record, and it just fit. I tweeted it to Jimmy Jam and he favorited it nearly causing me to pass out. I hope he liked what heard. Just the thought of Janet hearing it makes me nervous.

I’m sure she’ll love it. So, ultimately, what do you hope the takeaway will be from your EP, for listeners? Is it a preview of what’s next? What is next for you?

I just want people to enjoy it honestly. It’s just a little something for the summer time. I’m actually planning on doing a few shows. I can’t wait to perform these songs! I’ve been in rehearsals with my band and its sounding so damn good. The EP live is gonna be a completely different vibe. It will still have the same elements and feel, but amplified. I’m also working on new music. I don’t like to stick with one sound so it will be different from Honeymoon Motel. More uptempo. We’re gonna dance with the new stuff.

Can you tell us more about the new sound? Any collaborators in mind?

I have one collaboration in the works but I can’t say who just yet. I’m playing around with different sounds but it’s gonna feel good I can tell you that.

I can’t wait! So, when I approached you with the idea of this mash-up and once we settled upon which songs would be used in it, how did you go about melding these three songs together? What was the hardest part? What was the easiest part?

I wanted to keep the instrumentation simple and not to over powering so I could focus more so on the melody. I really wanted to have a good base for it, so I figured I would use “Pray You Catch Me” as the foundation. The way it goes into the second verse fit so effortlessly with Janet’s “I Get Lonely”. It took me a minute to figure out how to fit Mariah’s “Breakdown” in there, but once I did, it worked.

What would you say to any member of the Beyhive, Lambily or JanFam that listens to your mash-up? How would you persuade them to listen to your music and hopefully become a fan of yours?

All three of those groups don’t play when it comes to their faves. At all. I just want them to enjoy the mash-up for what it is. A lot of people like to pick apart things instead of enjoying music for what it is. So yeah, enjoy it and if you like what you hear, then please feel free to listen to Honeymoon Motel! You won’t be disappointed.

Finally — and, I’ll leave this entirely up to you and not feed you anything to jog your memory — but when you think of 1997 in music, what songs, albums, or artists come to mind as being the most essential?

I was 7 in 1997. To me, that was just it for music. I remember still playing TLC’s CrazySexyCool album… a group of girls performed Destiny’s Child’s “No, No, No” at the talent show during summer camp and that’s when I became a fan. My mom would blast Brandy every morning with the sunroof down on her red Nissan. I would instantly dance to Michael Jackson. I was introduced to Missy, Aaliyah, Timbaland, and the Bad Boy family. I got in trouble for playing a Lil’ Kim song. It was also right on the cusp of the big pop outbreak with Britney, NSYNC, Backstreet Boys….so it was cool to see all of the unfold and really set the mold for most artists today.

It was definitely a great time for music indeed. Thanks, Alan, for the awesome mash-up! We hope our readers take a listen to your EP and whatever else is to come! Head over to ItsAlanMichael.com for more information, and follow him on Twitter.

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Despite alienating some of her loyal fans with this move, “Honey” was still a hit single. It debuted at #1 on the Hot 100, giving Mariah the distinction of being the only artist to achieve this feat with more than one single (it was her 3rd time) and continued her streak of Platinum-certified singles for sales of 1 million copies.

As part of our retrospective series on the iconic Butterfly album last year, we’ve already discussed “Honey” in depth in its various aspects: the revamping of Mariah’s musical identity, the symbolic value of the music video and the metamorphosis the original track went through with its remixes.

It’d be redundant for us to propose the same lecture over and over, so we’ll just invite you to check those pieces out to reminisce and celebrate this pivotal moment in Mariah Carey’s career with us in light of the 25th Anniversary of her legendary career.

The post Mariah Carey was always longing for another taste of #1, “Honey!” appeared first on THE 97.

While the original track is already heavily influenced by hip-hop, Mariah took it a step further with it’s Bad Boy and So So Def remixes.  The Bad Boy remix, already mentioned in my first “Honey” article, is not drastically changed from the original.  There are minor changes to it’s production, such as the omission of certain string elements, which make the song a bit less pop and a little more hip-hop.  Of course, the song also features verses from Mase and the L.O.X. who were new, upcoming hip-hop stars.  This makes the song seem more like a collaborative effort rather than a pop song featuring guest rap verses.  One of the highlights of this collaboration is how Mariah layers her low octave background vocals beneath Mase’s verse, truly melding her sultry voice with Mase’s hip-hop flow.  This sort of seamless fusion has become a trademark of Mariah’s hip-hop collaborations.

Bad Boy was the leading hip-hop label in 1997, and its artists were crossing over to pop radio in a big way.  Its leader, Sean “Puff Daddy” Combs, appeared in the remix video, co-produced the original and Bad Boy remix, as well as his own hit singles that year, such as “I’ll Be Missing You.”  Additionally, Mase had crossed over as well, appearing on alongside Puffy and Biggie’s “Mo Money Mo Problems,” another #1 hit.   They owned the charts and the airwaves and Mariah stayed current by working with these artists.  However, with Mariah it didn’t appear forced.  “Honey” feels fresh and natural, almost effortless, even today.

For the So So Def remix, Mariah teamed up with “Always Be My Baby” collaborator Jermaine Dupri who co-produced and provided a guest verse on the remix alongside Da Brat.  By using different elements from “Hey DJ,” sampled in the original, and a new Jackson 5 sample, the So So Def remix transformed “Honey” into a completely different song musically and vocally.  All that remains from the original version are its lyrics.  This remix has a playful vibe, as its bouncy beat encourages the listener to bop along.

Finally there is the Classic Mix, a house version of “Honey,” co-produced by David Morales.  On this remix, Mariah took the song’s essence of sexual yearning to the next level.  The vocal is more impassioned and sung over the vivacious house track provided by Morales.  While the original song is sexy and sensual, and the So So Def remix is a bit more playful,  the house mix is best described as intense.  Mariah closes the remix by very zealously repeating of the phrase “I need it” with soaring, soulful runs that jump octaves in a way only she can.

This innovative approach of creating multiple reincarnations of the same song in the form of remixes was not completely unique to Mariah.  However she indeed pioneered the art of creating hip-hop and house remixes of “pop” songs.  If you listen to the “Honey” CD single, it’s almost like listening to four different songs.  By the end, you’ll be saying, “I can hardly wait for another taste of honey…”

The post The Many Forms of Metamorphosis: A review of Mariah Carey’s “Honey” remixes appeared first on THE 97.

In the first new verse, King B dropped some pretty shocking lines, but the most shocking is, of course, this one:

“Of course sometimes shit goes down when it’s a billion dollars on an elevator.”

Essentially, B is just saying “shit happens,” but in true hip-hop fashion she laces it with arrogance to say it in the most controversial and clever way possible.  Immediately following this verse is a bit from the original “***Flawless,” where Beyoncé sings, “my sister told me I should speak my mind, my man makes me feel so god damn fine – I’m flawless!”  By reiterating this line from the song (which was released before “the incident”) Beyoncé is, in her own way, reaffirming that everything’s fine with her sister and her husband.

While “***Flawless” is cocky (and a tad bit ratchet), and may on the surface appear to be just for fun, there is actually a more meaningful message behind the song: to embrace your imperfections.  This is a constant theme on the BEYONCÉ album.  By following up the lines about the elevator incident with her mentioning Solange and Jay, and then asserting, “I’m flawless!,”  she is saying that while everything isn’t perfect, while her life may be flawed, it’s okay because she still feels flawless.  Beyoncé didn’t get to the position she is in today by dwelling on negative energy and feeling self-pity.  She got there by being positive and striving through the adversity; by being a survivor.

As for Nicki, in her verse she says “he wants Monster Nicki in Sri Lanka” in reference to her verse on Kanye West’s “Monster,” which many have lauded as her best verse and lyrical peak.  She seems to acknowledge that people want to hear that Nicki again.  It’s best to listen and decide for yourself, but her verse on the “***Flawless” remix is indeed close to flawless, and may even be her best since “Monster.”  It even incited Lil’ Kim to go up in arms and add her own verse to the track.  Kim is upset that Nicki proclaimed herself to be the “Queen of Rap” as if she hasn’t done it before.  Of course, Nicki knew exactly what she was doing with that line, and the hit dog sure did holler.

Overall, the remix did its job and brought some major attention to Beyoncé and what seems to be the next single from BEYONCÉ, “***Flawless.”  The campaign so far has been quite unorthodox (for whatever reason, the remix hasn’t been sent to iTunes) and there has yet to be any formal announcement of “***Flawless” even being an actual single.  The video isn’t on VEVO (one must wonder, will there be a remix video?) and there is no radio add date, though at this point it probably doesn’t even need one.  Beyoncé has yet to seem to give any sorts of fucks about having a traditional, chart-defined “hit single” this era, so why start now?

Grade:

90/97

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