“Damita Jo” showcased Jackson’s resilience as an artist. No matter how the landscape of pop music morphed, she was able to carve out a sonic space for herself. In 2004, R&B and Hip-Hop dominated the charts like never before. Producers like Dallas Austin, Rich Harrison, and Kanye West dominated the charts by producing hits for younger pop stars, all of whom Jackson had inspired. On “Damita Jo,” Jackson brought in a wide array of producers to work alongside the tried and true trio of herself, Jimmy Jam, and Terry Lewis. It made for an album that sounded refreshing, yet still classic Janet.

We’ll be exploring the album in further detail in Issue 2 of THE 97 ZINE out this summer. We’re still ironing out the details, with the formal announcement and preorder coming in May, but you can subscribe now to receive Issue 1 starring @MariahCarey’s “Me. I Am Mariah…” album, as well as Issue 2 starring “Damita Jo” and Issue 3 starring “Destiny Fulfilled” by Destiny’s Child. If you’d like to pitch an essay for the zine, email [email protected].

THE 97 ZINE 2024 Subscription

Until then, check out my top 5 songs from “Damita Jo.” Each track I selected represents one of the five prevailing moods on the album.

Damita Jo: My Top 5

5. “Damita Jo”

The ever-innovative Ms. Jackson was ahead of time with this succinct track, clocking in at just under 3 minutes long. Some may consider the track as a sort of second intro song for the album, and thematically, it is, but it’s a fully fleshed out track … and a complete banger. With quips like “A little lady, a whole lotta class, but do me wrong and I’ll get in that ass,” how can you not get your entire life? This track represents the more playfully revealing, “behind the velvet rope” sort of vibe of several other songs on the album, like “My Baby,” “Thinkin’ Bout My Ex,” “Truly” and the poetic interludes.

4. “All Nite (Don’t Stop)”

This club-ready jam deserved to be a smash hit. Effortlessly showing us why she, and not Madonna, is Britney Spears’ true pop mother, “All Nite” proved that Ms. Jackson was still ready and able to hang with the young girls. Unfortunately, the powers that be made that impossible. “All Nite” represents the album’s more contemporary dance-pop sound, also found on “Strawberry Bounce,” “SloLove” and the elusive “Love Me” remix of “Just a Little While.”

3. “Like You Don’t Love Me”

Perhaps her most unabashed album to date when it comes to sexually-explicit lyrical content, “Like You Don’t Love Me” is my favorite of the hyper-sexual tracks on “Damita Jo.” It’s a high-energy bop that’s filled with confidence and swag. “Sexhibition” also does this well, as does “Strawberry Bounce.” There’s also the pair of bedroom (or, rather, backseat) ballads, “Moist” and “Warmth” if you need an oral instructional manual.

2. “R&B Junkie”

This battles for #1 in my book, and for a long time, it was. The throwback fun of “R&B Junkie” is irresistible and infectious, and a highlight of the album. Atop the funky Evelyn King sample, the song is impossible to skip. “Junkie,” as well as lead single “I Want You” and bonus track “Could This Be Love?” perfectly play with this soulful, R&B vibe. “R&B Junkie” is the album’s best uptempo, for sure.

1. “Spending Time With You”

If the album’s interludes are any indication, Jackson must’ve spent a lot of time in the Caribbean while recording “Damita Jo.” This groovy jam encapsulates the breezy beach vibe echoed on other tracks, like “Island Life” and bonus track “I’m Here.” While perhaps best known for her danceable uptempo tracks, Jackson’s slow jams are severely underrated. Filled with intricately layered background vocals and soulful leads, “Spending Time With You” is the perfect example of that aspect of Jackson’s artistry overall, and the sensual, slower side of “Damita Jo.”

Listen to Janet Jackson’s “Damita Jo”

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When it came to R&B, Carey’s more authentic offerings with less commercial gloss and more bluesy introspection were kept from the spotlight. However, the diva-to-be sure did try.

This playlist is a reimagining of “Music Box,” a supposition of what, based on her later work, Carey might have preferred the album to sound like. Some of its singles have been swapped in favor of a remix or a live version. And, perhaps most controversially, a pair of discarded tracks replace album tracks. This is Mariah’s Version.

Music Box (Mariah’s Version)

1. Dreamlover (Bam Jam Soul) Remix

The story goes that Carey crafted a sparsely produced “Dreamlover” with Dave Hall, using the same sample as Big Daddy Kane’s “Ain’t No Half Steppin’.” However, Carey’s then-husband and label head Tommy Mottola called in her frequent, pop-friendly collaborator Walter Afanasieff to give the song the gloss it needed to become a commercial pop confection. Rumor has it that this remix is a little closer to how it would’ve sounded.

2. Hero (Live at Tokyo Dome)

You’ve probably heard the story: Carey wrote “Hero” with Gloria Estefan in mind for a film of the same name. Mottola heard it, and told her to keep it for herself, and the rest is history. “Hero” is one of Carey’s signature songs, but she’s always expressed her reservations about it, saying that she didn’t appreciate the song until she began performing it live and connecting with fans over its sentiment. For that reason, as well as the warmth that the live arrangement adds to it, I selected a live performance to replace the album version.

3. Anytime You Need a Friend (Soul Convention Remix)

While the album version is a gorgeous ballad complete with gospel-inspired background vocals, the Soul Convention Mix has more dreamy, sparse R&B sensibilities and soulful vocals to match. This mix really complements the lyrics and elevates the song beyond its more adult-contemporary-ready album version.

4. Music Box

The gorgeous title track remains; a chilling song that is likely an ode to Carey’s true soulmate: music. It not only gives the album its title, it also sets the tone sonically. Many of the songs on the album echo its enchanting qualities.

5. Do You Think of Me

Originally released as the b-side to “Dreamlover,” this song deserved to be on the album. A sensual track with all the hallmarks of a classic 90s R&B sound, “Do You Think of Me” was probably Carey’s sexiest song to date at that point. “When you feel the touch of another lover, do you think of me?” she asks, possibly to her then-husband’s dismay.

6. Never For You (Radio Edit)

Co-written with Babyface, the album version is pretty perfect, but the Jermaine Dupri-produced remix gives the song an extra thump. Literally; the heavier bass makes the song fall in line with Carey’s later penchant for a ballad with a beat.

7. All I Live For

Fresh out of the vault, Carey found “All I Live For” in 2020 while assembling her compilation of unreleased or obscure tracks, “The Rarities.” Fitting right in with the other, equally dated (but inferior) up-tempos that follow, Carey rightfully referred to “All I Live For” as “soooo 90s” in the “Rarities” liner notes. It’s puzzling that they left this one on the cutting room floor.

8. Now That I Know
9. I’ve Been Thinking About You

This pair of C&C Music Factory collaborations are fun and energetic, offering a hint at Carey’s soon-apparent love for House music. While Carey’s soaring vocals and C&C’s sizzling production succeed at uplifting an otherwise sleepy album, they are a bit substantively generic. For any other artist, they would be standouts, but after 30 years and 12 more albums… the bar is high for Carey.

10. Dreamlover (Def Club Mix Edit)

On 1995’s “Daydream” and 1997’s “Butterfly,” Carey included the shortened edit of one of her house mixes (“Fantasy” and “Butterfly” respectively) on the album itself. While it probably wasn’t recorded in time for the album’s release in 1993, this game-changing remix deserved to be on a Diamond-selling album.

11. Without You

Carey’s cover of Badfinger’s “Without You” has (debatably) become the definitive version, and one of her biggest hits internationally. While she certainly loves R&B and Hip-Hop, Carey has made it well-known that her knowledge of music is pretty limitless, and was choosing to cover Rock songs long after her musical liberation.

12. Everything Fades Away

On the international edition of “Music Box,” Carey’s worldwide fans were treated to “Everything Fades Away.” On Mariah’s Version, it’d be a non-negotiable, following in her oft-practiced tradition of closing an album with a deeply personal ballad. This haunting tale of a heart that’s breaking could’ve been autobiographical or could’ve been one of Carey’s many successful exercises in showcasing her literary prowess. Either way, its lyrics had more depth than the rest of “Music Box” and her first two albums. More of that would certainly follow.

**Just to Hold You Once Again
** All I’ve Ever Wanted

Something had to get cut, dahhlings! While these two songs boast some simply stunning vocals, they are by far the least interesting of the bunch… and the most adult-contemporary leaning. Never fear, “Dreamlover” would still need a b-side, and the album would still need an international bonus track, so do with that what you will. Or, there’s always the vault…

Listen to “Music Box (Mariah’s Version)”

Available on Apple Music, Spotify, and elsewhere.

The post Playlist: Music Box (Mariah’s Version) appeared first on THE 97.

It All Started With a Purr.

Not quite the kind of vocal purr that Eartha Kitt famously once possessed. This purr was vastly different: vaguely androgynous, with a fry that would horrify most experienced vocal coaches, yet intrinsically worked for her. The purr was deep. One now disgraced singer once facetiously quipped that the owner sounded like “the female Elvis.” This proved to be untrue, as the purr was strangely feminine and unmistakably seductive, yet tinged with an innate and sometimes guttural hint of pain. It was deceptive, mostly coming from the proverbial “basement” of the owner’s register, while seemingly out of nowhere, reaching a falsetto a singer like that rarely has in their wheelhouse.

Church Girl

When the owner of this vocal purr, a diminutive 25-year-old woman hailing from Severn, Maryland, linked up with pioneering singer-songwriter Kenneth “Babyface” Edmonds, what resulted was not only one of the most enduring musical partnerships of all time but one of the greatest debut albums the world has ever seen. In July 1993, Toni Michele Braxton arrived and proved she was here to stay.

By the time her self-titled debut album dropped, Toni Braxton up until that point had lived a life that was a far cry from the glitz and glamor of Hollywood. Born the first of six children, Braxton had grown up with the strict religious teachings of her clergyman father, and under the restrictive tutelage of her mother. She’d known minimal success previously, as along with her four sisters, she served as the lead singer of the original incarnation of the R&B group, The Braxtons. While it was obvious that the sisters were talented to varying degrees, it was Toni who was the unmistakable star.

A “Musical Marriage”

By 1993, Kenneth Edmonds and L.A. Reid had found a way to exploit their new star’s talents in the best way possible. It began of course, with the music. Recording of the album began just under a year earlier in Atlanta, where by that point, Braxton had already recorded her duet with Edmonds, “Give U My Heart” and her first solo single “Love Shoulda Brought You Home”, both for the soundtrack to the 1992 film, Boomerang. Love as it turned out, would be the album’s center-point, as the work perfectly embodies the ebbs and flows of relationships. We take a seamless journey throughout a love story in its different phases.

With a relatable ear, we journey with Braxton as she girlishly describes “the honeymoon phase” in tracks such as “How Many Ways” (Shemar Moore, anyone?), “Best Friend,” “I Belong To You” and “Candlelight.” We feel through her the emotional uncertainty during rougher times with “You Mean The World To Me.” We even condoned more immoral behavior from Toni, as she coyly entertains the thought of infidelity in “Love Affair,” just because it was so damn sexy. Come on, when she sings the line, “I have a boyfrieeeennnd!” you can’t tell me that you didn’t want her to choose chaos, and cheat!

The Boomerang Effect

There is a strong chance that you’ve seen your mamas or your aunties recreating the famous scene in Boomerang, in which Halle Berry’s Angela “muffs” Eddie Murphy’s Marcus in the forehead, while cooly saying, “Loooove, shoulda brought your ass HOME last night!” – an obvious reference and evidence of the aforementioned track’s impact. Continuing that wave of accountability, the track “Seven Whole Days” sees Braxton sassing her man ALL the way together. Flanked by her younger sisters (R.I.P. Tracie), this visual is easily my favorite of the era. By the time we reach the stage of full-on heartache with songs like “Another Sad Love Song” (one of my absolute favorite songs of all time), and “Breathe Again,” we’ve run the whole emotional gamut that one can expect in a romantic relationship.

Living Legend

With one stroke of the proverbial wands of Babyface and L.A. Reid, Toni “Living Legend” Braxton had arrived. By shedding her homely Maryland aesthetic – repackaged as a tantalizing, lovesick R&B goddess – she easily stood toe-to-toe with her admitted influences of Anita Baker and Sade. With the sensual stage presence of a 1940s torch singer, Braxton quickly developed a sex appeal that rivaled her contemporaries Janet Jackson, Mariah Carey, and Whitney Houston.

Donning her iconic pixie cut, denim jeans, bold red lipstick, and black leather jacket on the album’s cover, Braxton would go on to shift not only what an R&B diva looks like, but would shatter the whole notion of what one is. Toni Braxton’s debut album, which would go on to nab her three GRAMMYs including one for Best New Artist, easily rendered the newcomer as one of the most commercially viable artists of the 1990s. The little plain girl from Severn, Maryland with the funny purr in her voice went on to become a living legend because she has one of the most distinguishable voices of all time.

Listen to or purchase Toni Braxton’s debut album

The post Big Purr: The Debut of Toni Braxton appeared first on THE 97.

The song, released on June 2, 2003, as the third and final single off of the superstar’s ninth studio album “Charmbracelet,” originally appeared on the British rock band’s 1981 album “High ‘n’ Dry.” Written by band members Steve Clark, Pete Willis, and Joe Elliott, “Bringin’ On The Heartbreak” only reached a peak of #61 on the Billboard Hot 100, a stark contrast from a majority of the more successful hits Carey’s chosen to cover on her other albums. Released through Island Def Jam Records and Carey’s own (now defunct) record label, MonarC Entertainment, “Heartbreak” wasn’t any more commercially successful in Carey’s hands, but was well-received by critics and even the song’s creators.

Cover Girl

Lead singer Joe Elliott recounts that he heard Carey became interested in covering the band’s song after she heard it playing during a photoshoot. “I think she did a great version of it,” he told Rolling Stone in 2019. Def Leppard’s guitarist Phil Collen described Carey’s version as “genuine,” stating, “She’s on our side and it’s an honour she’s done it.” Other reviewers were appreciative of Carey’s surprising transformation from pop to rock star. Praising its live instrumentation, Sal Cinquemani of “Slant” labeled the track as “daring.” After all, it’s not every day a diva like Carey trades in her stilettos for a guitar.

“Gypsy, sittin’ looking pretty / A broken rose and laughing eyes…” are the first lines elicited by Carey’s airy but fervent vocals as she swoons over a somber piano and soft guitar strings. While Leppard’s original version begins with an immediate clash of electric guitars and drums, Carey’s version takes you on a journey of suspense – a gentle, almost whispered start, with a ferocious ending. “The record had a crescendo, so we started out in one place and ended up in a really big epic moment,” Carey said about the song during a 2002 promo interview. Though the five-octave crooner, who’s cemented her musical legacy with innumerable pop/R&B hits, surely wouldn’t be first in mind for a rock ‘n’ roll selection, Carey’s rendition of “Heartbreak” further proves that her voice can fit seamlessly within any musical genre. And, her glass-shattering high note towards the song’s finish – the one Elliott said makes “Minnie Riperton sound like Tom Waits” – could actually be mistaken for an electric guitar squeal. The diva’s voice is indeed an instrument. Everything else around it is just background noise.

Punk-riah

Though the 2003 release of “Heartbreak” was the first rock single that the self-proclaimed “elusive chanteuse” publicly took credit for singing, it was not her first foray into the genre. Carey later revealed in her 2020 memoir, “The Meaning of Mariah Carey,” that she recorded an alternative rock album during the recording of her 1995 studio album, “Daydream.” The secret album, titled “Someone’s Ugly Daughter,” was released under the band name, Chick. Carey wrote, produced, and sang each track from the album, enlisting her friend Clarissa Dane to sing over her voice as a means of disguising it. Carey, however, has hinted about the album in the past. “I’ve written some alternative things that nobody knows about,” she revealed to Craig Seymour, in 1999, saying, “I’m a musical person.” Unfortunately, “Someone’s Ugly Daughter” is still not available on any music platforms. But honestly Ms. Carey, it’s time for the world to become reacquainted with the much more elusive, “Punk-riah.”

A music video for “Bringin’ On The Heartbreak,” directed by Sanaa Hamri, was shot in Los Angeles in early 2003. Inspired by the 1979 film, “The Rose,” the song’s video chronicles the pressures of a renowned rock star, one who is adored by the world but struggles to find her own inner peace – much like the film’s protagonist Mary Rose Foster, played by the legendary Bette Midler. Dressed like a vampy Stevie Nicks, Carey is draped in headscarves and hippie beads but stays true to character by leaving her enviable physique on full display. Shots of her being swarmed by screaming fans, backed by close-ups of a saddened starlet and clips of a risqué love scene between her and model Damon Willis in the sheets, all lead to the video’s finale, where – much like Rose – Carey is performing onstage for her doting followers, with Randy Jackson on bass and Dave Narravo shredding his guitar. Though the song’s style and video are not on brand of the familiar “Mariah Carey” archetype, they certainly coincide with the tales of this diva’s storied career.

Mimi’s Heartbreak

The song’s parent album, “Charmbracelet,” was released during a rather unsuccessful and complicated period for the music icon. After closing out the ’90s as the best-selling artist of the decade, with at least one number-one single in each year, Carey entered the new millennium with her own personal heartbreak. Freshly divorced from the then-CEO of Sony Music, Tommy Mottola, Carey signed a record-breaking contract deal with Virgin Records ahead of the release of her 2001 motion picture debut, Glitter. Following a series of setbacks and delays brought on by Carey being hospitalized for exhaustion, the film and its accompanying soundtrack were commercial failures and panned by critics. Ultimately, the superstar was bought out of her contract by Virgin Records. It was “a complete and total stress-fest,” according to Carey. “I made a total snap decision which was based on money and I never make decisions based on money. I learned a big lesson from that.”

The following year, the songstress jetted out to Capri, Italy, where she began writing and recording fresh material for a new album before even being signed to a new label (ultimately choosing Island Def Jam). Carey not only found a new home with another record company but also launched her very own record label – MonarC Entertainment (which was abandoned in the summer of 2004). In the wake of commercial blows, critical mockery, and record label confusion, Carey’s father passed away shortly after the two had reconciled after years of not speaking to one another. She honored her late father with the song, “Sunflowers For Alfred Roy,” on “Charmbracelet.”

“Charmbracelet” (released December 3, 2002) was not the commercial comeback Carey had intended it to be, however. The album peaked at number three on the Billboard 200 Albums Chart, while all three of its subsequent singles received shockingly poorer chart success than Carey was known for. “Bringin’ On The Heartbreak” reached #25 on the U.S. Adult Contemporary Chart, but managed to peak at #5 on the Billboard U.S. Dance Club Songs, thanks to its club remixes. The song was performed on several television programs, including “The Today Show” and Mexico’s child fundraiser program “Teletón,” as well as on the album’s supporting tour, “The Charmbracelet World Tour.” Carey’s future, though, was anything but heartbreaking. The Grammy winner returned to her former glory with her 2005 comeback album, “The Emancipation of Mimi,” and eventually broke Elvis Presley’s record for having more number-one hits than any other solo artist in music history. Over the decades, she has completely transformed herself into the quintessential symbol of Christmas. Her years of heartache are certainly long gone.

Although Carey’s rendition of “Bringin’ On The Heartbreak” didn’t match the success of her most beloved covers, it certainly speaks to her musical diversity. With a song catalog that practically shimmers from catchy pop melodies and honeyed vocals, “Heartbreak” is a rock ‘n’ roll rarity. For both the likeliest and unlikeliest of song choices, a voice like Carey’s is always the perfect fit. But be warned – when Mariah Carey covers your song, it just isn’t your song anymore.

Listen to “Bringin’ on the Heartbreak”

The post Mariah Carey, Master of “Bringin’ On the Heartbreak” appeared first on THE 97.

Released on May 6, 2013, as the lead single from Carey’s fourteenth studio album, “Me. I Am Mariah… The Elusive Chanteuse,” “#Beautiful” marked a new era for the celebrated songstress. The track was her first release to garner significant traction since the 2009 hit single, “Obsessed.” The inspirational but polar opposite singles “Triumphant (Get ‘Em),” released in the summer of 2012, and “Almost Home” (the theme song to Disney’s Oz the Great and Powerful) released just 3 months prior, both failed to chart. Coming out at the tail end of Carey’s rather infamous stint as an American Idol judge, “#Beautiful” had the perfect markings (and marketing) of a summer smash.

Mariah Meets Miguel

Starting off with a sleek guitar lick, the song already paints the five-octave diva in a much different light than her previous singles. There’s a little edge, a little grit, a little rock ‘n’ roll – three ways a casual observer of Carey’s would not even think to use to describe the songbird’s twinkling index of high notes. The song’s featured guest, Miguel, holds the reins for a majority of the song’s opening, while the only offering Carey even makes in the song’s introduction is a repeated “uh, uh, you’re beautiful” and some faint, girl-group-inspired “ooh’s” and “ahh’s.”

In true diva fashion, Carey’s voice comes swinging in, full throttle, and fashionably late to her own song. She seemingly responds to Miguel’s invitation to ride atop his bike, crooning, “I like when you run red lights” at the start of the second verse. The double entendre here is an example of the pair’s playful banter throughout the song. Its surprisingly bawdy yet catchy chorus about admiring each other’s beauty echoes the juvenile feelings of a brewing romance. The chorus also reveals the song’s only defect: the hashtag in its title acts as a placeholder for the f-word. It was an attempt at embracing trends that fell flat.

Though the song served as the lead single from Carey’s then-upcoming album, it was originally conceived by Miguel. He comprised the opening guitar riff before pitching it to Carey. The two then collaborated to complete the song, and as Mariah revealed in an interview with Ryan Seacrest, “We just wanted to do something different that has a texture, that feels fresh.” The result wasn’t just fresh, it was superb. As Carrie Battan wrote in her review for Pitchfork, “#Beautiful” had “the finger-snapping R&B throwback charm that sounds primed for repeat play through the summer.”

The #Beautiful Video

A Joseph Kahn-directed music video premiered on the May 9, 2013, episode of American Idol. In it, the two singers are depicted riding into a summer’s sunset on a motorcycle, with a very James Dean-styled Miguel at the controls, as Mariah sits pretty in the back. It soon becomes nighttime, and they’ve traded in their motorcycle for a vintage, candy apple red Porsche Speedster (which actually belonged to Carey’s father) to set up shop in an old barn that just so happens to be adorned with crystal chandeliers emitting the perfect lighting for Ms. Carey’s approval. The music video really doesn’t serve anything other than some picturesque shots of Mariah twirling around and fluttering her fingers like she’s about to sprinkle some fairy dust from her hands. She’s beautiful, and there’s no denying that.

The Queen of the Remix

“#Beautiful” was further promoted through a series of television performances and remixes, including a re-sung hip-hop remix with Jeezy, a Spanglish version with Miguel, and a version with a rap from A$AP Rocky.  Though the song’s remixes really didn’t match the quality of the original, they are a welcomed addition to Carey’s canon of remixes nonetheless. Two of them even had music videos.

A second music video was filmed a month later for the song’s Spanglish version, “#Hermosa.” Now the two have left the countryside for a more scenic ambiance – Capri, Italy. This time, we catch a glimpse of the pair recording the blended version of the song in the studio, mixed with clips of Miguel cruising about the town and Carey being the bonafide diva that she is – cheers-ing with champagne, frolicking in the water (diamonds on, of course), and teetering to her yacht while being assisted by handlers so she doesn’t fumble over her heeled sandals. If anything, the two videos just give Carey an opportunity to show off her body two years after giving birth to twins.

A third music video for the Jeezy remix was also planned. However, while filming, Carey suffered a shoulder injury after a pretty serious fall. Carey later revealed that the video had been edited, and would presumably be released, but it never was. This unfortunate turn of events also derailed the recording of a planned dance remix and ultimately delayed the release of its parent album until May 2014. Instead, we got served with an array of very stylish arm slings – ranging from leather to feathers to fur – the singer donned while recovering. One word: chic.

The Summer Hit That Got Away

Debacles aside, the song became Carey’s 33^rd Top 20 hit, peaking at number 15 on the Billboard Hot 100. It found even more success on the Hot R&B/Hip-Hop Songs Chart, where it peaked at number three. It also became the superstar’s third-highest debut on the Pop Songs Chart, behind her 1993 smash-hit “Dreamlover” and her 1994 duet with Luther Vandross “Endless Love.” After being certified double platinum by the Recording Industry Association of America, it later received a platinum certification from the Australian Recording Industry Association and a gold certification from Recorded Music NZ. For an artist who was 23 years into her career at that point, its chart performance was quite impressive.

Although the song garnered critical praise and modest commercial success, “#Beautiful” deserved far more. Having been released right before the official start of the summer season, there’s no doubt that this song could have served as the soundtrack to plenty of summer memories in the making – road trips, beach dates, riding in the car during the warm golden hour, singing along to the song’s effortlessly cool spirit. But summer is right around the corner, and even 10 years later, “#Beautiful” is still just as fresh and current as it was when it first came out – except for the hashtag. TikTok, do your thing.

Listen to “#Beautiful” by Mariah Carey and Miguel

The post “#Beautiful,” Mariah Carey’s Summer Hit That Got Away appeared first on THE 97.

In all its cheery glory, that 4-minute-long song has unequivocally become the starting point for season’s greetings. But unlike Carey’s coveted holiday anthem, a darker side to the most wonderful time of the year looms over the heads of many who are in desperate need of some yuletide spirit. A side that is, in fact, the complete opposite of the star’s jubilant number-one hit, and best voiced by another cut from the Mariah Carey Christmas catalog, “Miss You Most (At Christmas Time).”

“Miss You Most” serves as one of the three tracks written and performed by the songstress from her first holiday album, Merry Christmas. A stark contrast from the jingling grandeur that decorates “All I Want For Christmas Is You” from start to finish, “Miss You Most” is a lot less merry and bright, and a lot more teary and dim. As Carey’s voice soars over a quiet, piano-driven backdrop, the song’s agonizing lyrics are a painful reminder of how the season of merriment could also be the most devastating when there’s no one to share it with. “Every other season / Comes along and I’m alright / But then I miss you most at Christmas time,” she sings. Be it a lost love, a former friend, or even death, “Miss You Most” carries the painful sentiments to these kinds of adversities that so many are forced to face in the midst of gift giving and tree trimming – regardless of how much of it they try to avoid. In a 2019 interview, Carey opened up about the song during a Q&A session in support of the 25^th anniversary of Merry Christmas. “People tell me it’s a really, brutally sad song,” she said. “Some people get depressed around the holidays, and I totally understand that, that’s why there has to be something for everyone.”

Despite not joining the ranks of becoming yet another holiday classic, Mariah Carey fans have continuously shown “Miss You Most” some much needed love with each passing Christmas. And, even though we’ve never gotten a full live performance of the song by the chanteuse herself (except for a tiny excerpt in 2018), the Christmas ballad has begun to trickle into musical memory in recent years, having been covered by singer-songwriter JoJo and even comedian Billy Eichner on “The Late Late Show” last year. But this isn’t enough for Carey’s army of #lambs, who await and pray that each coming holiday season will be the year that “Miss You Most” earns a spot in any of the star’s seasonal projects. Now, that would really make all of our wishes come true.

The post “Miss You Most,” Mariah Carey’s Searing Seasonal Offering appeared first on THE 97.

First released on her second Christmas album, 2010’s Merry Christmas II You, “Christmas Time is in the Air Again” is simply perfection. Composed by a pair who are independently legendary, together, Mariah Carey and Marc Shaiman literally crafted up magic.

The exquisitely orchestrated ballad is has that classic, timeless feel that one would expect to hear from a vintage Christmas song. Lyrically, Mariah expertly weaves ornaments of Christmas into a relatable love story. The song is structured into four verses, with no real hook — just the repetition of the song’s title. Really, each verse is like a hook itself, the way Mariah has skillfully structured it. Throughout the four verses, she mentions Christmas chimes and cheer, evergreens that “sparkle with lights,” falling “like the snow, so deep in love,” occupied mistletoe, and the memories that come along with it all. Even Christmas icons Mr. Grinch (who “can’t resist warming up”) and Ebenezer Scrooge (who “makes a Christmas wish for a honey to hold”) are mentioned.

Melodically and vocally, Mariah delivers on both fronts with a melody that sticks and vocals that warms the soul. There is no reason this song should not be perched among the most beloved Christmas songs of all time. To her credit, Ms. Carey has certainly done her due diligence in promoting the song throughout the years. Let’s go back in time, shall we (with the Ghost of Christmas Past)?

“Christmas Time is in the Air Again”
Live Through the Years

On her ABC Christmas special in 2010:

At the Rockefeller Center Tree Lighting in 2012:

At Michael Buble’s Christmas Special in 2013:

At the Beacon Theatre “All I Want For Christmas is You” residency, 2014-18:

With Babyface, at Mariah Carey’s Merriest Christmas special, 2015:

On The Late Late Show, in 2019:

In Mariah Carey’s Magical Christmas special, 2020:

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Over the course of her career, the pop diva has made it clear just how important the Christmas season is to her. After several of her childhood Christmases were foiled in the hands of her “dysfunctional” family (as noted in her 2020 memoir, The Meaning of Mariah Carey), Carey has since made it a point to celebrate every Christmas as nothing but merry and bright. This included releasing not one, but four holiday albums, a yearly trip to the snowy slopes of Aspen, Christmas tours, Apple TV+ specials, a children’s book and accompanying film, merchandise, and this year’s “Mariah Menu” designed for McDonald’s. Christmas really is that big a deal for the superstar. And from these festivities, her fans have not only been gifted with many exquisite covers of holiday classics, like “O Holy Night” and “Christmas (Baby Please Come Home),” but also a handful of her own masterfully crafted seasonal gems – other than that one – written and performed by the chanteuse herself. “When Christmas Comes” is one of those gems.

Taken from the hitmaker’s second holiday album, 2010’s Merry Christmas II You, “When Christmas Comes” was written and produced by Carey and James Poyser. The R&B track features Carey’s unmissable, velvet-coated voice, layered over a heavy dose of soul, trumpets, and live instrumentation. Unlike many, many modern-day Christmas songs, “When Christmas Comes” takes you right back in time to days of holidays past, thanks to its classical, big band ensemble. Since its release, it has been performed on all of Carey’s subsequent holiday tours, as well as the star’s 2010 ABC Christmas Special – Mariah Carey: Merry Christmas to You. Though, a voice like Mariah Carey’s needs no assistance, singer-songwriter John Legend skated his way onto the track’s single release version. With two of the biggest voices in R&B coming together to spread some holiday cheer, it’s almost impossible to think of a better way to get into the Christmas spirit – especially after their short but sweet “Jingle Bells” addition right before the song’s climactic ending.

Throughout the song, Carey is certain that the “gift of love” will help save the Christmas season. “But baby, if you spread love / Someday it might be enough / To heal each other one by one,” she croons. The track is so smooth that it’s practically unfitting to not have a cup of hot cocoa (or a glass of Carey’s new Black Irish cream liqueur) in your hands, while you sit back and indulge in all its merriment. And, having a gentle snowfall outside your window, amidst twinkling tree lights, will most definitely have you listening to this song on repeat until the day Christmas finally does come.

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Actually, the group’s foray into Christmas music began in 2000 with the recording of two original tracks. The group lent their talents to a second curated Christmas album by Rosie O’Donnell (yes, you read that right; what a time, chyle) via the song “Spread a Little Love on Christmas Day.” On a special edition rerelease of their sophomore album The Writing’s on the Wall, they also included what would go on to be the title track and lead single of their Christmas album, “8 Days of Christmas.” Beyoncé co-wrote and co-produced both original songs. Though they may sound a bit dated (especially with the Rosie shout out on “Spread a Little Love”), they are both undeniable bops, and the basis upon which the idea for the a Destiny’s Child Christmas album was born.

It’s no surprise that the girls’ label wanted them to do a Christmas album: they were signed to Columbia Records, which was also home to Celine Dion and Mariah Carey (until 2001), whose Christmas albums were monster successes in the 90s. Like Mariah and Celine when they released theirs, Destiny’s Child were at their peak stardom, so what better time to make their mark on the holiday music landscape? Beyoncé, Kelly and Michelle somehow found time in their busy schedules to record covers of a handful of Christmas standards, but also craft a few new tracks, as well.

I briefly chatted with Michelle, not for a formal interview, but just to see if she had any anecdotes to share about her memories attached to 8 Days of Christmas. She recalled that, “It was a very busy time! We were touring and having to find an hour here and there to record!” That certainly tracks; as a fan then and now, I remember being surprised when they announced the Christmas album. My reaction was like, “when did y’all have time to do this?!” Nevertheless, I was perched at home on Halloween at 11 years old, not trick-or-treating, but bopping to Christmas music instead. Anyway, Michelle also hilariously recounted that there might have been some “sinus infections and tons of congestion on a few of the songs!” If so, we would have never known, because the vocals on 8 Days of Christmas are one of its highlights.

Upon its release, reviewers weren’t exactly kind to the trio’s take on Christmas. In fact, I remember writing a scathing response to one Tracy E. Hopkins (I still remember her name to this day) for the way she dragged the album in her Rolling Stone review. I was eleven years old at the time, so surely that was not my finest nor most mature piece of writing. Twenty years later, I can understand why critics didn’t quite get the album. In 2001, most Christmas music adhered to the notion that it should be able fit in with the classics. While that remains true today for the most part (especially if you want your own perennial hit like Mariah Carey’s), things have evolved a bit. Dare I say, Destiny’s Child made it cool to make Christmas music that sounds more modern. They took their early 2000s sound, tossed in some sleigh bells and tidings of comfort and joy, and said “Merry Christmas, from Destiny’s Chiiiild!” The ladies harnessed their “girl power” and channeled it into a festive moment that, 20 years later, still has fans saying, “yes it feels like Christmas!”. Plus, the new girls since have definitely taken note: from Ariana Grande’s Christmas and Chill, to JoJo’s December Baby, it’s clear there is a market for more modern sounding Christmas music. It’s time to embrace the modern Christmas bop, people; give Phil Spector’s wall of sound a rest.

Twenty years have passed since Destiny’s Child released 8 Days of Christmas, and while the album might not sound like what most consider to be “classic” or “timeless” Christmas music, it gave us several gems and holds a special place in my heart. Surely, any Destiny’s Child fan must feel the same. In celebration of the album, I have ranked all 14 tracks: the 12 from the original release, plus its two 2005 bonus tracks.

8 Days of Christmas, Ranked

14. Little Drummer Boy (featuring Solange)

“Little Drummer Boy” is one Christmas song that I just do not like, and not even my favorite artist Destiny’s Child can save it here. Still, it was cute to hear a young Solange again join the trio for this Christmas moment. Four years later, she would pen an original Christmas song for the girls. More on that one further up the list.

13. Platinum Bells

A spin on the carol “Silver Bells,” DC3’s “Platinum Bells” is more like an interlude on the album. It’s cute and fun, but clocking in at 90 seconds in length, it doesn’t quite stack up to the rest of the songs.

12. Silent Night (Beyoncé’s solo)

I might get dragged for this, but I hope the Hive can find it in their hearts to chill this holiday season. I was in the BeyHive before there was a Hive, so let’s not okay?! “Silent Night” has never been my favorite Christmas song… I’ve always found it kind of boring, to be frank. Yes, it’s a beautiful song and I can respect it as such, and most talented vocalists tackle it gorgeously, but I can never really get into it. Maybe once per season, maybe during a live performance, but, otherwise… I usually skip it. Beyoncé serves up some vocal acrobatics on her version, as expected, though at times it does feel like a bit too much.

11. Rudolph the Red Nosed Reindeer

The ladies’ rendition of “Rudolph” ranks this low not necessarily because I don’t love their version, but I just don’t really adore this song in particular. Of course, it’s a classic and conjures up childhood memories, but it’s still a children’s song at its core, so I listen to it sparingly. That being said, they certainly sound great here. Their version was not released in 2001, though. It sounds as though it was recorded then (I asked Michelle, she couldn’t remember), but it wasn’t released until 2005. They promoted it with an adorable claymation video that acted as a cross promotion for the 2005 DVD rerelease of the classic 1964 animation film. The song was also added to 8 Days of Christmas as a bonus track for its 2005 rerelease on DualDisc (surely the kids have NO clue what that is!).

10. White Christmas

Though it might be of the shortest Christmas carols, “White Christmas” is also one of the most beloved. Destiny’s Child takes it on similar to how they later collaborated on Michelle’s “Say Yes” – they each sang the carol through once, putting their individual vocal spins on it on each go-round, and layering it up with their signature harmonies. They sound great doing so, of course, but it sort of leaves us begging for more. This might’ve been another moment to go the “medley” route, perhaps mixing it in with “Winter Wonderland” or “Let It Snow,” to make the moment last a bit longer.

9. Do You Hear What I Hear? (Kelly’s solo)

For her solo track, Kelly chose to take on a religious song as well. Modeled after Whitney Houston’s definitive version of the classic, Kelly’s rendition of “Do You Heart What I Hear?” is simply beautiful. Kelly has made it well known that she has always been a huge Whitney fan, so it is no surprise that she was heavily inspired by Ms. Houston for this cover. Had she differentiated her version a bit more, it might rank higher here. Still, don’t let its placement here take away from the fact that the Kelly’s version is well worth a listen and placement on your Christmas playlists!

8. This Christmas

The trio takes on Donny Hathaway’s classic “This Christmas,” giving it an early 2000s modern twist musically, with a vocal arrangement that is mostly faithful to the original. The fact that it’s a trio singing the song, each taking their own verse, helps to differentiate the Destiny’s Child version from the many other covers (most good, some bad) that exist of this classic.

7. A “DC” Christmas Medley

As the title suggests, this is a medley of Christmas classics, with a Destiny’s Child spin. The trio sleighs through bits of several holiday favorites: “Jingle Bells,” “Frosty the Snowman,” “Holly Jolly Christmas,” “Deck the Halls,” and “Here Comes Santa Claus,” with “Santa Claus Is Comin’ to Town” functioning as the song’s hook. It’s a clever way to quickly bop through these short little classics, and works especially well as a group moment, which each of the ladies leading a carol of their own.

6. Home For the Holidays

“Home From the Holidays” is a song recorded for a Walmart ad campaign in 2005, and was included on a Walmart-exclusive edition of the album. Co-written and co-produced by Beyoncé’s sister Solange, “Home For the Holidays” is yet another Christmas jam by the trio. Truly, its beat slaps, and is good enough to be a non-Christmas song. However, its lyrics about going “home for the holidays” to celebrate with family make it a bop fit for the holidays. If it was a little more Christmas-y, musically, it’d likely rank higher on my list. Still, I love the song, and I am so glad that it was finally uploaded to streaming this year!

5. O’ Holy Night (Michelle’s solo)

Of course, Michelle Williams reminds us of the true reason for the season with her solo number, a gorgeous cover of the classic hymn, “O’ Holy Night.” Produced by her brother Erron Williams, Michelle’s rendition is a fresh, soothing reimagining of the heavenly hymn. The song was actually the first time fans ever got to hear Michelle solo track. She masterfully glides through the lead vocals, and the layered background vocals. Michelle’s version remains one of my favorite takes on “O’ Holy Night.”

4. 8 Days of Christmas

With its simple refrain of “Doesn’t it feel like Christmas? Yes, it feels like Christmas!” this song is one that never fails to conjure up the Christmas spirit within. Sure, it’s one of those love songs with a little Christmas cheer sprinkled on top. Some might call the song “superficial” because its verses are about all of the gifts “mybabygaytame” but let’s remember, the song is clearly inspired by “12 Days of Christmas,” which is just the same. Ultimately, the song is a fun, festive romp that is the perfect combination of early 2000s pop and cheer-full Christmas vibes. Also, you’ve gotta love the Tina Knowles Lawson designed Sexy Santa outfits they wore during the promo tour.

3. Spread a Little Love on Christmas Day

“It’s beautiful outside and the wind is whistling; I look outside my window as I see my neighbor’s Christmas tree; the snow is falling, my spirit’s feeling happy, I’m feeling even better ’cause I got my family next to me,” Beyoncé sings to open Destiny’s Child’s first-ever Christmas song. It’s a sentiment that is repeated in countless Christmas songs, and one that never fails to lift spirits. On “Spread a Little Love on Christmas Day,” the girls express gratitude for their blessings and, as the title suggests, spread love to all of their listeners, no matter where in the world they may be. Musically, the song sounds like it could’ve fit in on Survivor, but lyrically, there’s no mistaking that the song is filled with Christmas cheer. For that reason, it has always been one of my favorites.

2. Opera of the Bells

Certainly the best cover on the album, Destiny’s Child’s version of “Carol of the Bells” is aptly retitled “Opera of the Bells.” This a cappella moment finds the trio united in harmony, and impeccably so. As with most versions of this classic carol, DC3’s version is equally haunting and powerful. It’d truly be something to hear Beyoncé, Michelle and Kelly perform this one today; their voices have only improved over the years, and no doubt they would slay this, effortlessly. The last time they performed it live was in 2004.

1. Winter Paradise

This has always been my favorite song on the album. It’s simple, yet perfectly heartwarming. Co-penned and co-produced by Beyoncé, this DC3 original is underrated and deserving of its flowers. I wish it had been a single so that it could have received more shine. Lyrically, it hits all the Christmas points and serves up all the Christmas warm and fuzzies. I also love the vocal arrangements here; Michelle, Kelly and Beyoncé all have equal opportunities to shine.

Listen to Destiny’s Child’s 8 Days of Christmas

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

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

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

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

The Angst

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

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

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

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

The Confessionals

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

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

The Bops

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

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

The Impact

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

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

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

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

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

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

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

Listen to P!NK’s M!ssundaztood

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