Nearly impeccable from start to finish, “eternal sunshine” is just under 36 minutes long, with infinite replay value. The songs are succinct, pulling from the best of her previous works: the stickiness of 2018’s “sweetener,” the sincerity of 2019’s “thank u next,” and the soulfulness of 2020’s “positions.” In the shadow of “eternal sunshine,” those albums now read like rough drafts from an artist still finding her sound and a woman still finding herself.

Interest in Grande’s relationships has long fueled interest in her music, with her songs becoming increasingly introspective. On “sunshine,” she leans into it completely – out of necessity. Its lyrics read like the notes from a therapy session that document a journey from hurting to healing… or sunset to sunrise.

“eternal sunshine,” the sunset

The album begins with the sunset of her marriage. Grande expresses a range of heartbreak-adjacent emotions across a series of tracks: from the bitter sass of “bye” to the bittersweet shame of “don’t wanna break up again” to the apologetic “eternal sunshine.” While she can deliver soaring vocals, Grande opts for a more muted approach here that complements the pensive disappointment of her words.

Of course, the title track stands out here as the album’s thematic centerpiece. With flawlessly executed production, lyrics, and vocals, Grande opens the album with a showcase of her best assets. She emotively delivers confessional lyrics atop perfect pop production helmed by frequent collaborators like Max Martin and ILYA.

“eternal sunshine,” the late-night

Next, the album’s middle sinks into emotional twilight, shifting its tone from light to dark. She is starry-eyed by the prospect of a magical new love (“supernatural”), reflects upon how she’s been scorned (“true story”), and is unapologetic about pursuing her desires (“the boy is mine,” “yes, and?”). The latter two tracks are R&B-leaning romps that find Grande excelling in her comfort zone.

In the vengeful “true story,” Glinda the Good Witch asserts she can play the villain role, and proceeds to prove just that on the infectious “the boy is mine.” Referencing Brandy and Monica’s 1998 classic, Grande leaves no room for debate and proclaims she will take what she wants. Fittingly, it’s followed by the celebratory sass of “yes, and?” which sounds hollow in a post-Mariah Carey remix timeline without the presence of Grande’s musical “Mother.” Nothing that a lil’ playlist can’t fix, though.

“eternal sunshine,” the sunrise

The album’s final four tracks represent the sunrise, the dawn of a new day. Reflective, insightful, and mature, Grande truly shines here. The second single, “we can’t be friends (wait for your love),” is a quietly anthemic realization that perfectly captures Grande’s essence as an artist. The captivating video, inspired by the film “Eternal Sunshine of the Spotless Mind,” further elevates the emotional weight of the entrancing track.

The gut-wrenching “i wish i hated you” follows; a sparkling, sprite song that sounds inspired by “Wicked’s” equally tear-jerking final duet, “For Good.” You can hear Grande’s voice break at the end, sniffling as she fights back tears to sing, “I wish I hated you/ I wish that weren’t true/ wish there was worse to you/ I wish you were worse to me.”

Post-Manchester, Grande has not been shy about putting her feelings into her lyrics, but there is a piece of her embedded in each of the “eternal sunshine” songs, especially on these final four tracks. The cleverly titled “imperfect for you” is next, a swaying, put-your-lighters-up, self-aware torch song.

On the album’s closer “ordinary things” Grande shares one more very special piece of herself: a voice note from her Nonna (her Italian grandmother), who answers the question that Grande asks in the intro: “How can I tell if I’m in the right relationship?” The song seemingly holds the answer: in the right relationship, the ordinary things seem extraordinary.

Only Grande knows whether she’s finally found such a love. But, as an artist, she’s no longer ordinary. With “eternal sunshine,” she’s proven herself extraordinary.

Get the Amazon-exclusive “eternal sunshine” vinyl!

Or, stream “eternal sunshine” on your favorite platform!

The 97-Hour Review: Our 97-hour reviews offer commentary on new music just over four days after its release. While we generally like to spend a lot of time with the music we love before speaking on it, that’s what retrospectives are for. Until then, enjoy our fresh 97-hour take!

The post 97-Hour Review: On “eternal sunshine,” Ariana Grande proves herself appeared first on THE 97.

Summertime is for sun, sand, and a So So Def remix. In the 90s, Mariah Carey and Jermaine Dupri never failed to deliver on the latter, and the “My All/Stay Awhile” remix, is no exception. A sexy summery mash-up of Mariah’s 13th #1 and the R&B classic “Stay a Little While, Child,” the track features Lord Tariq and Peter Gunz, a then up-and-coming rap duo from the Bronx, as Carey effortlessly glides between verses from both songs atop the Loose Ends sampled beat. While Carey’s now-classic Latin-inspired ballad was already steamy, this club-ready mix really made it swelter.

Watch the “My All/Stay Awhile” video, stream it, or buy Mariah’s “Butterfly” or “The Remixes” album.

The post 97 Words: “My All/Stay Awhile” by Mariah Carey appeared first on THE 97.

Stream “favorite kind of high,” watch the live performance video, or preorder the album, “chemistry,” on vinyl.

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Kelly Clarkson’s new single “me” arrives after a tumultuous few years for the singer. According to Clarkson, the song represents one of the many emotions she’s experienced since separating from her ex-husband, Brandon Blackstock, in 2020.

Clarkson became a household name as the inaugural winner of American Idol’s first season, from which she ascended to superstardom via a string of hit singles and multi-platinum albums. In 2018, she made her return to TV on The Voice, and in 2019, made herself into a household staple as the host of her hugely successful daytime talk show.

However, Clarkson is still an artist – and “me,” from her forthcoming album “chemistry,” serves as an evocative reminder. It seems as though the song is the third installment in a trilogy preempted by two similarly introspective singles, her most recent top 10 hit, 2015’s “Piece By Piece,” the sequel to 2004’s “Because of You.”

Written by Clarkson at age 16 in reaction to her parents’ divorce, the young Idol had to fight for permission to include “Because of You” on her sophomore album “Breakaway.” She won, and it became the first truly personal song she had ever released – and one of her most memorable hits. The struggle to release “Because of You” marked the beginning of a decade-long battle for creative control between Clarkson and her former labels, RCA Records and 19 Recordings. Despite their reluctance to allow Clarkson creative freedom, most of her biggest singles were, in fact, songs she co-wrote. She has writing credits on 8 of her 15 biggest hits on the Billboard Hot 100.

“Because of You” remains one of her best songs because of how personally and emotionally connected she is to the lyric, and garnered Clarkson respect as an artist. The song also offers insight into her fraught relationship with her estranged father. With lyrics like “Because of you/ I find it hard to trust not only me, but everyone around me,” it established Clarkson as a young woman shattered by her broken home, and, though released 19 years ago, foreshadows “me.” It’s taken her nearly two decades to trust “me.”

However, there is one more piece to the puzzle. In 2015, Clarkson released “Piece By Piece” and referred to it as a sequel to “Because of You.” Released after the birth of her first child, Clarkson contrasts her father with her then-husband, singing, “Piece by piece, he collected me up/ Off the ground, where you abandoned things … Piece by piece, he restored my faith/ That a man can be kind and a father could stay.” The song was ripe with emotion even then, catapulting to the top 10 of the Billboard Hot 100 after she performed a tear-inducing, stripped-down version on American Idol. In 2023, listening to it post-“me” is even more emotional – but for different reasons.

On “me,” Clarkson sings, “Don’t need somebody to pick these pieces up/ I put together my broken/ Let go of the pain I’vе been holdin’/ Don’t need to need somebody/ When I got me.” It’s as though she’s alluding to both of those songs. She’s “letting go of the pain” she sings about in “Because of You.” Meanwhile, not needing “somebody to pick these pieces up” is an apparent reference to “Piece by Piece.” The latest installment is a 180 from the theme and message of its predecessors. On the first, she sounds like a damsel in distress, and on the second, she sounds swept away. With the third and perhaps final, she is finally whole.

Only one part of “Piece by Piece” still holds up today, and was always the most touching moment in the song. It’s when Clarkson abandons the co-dependent narrative, instead centering herself, singing, “I fell far from the tree/ I will never leave her like you left me/ And she will never have to wonder her worth/ ‘Cause unlike you, I’m gonna put her first,” before quickly regressing. Within the current context of Clarkson’s bitter financial battle with her ex, hearing her sing, “He never walks away/ He never asks for money/ He takes care of me/ ‘Cause he loves me,” is heartbreaking in hindsight.

Listening to both back-to-back gives “me” so much more weight. As the track crescendos, leveling up its intensity with musical and vocal layers, its message becomes more and more compelling. Singing with soulful conviction, it’s almost as if Clarkson is trying to persuade herself. Her vocals are truly better than ever – just listen to those high notes in the climax. Musically, she has the freedom to explore genres she’d previously been steered away from. For “me,” she collaborated with Atlantic labelmate and new hitmaker GAYLE (“abcdefu”) for what can best be described as a soulful, gospel-inspired pop ballad. Though “me” isn’t the best song in this nearly two-decade-spanning trilogy overall, it elevates the trio by delivering closure and inspiration.

While her last pop album, 2017’s “Meaning of Life,” was an overdue foray into R&B and soul-infused pop, it was more of an exercise in appreciation than artistic maturation. On “me” (and its A-side, “mine”), it’s clear Kelly Clarkson’s new era will be one of both personal and artistic evolution. The proof is right in the song: listen to how it builds from suppressed sadness at its start, to soaring strength in the end. Or, note the slight change of lyric for the final chorus: “Let go of the pain your hand I’ve been holdin’” – shedding the pain and dependency, because, as a wise woman (and/or Nietzche) once said, “in the end, what doesn’t kill you makes you stronger.”

Kelly Clarkson’s new single “me” is part of a pair of lead singles released from her tenth studio album, “chemistry,” in stores June 23rd. 

The post Kelly Clarkson’s Journey From “You” to “me” appeared first on THE 97.

My love for music began in the 90s via Mariah Carey, Janet Jackson, and Destiny’s Child. I considered myself wise beyond my years when it came to my music taste. Refined, if you will. Maybe I was elitist, but my faves are kind of legendary. They took innovative and introspective risks to create music that empowers and inspires listeners, opening doors for the current generation of pop stars.

Hannah Montana? No, thank you.

When Miley debuted as the star of the Disney Channel’s “Hannah Montana” series in 2006 I was 16 and too old to care about a kids’ show. Disney Channel pop stars were never my thing. 

Admittedly, I liked my fair share of Y2K Pop stars. For a time, I enjoyed Britney, *NSYNC, the Backstreet Boys, and the Spice Girls, but quickly deemed them “manufactured.” I moved on to singers who I considered to be “real” artists who were musicians, songwriters, vocalists, and visual innovators. They were in control of their careers and sound. Miley not only benefited from nepotism, but she was a Disney kid star, manufactured to be squeaky clean, cranking out bubblegum pop. She was literally a character. Young Miley didn’t stand a chance with me.

Miley’s bubblegum pop era peaked with the ubiquitous hit “Party in the U.S.A.” that I hated then, and still avoid now. I’d rather just play the Jay-Z song she never heard. Strike one. 

Good Girl Gone Bad? Please.

Of course, like all the other Disney kids, Miley quickly rebelled – changing her sound and image for post-Hannah Montana. It started with “Can’t Be Tamed” in 2010, which I found to be extremely annoying. Strike two.

It was with her first official album as an adult, “Bangerz,” that Miley took a more drastic turn: to hip-hop. This pivot to hip-hop seemed disingenuous at best, and textbook cultural appropriation at worst. I didn’t care enough to sort out the finer points. Twerking on Robin Thicke at the VMAs? Swinging naked on a ball and chain while belting a ballad? I didn’t understand who she was, or trying to be. I might be a white guy from the suburbs of Long Island, but I have a genuine appreciation for R&B, hip-hop, and the Black superstars who define those genres. I can tell the difference between appreciation and appropriation; it’s a fine line, and Miley crossed it. Like she said in 2009, she never heard a Jay-Z song, but released a hip-hop inspired album 4 years later? She had never really grabbed me, and here, she lost me. Strike three.

From Chaos to Calm

From there, Miley seemingly spiraled via increasingly chaotic choices, and I looked the other way. I’ve never been one to enjoy watching a wreck. There was an experimental psychedelic album released for free in 2015, a country-tinged pop album with cowgirl imagery in 2017, and a bunch of one-off singles through 2020.

It was 2018’s “Nothing Breaks Like a Heart,” a collaboration with Mark Ronson, that finally opened my ears to Miley. She sings it with a vocal delivery that is a bit country, yet almost soulful. It was pop for sure, but with disco and country vibes. The song was perfect for Miley, and damn good, too. In the video, she is sexy, mature, and confident. Both her talent and her identity were becoming a bit more refined. I was warming up to her.

So, when 2020’s “Midnight Sky” dropped to rave reviews, I gave it a listen and loved it. It’s a nostalgic bop that’s full of emotion, yet fun to sing along to. Still, I wasn’t intrigued enough to give the album, “Plastic Hearts,” a spin. The song almost leaned too hard into its inspirations. Rather than sounding like an 80s-inspired pop song, it sounded like a cover. It lacked innovation or progression; dare I say, as much as I love it, it is a bit… reductive.

In 2016, Miley said Mariah Carey had a “shtick.” In an interview with ELLE, she said, “It’s about Mimi! It’s about what she’s wearing, and it’s about her. What I make isn’t about me. It’s about sharing my story; it’s about someone being connected to what I’m saying.” 

Honestly, I can’t say this didn’t increase my indifference toward her. It was just so wrong. If anyone had a shtick, I thought, it’s Miley, not Mariah. Looking at Miley’s career in 2016 and prior, I struggled to see any clear story. There was no cohesion, just chaos. I couldn’t connect, in fact, I was wholeheartedly averse to the idea.

New Year, New Schtick

As 2022 came to a close, Miley teased the announcement of a new era with the phrase “New Year, New Miley,” using her perpetual identity crisis as a promotional tool. I saw this and thought, “Here she goes!” but this time, I laughed with her, not at her. 

Twelve days into the New Year, she dropped “Flowers,” a bittersweet, disco-pop bop that perfectly leverages Miley’s unique voice and empowering image. I was impressed and captivated by the song, and video. Everyone else was too, apparently: the song broke streaming records to debut at #1 on the Hot 100. Overall, it spent 8 weeks at the pole position. Miley is back, with her biggest hit – ever. Truthfully, it deserves. Finally, I gave in after over a decade of resistance: I wanted to hear this Miley Cyrus album.

Perhaps it is the perfect storm for both Miley and myself. I’m ten years older than I was when Miley released her first grown-up album, “Bangerz,” which put a bad taste in my mouth. Personally, I’ve matured since then, becoming a bit more open-minded to the pop girlies I had shunned for one reason or another, warranted (cultural appropriation) or not (my semi-elitist attitude). As for Miley, she’s done a lot of growing too.

Flowers in Bloom

Seven years later, that all has changed. I’ve always gravitated toward divas who make relatable, empowering content. Serious, personal, put you in your feels, and then lift you right back out anthems. That’s what Miley gave us with “Flowers,” and it is a great representation of the album as a whole. Lyrically, “Endless Summer Vacation” and its lead single delve heavily into her post-divorce emotional reckonings. She takes risks with introspective explorations of her feelings and liberating celebrations of her independence.

The album is solid throughout, with barely a skip to be found. It’s a cohesive body of work, yet each song has its own distinct vibe. Early in her career, Miley was chaotic, and here, she still is – but somehow, also chill. With this incarnation of Miley, her contradictions work.

Cohesive Contradictions

“Jaded” is unapologetically apologetic. She somehow manages to deliver it, vocally, with sass and sincerity. “Rose Colored Glasses” is sexy yet sad and is the source of the album title. “Endless summer vacation/ Make it last til we die,” she sings, attempting to live in a perpetual state of blissful ignorance, perhaps reflecting on trying to make things work with one of her recent exes. The album relishes in contradictions: both summer and vacations are temporary temporary things, but Miley labels them endless. 

I always like to look at the credits on a new album, and I was particularly surprised by those of “Thousand Miles,” which features Brandi Carlile. I figured the pair wrote the song together, but in fact, it was co-written by Miley, Tobias Jesso (Adele, Harry Styles), Bibi Bourelly (Rihanna, Mariah), and hip-hop producer and longtime collaborator of Miley’s, Mike Will. This song, and its credits, are a great representation of the album, and Miley. It’s an amalgamation of the wide range of inspirations, genres, and identities she’s explored throughout her career. Except, here, she’s finally gotten them all to work well together. It’s reminiscent of Beyoncé’s approach to crafting albums, the way she’s brought together unlikely collaborations and combinations. Miley has not only figured out what works for her, but how to make it slay. 

“Handstand” is perhaps the most unique song on the album, it opens with a spoken word poem that gives Lana Del Rey vibes, though her speaking voice recalls Lady Gaga. The closer to the “AM” section of the album, it’s like a palate cleanser with its slinky, atmospheric vibe. It’s sexy and catchy, but somehow unassuming. The contradictions continue, keeping things interesting.

As “Flowers” is the “AM” half’s opener, the album’s second single “River” opens its “PM” side. This energetic dance-pop track recalls the 80s sound and melody of Flo Rida and Kesha’s 2009 hit single “Right Round,” and even emulates its not-so-subtly sexual double entendre. Though Miley’s is not so blatant, like the assumed metaphor of Mariah Carey’s “Honey,” it’s there if you look for it. It may take a page from the Queen of Christmas, but it’s not a cover of the Joni Mitchell sometimes-Christmas standard, that’s for sure. Is she sure she’s never been a fan?

On standouts “Violet Chemistry” and “Muddy Feet,” Miley taps one of pop music’s most trustworthy hitmakers, Sia, to co-write and feature on the latter. “Violet Chemistry” boasts what’s become a rarity in pop music as of late: a bridge. When the beat flips and drops and Miley sings, “mixing up the colors like we’re making a Monet”?! Listen! Jay-Z once said, “Somewhere in America, Miley Cyrus is still twerking.” A decade later, here she is, inspiring gyration. 

Endless and Emblematic

While much of the album finds Miley in an emotional state, delivering strong, guttural vocals, on “Island” she achieves a similar but even more subdued version of chaotic cool, as found on lead single “Flowers.” The track is exactly what you’d expect from its title: a gorgeous, breezy tune that has a peaceful vibe of an island paradise. Perfect for an “endless summer vacation.”

With “Endless Summer Vacation,” a more mature Miley Cyrus indeed gave herself flowers — and they compose a bouquet of all the genres and eras of music she’s experimented with throughout her career. Together, these flowers are the centerpiece of her career. At 30, she’s finally found her musical identity, having delivered what is sure to become her defining album. Oh, and not that she cares, but she’s gained herself one more fan in the process.

Listen to “Endless Summer Vacation” by Miley Cyrus

The post With “Endless Summer Vacation” Miley Cyrus Turns a Skeptic Into an Admirer appeared first on THE 97.

The album marks Mary’s shortest LP ever at just 38 minutes, and she doesn’t waste any time getting down to business. “What’s love these days? We don’t know what to say,” she ponders on the album’s opening cut “No Idea,” which gives you a sense of what’s to follow. The landscape of 2022 Mary J. Blige is still bruised but definitely not broken. Though she’s skeptical at times, she’s resilient as ever and making progress as she trudges onward.

She’s a bit subdued here vocally, reminiscent of Mariah Carey’s vocal approach to her last LP, 2018’s Caution. The focus is more on navigation of this stage of life, with lyrics and production that seamlessly bridge the gap between Mary’s classics and today’s musical landscape. That doesn’t mean that she’s emotionless though. “I’m so goddamn sick of the pain” she exasperatingly vents on the chorus of “Love Without The Heartbreak,” where she muses on a more perfect love and laments her bad luck with relationships. “When will love give me a break?” she ponders, similar to her woeful laments on introspective “Failing In Love” and the effervescent “Love Will Never.” 

Mary’s not all misery though, those days are behind her. The album is titled and sequentially centers around the title track, “Good Morning Gorgeous.” It’s a simmering blues record akin to 2009’s “I Can See In Color” that finds Mary revealing her key to transcending the worst days, she looks in the mirror and says “good morning gorgeous” when she wakes up in the morning. 

A playful side of Mary that appears both in love and in life. She flexes about buying a coast for her man and challenges him to “match that so we can have two” on the sensual, lounge-y “Come See About Me.” She also trades lines with Anderson .Paak, Usher, and Ne-Yo (on the Target edition) about relationship dynamics ranging from what’s “supposed to be” with .Paak on “Here With Me,” to a dependable partner with Usher on “Need Love,” all the way to the inception of an unexpected attraction with Ne-Yo on the Target bonus track “Running.” 

Mary also mixes in a few feel-good records as a reminder just who she is on her best days. For “On Top” she flips the same sample of The Delfonics “Ready Or Not Here I Come (Can’t Hide From Love)” utilized on Three-6-Mafia’s “Who Run It?” Thanks to production from Cool & Dre, the Philly soul classic assumes another place in hip hop (it was already cemented into The Fugees’ “Ready Or Not” and Missy Elliott’s “Sock It 2 Me”) and transforms it into a hard-hitting Brooklyn drill record, sealed with a verse from Fivio Foreign. This is classic Mary; seizing a hip hop sound and sweetening it with her R&B sensibility. Moments like this reinforce her title of Queen of Hip-Hop Soul. 

She also wades into reggae/rocksteady territory on the album’s other big feel-good record, “Amazing” featuring surprisingly subdued ad-libs from the ubiquitous DJ Khaled. This one is a grower. It’s like nails on a chalkboard at first, but the infectious hook quells that initial feeling and this track built for the clubs and VIP tables has an effect, just like the music video illustrates. 

 The album’s only regressive moment isn’t even in a song as a whole, just a sample choice. Third single “Rent Money” is a smooth R&B kiss-off to her deadbeat ex, who drained their joint accounts and then won a hefty alimony sum, forcing her to go on tour to pay his alimony. The song utilizes the hook from The Notorious BIG’s “Fuck You Tonight,” which was performed by R.Kelly, who also co-wrote the song. That means this record is putting money into the pocket of a convicted sexual predator currently attempting to overturn his conviction while simultaneously preparing for a trial on additional charges. It’s an unfortunate choice from someone who herself has vulnerably shared her own experiences of surviving sexual assault.

With the exception of that glaring inclusion, Good Morning Gorgeous is a fantastic addition to the Mary J. Blige canon. It shines bright like it’s title. Mary’s life is so closely intertwined with the content of the music, that this is yet another chapter likely to resonate with and help the masses, just as My Life first did in 1994.

Listen to Good Morning Gorgeous

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The album is rooted in the 1980s sound that has quickly become associated with The Weeknd’s rise to Pop stardom ever since his massive 2015 album Beauty Behind the Madness. Less new wave-y than its predecessor After Hours, Dawn FM veers more into Quiet Storm, synth and Pop/funk tones.

After the intro, we’re escorted into the thumping beat and distorted voice of “Gasoline,” which harkens back to early Depeche Mode and Duran Duran. All through the euphoric singles “Take My Breath” and “Sacrifice,” the first part of the album is filled with uptempo numbers.

Then something shifts as we enter the Quiet Storm atmosphere of “Out of Time,” built on a sample of “Midnight Pretenders” by Aran and by far the closest he’s come to touching the Michael Jackson sound. “Is There Someone Else?” continues in the same midtempo spirit, but with a more modern edge to it.

The Weeknd enlisted Tyler, the Creator and Lil Wayne as guest stars on “Here We Go… Again” and “I Heard You’re Married” respectively (the latter is co-produced by Calvin Harris), which are both highlights. Then it ends with “Less than Zero,” which is a clear contender for the next single and “Phantom Regret by Jim” featuring Jim Carrey.

The spoken outro perfectly sums up the overarching theme of the album: to live life without regrets and be at peace with oneself is the key to reach the dawn, the light at the end of the darkness.

After the gloom of After Hours and its visuals, The Weeknd is giving us the key to end the journey on the other side. Truly a brilliant message of hope for the new year. May we all find the dawn on the horizon.

SCORE:
90/97

Listen to Dawn FM by The Weeknd 

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There are just three tracks that pre-date the union between Nas and Hit-Boy, and the only one worth listening to is “Dedicated,” an album cut from Mariah Carey’s 2014 Me, I Am… Mariah. The Elusive Chanteuse. Something must have been in the water when the pair reconnected in late 2019 to create an EP for Valentine’s Day. The energy shifted during the recording process and Kings Disease was born. Kings Disease II followed less than a year later. With each album being announced less than 2 weeks prior to its release, it helped create an explosive buzz, especially after Kings Disease was so well received. To up the ante, Nas announced Magic barely 12 hours before it hit digital outlets and streaming services.

The two foundational elements that create the conditions for this duo’s perfect storm of a collaboration are Nas’ lyrical dexterity and Hit-Boy’s broad sonic profile. They seem to feed off of each other, with Hit developing tracks made just for Nas and Nas tailoring his flow to compliment the nuances of Hit’s beats. The production has an underlying maturity to it with just the right dash of nostalgia, accentuating the place Nas finds himself in at this stage of his life while honoring his legacy as one of New York’s finest MC’s.

This is an EP about progression, and song after song that progression is evident. “I’m 21 years passed the 27 Club,” he opens with on the EP’s first cut “Speechless.” He merges one of his most common topics, introspection of/on his adolescence, with advice for the young rappers in the game today. He encourages them to “stop plottin’ on each other,” and instead to “plot on millions.” While he discourages plotting on one another, he encourages defending yourself.

On “Meet Joe Black,” he rolls up his sleeves to fire blow after blow. He mockingly questions, “Your top 3, I’m not number1, how could you post that?” on the hook, separates himself and his work ethic from the rest of the pack by boasting “your most hungry place, I was past that at 28,” and calls himself the rap Sugar Ray Robinson while others are “ too out of shape to box with me.” The target or targets are unknown, making this a far cry from the “Fuck Jay Z”’s that echoed through 2001’s “Ether,” but the shots feel just as lethal. It’s a stark reminder that though Nas is refined, he’s still got all the grit he possessed two decades ago. 

“Ugly” demonstrates a similar progression, but in this case it’s Nas ruminating on the “distorted faces, solemn features” that result from murder. He paints a picture of the envy and conflicts that result in gun violence (“grown men jealous outside, grown ass women that’ll have you set up to die”), while name checking victims of gun violence from Marvin Gaye to Young Dolph. Again, it’s a stark contrast from 2001’s “Got Ur Self A…” with it’s Sopranos-sampling, gun-encouraging chorus.  

“Wu Is For The Children” is full of nuggets, first and foremost He dismisses the “Nas enthusiasts thinkin’ they know what’s best” for him more than he knows himself and sheds some light on the perspective of the veteran rapper watching sideline cats and young artists begrudging those who have found success. “Stop putin’ your faults on him,” he urges, before delivering one of the best bars of the EP, “the man in him is bringing the kid in you out.” 

Nas also makes his sole misstep of this set on “Wu.” He aligns J. Cole, Kendrick Lamar, and Drake to himself, Jay-Z, and Biggie back in the day. But there’s a glaring contrast in that comparison: there were an abundance of other names that could accompany Nas, Jay, and Biggie in that trio. The three of them happen to all hail from ONE city, New York. The contemporary trio lacks a single New York rapper, serving as a reminder that this generation’s New York rappers don’t have the same hold on rap that those 25 years ago did.

In a nod to Illmatic, guests only join him and Hit-Boy on one track, where they connect with A$AP Rocky and DJ Premier. Hit-Boy’s arsenal of nostalgic samples drive “Wave Gods,” which are accentuated by Premier’s scratching. Listening to Nas’ verse, he sounds like a veteran hitting his stride as he glides over the production and effortlessly subjugates yet another of Hit-Boy’s pristine productions. 

With projects like this, it’s hard to deny that Nas is in a renaissance era. Magic proves that there’s still more success for him to find with Hit-Boy. If Magic is any indication, that’s bound to continue with the impending release of Kings Disease III. Needless to say, Nas feeds the buzz like a Michelin-star restaurant.

90/97

Stream Nas’ Magic

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This year, Kelly reasserts her place in the Christmas canon with the release of When Christmas Comes Around…, her second Christmas album. The follow up to 2013’s classic-in-waiting Wrapped In Red, the new set is perhaps Red’s antithesis. In 2013, Clarkson was a newlywed and even dedicated one of the album’s songs to her new groom. This year, her tone has changed: “Christmas Isn’t Canceled (Just You),” she sings to her ex on its lead single. When Christmas Comes Around… is certainly a Christmas album, and it for sure has its festive, cheerful moments. However, it’s also Kelly’s first post-divorce album, and it shows on several of the album’s original compositions.

There’s the aforementioned lead single, “Christmas Isn’t Canceled (Just You)” which is one of those uber-up-beat sort of Christmas songs moulded in the image of Mariah Carey’s “All I Want for Christmas Is You.” Clarkson is no stranger to this type of track; she has quite a few, but this one sits at the bottom of the pile, frankly. Melodically, it’s catchy; musically, it’s fun. Lyrically, though, it just doesn’t match. She would’ve been better off saving her break-up angst for her next proper album. Well, at least when it comes to this track.

Her pair of “Merry Christmas” songs, however, are both much better Christmas takes on heartbreak. “I’ll let my absence show you/ What I got you for Christmas/ Is losing me/ Merry Christmas, baby,” she sings, stingingly. An effortless drag, and it works splendidly. Sure, the song ain’t filled with Christmas cheer, but, hey, it’s real, and many of the lyrics are clever as can be.

Meanwhile, on “Merry Christmas (To the One I Used to Know)” is utterly heartbreaking. It sort of sounds like something that could’ve been sung by Idina Menzel’s Elsa in Frozen; not lyrically, but in every other way. I had to check the writing credits for the Lopez pair, but in fact the song was penned by Clarkson, her musical director Jason Halbert, and songwriter Aben Eubanks. Adele might be famed for her ability to send listeners scrambling for tissues and wine, but Kelly Clarkson is no stranger to such power, and this track is more than proof enough.

The album is not entirely a cause for seasonal depression awareness though. Clarkson covers standards such as “It’s Beginning to Look A Lot Like Christmas,” “Santa Baby,” “Jingle Bell Rock” (ended The Plastics, to be honest) and “Rockin’ Around the Christmas Tree” (Brenda Lee has reason to be shook) all with ease to be expected from the original American Idol winner and Queen of Kellyoke. The best among the covers, though, is Kelly’s reworking of the George Michael classic “Last Christmas.” She slows the song down, giving it a gorgeous new spin.

Another standout is one of the album’s duets: “Glow,” featuring Chris Stapleton. The two sound so good together, and the song is another clever one, lyrically. It’s a love song and not overtly festive, but still just enough to evoke those lovey-dovey Christmas feels. On the other hand, “Santa, Can’t You Hear Me,” Clarkson’s duet with fellow Voice coach Ariana Grade, falls flat. Vocally, there’s just a little too much going on, and in every other area… the song is just sort of lacking, and a bit trite. I deleted it from my library.

Closing out the new album proper are “Blessed” and “Christmas Come Early.” The former is a gorgeous ballad of gratitude that is reminiscent of something Lin-Manuel Miranda might’ve written (but it’s not). The latter is another one to put you in your feels, touching and heart-warming. Understandably, Kelly begs, “Christmas Come Early” – she’s had quite the year, and probably in need of some good cheer.

Fortunately, the album doesn’t end there — Ms. Clarkson included the three one-off Christmas singles she released over the last few years, which includes two more originals, “Under the Mistletoe” and “Christmas Eve,” as well as a cover of the other “All I Want For Christmas is You.” Of the three, the standout by far is “Christmas Eve,” which is just… immaculate. Honestly, it should become another modern classic; the song is just perfection. It has everything one expects from a Christmas classic, the one thing lacking is time. As the years go by, I can definitely see this sitting among the most beloved Christmas songs.

In short, Kelly Clarkson’s second Christmas album is a welcomed addition both to her catalog, and to the Christmas music canon. With plenty of originals and a handful of covers, Clarkson ensures her place as a holiday hitmaker. She’s set herself up perfectly to become one of the season’s most prominent figures. Only time will tell, When Christmas Comes Around… 

Listen to Kelly Clarkson’s When Christmas Comes Around…

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To nobody’s surprise, there is already Best Original Song buzz surrounding the track; could this be the song to land Beyoncé her long-coveted Academy Award? Written and produced by Beyoncé and Darius “DIXSON” Scott, “Be Alive” looks like it could be her surest shot since Dreamgirls. Read our staff’s first thoughts below.

Beyoncé, “Be Alive” Staff Reactions

It’s always a pleasure to hear Beyoncé’s crisp, clean vocals telling the story of Black excellence and perseverance. The track, with its thumping marching beat and the organic production, is very simplistic, but it is effective in making the vocals and message shine. The harmonies and the backing vocals provide an echoing choir to complete the scene. This is definitely Beyoncé’s most melodic song in a while, catchy and to the point. If there is Oscar buzz, it’s well deserved. —Mario M.

From the clip in the film trailer, I was expecting a bombastic anthem filled with dramatic, theatrical orchestration and a showcase of Beyoncé’s vocal prowess. “Be Alive” only delivers on half of that. The version released today is stripped of the orchestral score found in the film trailer, leaving behind a beat that’s bare, but filled with bravado. Beyoncé’s vocals here are perhaps more authentically emotive than ever before. She sings from her gut, letting her soul and electrifying vocals carry the track. Lyrically, it boasts a moving message of empowerment that’s on-brand and as inspiring as ever. Still, the song feels like an impassioned march toward a finale that never comes. Perhaps there is a “film version” on the way to really bring the song to life. Time will tell. —Vincent Anthony

Listen to Beyoncé’s “Be Alive”

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