Pop Princess

Mariah had worked on the album over the spring and summer of 1993, while planning her wedding to Tommy Mottola. The diva and the CEO of Sony Music married on June 5, 1993 in a lavish, star-studded ceremony in New York City and went to live in upstate New York in a multi-million dollar mansion. It seemed like Mariah’s fairytale was complete, happy ending and all.

For a “bridal” album, Music Box isn’t exactly a “happily, desperately in love” record. In fact, similarly to Mariah’s other post-marriage album, Memoirs of an Imperfect Angel, the songs are quite somber. Heavy on the ballads, Music Box‘s tracks reflect on love from a break-up standpoint or long for a love that was or could be. Only the upbeat “Now That I Know” was potentially dedicated to her then-husband.

The Music Box

Musically, the songs contain some of Mariah’s finest melodies. She paired with Walter Afanasieff for most of the album, while she worked with Dave Hall and David Cole and Robert Clivillés of C&C Music Factory for her uptempos. Mariah’s first collaboration with Babyface was also on this album.

It’s Mariah’s ear for melody that makes this album a classic. Let’s face it, if it weren’t for her, most of these songs would be dated and cheesy, but the arrangements (most importantly, the vocal arrangements) elevate them. That is why even if it’s Mariah’s most Pop/Adult Contemporary album, it holds a particular place in her catalog for her fans.

The title track was perhaps her sweetest, most gentle vocal up until to that point. Walter Afanasieff once recalled in an interview that Mariah wanted a specific keyboard sound that was inspired by George Michael’s Faith album for this track. The impeccable use of her softer register conveys the impression that she’s the ballerina spinning atop the music box, singing instead of doing ballet.

The other ballads are more bombastic, but nonetheless nuanced. “Just to Hold You Once Again” and “All I Ever Wanted” start on the low, but reach the heavens on their climax in an explosion of controlled power and resonance.

She also delivered flawless vocals on the album’s uptempo tracks. “I’ve Been Thinking About You” is a vocal bop that’s worthy of repeated plays if only for Mariah’s rich and full instrument being on display. In the same vein, “Now That I Know” sees Mariah effortlessly glide over synths and a joyful thumping beat. Then, of course, there’s the lead single.

Iconic Singles

Four singles were commercially released from the album. “Dreamlover“ led the campaign in July, with its funky beat and breezy melody. The song was built on a sample of “Blind Alley” by The Emotions with a Hammond organ that adds that sweet touch it needs. The music video, filmed in upstate New York features Mariah’s first recognisable look: the jean shorts and flannel.

David Morales also produced Mariah’s first, iconic re-sung dance remix for this song.

That summer Mariah also recorded a special concert at the Proctors Theatre that became a Thanksgiving TV special on NBC.

During the fall Columbia released “Hero” as the second single. The song was originally written for Gloria Estefan, intended for the soundtrack to the movie of the same name. Upon hearing the track, Tommy Mottola convinced her to keep it for herself and it became one of her biggest hits and signature songs. Its uplifting message of hope has resonated with fans worldwide for 25 years, making it an absolute staple in Mariah’s concert setlists. Yet another iconic image came out of the music video: Mariah looked stunning in her black gown and curls singing this song for the audience at Proctors.

The third single was a cover of Badfinger’s 1970 soft rock single “Without You,” later made popular by Harry Nilsson. Mariah has stated that the song was one of her favorites growing up and that is why she decided to record her own version. The poignance of her low register at the beginning of the song and the dramatic production make it one of her greatest performances. The cover is still today Mariah’s biggest international hit and topped the charts in many countries around the world.

The double A-side included on the “Without You” single was “Never Forget You,” written and produced by Mariah and Babyface. The nostalgic ballad has a slight R&B feel to it, even though a soft Country twang can be detected. The lyrics could be interpreted as either being about someone a lover who’s left or a dearly departed one, which allows for different interpretations.

The fourth and final single was the Gospel-infused “Anytime You Need a Friend.” The song is a Maria fan favorite for its soulful nature. The astonishing background vocals resemble a whole gospel choir, but were in reality arranged by Mariah herself and her background vocalists in the studio. The track is also famous for its two remixes: a dance one by C&C and an R&B one that both feature re-sung vocals by Mariah.

Commercial Breakthrough

There’s much to say about Music Box‘s commercial performance, but the one thing that’s worth acknowledging first and foremost is how this album gave Mariah her first break in many markets around the globe. The success of “Without You” helped the album sell an estimated 26 million copies worldwide. Music Box became, and still is today, her most successful album ever in this sense.

In the US it was certified Diamond by the RIAA for shipments of 10 million copies to retailers. “Dreamlover” and “Hero” were both #1 hits at Top 40 radio and on the Billboard Hot 100 (8 and 4 weeks respectively), “Without You” also reached #3 in early 1994 and continued her streak of consecutive top 5 singles. “Dreamlover” still holds the record for the highest debut at Pop radio (#12).

Elusive Bonuses

Even though they’re not included on the album, we cannot refrain from talking about the two B-sides that came from the Music Box sessions. The first is “Do You Think of Me,” a sultry R&B ballad included on the “Dreamlover” single, where Mariah wonders about a lover’s most secret thoughts. Its sound is probably the reason why it was excluded from the original tracklist as it would feel out of place.

The other is the “Hero” B-side, and international bonus track, “Everything Fades Away.” There’s been speculation about its exclusion because it definitely fits the sound of the album. However, the lyrics are a bit too dark for a newlywed and the vocals more subtle than the rest of the songs. It is plausible that Columbia wanted to steer Mariah towards bombastic balladeer territory, so this track would work against this image.

Our Beloved Hero

Mariah’s fans certainly cherish this album for what it meant to her career. “Hero” is the perfect example of why Mariah has always been able to reach a broad audience and touch people’s hearts. She is the hero to so many of us fans because her voice, her lyrics and melodies are the soundtrack to our lives. We are forever grateful to her for all she’s given to us and we anticipate what’s next with trepidation.

Happy Anniversary!

Stream the Music Box album on Spotify:

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Bluebird of Happiness is Tamar’s first album as an independent artist and it’s a rather brief record, with its 11 tracks. In the past year she’s had a couple of ups and downs, from hers and Vince’s health issues to her much discussed firing from The Real as a host and the controversy that ensued.

The album is, however, more on the happy side of things as reflected in its title: Tamar is no longer singing about the struggle of romantic relationships, but she’s happy and confident in what she is and what she has. This is a positive record.

The Happiness

Right from the first track “My Forever,” Tamar expresses gratitude for the love that’s in her life “a dream come true.” The album continues then with three uptempo numbers that represent the side of hers that is not always represented by the singles and promotion she receives.

“Wanna Love You Boy,” which samples the almost homonym Robin Thicke track, is the closest we’re getting to a female response to Bruno Mars and “That’s What I Like” this year, with this mid-2000s sound.

“Run Run” and “Hol’ Up” are silly fun tracks that would probably work better on other albums, but are a joy to hear coming from someone as vocally talented as Tamar.

“The Makings of You” is a midtempo that samples Gladys Knight’s cover of the Curtis Mayfield track of the same name and it’s one of the most beautiful R&B tracks she’s ever done, even if the sample has been overused at this point.

“Pick Me Up” and its Evelyn “Champagne” King sample take us back to 2013 and “The One,” with the same fun and carefree vibe. Hopefully it will get some shine.

The Emotions

The first single, “My Man,” is a passionate ballad inspired by Tamar’s parents and their divorce. Written from the perspective of her mother Evelyn and what she felt when she found out about her husband cheating, it was an emotional and cathartic moment also for Tamar, the youngest of the Braxton children.

The three piano ballads showcase Tamar’s skills as a vocalist and an emotional songwriter. “Blind,” the current single is a Gospel-y number driven by a sparse production, harmonies and lyrics inspired by Etta James’s “I’d Rather Go Blind.” (I did feel the influence of Mariah Carey’s Elusive Chanteuse album as well).

“Empty Boxes” closes the album with Tamar realising that she’s no longer going to let her life be defined by expectations. It’s a moment of self-consciousness about cherishing what’s there without hoping for something that’s probably never coming.

Is it the last one?

This album doesn’t really break new ground artistically, but it is a worthy addition to an already strong catalog and one that will make the Tamartians both happy and sad if what Tamar’s saying will indeed turn out to be true. I’m confident this is not the last we’ll hear from her though. Pretty please!

Grade:
85/97

Listen to Bluebird of Happiness below:

The post Album Review: Tamar Braxton’s a “Bluebird of Happiness” appeared first on THE 97.

Miss Patti started her career in the 60s as a member of the girl group Labelle. By the late 70s, she pursued her solo career, finding success while tackling Gospel, Disco, Pop, New Jack Swing and Funk on her records. In celebration of her announcement of a new album release, we are going to give you exactly what you need.

Below is a selection of “Mama Patti Essentials:” some of her most famous numbers, but also some tracks that aren’t necessarily well known and will still leave you looking for your wig. So get yourself a slice of your favorite Patti pie, sit back and enjoy!

Miss Patti’s new album, Bel Hommage, will be released on May 5.

The post Playlist: Mama Patti Essentials appeared first on THE 97.

February 12, 2007.

In 2007, America’s “Shakira” teamed up with Latin America’s “Beyoncé” to gyrate their way into the top of the charts. Naturally, they stepped on a useless man — err, a “Beautiful Liar,” in the process. But how did such a perfect pairing come about?

The Colombian Meets America

In 2001, Colombian sensation Shakira released her first English language album, Laundry Service, and had her breakthrough single with “Whenever, Wherever,” becoming one of the only female artists from South America to take America by storm in such a way. That same year, Destiny’s Child announced they would pursue solo projects, and the media and music world put lead singer Beyoncé Knowles on a pedestal from which she has never left.

The American Goes Caribbean

Shakira’s next album did not come until 2005, and while she was away, Beyoncé rose to superstardom as a result of her 2003 debut solo album, Dangerously In Love. On the album’s second and fourth singles, “Baby Boy” and “Naughty Girl,” Beyoncé displayed a new penchant for Caribbean and Middle Eastern inspired sounds, looks, and dances in her music and videos (belly dancing in “Baby Boy,” anyone?). Her 2003 MTV VMA performance seemed particularly Shakira-esque. Perhaps a coincidence, or perhaps she was indeed inspired by her peer, Shakira (who is of Caribbean and Middle Eastern descent), the comparisons began to form between the two dyed-golden-haired artists.

The Stars Align in 2006

Shakira returned to prominence in America with her second English language album, Oral Fixation, Vol. 2, released in November 2005, and the massive hit single “Hips Don’t Lie,” featuring Wyclef Jean, in early 2006. (Side note: Beyoncé got her first hit, with Destiny’s Child, via a Wyclef Jean production, “No, No, No Part 2”). It was Shakira’s biggest hit to date and, naturally, she became a hot commodity once again. Later that same year, Beyoncé released her second album, B’Day, with which she seemed to be targeting the Latin American market. Beyoncé recorded Spanish language versions of her singles, “Listen” and “Irreplaceable,” with unreleased Spanish language demos of “Ring the Alarm” and “Deja Vu” surfacing on the internet as well. In 2006, Beyoncé and Shakira were two of music’s hottest names.

The Rumors, The Demo

At the end of that year, rumors began to swirl that the pair were planning a duet. Then, a demo of would-be duet, “Beautiful Liar” leaked onto the internet. In the leaked demo, Beyoncé sang the entire song solo. The parts Shakira would eventually sing in the final version were sung by Beyoncé in Spanish, playing the character of “Sasha.” Based on this, it was assumed the final version of the song would be sung by Beyoncé in English and Shakira in Spanish.

“Beautiful Liar,” The Final Product

That, however, was not the case, and, the final product was rather disappointing. “Beautiful Liar,” the lead single from Beyoncé’s reissue of B’Day, was poised to become an iconic collaboration, but fell short. Duets between two big name artists often do – especially, for whatever reason, when both artists are of the same sex. Yes, it had everything that everyone expected from Beyoncé and Shakira: a dance floor ready beat, sassy drama, a girl-power message, Latin flavor, and a touch of Middle Eastern flair. Still, the song felt a bit chintzy and simply could have been so much better. Fans felt a bit let down.

And then the video dropped.

“Beautiful Liar,” The Video

While the song was lackluster, the video rendered the song’s shortcomings irrelevant. Perfectly, the two budding divas owned the similarities and comparisons between their styles and appearances and appeared to be two best friends playing dress up from the same closet. They rocked similar outfits, hairstyles, and slayed their complimentary choreography. Not only did they reinforce the girls vs. boy message of the song, but they showed us how damn amazing it would be if Beyoncé and Shakira actually were twins. Belly dancing and twirling in the rain, America and Latin America’s biggest female stars united not in competition but in unison. With so much talent and beauty, they were an undeniable force together on camera. We only wish they performed the song together.

“Beautiful Liar,” The Legacy

While the song itself may be forgettable, the video for “Beautiful Liar” will live on as iconic piece of pop culture. The VEVO version of the video, uploaded two and a half years after its February 2007 release, in October 2009, has amassed over 236 million views, and sits as the #9 most viewed video on Beyoncé’s VEVO account. For comparison’s sake, “Irreplaceable” is from the same album, has been uploaded for the same amount of time, was #1 on the Hot 100 for 11 weeks, and is 12 million views behind “Beautiful Liar,” which spent just one week at #2 on the Hot 100. “Beautiful Liar” is the highest ranking song from B’Day on VEVO.

So, “Beyoncé, Beyoncé… Shakira, Shakira” — we’ve waited 10 years, and can’t wait any longer. When will you two collaborate again?

The post Perfect Pairing: Beyoncé & Shakira’s “Beautiful Liar” turns 10 appeared first on THE 97.

February 11, 1997.

Before she told ya to call “Tyrone,” before she was the “Bag Lady,” before she got up from her “Window Seat” and showed her whole ass, Erykah Badu introduced herself to the world with Baduizm 20 years ago today. For that, the world should be forever grateful.

Baduizm in Context

Let’s put this iconic moment into context, shall we? It was the mid-90s and R&B was flourishing as a genre, surpassing the typical sounds of Pop radio to become the most prominent and successful genre on the airwaves. With that said, it naturally became more radio-friendly and commercial viable (read: white-people-friendly) and, as Hip-Hop rose to new commercial heights, cross-pollination began between the two  genres to birth what we know today as contemporary R&B.

Baduizm Birthed a New Genre

In the midst of this genre evolution, three young, new artists emerged from the quiet storm to engineer a new sound. These pioneers were D’Angelo, with his Brown Sugar (1995), Maxwell, with his Urban Hang Suite (1996), and Erykah Badu, with her Baduizm. Over the course of three years, this trio helped found a new genre: Neo-Soul.

Rightfully so, Ms. Badu became, essentially, the First Lady of Neo-Soul. Her melding of R&B, Soul, Jazz and Hip-Hop inspirations with her raw, honest lyricism and uniquely emotive vocals indeed defined the new genre. Not only that, but Badu did something her male counterparts did not: she did not make an album about love. Yes, there are a few love songs, but the lyrical content of Baduizm goes beyond; it goes deeper. Erykah Badu made a name for herself by being unabashedly honest and thought-provoking. Prior to Baduizm, this was not necessarily a defining quality of the genre… but Erykah made it so. And, she made a classic album in the process.

Baduizm has Classic Feels

Have you ever listened to a new album and it automatically clicks something inside of you, and it just feels right? It sounds warm and familiar, like it’s an old favorite? Similar to meeting a person for the first time but feeling like you’ve known them all your life, a good album can have that very same effect. Often, it’s because said album does a great job of reviving old sounds. (Most recently, I experienced this with Bruno Mars’ 24k Magic, because he ingeniously mixed various R&B trends into one album.)

If you’ve never listened to Baduizm, you might have that feeling when you turn it on for the first time. I did. A few years ago, I had that very experience with the album. I bought the album on vinyl, set the needle, hit play, and felt right at home with this phenomenal album. Granted, I already knew songs like “On & On” and “Next Lifetime,” but something about the album felt fresh, yet familiar. The reason for that is simple. Nearly every Neo-Soul album to follow Baduizm has likely been inspired by it.

Baduizm is Inspiring

I love Badu, but my favorite Neo-Soul artist, and one of my favorite singers in general, is Jill Scott. Aside from the common connection in that they both worked with The Roots in the beginning of their careers, Scott’s early work was clearly inspired, heavily, by Baduizm. The spoken word, the conversational vocal delivery, deep lyrical content, the organic, warm, soulful, jazzy inspirations and the swag of a Hip-Hop artist that is present in both of their work are clearly from the church of Baduizm. So, let’s talk about some of the church’s most revered hymns, shall we?

“On & On”

The first single off the album, and Ms. Badu’s breakout song, was “On & On,” a puzzling, spiritual track. I’m still not quite sure I fully understand what the song is about, and I spent a considerable amount of time pouring over its Genius annotations. Likely, though, most listeners didn’t get it either… yet we still jammed to it. The melody is irresistible, and Badu flows effortlessly over the organic, sparsely produced beat. Even if you don’t understand she’s actually talking about, it’s almost impossible not to bop and sing along. Former beau André 3000 of Outkast affectionally called her “Erykah ‘On & On’ Badu,”

“Appletree”

My personal favorite off the album is the next song in the tracklisting: “Appletree.” Coincidentally enough, the message of the song carries an extended metaphor that alludes to infamous tree of knowledge from the Bible story of Adam and Eve, informing us that she is, in fact, full of a vast amount of complex knowledge. “Appletree” finds Badu showcasing her innate ability to flawlessly bounce her melodic voice atop a beat, more than earning the Billie Holliday comparisons she has received throughout her career. You could strip “Appletree” of it’s instrumental, and it would STILL bop. Erykah has an uncanny ability to seemingly scat the rhythm of a drum with her words, melodies and voice. “Appletree” is the perfect example of her skill.

“Next Lifetime”

“Next Lifetime” is one of those unabashedly honest and subsequently uber-relatable tracks on Baduizm. Here, Badu laments about meeting a man she could fall for… except for one pesky problem, she’s “already someone’s girl.” It’s that classic tale of the one that got away, but with a unique, Neo-Soul twist. “Next Lifetime” is a classic that helped introduce us to an Erykah Badu who was not afraid to keep it real. The song has a slinky bedroom knocking beat that recalls the Isley Brothers, as she croons with a sensual pain she feels as a result of her dilemma. It’s introspection at its finest.

“4 Leaf Clover”

Perhaps the catchiest track on the album is “4 Leaf Clover,” a dramatic sounding mid-tempo that begins with a beautifully arranged introduction before the beat drops and the groove kicks in. Its a feel good track where Erykah takes a more traditional approach to create a quintessential R&B track that fit right in with the times. It’s a bit reminiscent of Amel Larrieux and her work with Groove Theory on their 1995 album that spawned the hit “Tell Me.” Badu differentiates herself, of course, throwing in some scats and sass.

Baduizm as a “Rim Shot”

The album starts and ends with “Rim Shot,” on which Badu makes innuendos about a drummer hitting his stick against her drum, right in the center, that puts her on the cloud. An interesting choice of topic to start and close the album with, yet a fitting one for Badu, who we would come to find out simply doesn’t give a fuck about what anyone thinks. Regardless, the song is a bop and creates an instant sing-a-long moment.

Perhaps, though, Badu’s “Rim Shot” metaphor is a fitting one for speaking of her iconic Baduizm album in retrospect. Upon its introduction in 1997, the album was a “rim shot;” she struck R&B at its core and affected a release of warmth and all the best feels.

Twenty years later, we look back at Baduizm and can definitively say that it was a rim shot with lasting effects. We continue to feel its vibrations as its influence pulsates throughout today’s Neo-Soul landscape. Erykah Badu made a rim shot twenty years ago, and she called it Baduizm. It is now looked on fondly as the Bible of Neo-Soul. As always, you should spin the scripture at your leisure throughout the year, but today, on the Festival of Baduizm, it’s well deserving of a celebratory listen.

On & on, her cypher keeps moving like a rolling stone…

The post The Bible of Neo-Soul: Erykah Badu’s ‘Baduizm’ appeared first on THE 97.

2016 came, Abel cut the pineapple off his hairdo and he launched his new album campaign with the lead single and title-track “Starboy,” a thumping midtempo featuring Daft Punk that, while remaining dark-ish, has enough edge for today’s Pop playlists and that dash of the Electronic French duo’s influence for good measure.

Starboy, the album, feels the same way. The Weeknd collaborated with his newfound go-to Pop collaborator Max Martin, but also kept things interesting by mixing and matching with the sounds that made him famous and a few more electronic turns. The uptempos completely shine on this album, overshadowing the slower numbers by far. It’s almost as if The Weeknd has now become the craftsman for a Dance-Pop uptempo song in 2016. Songs like “False Alarm,” “Rockin” and “Secrets,” which dominate the first half of the record and set a rapid pace, feel like the superstar anthems and blueprint everyone should follow to get a hit single for the next season. They’re catchy and fresh and they never feel repetitive or forced, which makes them nearly flawless.

The album sort of slows down with “Sidewalks,” which features a verse from Kendrick Lamar, and offers a soulful riff and a R&B moment while still retaining electronic elements such as the vocoder used on the vocals. “Love to Lay” and “A Lonely Night” pick the tempo up again with their MJ-esque production. Don’t be fooled by the Michael Jackson comparison though, they sound pretty diverse from the uptempos from the last album. They just feel like they come from that era and they would make the King of Pop proud.

By the time we get to track #13 we get to the point where the album has considerably lost steam. Perhaps some of these tracks should’ve been cut: 18 songs is a rather heavy tracklist for a Pop album these days.  The two Lana Del Rey collabos at the top of the album (the co-written “Party Monster” and interlude “Stargirl”) also bring the album’s quality down by being downright boring and sleep-inducing like only she can be. “Die For You” is the song that claims attention back, just for the fact that it’s arguably his best ballad thus far. What’s interesting about the song is the R&B songrwriting paired with a more Pop-leaning production especially on the chorus. “I Feel It Coming,” a second collaboration with Daft Punk then closes the album with another nod to Michael Jackson. This time it’s the 90s portion of MJ’s career that’s being evoked to our minds, with the classic and distinctive melodies and softer tones and vocals that cemented him on the Pop throne.

Much like Beauty Behind the Madness, this new album is all about maintaining a balance between the old and the new, but while that was a more organic experience, the newfound stardom seems to have forced Abel to introduce a more mainstream undertone throughout the whole record.

This is an album that feels like it’s worthy of its title. The Weeknd is now a Starboy and he surely made a record that reflects that. There’s no doubt his success will reach new heights in the coming months and the album will spawn multiple hit singles for him. His transition to Pop star is now complete.

Grade:
80/97

Listen to the album below:

The post Album Review: The Weeknd is a motherf*ckin’ “Starboy” appeared first on THE 97.

At 21 years old, Mariah Carey, coming off the enormous success of her eponymous debut album, has thrown herself into work for her second studio album. Expectations are high at Columbia Records: Mariah’s debut produced 4 #1 Hot 100 hits, all consecutive, and spent 10 weeks at #1 on the albums chart, selling over 4 million copies in the span of a year.

The label sends Mariah back to the studio with Walter Afanasieff, co-writer and producer of her second #1 hit, “Love Takes Time,” and the duo known as C+C Music Factory, David Cole and Robert Clivillés. For the first time Mariah is allowed not only to write her songs, like she did for her first album, but to also produce them. The result is Emotions.

We have compiled a list of the 25 most notable Emotions moments; 25 reasons (not in any particular order) why this underrated gem deserves all the praise and more on it’s 25th Anniversary. Enjoy, and please comment with your own!

1. The Album Cover

Okay. Fine. It’s Mariah posing dramatically, it’s not Michael Jackson’s Dangerous or anything… but look at the artwork for her debut. A close up of her (beautiful) face and that iconic hair. It doesn’t say much about the album. But, on Emotions, we see Mariah in a low cut dress (on the top and bottom; albeit, it’s also made dark enough so we can’t actually see anything), hair blowing in the wind, readying to toss her arms up in the air to exclaim about all the Emotions she’s feeling. It just looks carefree and is the perfect cover for the album. However, if Sony could dig out the full-color, less-darkened version of the photo we’d appreciate it dahhhlings.

2. The Soul

Mariah’s debut was varied in sounds, but ultimately it would be categorized as a pop effort. However, perhaps thanks to the success that yielded, Mariah took more creative liberty with Emotions and made an album that was much more true-to-heart for her. While it’s still “AC-friendly,” ballad-heavy, and hip-hop is nowhere to be found, Emotions makes up for that in its soulful qualities and R&B uptempos. The lead single is a clear homage to The Emotions’ “Best of My Love,” while the other two in the quartet, “To Be Around You” (also a 70s disco/R&B number) and “You’re So Cold” (a mix of a church bop and a pop song) would sound right at home at a 70s-inspired 90s house party. Rounding out the quartet is “Make It Happen,” a gospel-influenced inspirational jam. “If It’s Over” has one of Mariah’s most soulful vocal performances to date, and “Can’t Let Go” is the epitome of 90s quiet storm R&B balladry.

3. The Lyricism 

Like her debut before it and every album to follow, Mariah penned the lyrics of every song on Emotions. This time, however, the lyrics became a bit more personal in comparison to her debut. “Make It Happen” finds her recounting the struggles of her childhood and inspiring the listener to power through it all as she did. Meanwhile, the aforementioned “The Wind,” pre-dated “One Sweet Day” as her first song about the death of a beloved friend. The two songs opened the door to much more personal songs that came later in her catalogue. Aside from this, the lyrics on Emotions were a bit more mature than her debut and impeccable as ever. “If It’s Over,” for example, has some of the most gut-wrenching lyrics on the album.

4. The Jazz of “The Wind”

Before Lady Gaga thought she was le unique artiste by recording a Jazz album with Tony Bennett, Mariah Carey made her first foray into the Jazz club in 1991, with Emotions’ “The Wind.” (Unfortunately, it was also her last… until she duetted with Tony Bennett in 2011.) Regardless, “The Wind” is such a unique, shining moment in her catalogue. The song is built on top of a 1950s Jazz instrumental by Russell Freeman. Of course, Mariah penned her own lyrics and melody to go on top of it. It is a song about the death of a young friend, and Mariah’s vocals drip in jazzy sadness. She is almost unrecognizable, proving her skilled vocal versatility. Just try playing “The Wind” for someone who’s not a big Mariah fan – see if they recognize who’s singing. We’re still waiting for the day when Mariah will take “The Wind” to the stage. Until then, we revel in her Jazz freestyle moments.

5. The Fifth #1: “Emotions” 

“Emotions,” the lead single, became Mariah’s fifth #1 single, besting the Jackson 5’s record (4) to become the only artist to have their first 5 consecutive singles be #1 Hot 100 hits. An important achievement indeed, it set the stage for Mariah to become the Queen of #1s and the 90s in terms of singles. She would go on to have a #1 in every year of the decade.

6. The “Emotions” live intro

Speaking of “Emotions,” we must talk about the live intro. Beginning with The Elusive Chanteuse Tour in 2014, Mariah once again adds an epic, a cappella intro to “Emotions,” which she originally added to the song’s 12” club mix (a first attempt in a glorious list of re-sung Dance remixes). She performed a version of the song with this intro for the first time in 1992 for her MTV Unplugged special. Since then, the “Emotions” intro has become a staple in her setlists – from the All I Want For Christmas Is You Extravaganza, to her #1 to Infinity Las Vegas residency, this year’s Sweet Sweet Fantasy Tour, and even her set at the Essence Music Festival in July. The intro has found its place as a vocal showcase; a means for her to prove she’s still got it to her naysayers. Every intro is a glorious slay, and we praise the fact that she resurrected it. Talk about feeling emotions…

https://www.youtube.com/watch?v=G8a0bUJZTbE

7. Everything about “Emotions” 

Really, this song is one of her classics. Like fine wine, it has gotten better and more renowned with age. Some of it has to do with the epic way she resurrected it with the aforementioned intro. However, most of it is because it is a phenomenal song. Melodically, it is the perfect singalong. Lyrically, it is one of those ever-relatable songs that are just fun to sing. Vocally, it is carefree and a downright slay. If elation had a sound, it would be Mariah Carey’s vocals on “Emotions.” We should all strive to have, in our own lives, the amount of joy in Mariah’s vocals on “Emotions.” Oh, and then there’s those got damn high notes…

https://www.youtube.com/watch?v=jD1K439iZQ8

8. The High Notes

Undoubtedly, for most people, their first thought about Mariah Carey’s “Emotions” will be the inconceivably-high high notes at the end of its title track and lead single. Why are they so iconic? Because they are the highest notes Mariah has hit to date, and she was able to replicate them and even go higher live at the VMA Awards in 1991. The “Emotions” G7 is iconic. While we can’t go on record as saying it is the highest note hit by any singer (because, really, who knows that definitively?) …none of her peers can challenge her in that department.  Because, she not only hits the notes – she uses them in musically sensible ways. She can even sing actual words while hitting them. That’s why those high notes are so iconic. They cemented Mariah Carey as the indisputable Queen of the High Notes, the Songbird Supreme some would say. The use of her now-signature high notes became much more prominent on the Emotions album, and rightfully so. Emotions is also the only Mariah album to date where the whistle register is featured on every song. Check it!

9.“And You Don’t Remember” and its climax 

To be frank, “And You Don’t Remember” is, by comparison, a weaker moment on the album. One of her collaborations with Walter Afanasieff, it’s pretty straightforward and, aside from a slight gospel-tinge to it, otherwise unremarkable as a song. However, vocally… it’s not surprise that Mimi slayed. Just listen to the climax! The whole last minute of the song is an impeccable showcase of vocal slayage. Like, it’s not even fair. It’s just gorgeous.

10. The never-before-seen “And You Don’t Remember” video

Speaking of “And You Don’t Remember,” did you know that it was supposed to be a single and Mariah even recorded a video for it? It’s true! However, its release was cancelled due to the success of “I’ll Be There” from MTV Unplugged. The MC Archives alleges that these screenshots are from the rumored video, which was turned into an ad for the Sony “mini disc.” To be honest, it looks like a terrible 90s commercial, so we (and Mariah) should be glad it stayed regulated to such and isn’t an embarrassing addition to her VEVO page. (Lord knows “I Want to Know What Love Is” and “Auld Lang Syne” are enough).

11. The “Can’t Let Go” Intro

Go ahead and turn on “Can’t Let Go.” Did you ever notice that, aside from the oohs and ahhs and saying “can’t let go, ooh baby,” the song takes a full 76 seconds to actually start? She lets it rock with the gloriously 90s instrumental and gorgeous background vocals. Not many artists before Mariah placed so much value in their background vocals. Hell, few do to this day. Mariah, however, is committed. She even penned a distressed letter from her bathroom floor when there was something wrong with the backgrounds when she dropped “The Art of Letting Go” in 2013. It all stems back to songs like “Can’t Let Go,” where she put her foot into those backgrounds.

https://www.youtube.com/watch?v=mrH9W4YmTCE

12. The first #2: “Can’t Let Go”

Let’s talk more about “Can’t Let Go,” shall we? Yes; because it’s that damn good. It’s heartbreakingly good, actually. If you’ve ever been there, then you understand how damn good this song is. Like we said in #3, the lyricism on this album was just next level. That’s why, to this day, “Can’t Let Go” is a favorite of the lambs and Mariah’s alike. Unfortunately for us all, it peaked at #2 on the Hot 100 and thus is not “allowed” to be included in the #1 to Infinity setlist, but boy do we wish it could be. In fact, “Can’t Let Go” was the first of five Mariah songs to peak at #2 and be blocked from #1; though, fans agree, “Can’t Let Go” is the best and most criminal instance of them all. Everything about the song is flawless; the lyrics, the vocals, the instrumentation… it is 90s perfection. But who’s surprised, honestly?

13. “Make It Happen”

While it may have “only” peaked at #5 of the Hot 100, “Make It Happen” is still a very notable song in Mariah’s catalogue. Not only is it one of Mariah’s favorites, and the fans’, but it’s also the first explicitly personal song of her career, and her first gospel-inspired track. Both of these aspects would go onto become expected within Mariah’s albums… more often than not, her albums feature at least one very personal song and gospel song. “Make It Happen” was the first song to, well, make that happen. It’s also one of the most authentically inspirational tracks in her catalogue. Not only that, but clearly its appearance in her Jenny Craig campaign is iconic in its own right.

14. The “Don’t Ever Let Go” Legacy

There is, however, another important aspect of “Make It Happen” – its live performances. She began adding a new refrain to the song for the performances, “don’t let go, don’t ever ever let go” which has become a beloved moment for fans. In general, “Make It Happen” became a staple in her setlists over the years; it was a song that even in moments of vocal weakness, she was able to shine with. It became an anthem of sorts for her, after all she had been through, and by performing the song at high profile promotional events; such as during The Emancipation of Mimi events, she sort of vindicated the song and made it one of her classics despite not being a #1. The “don’t ever let go” mantra indeed has become quite symbolic.

15. Carole King and “If It’s Over”

Long before hit singer-songwriter Carole King had a Broadway musical about her career, Mariah Carey managed to be afforded the privilege of writing a song with her for her sophomore album. To put that into perspective for the young folks, it’d basically be the equivalent of if Mariah Carey wrote a song with Adele for her 2008 debut album. As expected, this pairing of female musical geniuses resulted in one of the best songs in Mariah’s catalogue. King had originally suggested that Mariah cover the Aretha Franklin classic she had written “(You Make Me Feel Like) A Natural Woman,” but she declined the offer and opted to write a new song with her instead. Musically, it recalls the greatness of “Natural Woman,” except it’s lyrically the total opposite. “If It’s Over” is a ballad of rejection that will make you want to hug her. “If it’s over, just let me go…” she sings desperately. It’s one of her most simple yet effective lyrics, delivered via one of her finest vocal moments.

16. “If It’s Over” Live at the Grammys and SNL

That fine vocal moment was only magnified by the flawless performances Mariah gave of the song at Saturday Night Live and the 1992 Grammy Awards. As if the album version did not harbor enough Earth-shattering soul, she went even further live. “It isn’t fair, it just isn’t right,” she sang… while she wasn’t talking about her vocals, she should’ve been. Just watch, honestly…

https://www.youtube.com/watch?v=amB3d2Id1QA

17. C&C Music Factory

Moving on from Ben Margulies and, well, everyone else she worked with for her debut except Walter Afanasieff, she enlisted David Cole and Robert Clivillés to co-write and co-produce the uptempos on Emotions, which included the title track, “Make It Happen,” “You’re So Cold” and “To Be Around You.” The collaboration was magical; each of these songs is a standout on Emotions and, while the latter two are severely underrated within her catalogue, the singles have become classics.  

18. The Shade of “You’re So Cold”

Now, everyone knows Mariah Carey is no stranger to a shady comment or even a shady song. Both have become commonplace in her world as of late, culminating into shady songs like “Obsessed” and “Thirsty.” In fact, we have a whole article about her shady songs. “You’re So Cold” falls under the category of her “early shade,” alongside “Someday,” “Prisoner” and “You Need Me” from her debut. People like to act like her shadiness is a new phenomenon, but really… it’s not. It was all just under the guise of a few cute bops back in the 90s. “You’re So Cold” is a scathing read of a “cold” lover, she is literally reading his soul. It is a priceless gem with flawfree vocals and a club ready beat. Actually, it was originally slated to be the lead single, until apparently somebody wised up to the fact that “Emotions” slays harder. Anyway, go press play and get your life.

19. The “You’re So Cold” Intro

And the intro once again deserves its own moment. It begins with some dramatic piano lines followed by Mariah singing “Lord, holy Lord” in her lowest of registers, eventually hitting her lowest recorded note of A2. Yes, Emotions is home to Mariah’s highest note and her lowest note! From there, she scales up the octaves to eventually serve us an effortless read in her high register… capping it off with a high note, and then drops back down again. Some of her peers might be able dip it low or drop it like it’s hot or whatever, but Mariah does that vocally.

20. “So Blessed” and That Bridge!

Yet another Afanasieff collaboration, “So Blessed” recalls the 50s sway of “Vision of Love,” and is tailor-made for AC radio (though, it was never sent). It’s a gorgeous, subdued song, for the most part…until the end. For the bridge, her blessings come to helm and she explodes vocally into a magnificent bridge filled with vocal acrobatics that’ll leave you breathless and feeling blessed in your own right. The clarity, power and effortless skill of her vocals is a trend on Emotions.

21. The Ultimate Bop: “To Be Around You”

Severely underrated, “To Be Around You” is one of the more fun songs in Mariah’s catalogue, and a nice pick me up within the album, after the slowness of “So Blessed.” The song pulls from 70s R&B and disco but finds its home in the realm of House and New Jack Swing moment that was all the rage in the early 90s. The runs on the chorus, the background vocalists, the energetic production, the cute lil’ breakdown toward the end, and Mariah’s final guttural ad-libs, all pack punch after punch for this ultimate, undeniable, underrated BOP.

22. The Atmospheric “’Til The End of Time”

Yet another song that places significant importance on its background vocals like “Can’t Let Go,” is “Til The End of Time.” This spiraling cascade of buttery vocals and fluttering lyrics rises in dramatics, passion and octaves over the course of its five-and-a-half-minutes. As she builds toward the climax, she grows in fervor; comparing the beginning to the end and you may think it is two different songs. Serving as the capstone of the album, before the Jazzy closer “The Wind,” it is gorgeous and glorious, with just the right amount of each element that makes Emotions a phenomenal album.  

23. Her Producer of the Year Nomination

At the 1992 Grammys, Mariah Carey became the second female – ever – to be nominated for the Producer of the Year, thanks to her stellar production work alongside Walter Afanasieff on Emotions (the first, coincidentally, was other EST. 1997 favorite Janet Jackson in 1990). Ironically, Afanasieff went on to be nominated for his work with her every year after that, but suspiciously, the Grammy committee neglected to nominate Mariah for the award ever again despite the fact that she co-produced all of their work together.

24. The Fact She Got Producer Credit

Mariah, on multiple occasions, has complained about the fact that she didn’t receive production credit her debut album, despite having been a producer. However, that changed with Emotions, and she received co-production credit for every track… thus, allowing for that nomination to even happen.

25. MTV Unplugged

Finally, one of the most significant moments of the Emotions era is the very thing that effectively ended it. Mariah’s 1992 MTV Unplugged special was intended to be a promotional tool for the Emotions album and its singles, but it ended up becoming an album and era of its own. The setlist included hits from her debut as well as the Emotions singles, but the game changer was the last minute addition of a cover. Mariah’s version of The Jackson 5’s “I’ll Be There” became an immediate hit following her special; radio requested a single edit of the song and thus prompted the label to release the song and the MTV Unplugged EP. While “I’ll Be There” brought Mariah her 6th #1 hit, it also ended promotion of her sophomore set in favor of the live album. Emotions is certified 4x Platinum, while Unplugged, too, is certified 4x Platinum, off the success of only one single. Combined the two releases nearly replicated the 9x Platinum certification of her debut. So, while some may write Emotions off as evidence of “the sophomore slump,” we must not forget that MTV Unplugged was merely an extension of that album. If such a similar event were to happen today, her label merely would’ve re-released the album itself with a bonus live disc, and the totals would have likely been combined.

The post 25 Reasons Why Mariah Carey’s Emotions Still Slays at 25 appeared first on THE 97.

For the past few years when Fantasia has been in the process of creating a new album, she has expressed the desire to explore a sound she’s described as “Rock/Soul.” She’s done so for her last album, Side Effects of You, and she’s done for her newest one. Whether she has actually gone through with it is a different story, but we can at least say that she delivered more of it on The Definition of.., her latest album released last Friday.

The first track, called “Crazy,” features horns and an electric guitar line in equal parts, creating a funky and edgy album opener. It’s an energetic yet calm track that features a softer vocal performance and recalls Seal’s homonymous 1991 hit in its theme. The song is followed by the lead single “No Time For It,” which with its cutesy keyboard lines and boppy beat takes us back a decade to when Fantasia released her #1 hit “When I See U.”

It’s with “So Blue” that the album starts showing more substance. The slick production work and finally a more passionate vocal from Tasia, remind us why we like to listen to her. “When I Met You” then brings more of these intricate production elements accompanying narrative lyrics and a sing along melody.

With the R.Kelly-penned “Sleeping With the One I Love” Fantasia pays hommage to James Brown via an obvious “It’s a Man’s World” nod. It’s clear that Tasia works well in an old school context, so it’s not a surprise that this is the best ballad on the album. That might also be because the other option veeres more into Adult Contemporary territory: “Ugly” is the song Fantasia performed months ago on American Idol‘s farewell season, a soaring piano-driven number that while powerful, is not exactly what we’ve come to know Fantasia for.

The album tends to lose steam in the second half with a series of mainstream sounding songs that feel either tepid or forced. “Stay Up,” a collaboration with singer and songwriter Stacy Barthe features a cool upbeat production, but makes her feel like a featured act. Similarly, Fantasia’s duet with Aloe Blacc on “Roller Coasters” seems more of his work than hers. “Wait For You” is Fantasia’s most Pop record to date. The verses build up on a subtle piano driven beat before exploding into a full blown catchy chorus embellished with synths and tailored for CHR radio.

The last two songs on the album are definitely more in Tasia’s chords: “Lonely Legend” is a nod to Tina Turner, whom Fantasia has cited as an influence, with its “Proud Mary”-esque atmosphere and and the display of lower vocal tones in the style of Ms. Turner. “I Made It” then closes the album on a joyous note and features Tye Tribett and a full chorus chanting “thank you Lord” behind Fantasia’s realest vocal performance on this record. Raw, free and soaring, it is a spiritual realisation of all the blessings coming from above.

Despite the assertive title, by the time we finish playing the album we are left with the question “definition of what?” What is she trying to define with this record? It’s actually kind of hard to answer these questions because this collection of songs is definitely the least personal effort from Fantasia at this point in her career. Her past work had always something to relate to, while here it seems like the welcomed quest for more experimental sounds has come at the expense of identity. After an album as cohesive and consistent as her last one, the expectation was to get something that retained the heartfelt and genuine quality of lyrical content, but with an eye open to new directions. Unfortunately, the process towards finding new sounds needs some more fine tuning to achieve this balance.

Grade:
70/97

The post Album Review: “The Definition of…” Fantasia appeared first on THE 97.

“Leave (Get Out)” teen sensation JoJo is back, with edgy new music!

Now 25 and grown, JoJo is still fed up and ready to tell her ex leave-get out on “Fuck Apologies.” The new single has more of an Urban flavor than her early on released 2000s Teen-Pop music, and takes hardcore fans back to tunes like 2010’s “In The Dark.”

Wiz Khalifa stops by to re-introduce JoJo and spit a verse featuring shout-outs to text lingo (TMI) and even ride sharing service Uber. Alongside an unapologetic JoJo who boasts, “I’m not perfect/I got pride/That’s not what it is this time/So fuck apologies/I would say I’m sorry if I really meant it,” on the self-assured kiss-off.

“Fuck Apologies.” is a bold new route for JoJo’s upcoming serially delayed third album, Mad Love, due to be released from her new record deal with Atlantic Records on October 14. Sure the radio edit may be retitled “F Apologies” or “No Apologies,” but will it allow her to compete with her current Pop R&B peers like Meghan Trainor, Ariana Grande, and Selena Gomez? Or, does she really want to?

Time will tell if JoJo’s fans will accept her apologies, or if it will just end up being too little too late!

JoJo is currently on tour with Fifth Harmony.

Score:
90/97

The post Single Review: JoJo says “Fuck Apologies.” on new single with Wiz Khalifa appeared first on THE 97.

July 26, 2011.

Five years ago today, Kelly Rowland released her third album, Here I Am – a proclamation of freedom and artistic rebirth that cemented her place as not just the chick who was second to Beyoncé. However, it seemed, as with every Kelly Rowland album, there has been some sort of unforeseeable fuck-shit to get in the way of the great potential that the body of work held. Unfortunately, with Here I Am (and Talk a Good Game that followed), the same was true. Make no mistake; I have been a fan of Kelendria Trene Rowland since 1999 when I was perched at my TV watching the “Bills, Bills, Bills” video and have supported her every step of the way since; with and without Destiny’s Child. However, stan as I may, I can recognize the flaws in her album campaigns. Not from a place of critique, but from a place of frustration that these awesome albums she created went largely unnoticed and underrated by the general public.

Before I get into the specifics on Here I Am, allow me to recount the eras that preceded it. For her debut album, which ended up being released in October 2002 and titled Simply Deep, the plan was for her to be the last of the DC trio to release an album – after Beyoncé. However, in the summer of 2002, Nelly released his Nellyville album featuring a little duet you might recall, “Dilemma” – and that created a dilemma indeed. Though it was planned for release later down the line, “Dilemma” ended up being picked up by radio and shot to the top of the charts where it stayed for 10 weeks. Kelly was the first to have a #1 single (though, it was her last in the US) and the pressure was on from Columbia, and Mathew Knowles, for Kelly to deliver an album to capitalize on its success. In a months time, Kelly cranked out Simply Deep, its lead single, “Stole,” and its rush release hurt its chances for success. It was too little, too soon for America; though it was a big hit internationally. Similar issues arose for her sophomore set. Originally titled My Story: Kelly Rowland, the follow up to Simply Deep was set to be released in the summer of 2006. However, under the guise of “not being finished,” Kelly was sent back to the studio and her album pushed back to 2007 in favor of Beyoncé’s B’Day release going forth in September 2006. Mathew didn’t want them to compete, understandably. She released Ms. Kelly in 2007 to moderate success in the US, and generating a huge hit internationally in 2008 with the Freemasons Mix of “Work” that introduced her to the dance music scene.

The next year, in 2009, love took over, and so did Kelly, when she collaborated with David Guetta on the worldwide smash “When Love Takes Over,” fired Mathew Knowles as her manager and left Columbia Records. Kelly became the modern day Donna Summer and the uncrowned, pioneering Queen of vocal Euro-dance-Pop. To this day, she does not receive the due credit that she deserves (and DC sister Michelle Williams – just listen to her 2008 dance-pop album, Unexpected). Rihanna and others would never have had the dance hits they had if not for Kelly Rowland’s “When Love Takes Over.”

Anyway, hot off the success of “When Love Takes Over,” she began work on her third studio album. The campaign began in 2010 with the release of “Commander,” “Grown Woman,” “Rose Colored Glasses,” “Forever and a Day,” and a series of other leaks, but ultimately the dance-pop album never came to fruition due to a messy new label.

With no release date in sight, Kelly decided to go back to studio and back to her R&B roots, from which she birthed Here I Am and its lead single, “Motivation.” Released in 2011, during the same period as Beyoncé’s 4 era. This time, there was no Mathew Knowles to stop them from “competing.” With Here I Am, Kelly sought to break free of the Queen B’s shadow.  And she succeeded.

“Motivation,” helmed by Rico Love and featuring Lil’ Wayne, was a monster hit. It peaked at #1 on the Billboard R&B songs chart where it stayed for nearly the entire summer. It even managed to peak at #17 on the Hot 100 and #24 on the Mainstream Top 40. Had the song been sent to Pop at the same time as it was to Urban/Rhythmic radio, it likely would have placed much higher overall. Regardless, it went on to sell over 2 million downloads and cemented Kelly’s place as an R&B superstar in her own right. Finally, here she was: Kelly Rowland. Not “of Destiny’s Child.” Just Kelly.

Unfortunately, her label dropped the ball after that. Promotion for the album itself was weak, and, in general, it was released too long after the song’s peak. The second single, “Lay It On Me,” had all the makings of a hit but none the push. Sent to radio in August, but with no music video til October, and then they wondered why it flopped. Unsurprisingly, it ended up being the album’s last single stateside, with dance number “Down For Whatever” getting a release internationally. With her follow up album, Talk a Good Game, it was more of the same messiness despite the fact that she had delivered the best album of her career. We’re still waiting on the next one… but, back to Here I Am.

Now, to get a little more personal. I have so many fond memories surrounding this album and its songs, all the way back to its 2010 beginnings. Success and all that aside, I loved the music and in the summer of 2010, I was so hype because I got to see Kelly not once but twice in two different free, small-venue shows in NYC that August. She performed the singles thus far, some older cuts, and famously debuted “I’m Dat Chick,” which ended up being the first track on Here I Am. Here’s my video from the front row of that performance, all those moons ago, there I was:

The best memory of all about this night was not only that she made incessant eye contact with my friends and I, but because she so graciously stopped to take selfies with us after the show. Not only did I forge new, long-lasting friendships from those two back-to-back days of Kelly Rowland shows, but also unforgettable memories with one of my favorite divas. She slays. We slay.

Anyway, unfortunately, we had to wait until the NEXT summer for the album, but that’s fine, because that meant more NYC appearances. The week of the album release, she appeared on BET’s 106 & Park and there I was. I don’t know where the screenshot is now, I’m sure it’ll pop up on my Facebook Memories soon, but I was perched right behind her as she was interviewed, wearing a shirt with the album cover on it. During one of the breaks from filming, she recognized me and gave me a big ole hug. Life made.

But, Here I Am means more to me than just a few good memories in the presence of Kelly herself. I have specific memories attached to many of the songs. For “I’m Dat Chick,” it’s for sure seeing it performed live for the very first time. For “Motivation,” it’s being in Salamanca, Spain when it was released and listening to it on repeat in my single dorm room and wishing I was home in the US to experience how it was blowing up on the airwaves. I was so proud of her. “Lay It On Me” reminds me of my summer in NYC, in my own apartment, dating a special someone. “Feeling Me Right Now” is just a damn anthem, especially if you’re #teamsingle. “Turn It Up” is the sort of Mariah-level shade I LIVE for, and became particularly appropriate for a situation I went through. “All of the Night” and “Keep It Between Us” (along with “Motivation”) made their way onto a certain, frequently used playlist ;). As well, “Keep It Between Us” had a gorgeous, self-funded video filmed in Paris which makes me yearn to return to the city every time I watch it. The song is definitely an underrated gem in her catalogue.

“Commander” takes me back to the early days of the era, when my friends on my message board DC3 Forever and I all thought Kelly was going to blow up as the Queen of Dance (but, instead, the world picked Rihanna). “Heaven and Earth” became an anthem for me in a very personal family struggle, while “Each Other,” one of my favorites, was a frequent spin while living in Manhattan during the fall of 2010. “Down For Whatever” is good for a dance moment, but doesn’t compare to some of the left-off cuts from the original 2010 sessions, such as “Forever and a Day” (an anthem even now, when driving my new convertible). “Grown Woman” became a go-to when dealing with messy friend-drama, and “Shake Them Haters Off,” too. “On & On” is dance-pop perfection that was a hit waiting to happen! Kelly gave us a lot of music over this two year span; so much that I have it all separated into two albums in my iTunes: Commander, and Here I Am. 

Here I Am, in the end, turned out to be an amalgamation of nearly every sound that Kelly had flirted with over the years. R&B, Pop, Dance, Hip-Hop, and the like, spanning topics of self-empowerment, sex, love, break-ups, and, well, good ole’ fun, were all represented on the album. Not only that, but she completed revamped her image too, owning her sexuality, and most importantly, her dark-skinned goddess status.

So, while it isn’t her best album, with Here I Am she made her most important statement and found her best success yet in “Motivation,” cementing herself as a solo star and as an artist with a voice. When she followed it up just two years later with Talk a Good Game, her sound and voice were both poised, defined and undeniably Kelly Rowland. And, as a fan, I couldn’t have been prouder.

The post Where I was when Kelly Rowland declared ‘Here I Am,’ 5 years ago – a fan’s retelling appeared first on THE 97.