They may be known for their rugged rock classics, like “Walk This Way” and “Dream On,” but in the summer of 1998, Aerosmith showed us their soft side on “I Don’t Want to Miss a Thing.” Written by songwriting legend Diane Warren, the power ballad served as the theme song to the 1998 film Armageddon. With the help of lead singer Steven Tyler’s raspy pipes and Warren’s infallible recipe for love songs, twenty-five years into their career, the track became the band’s first and, shockingly, only number-one hit. Twenty-five years later, this meteor-sized classic still remains a surefire fan favorite.

Watch the “I Don’t Want to Miss a Thing” video, stream it, or get Aerosmith’s Greatest Hits Deluxe on vinyl, celebrating 50 years of their career!

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Few things evoke freedom better than flight; whether literal or metaphorical, to fly is to be free. Lenny Kravitz ascended to #12 on the Billboard Hot 100 in late 1998 with his hit single, “Fly Away,” but really should’ve been a summer single. This funky rock-n-roll ode to escapism is the perfect anthem for flying out of the country, or even just flying down the highway. Kravitz’s unmistakable voice soars atop electric guitar riffs and a groovy bassline, all combining to exude the essence of freedom. Spin “Fly Away,” and you’ll end up booking that summer trip you’ve been debating.

Watch the music video below, stream “Fly Away” or grab Lenny Kravitz’s “Greatest Hits” on vinyl

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

Cover Girl

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

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

Punk-riah

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

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

Mimi’s Heartbreak

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

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

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

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

Listen to “Bringin’ on the Heartbreak”

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It’s with this premise that Lady Gaga introduces one of the songs off her new album during her Dive Bar Tour to promote the record. Stripped of the costumes and antics, Gaga, whose middle name is Joanne, has embarked on a new era in her artistic journey.

Her 5th studio album appears a collection of stripped down, acoustic songs that are far from the club ready catchy pop hits Gaga is known for at this point. However, upon further analysis we actually realise that this Gaga has existed all along. The songs were just buried under layers of synths, thumping beats and electronic effects. Now, they come to the listeners in their bare essence, but with still a great amount of production work.

The album opens with the banging “Diamond Heart,” where Gaga declares she’s not flawless and courts a “young, wild American.” The full on Rock song is a great album introduction that instantly warms us up to the sound of the record. There may be none of the typical Dance sounds here, but Gaga made sure she still gave us a nice melody to sing along to and a clean distinctive chorus.

“A-YO” follows with its guitar riffs and the more upbeat Rock ‘n’ Roll vibe reminds us of her quirkier side with the sexual innuendos and metaphors. The same can be said about “John Wayne,” a song dedicated to the dismantlement of the metrosexual man in favor of the typical cowboy who can offer a real adventure. It’s in songs like these that the essence of Lady Gaga the Pop songwriter comes out, no matter how sapiently disguised it is under a new set of production and instruments.

The title track, dedicated to her prematurely deceased aunt, opens the ballad side of the album with a mix of Folk and Pop/rock that recalls the tradition of Fleetwood Mac and their brand of campfire sing along records. “Dancin’ In Circles,” a collaboration with Beck, is an ode to self-pleasure and the power of imagination set to a reggae beat and recalling the tropical breeziness of “Alejandro.”

After this first section, the heart of the album is made up of ironically the most forced and realest songs on the album: the former is the lead single “Perfect Illusion” which, while it works better in the context of the album, still feels a bit out of place on it. The latter is “Million Reasons,” a slow number about the end of a relationship co-written with Country songwriter Hillary Lindsey and arguably the best ballad in Gaga’s discography thus far. It’s not a surprise if it’s currently the #1 song on iTunes: its simplicity and the powerful vocals make it extremely relatable.

The album the continues with “Come to Mama,” where Mark Ronson’s 60s and doo-wop influences shine, complete with a sax solo. The song is about acceptance at a social level, unity and mutual help with lyrics lifted from the Bible. “Hey Girl,” the duet with Florence Welch, recalls the epic slow intro to Diana Ross’ Disco anthem “Love Hangover” and 80s Quiet Storm in general with its synths and smooth R&B-leaning beat. The pair sings about female empowerment and friendship, with a few sapphic/platonic innuendos.

The standard edition of the album closes with “Angel Down,” written, according to Gaga, in light of the Trayvon Martin shooting. Gaga sings “shots were fired on the street, by the church where we used to meet” making clear references to the brutal homicide that’s had a huge impact socially and in the media.

Joanne is definitely Lady Gaga’s most honest album. While it represents a sonic shift, there’s an evident artistic investment in the making of this record and it’s clearly the kind of music Gaga feels closer to. Elements of her distinctive Pop songwriting are still present and create a connection to the rest of her catalog, but let’s not forget that pre-fame (not just her first album, but literally) Stefani Germanotta was a Pop/Rock aficionado, writing acoustic songs. She’s finally earned the right to bring this sound to the surface without hiding her musical influences under the disguise of club anthems, polished productions and shock value. Will it pay off? Probably not immediately, but this is an album that people will go back to and understand in time. You read it here first!

Grade:
85/97

Listen to the deluxe edition of Joanne here:

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Florence Welch flourishes in drama. Her piercing shrieks and quavery voice accentuate her elaborate emotions and they’re on full display on the very aptly titled How Big How Blue How Beautiful. If that sounds like a dramatic way of saying Florence + The Machine likes their music big, that’s because the band’s third album repels the notion of smallness and this fondness for big is infectious.

On their previous album Ceremonials, Florence + The Machine showed up on pop radio with its frontwoman garbed in shimmering dresses, singing about a metaphorical demon wanting its own pound of flesh. Their sophomore album had Florence Welch thriving in ornate sounds, wearing gowns, chanting pop hymns about gloom and doom, backed by organs, violins, thunders, and the results were often divine. This was perhaps the reason why certain music producers for films summoned Florence every time they had a need for soundtrack that could conjure images of vampires, an evil stepmother, devils and, in a rare instance, a poor little rich man.

This time, Flo and company trade opulence for ebullience. First single “What Kind of Man”, with its head-bangy guitar riffs, turns down the gloom and cranks up the anger (or something resembling it). It begins with a haunting verse which lays the foundation of her feelings for a thirst trap-setting man, and transitions to an explosive sass towards the ‘holy fool all colored blue’ who let her ‘dangle at a cruel angle’. It’s the perfect mood-setter for an album that is so conflicted about what it wants to do with all that it’s feeling.

“Queen of Peace”, one of the album’s several stunners, would not sound out of place in a Quentin Tarantino movie, maybe in a scene where the revenge-seeking heroine unleashes the full extent of her displeasure at all the wrong kinds of men, although the song is about something else entirely. It is followed by the majestic “Various Storms and Saints” which is as close to touching Ceremonials highlight, “Never Let Me Go” in solemnity and greatness. With solo backing vocals by Florence herself, the song builds up the tension, soars, and then crescendos to a thrilling finish, as she battles an inner turmoil of the heart and head.

But it’s never just despair with Florence. On “Third Eye”, The Machine sneaks in a ukulele that takes center stage just before Florence gets hysterical and chants ‘I’m the same, I’m the same, I’m trying to change!’. It’s the sort of life-affirming song that screams rather than pander to your sensitive soul (‘Hey, look up! Don’t make a shadow of yourself, always shutting out the light. Caught in your own creation. Look up, look up!’).

Breaking the album’s string of strong tracks is “Long & Lost” which is not the most interesting example of what a Florence Welch-Ester Dean collaboration could sound. “St. Jude” is yet another baffling choice for a single, although it’s only ‘promotional’.

In the brief pre-performance interview with Good Morning America, when asked what the album means to her, Florence very charmingly hesitates for a moment and says that it is hard to describe, and that its meaning changed as she went along recording it. But what is certain is that it would be fantastic to have the band come out with a break-up album, not just because most break-up albums tend to be great, showered with a minimum of 5 Grammys in a single ceremony, but because Florence Welch could probably do remorseful, berserk, and lonely in the span of one LP and cover the entire spectrum of emotions associated with the devastation that comes with heartache, and end up sounding triumphant. Florence is clearly not over rhapsodizing about water, and here she takes the fascination further. And like water, Florence’s voice and presence are otherworldly elements, a ‘place where emotion chaotically reigns.’ In this album, all that chaos reign beautifully.

Grade:

85/97

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Canadian singer-songwriter Alanis Morissette released her third studio album Jagged Little Pill, on Madonna’s Maverick label and Reprise Records. Little did many know, that the album would become one of the most successful albums and eras for any solo act from the 90s. To date, the album has surpassed 15 million albums sold in the United States. This feat makes Jagged Little Pill one of three albums in the country to pass that benchmark (in good company with Shania Twain’s Come On Over and Metallica’s self titled debut; since Nielsen Music began tracking data in 1991). Recently, the album has even been turned into a Broadway musical.

However, long before it was a Broadway musical, this breakout album launched Alanis Morissette into superstardom. She became a household name with radio friendly hits including “Hand In My Pocket,” and the Billboard Hot 100 top 5 hit “Ironic.” The latter went on to become one of her career defining hits and is one of, if not the signature song when the name Alanis Morissette comes to mind. A song that many feel is speaking about not-so-ironic, ended up hitting number 1 on the U.S. Alternative charts along with “You Oughta Know,” and “Hand In My Pocket.”

Jagged Little Pill achieved many accolades since its release in the 90s. One of the biggest feats was when a 21 year old Morissette won the Grammy Award for Record of The Year in 1996, making her the the youngest act to ever do so. Alanis Morissette held this record for 14 years until a 20-year old Taylor Swift stripped her of the title in 2010. Pill ended up receiving a total of nine Grammy nominations and managed to win five. Surprisingly, Morissette lost in the Best New Artist category to Hootie & The Blowfish; although she was in good defeated company along with fellow successful acts from the 90s like Brandy and Shania Twain. Oh, and if that all was not impressive enough, Jagged Little Pill topped the Billboard 200 for 12 weeks.

With the success of Jagged Little Pill, Alanis Morissette in many ways changed the landscape for what many began to see for female musicians. Morissette broken down one-dimensional barriers that said a female rock artist could not do certain things like dance in a music video. She showed how it was possibly for women to produce and create popular Alternative Rock music with a pop flare/edge. Clearly paving the way for fellow artist such as Kelly Clarkson, P!nk, and fellow Canadian Avril Lavigne. Though, not only did Alanis Morissette leave a blueprint for other artists, in many ways she was the sole artist that showed radio programmers and listeners alike that they could listen to, and like, more than one female musician on the airwaves – simultaneously.  Not only was Jagged Little Pill a great musical effort by a young artist, that contained many of the decade’s defining hit songs, it managed to define a era of music while changing history at the same time.

If you would like to celebrate the milestone, Rhino Records and Warner Music Group reissued Jagged Little Pill for its 20^th year anniversary in October 2015. In support, Alanis did various promotional TV spots including the American Music Awards (performing with Demi Lovato), The Talk and The Late Late Show (including a very funny skit, updating “Ironic”). The new set features a remastered version of the original album along with ten demos. For the big fans, there is a collectors edition, 4-disc set that also includes the 2005 (ten year anniversary) acoustic album and live London concert disc from September 28^th, 1995. This special edition of the album is even available to stream on Spotify. Alanis Morissette fans should rejoice as if it were the mid 90s once again. What a great time for music!

Listen to Alanis Morrisette’s Jagged Little Pill

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Last night, June 6th, 2015, I attended my first Lana Del Rey concert. I had a lot of expectations for what it would like and for the most part I was completely wrong. Everything about the experience was unexpected, and not necessarily in a good way… but not necessarily bad either. But, before the Lanalites (or whatever they may be called – I made that up) attack, please put your claws down and/or unclench your pearls: I am not about to bash Ms. Del Slay.

My first expectation was for the crowd to be filled with a mixed bag of male and female, gay and straight, hipster 20-somethings… tipsy off alcohol or buzzed from some sort of drug, dressed in vintage finds from the thrift shop or Urban Outfitters; you know, basically Williamsburg.

But… that is not what I walked into, at all. Instead, I was met with teenage and barely 21 teenage white girls, adorned with flower headdresses (clearly, I missed the memo), usually arm-and-arm with their gay best friends; or simply with a gaggle of other white girls. I. Felt. Old. They were mostly still drunk, though, probably wearing stuff from Urban Outfitters (their outfits were wannabe Coachella chic), and during the show someone was smoking weed. Nothing against it, but I’d rather not catch a contact, dahhhlings.

Next, I must admit that I basically have never watched Lana give a live performance before so I really was unsure of what to expect from her. Her music is so atmospheric, moody, dramatic, heavily produced and… slow. Her band was wonderful; they truly sounded great, though they were unfortunately a bit too loud in comparison to Del Rey’s soft, often-mumbled vocals.

As for stage presence, I think I was expecting her to mope around the stage and lay strewn across a couch or just be as weird as most of her lyrics. On the contrary, I was pleased to find that she was rather, well, normal and dare I say, fun? She bopped around the stage (rather aimlessly, albeit) and grooved to her music. Though, my only complaint is that the lyrics (despite the fact that I knew most of them) were unintelligible and she frequently tossed the microphone to the crowd in what felt like “oops” moments of her not knowing the words herself. Funny, but, girl… I came to hear you sing, not these little girls.

What I am sure was exciting for all the little Lana lovers in the crowd was the fact that she performed “unreleased” (officially) tracks that I assume are fan favorites. These included “Serial Killer” and “Us Against the World,” as well as covers of “Chelsea Hotel No. 2” and “Why Don’t You Do Right?” – which I did not know, nor understand due to her tendency to Mumble Del Lyrics.

A photo posted by EST. 1997 (@est1997com) on Jun 6, 2015 at 7:26pm PDT

However, Lana came through tenfold when she responded to the fervent request of the crowd (myself included) and performed “Ride” – which is not normally part of the setlist – following “Born to Die,” “Ultraviolence” and “Summertime Sadness”. This latter half of the show, beginning with “Die,” was the better half of the show. On all of the aforementioned tracks, she sang clearly and it was all that I could have ever wanted from a Lana Del Rey concert experience. While I indeed got my life from her singing “my pussy tastes like Pepsi Cola” live, in front of my face, the rest of that performance was kind of lackluster. Though, in further effort to make us all gag (in the good way), she changed the lyrics of “Born to Die” from “let me kiss you hard in the pouring rain” to “let me fuck you hard in the pouring rain.” Needless to say, countless YASSSSSes ensued following this realization. On “Ride,” meanwhile, she understandably requested our help on some of the lyrics because, she explained, it had been a while since she performed it. At the end of “Ride,” she commented that it was “worth it” – an understatement, indeed; however, “Ride” came at a cost: “Brooklyn Baby” had been removed from the setlist.

She closed the show with “Video Games” and “Off to the Races” but not before singing the cover of “Why Don’t You Do Right?” while going to the general admission barricade to take selfies with fans and give autographs. It was a humble and humanizing moments from an artist who’s personality seems so detached from her theatrical and fantastical music. Both performances were highlights of the show, as well, but “Off to the Races” was especially epic.

Despite the numerous unfamiliar songs and the sometimes mumbled vocals, Lana Del Rey’s Endless Summer Tour was an enjoyable experience that I wish was indeed endless. Next time, I would love to see her experiment with some of her songs more by changing the tempo – perhaps a more uptempo moment in the setlist would break the monotony of the set. Alternatively, stripped down or acoustic versions of a few of her songs would be interesting to hear, as well. But, would I go see Lana Del Rey live again? Absolutely, and if you enjoy her music, then I’d recommend you do as well.

Grade:

80/97

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On March 4, 1997, the Australian pop duo Savage Garden made a splash on the music scene with their self-titled debut album. The duo was comprised of Darren Hayes (vocals) and Daniel Jones (instrumentals). The group’s sound was largely influenced by 80s pop but at the same time, fit perfectly on pop radio in the mid 90s.

The album yielded multiple successful singles, including “I Want You,” “To the Moon and Back,” and the most well known, their now-signature song, “Truly Madly Deeply.” Perhaps cursed by the eclipsing and almost one-hit-wonder-esque success of “Truly Madly Deeply,” Savage Garden only went on to release one more album, in 1999, before disbanding in 2001.

The rest of the album is more of the same. Once you’ve heard their big singles, there’s not much need to delve further into the rest of the album and perhaps that is why the group did not last very long after all. Their biggest single after “Truly Madly Deeply” was the 1999 hit, “I Knew I Loved You,” which is basically a carbon copy of the former. Nevertheless, if you’re in the mood for a little 80s/90s pop-rock nostalgia and indistinct background music… then hit play on 1997’s Savage Garden. Though, it may be hard to resist singing along to catchy hits like “Truly Madly Deeply” and “To the Moon and Back.” I may even go dust off my 18 year old copy of the CD and import it into my iTunes.

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To Idol‘s credit, it was indeed the most successful TV singing competition. Nothing that came before or since can quite compare to the level of success that the Idol alum have garnered. While there were shows like Star Search before it, on which superstars like Destiny’s Child, Justin Timberlake and others competed, and shows to follow like the X-Factor and the Voice… none delivered true superstars like American Idol has.

We’ve put together a short, 10 song playlist featuring one song from each of our 10 favorite Idol alums. While the current season hasn’t ended, and the next one hasn’t even begun, we doubt we’ll miss much by doing this a bit prematurely. Enjoy!

10. “Sorry 2004” by Ruben Studdard (Season 2) was a single from Ruben’s debut studio album, Soulful. By far his most radio-friendly song to-date, it fit right in with the sound of male R&B in 2003/4. He hasn’t done much of note as of late, but for “Sorry 2004” and his cover of “Superstar,” we hold a special place for Ruben, America’s 2nd Idol.

9. “Wait For You” by Elliott Yamin (Season 5) became a hit in 2007, peaking at #13 on the Hot 100 and is by far Yamin’s most memorable moment. The R&B/Pop crossover was the perfect combination for the singer.

8. “Light On” by David Cook (Season 7) was the winner’s first big hit following his coronation. Unfortunately, he’s not found much success since, but we’ll always appreciate him for this great track and his even better cover of Mariah Carey’s classic “Always Be My Baby.”

7. “Whataya Want From Me” by Adam Lambert (Season 8) was actually written by Pop superstar P!nk, and it definitely shows. The song is angsty, catchy and full of raw, gritty emotion. As one of Idol’s first out-gay contestants, Lambert made a name for himself with this hit single despite the odds.

6. “And I Am Telling You I’m Not Going” by Jennifer Hudson (Season 3) is the song largely responsible for garnering the diva an Academy Award win in the Best Supporting Actress category, for her role as Effie White in Dreamgirls. Unfortunately, while she certainly has (often-abused) pipes, her music career yielded little else of note.

5. “Home” by (Chris) Daughtry (Season 5) is no doubt the band’s signature song, and a great one at that. The frontman and namesake, Chris Daughtry, was a finalist in Season 5 – stealing all the spotlight from whoever actually won that year. Daughtry went on to be the third most successful Idol alum, behind our #1 and #2 picks.

4. “No Air” by Jordin Sparks (Season 6) features Chris Brown (when he was still lovable) and was perhaps the closest our generation has come to that sort of male-female R&B ballad duet (a la “Endless Love”). Not to mention, Sparks’ fantastic voice shines on the track. Lets hope she gets her life together and serves up a slay with her next project.

3. “Free Yourself” by Fantasia Barrino (Season 3) was helmed by Missy Elliott, so naturally is R&B mid tempo perfection in every way. Fantasia is one of the few R&B acts to come from Idol who actually went beyond the Idol stigma to make credible, quality R&B music and sustain a healthy career.

2. “Wasted” by Carrie Underwood (Season 4) is a favorite among Carrie’s fans and for good reason. The ballad finds Carrie showcasing those famed pipes that won her the Idol title in Season 4. While perhaps her most well-known single is “Before He Cheats,” that crossover track was an anomaly while “Wasted” showcases her true colors. As the most successful American Idol – in America – Carrie is well deserving of all the praise and acclaim she receives.

1. “Because of You” by Kelly Clarkson (Season 1) is indeed perfect representation of the inaugural American Idol as an artist. The song, written by a teenage Kelly, is from her most successful album, Breakaway and is one she fought for – a fight she continued throughout her career: for more creative control as an artist. The song has the honest and relatable lyrics that fans have come to love her for, and an impeccable vocal showcase that proves why she won over the heart of America. However, Kelly remains the only American Idol album to truly transcend her title – becoming not only an American idol, but a worldwide superstar. With 7 studio albums and 1 greatest hits set under her belt, she is (by default) the longest standing Idol alum, but she hardly rests on her laurels. Clarkson has indeed cemented herself as an icon and superstar, and that’s something no Idol to follow has been able to take away from her – and, with the show coming to an end, it seems none ever will. American Idol may have come to an end, but Kelly Clarkson’s career shows no signs of stopping – she has transcended the show, probably more so than the show’s producers could’ve ever hoped.

The post Playlist: Ranking the best American Idol alumni, and their best songs appeared first on THE 97.

In the years between Hole albums, Courtney Love received great reviews and awards attention for her performance in The People vs Larry Flynt. She also became a glamour queen who famously wore Versace on the red carpet of the 1997 Oscars. “Celebrity Skin” addresses this transformation.

Love opens the song with the sneering lines, “Oh make me over/I’m all I wanna be/A walking study/In demonology.” The lyric is a clever reference both to Love’s Hollywood makeover, as well as her being demonized for said makeover as well as receiving some blame for Cobain’s suicide. On the song Love’s vocal is less ragged than on previous Hole albums, and there is a focus on melody. The guitar riff rings of late ’70s glam metal. In short, “Celebrity Skin” is polished rock and not an all out attack.

Throughout the song, Love uses references that highlight the way Hollywood uses celebrities and then disgards them. At one point Love sings, “My name is might-have-been/My name is never was/My name’s forgotten.” The line “My name is might have been” is pulled from a section in Dante Gabriel Rossetti’s poem “The Superscription” about the impossibility of retaining value; in other words, it’s a reference celebrities being replaced by the new ‘It Girl.’ Another line references a “pound of flesh.” This term is mostly associated with Shakespeare’s The Merchant of Venice in which a character is asked to give a “pound of flesh” in order to borrow money. Love seems to be saying that the debt of celebrity is excessive, if it’s even able to be paid at all. That is a theme Love made reference to in earlier songs like “Ask For It” and “Doll Parts.”

In the song Love seems to be having a bit of an identity crisis, or maybe she’s just toying the audience with the two sides of her image. She had become glam, but is she now used up? Love has also said the title is a reference to all of the celebrity skin she has touched, which makes one wonder if she’s also commenting on herself.

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