Practically unbeknownst to the general public, three more singles followed: the anthemic “Can’t Take That Away,” the Snoop Dogg assisted “Crybaby,” and the Phil Collins remake “Against All Odds.” Unfortunately, all three didn’t reach the same heights as Rainbow’s first two releases. However, it was “Crybaby” (released July 18, 2000) that most definitely should have, could have, and would have. Need I enlighten you about the song’s deserving potential and underlying message? Well, if so, I’d be glad to.

Written by the chanteuse herself, “Crybaby” serves as an R&B/hip-hop hybrid with veteran rapper Snoop Dogg. Its lyrics depict Carey battling with insomnia, as thoughts of her past lover still plague her mind and result in her not getting any sleep. This might all sound simple enough. After all, who hasn’t been a little hung up over their ex? But, “Crybaby” actually might have been a little deeper than we thought at the time, and even still think to this day. In fact, it could even be looked at as somewhat of a prediction of the trouble that lied ahead for the singer.

What the public didn’t know was that Carey was in the midst of conflict and controversy with her record label, Columbia. After initial requests from the songbird that “Can’t Take That Away” be released as the album’s third single, the label wanted otherwise. This resulted in Carey informing her fans about the dispute through voicemail messages on her official website. Low and behold, Columbia eventually decided to release “Crybaby” as a double A-side with “Can’t Take That Away,” after fears of losing the label’s highest-selling act. Billboard chart rules at the time initially barred the song(s) from charting on the Hot 100. However, after its release as a commercial single, it reached a peak of number 28, but was unable to ascend any further due to a lack of promotion and very little airplay. Did I also mention that Tommy Mottola was the CEO of Sony Music and just so happened to be Carey’s ex-husband? It’s practically unfathomable to not imagine a hostile work environment at this point.

These somewhat undisclosed details make it all the more believable that “Crybaby” was not just another “Heartbreaker,” but rather a cry for help. In it, Carey persists that after multiple attempts – medicine, Bailey’s cream, listening to music – nothing is working for her, even decreeing in the most soulful way possible, “I gotta get me some sleep.” Her mind is off and wandering about the issues at hand. In reality, it’s not just about love. It’s about life. She was working tirelessly to get out of her contract with her record label. And, FYI: Rainbow only took three months to create, according to Carey. Picture just three months of writing, singing, and producing a 14 track long album. No wonder why she’s spiraling. She’s not up all night just because she misses her boo – she’s overworked and overtired.

The song’s music video, directed by Sanaa Hamri, depicts Carey in a lush penthouse suit, beginning with a serene scene of her in bed, then in a frothy bubble bath, and ending with shattering images of champagne glasses and a Fruity Pebbles cereal spillage. All of this seems to have coincided with the sequences of this diva’s career by then: a fresh start and a current whirlwind. But in true Mariah Carey fashion, she is singing her way through the pain in a way that truly nobody else can.

While the song remains a fan-favorite within Carey’s shimmery kingdom, it still remains one of her most underappreciated works to date. So on its anniversary, it’s important to give respect where respect is due. Thanks to the honchos in charge, the sparkle to “Crybaby” wasn’t very bright, but Carey’s fans (AKA the “Lambily”) have fought long and hard for many injustices throughout her career. With that being said, if there was ever an appropriate time for a #JusticeForCrybaby movement, it’s now! In the end, the only thing that’s worth crying over is the fact that this song hasn’t been given the attention it deserved.

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In one of the first offerings from the much-anticipated The King & I, Faith Evans recruits the one and only Snoop Dogg to make a pilgrimage to the West Coast with The Notorious B.I.G for “When We Party”. The track utilities verses from Biggie’s “Goin’ Back To Cali” with all new vocals from both Faith and Snoop. Faith sounds vocally flawless as ever, while Snoop adds the necessary West Coast blessing and flavor. Combined with the sticky synths and beat, this is some serious West Coast material.

Listen to “When We Party” below:

Faith Evans’ The King & I has a May 19 release date, 2 days prior to Biggie’s birthday. The album features appearances from Jadakiss, Lil’ Kim, Lil’ Cease, Biggie’s mother Voletta Wallace and more.

The post 97 Words: Faith Evans, Notorious BIG, & Snoop Dogg “When We Party” appeared first on THE 97.

The soundtrack to Men in Black is probably not an album that anyone would think to be significant.  However, in the 90s, soundtracks to blockbuster movies were a big deal.  Of course, you probably remember the title track and lead single by Will Smith…

Not exactly 1997’s finest moment, nevertheless, it was a huge success and an overall fun song.  However, the Columbia Records helmed soundtrack did boast contributions from Nas, Snoop Dogg, Jermaine Dupri, Ginuwine, The Roots, Trey Lorenz (Mariah Carey’s background singer, see: “I’ll Be There”), A Tribe Called Quest, and the debut songs of Destiny’s Child and Alicia Keys (who was, at the time, signed to Columbia Records).

It is a pretty impressive list of artists, and interestingly enough, all those listed above are still active and relevant today, 17 years later (well, for Trey Lorenz, still as Mariah’s background singer, but there’s no shame in that!); albeit one of the acts may or may not have changed species.

Destiny’s Child’s contribution to the soundtrack is a ballad, “Killing Time,” which, in my opinion, is quite an odd choice for the Men In Black soundtrack.  However, I do love the song.  Beyoncé gives an impressively mature and sensual  lead vocal performance for a 15-going-on-16 year old, while Kelly, LeToya and LaTavia provide  gorgeous harmonies as we came to expect of Destiny’s Child.   Of course, “Killing Time” definitely wasn’t going to kick start their career, but luckily, “No, No, No Part 2” followed a few months later.

Meanwhile, on “Dah Dee Dah (Sexy Thing)” the world met a 16 year old Alicia Keys, riding a sexy, funky R&B mid tempo track.  At the time, she was signed to Columbia via a deal with Jermaine Dupri’s So So Def Records.  However, Alicia eventually left the label and signed with Clive Davis.  We didn’t hear any new music from Alicia until her 2001 debut album, Songs in A Minor.  

Overall, the soundtrack is what you’d expect – a collection of standard, mid-90s R&B and hip-hop.  Perhaps I’m biased, but the introduction to two of R&B’s leading female acts, before they grew up and blew up, is the high point of the soundtrack for me.  Side note: Mariah Carey has collaborated (in some capacity) with 7 of the 14 artists featured on the soundtrack.

The post Elicit 1997 … with the ‘Men In Black’ Soundtrack appeared first on THE 97.