Something about the summertime and nostalgia goes hand-in-hand. On Tori Kelly’s aptly titled “missin u,” she throws us back in time to that irresistible late 90s/early 00s R&B sound. There are notes of influence from turn-of-the-century R&B by acts like Aaliyah, JoJo, Usher, and Mariah Carey. Your nostalgia radar will go off non-stop, but you’ll never quite place it. Kelly makes the sound her own by showcasing her ability to switch seamlessly from quick-tongued verses to a sing-along-ready hook and soaring bridge. Unfortunately, the track failed to make an impact on the charts; perhaps it’s too nostalgic.

Watch the “missin u” video, stream it or get some Tori Kelly vinyl.

In celebration of summer, the staff at THE 97 has compiled a playlist containing some of our favorite summer songs, from then and now. Each day we will reveal one song, rotating daily between past and present with pairings from 1998 and 2023, for a total of 97 days/songs. Since we love nostalgia, we’re celebrating summer songs from 1998 as they turn 25, alongside new songs that we feel deserve some shine. Pairings could be thematic, sonic, or based connections between the artists.

Check out our full “THE SUMMER 97 (1998 x 2023)” playlist here.

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As an established artist, Aaliyah lent her vocals to help sing the chorus of their debut single “Up Jumps Da Boogie,” alongside a feature from fellow frequent collaborator and crew member Missy Elliott.  Released as the first single from their album Welcome to Our World, in July of 1997, it managed to peak at number 12 on the Billboard Hot 100 and number 58 on the year end chart.

“Boogie” was released at the perfect time, just after Timbaland and Missy Elliott’s production success with Aaliyah’s sophomore album One In A Million was building her as a premiere R&B act; and likely marked the beginning of the superstar career which translated to success for Tim and Mag.  Certainly setting the tone for Hip-Hop and R&B music of the time, their entire crew received success during that era of music.  Timbaland and Magoo, Aaliyah, Missy Elliott, Ginuwine and to a lesser extent, success for Playa and Nicole Wray as well.  For Timbaland this success wasn’t ending anytime soon either.  In the mid 00’s he achieved another whirlwind of success with popular crossover acts Justin Timberlake and Nelly Furtado to name a few.  While on the other hand Magoo hasn’t really remained active within popular music outside of the Timbaland and Magoo success which seemed to become a pastime memory post releasing their throwback infused single “Cop That Shit,” released in 2003.

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Mariah Carey was a fan of the 1992 Kriss Kross hit “Jump” and wanted to work with the producer of the track, Jermaine Dupri. Carey got to collaborate with Dupri a few years later on two songs for her Daydream album: “Always Be My Baby” and “Long Ago.” In their sessions, Carey, Dupri, and Manuel Seal started by working on the drum programming, and as Seal started playing the keyboard Carey began singing a melody. Their back-and-forth would result in Carey’s 11th #1, “Always Be My Baby.” At the time it tied her with Madonna and Whitney Houston for the most #1 singles by a female artist, though over the next few years Carey would separate herself from the diva pack.

At first listen “Always Be My Baby” features a beautifully crafted, catchy melody and feels like the perfect song to play on a nice summer evening. Upon closer inspection, though, the song reveals itself to be about the singer mourning a lover she has let go. In naming it one of the best R&B songs on the 1990s, Complex mentioned the contrast between the lyric about a fractured relationship and the “joyous keyboard chords, the snapping beat, and Carey’s conviction that it will all work out.” That conviction helped Carey earn a Grammy nomination for R&B Vocal Performance, Female for the song despite “Always Be My Baby” not having yet been released as a single at the time voting took place.

Released as the third single from Carey’s Daydream album, “Always Be My Baby” debuted at #2 on the Hot 100 and eventually moved into the #1 position for 2 weeks. The song sold 1.2 million copies and was a huge hit at radio. In fact, it ended 1996 as the #1 Hot 100 Airplay song for the year, despite never topping the Hot 100 Airplay or Mainstream Top 40 charts. To this day “Always Be My Baby” consistently receives some of Carey’s best recurrent play.

Carey directed the video for the song, which features a story line of two children at camp escaping in the middle of the night to spend time together. There are also scenes of Carey and her friends having fun around a campfire. The setting perfectly captures the breezy nature of the track, and Bustle calls the video a “classic.” Complex named it one of the best R&B videos of the 1990s and noted that the video made them regret not going to summer camp.

At the time of the song’s release, Larry Flick of Billboard described the jam as a “bright and funky finger-snapper.” In the 20 years since that review, that quality is a large reason why “Always Be My Baby” has proven to be timeless. In a 2015 piece, the staff at Entertainment Weekly wrote Carey, “had us at the first ‘doo-doo-doo-dow” and in a reference to the lyrics of the song stated, “There’s no way we would ever try to shake her.” Jason Lipshutz of Billboard referenced the track’s “iconic vocal hook,” and Brittany Spanos of Rolling Stone called the song “ageless.” The strong song construction that weaves those elements together recalls the types of classic songs written in the Brill building and for Motown.

More proof of the timelessness of “Always Be My Baby” can be found in the diverse range of artists who have covered or sampled the song, and in the various ways the song has shown up on social media. Female descendants of Carey like Leona Lewis and Kelly Clarkson have sung the song live, and country singer Sam Hunt performed it on his first tour. Indie rock band Fang Island also performed the song on tour, and Beelzebubs, an a capella group out of Tufts University that has been on The Sing-Off and Glee, included the song as part of their shows in 2011. Current acts like Fifth Harmony and Austin Mahone have sampled the song in their own material. Zola Jesus has said “Always Be My Baby” is her go-to karaoke song because “that song is deep in me.” Former pop starlet Debbie Gibson and Survivor winner Kim Spradlin have posted clips of them singing to it in the car on Instagram.

“Always Be My Baby” may very well be Carey’s catchiest song, so it’s no wonder Vulture named it Carey’s best single and called it “essential, archetypal Mariah.”

Check back in October for more on “Always Be My Baby” and the 20th anniversary of its parent album, Daydream.

The post Time can’t erase a song this strong: “Always Be My Baby” by Mariah Carey lingers on, 20 years later! appeared first on THE 97.

The lead single from her 3rd studio album, “Music Box,” premiered in July 1993. “Dreamlover” was co-written and co-produced with Dave Hall, a young producer from New York who made a name for himself for collaborating with Mary J. Blige on her acclaimed debut album What’s the 411?

In an interview with Billboard’s Fred Bronson, Carey explained that she wanted to “Do something that had a happy feeling, something that was more open and released.” The two of them decided to use a looped sample of The Emotions’ “Blind Alley” atop which Carey created the melody. The song came together very quickly: according to Dave Hall, they had the hook, melody, and instrumental completed in one night. Carey then started to write the lyrics.

When label head Tommy Mottola heard the original “Dreamlover,” he felt something was missing and decided to bring Carey’s frequent collaborator Walter Afanasieff in to tweak the instrumental. Afanasieff is credited as a co-producer on the song and he is responsible for smoothing out the drums and the addition of the Hammond B-3 organ in the instrumental.

“Dreamlover” started the trend for Carey’s lead singles to include samples and it’s a prime example of her balancing her Pop and R&B sensibilities effortlessly. The song was, in fact, seen as a return to the radio-friendly sound that characterized her debut record, but it still retained hints of the old-school influences Carey displayed on the Emotions album, thanks to the sample it incorporates.

Upon its release, “Dreamlover” was met with critical and commercial success, becoming Carey’s most successful single at that point. It debuted at #12 on CHR/Top 40 radio, a record she held on her own for 21 years until it was matched by Taylor Swift’s “Shake It Off” in 2014. It went on to top the Mainstream Top 40 chart (Carey’s 9th consecutive #1 single) and the Billboard Hot 100 for 8 weeks. The CD single was certified Platinum by the RIAA, the first of her singles to ship 1 million copies to retailers. The song was nominated for “Best Female Pop Vocal Performance” at the 1994 Grammy Awards as well.

The music video was directed by Diane Martel and filmed in upstate New York. It features Carey having fun swimming with her dog Jack (who made his debut cameo in this video), boarding a hot air balloon, and dancing around in a field. The carefree nature of the visuals matches the vibe of the song perfectly. As Carey sings and fantasizes about her dream lover, she is seen being happy and relaxed in a dreamy atmosphere.

“Dreamlover” was also the first single of Carey’s to be remixed by David Morales. The 10-minute-long house remix, “Def Club Mix” features new and powerful vocals over a thumping house beat. Carey had incorporated new vocals for the intro of the “Emotions” remixes, but this time she gave the remix a second life by re-doing the whole vocal track. This was also the beginning of a trend Carey would later extend to her Urban remixes as well and a tradition that she still likes to revamp occasionally. The remix version became her 3rd #1 hit on the Billboard Dance charts.

The “Dreamlover” CD single also included the smooth and sultry “Do You Think of Me” as a B-side. Carey wrote and produced this R&B-leaning song alongside Walter Afanasieff, Cory Rooney, and Mark Morales. This elusive track became a favorite among fans, who clamored for it to be added to streaming services. Carey finally obliged, adding it to her 2020 The Rarities album.

“Dreamlover” continues to be one of Carey’s most appreciated songs for its lighthearted and upbeat nature and its catchiness. It has been a staple in her concert setlist ever since the Music Box Tour in 1993. On The Adventures of Mimi Tour in 2006, Carey performed a new version of the song that incorporates elements of Mtume’s “Juicy Fruit” (the song Biggie sampled for the classic “Juicy”) into the original instrumental to a largely positive response from the fans.

“Dreamlover” occupies a profound place in Carey’s vast catalog for being a great representation of her legacy as a singer and a songwriter. It marked a creative turning point, laying the groundwork for the pioneering progress she would make with remixing and incorporating House and Hip-Hop into her music during the years that followed. For these reasons, and the song’s overall endearing quality, it has held a special place in the hearts of her fans around the world for decades.

Listen to Mariah Carey’s “Dreamlover” EP, buy the single, or album “Music Box”

The post No Pretender: Mariah Carey’s “Dreamlover” Proved Her Passion for Hip-Hop and House appeared first on THE 97.

She’s on a promotional tour when she plays a demo she had recorded during a session with Ben Margulies to the label executives on a plane. It’s a simple piano-based demo on a work tape that she had almost forgotten, a rough cut of what would later become “Love Takes Time.”

The song is so strong that everyone on that plane calls it a “career maker” and the heads of the company tell Mariah that it has to be on her album. Reluctant, Mariah says she wants to keep it for her next album, but the label literally stops pressing of the debut to include it. The piano demo is sent to San Francisco to Walter Afanasieff, a young producer who’s known for collaborating with Narada Michael Walden and whose work on Aretha Franklin’s Who’s Zoomin’ Who album lands him a contract as a producer for Columbia Records.

Walter Afanasieff was only given a couple of days to cut the song, arrange it and then have Mariah record her vocals. A very strict deadline, but the song came together. “Love Takes Time” was done after 3 days of hard work and it was ready to make history. It’s hard to think the song was almost left out of the album, because it’s such a strong asset to the tracklist. It lies there as the album closer, but it’s definitely a stand out.

“Love Takes Time” is an Adult Contemporary ballad with arguably some of the strongest melodies and bridge in Mariah’s catalog. Her vocals are so pure and passionate that every emotion filters through the music and just reaches and warms the heart. It’s the realisation of a universal truth by a young woman who’s still learning to deal with feelings. There’s almost a sense of naivety in the lyrics but, at the same time, the song sounds mature and it’s relatable. That’s a constant in Mariah’s catalog, something that has marked her strength and endurance as a writer.

The song also marks the beginning of a long collaboration between Mariah and Walter that would last 7 years. The two would go on to produce more classics, starting immediately with her second album.

Released as the second single from the album, it entered the Hot 100 in September 1990 at #73 (the same debut position as “Vision of Love”) and by the end of the year it had already become Mariah’s 2nd consecutive #1 hit. “Love Takes Time” topped the Pop, R&B and Adult Contemporary charts and the CD Single was certified Gold by the RIAA. It also won Mariah the 1991 Soul Train Award for Best R&B/Urban Contemporary New Artist.

Much like with “Someday,” however, Mariah has often stated the song was not one of her favorites and she stopped performing it after 1993. Twenty years later, it made a brief appearence as an acapella snippet during one of her Australian concerts, sounding as sweet as ever and getting an overwhelmingly positive response form the fans. In recent years, she has included it on the setlist of her Vegas residencies – as it should be. In the hit series POSE, they even included the song as the soundtrack to an emotional moment of a season two episode. For sure, “Love Takes Time” has endured the test of time.

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“Someday” was one of the four tracks Mariah and Ben Margulies had recorded prior to the record deal and it was on that legendary demo tape that got her signed as soon as Tommy Mottola played it. Margulies recalled the initial stages of the song’s conception, saying that “[it] started out as a bass line, sort of a drum-machine, almost hip-hop type groove” and later evolved into the New Jack Swing-influenced track we all know.

During the recording of Mariah’s debut album, Sony brought in Ric Wake to make some alterations to the track. Wake reportedly replaced some of the horn melodies with electric guitars, but the essence of the song remained the same. “Someday” has a funky spirit, it has a great bassline and the melodies are very catchy. Mariah’s lyrics showed a different side of her, they portrayed the image of a girl who’s in control of her feelings and is telling off the boyfriend who rejected her, which clashed with the “scorned lover” perception that her ballads may give. Not to mention her vocals have a very gritty attitude to them that tops off with the acapella whistles at the very end.

While Ben Margulies was happy with the final version of the song, Mariah didn’t like it. She has stated that she hates the way it was produced and that since she was not allowed to co-produce on her first record, she just had to accept it. She has performed the song very few times, starting with the 1991 AMAs, her iconic MTV Unplugged show in 1992 and the Thanksgiving Special for NBC in 1993, followed by performances on her Music Box Tour.

“Someday,” however, was a hit single. Not only did it give Mariah her 3rd consecutive #1 Hot 100 hit, but it was the biggest airplay hit from the debut album, spending 10 weeks at #1 on Hot 100 Airplay and topping the CHR/Top 40 chart. The CD Single was also certified Gold by the RIAA for shipments of 500,000 copies to retailers, making it one of the biggest hits of 1991 overall.

The music video uses the “new 7″ jackswing” remix of the song, produced by Shep Pettibone and features a little girl, resembling Mariah herself, who was treated badly by a boy who now wants her back. It was filmed at Bayonne High School in New Jersey and was directed by Larry Jordan. Mariah’s not particularly fond of her look in the music video either, even if it was very casual and simple.

Despite her refusal to perform it for over two decades, Mariah included “Someday” in the setlist for her #1 to Infinity residency in Vegas. She incorporates elements of TLC’s “Ain’t 2 Proud 2 Beg” into it as an hommage to the New Jack Swing era of the early 90s and is joined on stage by a group of kids dancing during the instrumental break with the guitar solo. And Mariah has also stated that performing some of her early hits has made her appreciate them some more so, who knows, maybe she will finally grow to like it… someday.

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Rewind back to 1970, for a moment. The Jackson 5 are on fire. They’ve already scored 3 number one hits, and show no signs of changing that pace. Berry Gordy, the head of Motown Records, decides to take a risk, and depart from the upbeat bubblegum soul the group has been successful with, and crafts them a ballad. “I’ll Be There” quickly becomes another number one for the group, proving that they can achieve success with more than one sound.

Back to Mariah. She chose the Jackson 5’s “I’ll Be There”, which she chose to maintain as a duet and incorporated back-up singer Trey Lorenz as her singing partner for their show-stopping rendition. The two trade lines back and forth throughout, showcasing each their soulful vocal abilities. Trey momentarily steals the show with a falsetto high note that could be mistaken for a lower range Mariah whistle note, but Mariah retains central attention throughout.

In a rare occurrence at the time, the fans demanded the single release, and the label didn’t expect it. While covers are not strangers to the Hot 100’s crowning position, a live cover, with no accompanying studio version topping the chart is an extreme rarity. It is also only the eighth song to top the chart as performed by two different acts, joining songs such as “The Loco-Motion,” “When A Man Loves A Woman” and “You Keep Me Hangin’ On” which also hold the honor. While the song was a return to form for Carey after the underperformance of “Make It Happen,” it also marked Carey’s breakthrough outside of North America. The song cracked the top 20 of the charts in a number of European markets and would begin a trend of European interest in Carey’s non-composed recordings.

Over the years she has frequently incorporated the song into set lists for tours and live televised appearances, most notably performing it at the memorial service for Michael Jackson. She also gained two Grammy nominations for her performance, but in a noticeable trend at the Grammys, found herself leaving empty-handed. Despite the lack of a Grammy, the song remains one of her most well-known covers worldwide and helped propel her to yet another level of superstardom.

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After the trifecta of “Vision of Love”, “Love Takes Time” and “Someday” all soaring to number one from her debut album, Mariah Carey finished out the US promotion of her first body of work with the slow-burning, intense-climaxing “I Don’t Wanna Cry.” The song went on to be Carey’s fourth consecutive number one single, and made Carey the first artist since the Jackson 5 to have their first four singles hit number one in the United States.

I Don’t Wanna

Carey has stated in a currently un-receipt-able MTV interview that she is not a fan of “I Don’t Wanna Cry.” Like many of the songs on her debut she campaigned to co-produce it and was shot down by her label, Columbia Records. Perhaps as a result, there were apparent clashes in the studio between her and the producer/co-writer. That producer and co-writer, is the now-legendary Narada Michael Walden.

He was responsible for helping revive one of Carey’s idols, Aretha Franklin’s career. Together in mid-80’s Aretha & Narada unleashed “Freeway Of Love” and Franklin’s second/most recent number one “I Knew You Were Waiting (For Me)” (a duet with another Carey favorite, George Michael). Walden’s place in music is also cemented for his work with Whitney Houston. Narada is responsible for now-classics “How Will I Know”, “I Want To Dance with Somebody (Who Loves Me)”, and “So Emotional.” Considering Carey’s musical inspirations, pairing her with Walden’s seemed like a no-brainer at the time to the label. There have also been murmurs that Mariah would have preferred to continue working with Ben Marguiles. Mariah and Ben worked with exclusively on her demo tape and debut album up until this point.

Collaborating with Narada

Walden also provided additional production on Carey’s  debut single “Vision of Love”, as well as “There’s Got To Be A Way”. Despite the reports that they clashed in the studio, Narada recalled the situation to Fred Bronson in The Billboard Book of #1 Hits with a positive spin:

“Mariah is very astute in the studio, very picky. I don’t mean to make it sound like a negative; for her, it’s a positive, because she knows she wants to hear herself sound a certain way. For example, there’s a lick on ‘I Don’t Wanna Cry’ that I was really happy with, and I think at first she was, too. But after she lived with it, she wanted us to fix it. I don’t even know if we fixed it two or three times, but I had to fly the tape back to her in New York. She went in the studio, fixed that lick, and added other stuff onto it. I called her back and said, ‘Look, I used your new lick on that one thing because you like it, but the other stuff you’re adding on, you really don’t need.’ Then she gave in.

He also compared working with Mariah to his experience with George Michael. He remembers having to make both of them stop singing, because they would just go in and re-sing over and over again. However, he understands why she was so meticulous. It was her debut album, and “she really wanted it to be special (Bronson).”

A Standard Mariah Ballad

The song itself reads now reads like a standard Mariah ballad. It tells the story of love on the outs, and features an acoustic guitar-driven instrumentation. That guitar could be seen as a precursor to a few Toni Braxton hits (“Un-Break My Heart,” “Spanish Guitar”), as well as Carey’s own future #1 “My All” and album cut “Thanx 4 Nothin’.” She sings of her diminishing relationship as she flexes her vocal control. This all leads up to the song’s epic crescendo, where she vocally lets loose and drives home the song. It also lines up well with sounds of the time. “I Don’t Wanna Cry” could very easily have been a hit for the likes of Whitney Houston, had Mariah narrowed her musical expressions to strictly to songwriting.

Walden’s intention for working on “I Don’t Wanna Cry” with Carey was to evoke the nostalgia of slowed down, gut-wrenching moments in music such as Percy Sledge’s “When A Man Loves A Woman” and Chuck Jackson’s “I Don’t Want To Cry.” Pair that big-ballad mentality with Walden’s at-the-time signature drums, and the result was destined to reach the heights it did. Critical reception for “I Don’t Wanna Cry” was overall positive, most notably being called the best track on her debut by a reviewer from Rolling Stone.

Video And Live

The video for “I Don’t Wanna Cry” features Carey lamenting her wavering love in and around a midwestern home and in the presumed property prominently featuring a maize. There were several alternating versions of the video that floated around over the years. Carey performed the song live while on her Daydream Tour in 1996. To the knowledge of most she only performed the song again upon the inception of her #1 To Infinity show in Las Vegas, where she sings it during every show.

Legacy

“I Don’t Wanna Cry” may hold a less-than-dignified place in Carey’s mind. In the hearts of the fans it may not rank as high as hits such as “Honey,” “Vision Of Love,” and “We Belong Together.” Historians of music may find themselves sweeping it under the floor. Regardless, the detractors can only take so much from this song. It reached number one, planting Carey in a historical position next to the Jackson 5. Plus, it captivated the attention of the radio-driven US population, even if only for two weeks.

Stream Mariah Carey’s “I Don’t Wanna Cry”

Read our other pieces exploring Mariah’s historic number one records.

The post “I Don’t Wanna Cry” … the ballad of Mariah Carey’s historical fourth #1 appeared first on THE 97.

Over was released in November 1997, preceded by the single “Love Gets Me Every Time”. The album peaked at #2 on the Billboard 200, topped the country charts and by late December was certified double platinum. However, it was in January 1998 that Twain really made her mark. “You’re Still the One” was released as her first pop and international single and was a certified hit – literally – going double platinum, earning Twain her first Top 10 hit on the Billboard Hot 100 and two Grammy Awards. The song was Shania’s ode to her lover and writing partner, Robert John “Mutt” Lange, and an oh-so-sweet kiss off to media criticism of their relationship: ‘They said: ‘’ll bet they’ll never make it’”… we’re still together, still going strong.’

“One,” as well as its parent album, falls under the umbrella of country pop. There wasn’t an abandonment of Twain’s previous sound in order to appeal to a mass audience nor was she conforming to the big-ballad style of Celine or hip-hop collabos like Mariah. Come on Over really carved it’s own lane not just for country music, but for music as a whole.

Internationally, the album was a success as well. ‘That Don’t Impress Me Much’ became Twain’s biggest hit in the UK peaking at #3 on the Singles Chart and the UK Dance Mix became the best non-number one single of the year. The international edition of Come on Over featured some pop-ier production handled by Lange and allowed Shania Twain to be an international music star, peaking at #1 on the UK Album Charts.

The success didn’t stopped there. In the 18 years since its release, Come on Over has been certified twenty times platinum and still stands as the best selling album by a female artist ever in the United States. Whereas “That Don’t Impress Me Much” has a great throwback feel, “You’re Still The One” has stood the test of time and is considered to be Twain’s most successful single. Another notable hit from the set was “Man! I Feel Like a Woman!,” a campy pop country hybrid that yielded quite the catchphrase.

Although Twain has only released one studio album after Come on Over there is no doubt her impact on the charts and on pop music as a whole. Twain’s crossover appeal no doubt paved the way for artists such as Taylor Swift and Carrie Underwood to experience their own chart successes. Twain’s impact may not have been as explicit as some other 90’s artists, but there’s no denying her chart dominance and influence on the way people view country music.

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If you were a fan of R&B music in the 1990s, then this is a song you’ve definitely heard!  During the instrumental intro before the vocalists begin to sing, you may even already know the lyrics even if you can’t recall both of the artists’ names.  Released in the fall of 1996, “Nobody” by Keith Sweat and Athena Cage is certainly one of the most recognizable R&B duets from the entire decade.

In December 1996, the song peaked at number 3 on the Billboard Hot 100 and stayed in the Top 10 well into 1997, becoming one of Sweat’s biggest singles to date following the massive success of his last single. That single, “Twisted,” featured Kut Klose, an R&B trio discovered by Sweat and fronted by Cage.  “Nobody” featured Cage, elevating her from being the lead vocalist of a girl group, to the co-lead/featured vocalist on one of Sweat’s biggest hits.

Although it is a sexually suggestive song lyrically, it was written well enough for Sweat & Cage to still interpret with class and dignity, which was clearly a key factor in the song’s overall success and radio airplay.  Surprisingly, after this hit song, Cage didn’t launch a massive solo R&B career. Luckily, this song remains as much a classic now, in 2015, as it was back in the 90s.

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