Before they were dismissing a “Bug a Boo” for not paying the “Bills, Bills, Bills,” declaring their independence, or quoting Biggie to dish out reminders that “UPS is hiring,” Destiny’s Child made it clear they did not have the time for mess junk. On “Get on the Bus,” the budding divas slide atop a slinky Timbaland-produced, Missy Elliot-penned track that foreshadowed the best that was yet to come. With Beyoncé and Kelly taking turns to deliver some sass-filled verses, Timbaland’s whiny boyfriend character never stood a chance. Here, it became very clear: somebody could send your luggage.

Watch the “Get on the Bus” video, stream it, or get a coveted vinyl single.

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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Who would’ve thought the theme song to a family-friendly film about a doctor that can talk to animals would be so damn sexy? Due to time constraints set by Blackground Records, late songwriter Static Major cut the “Are You That Somebody” demo alongside producer Timbaland in just 10 hours, between 1-11 am. Set to the backdrop of Timbaland’s signature, Middle Eastern-derived sound, it was inspired by the allegedly burgeoning romance between Major and Aaliyah. With her ever-maturing image, voice, and iconic visuals, Aaliyah gave a sensual yet tasteful glimpse of what was to come in her tragically short career.

Watch the “Are You That Somebody” video, stream it (finally), or grab all Aaliyah’s hits on 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

The post 97 Words: “Are You That Somebody” by Aaliyah appeared first on THE 97.

There’s a certain confidence that culminates within someone once they’ve finally realized their true potential. On “cut,” Tori Kelly struts into newfound swag, flanked by a crew of creatives with whom success is the only option. The Y2K R&B-inspired track not only takes inspiration from the era, it taps in, too. Kelly and Jon Bellion’s team enlisted additional input from both Timbaland and Rodney “Darkchild” Jerkins to ensure the nostalgic knocker is as authentic as can be. Kelly flourishes atop the immaculately produced “cut,” effortlessly showcasing her vocal prowess with enough skill to make her influences proud.

Listen to Tori Kelly’s new EP, “tori,” or buy some Tori Kelly vinyl here.

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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Having too many cooks in the kitchen is often discouraged. In the case of ’90s girl group Total’s classic hit “Trippin'” the phrase simply does not apply. Released via Puff Daddy’s Bad Boy label, this jam had several multi-platinum hands involved. Missy Elliott, Timbaland, Mario Winans, Darryl Pearson, and of course, Puffy himself, contributed to writing and producing the LL Cool J-sampling track, with DMX dropping a verse on its remix. It’s no wonder the song peaked at #7 on the Hot 100. “Trippin'” might’ve been their last hit, but unlike the group, their biggest hit has stuck around.

Watch the “Trippin'” video, stream it, or pre-order the “Kim, Keisha & Pam” vinyl reissue.

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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If there was ever a golden age of the remix, it was the 1990s. There were house, hip-hop, and R&B mixes galore — and they were all on point! When Janet Jackson enlisted Timbaland and Missy Elliott to remix the fourth single from “The Velvet Rope,” she flipped it from funky bop to hip-hop groove. While Missy’s take on the hook lacks the catchiness of the poppier original, it definitely makes the song slap with a sly, sexy edge atop the Timbaland beat. Whichever variation you choose, Janet’s “Go Deep” will have you partying late into the night.

Watch the “Go Deep” video, stream the remix, or get “The Velvet Rope” on 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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Age Ain’t Nothing But A Number

Before Brandy and Monica came Aaliyah, the teen protégée of R. Kelly, who was omnipresent during her early career. And yet, Aaliyah’s first album contains the germ of her mystique – flawless vocals that flowed effortlessly over the new jack swing that was all the rage.

Was she singing about things that she actually knew about? Was age really nothing but a number? Surely half of the point of what made Aaliyah such an impressive talent from album one was that she was young, and yet her voice had the confidence and finesse to believably communicate love and yearning without ever growling or straining. The album’s success relied on the listener divorcing the effortlessly smooth and mature vocals from the fact that they were coming from a 14-year-old.

Age Ain’t Nothing But A Number then is the debut album of a teenager with bags of streetwise style and an innate uniqueness (the cover includes a guide to pronouncing her one-of-a-kind name, marking her out from the pack). It’s also a very real examination of deep teenage feelings of first-time love and lust when we don’t understand the new feelings that we experience during adolescence and thus mistake sexual and emotional awakenings for true love, readiness for sex and all of the emotions and consequences that go along with it. And Aaliyah sings about these topics earnestly and believably, but the problem was that these were not her words; they were the words and yearnings of a 26-year-old man who not only produced and wrote her entire album and rapped on some of its tracks but still needed to cameo in the background of the cover. It’s a problematic first chapter in Aaliyah’s legacy, and we never truly know how much of the album’s sultry attitude is hers and how much is his.

One In A Million

Following the public revelation of Aaliyah’s underage marriage, the union was annulled, Kelly was swiftly excised from her narrative and Aaliyah started afresh (the thank-yous in the booklet allude to “skies… not as clear as they are now!”). And how much fresher could she have been than with a sonic backdrop that not only departed from what she had done before but had never been heard before. One In A Million was one of the major breakthrough albums (Ginuwine’s The Bachelor being the other) to first showcase the production majesty of Timbaland and Missy Elliott (both of whom appeared on “Hot Like Fire”).

Image-wise, we see that Aaliyah is still wearing sunglasses or shielding one eye with her hair, maintaining her mystique. The very first words of the album’s intro proclaim that she’s “got beats for the streets”, a direct continuation of Age Ain’t Nothing But A Number‘s opening song “Throw Your Hands Up”. But looking at the young woman on the cover in a long black tracksuit, and in the inlay wearing what would become a signature look: baggy jeans, long coat and tight crop top, it’s also clear that Aaliyah has grown a lot. There’s also another Isley brothers cover (“Choosey Lover”) for continuity, and all of the above is reassuring evidence that Aaliyah’s personality and musical taste did shine through, at least in parts, on her debut.

Another important point I’ll raise here is that Aaliyah rarely wrote her own songs. A common assumption is that the more “genuine” an artist is, the more input they have into the creative process: songwriting, arranging, producing, playing. I myself earlier made the link between R. Kelly writing and producing all of Age Ain’t Nothing But A Number, and him having control of the project. However, there is skill in taking a song that has already been crafted and making it your own, moulding it to fit your vision. I believe that One In A Million allowed Aaliyah much more space to express her own vision, as well as displaying her increased skill as an interpreter and performer. Although Missy and Timbaland’s production takes the lion’s share of the album, other producers and songwriters also contributed to the project, including Rodney Jerkins (“Everything’s Gonna Be Alright”, one of his earliest outings) and Diane Warren, who wrote the closing ballad “The One I Gave My Heart To”. The latter is a prime example of an Aaliyah we hadn’t heard before: a traditional R&B ballad building to an emotional bridge where she displays a vocal surprising in its power and technique, since we had previously only heard smooth nonchalance.

This song was a little bit of an anomaly on an album filled with spacious and off-kilter beats, odd sound effects, sumptuous backing vocals (check out the layers on the bridge of “Heartbroken”), and an inventiveness that is relaxed throughout but just doesn’t quit. I can’t help but think of Prince’s “When Doves Cry” as an effective counterpoint to lead single “If Your Girl Only Knew” – whereas the former is famously bassless, the latter is all about the bass. As handclaps add to the song’s final choruses, the top line is entirely helmed by Aaliyah’s voice and the melody of the song. “One In A Million” repeats this even more so: the first verse is nothing but crickets, bass and layered vocals. Wind chimes and a DJ’s record-scratch buried low in the mix create a lush backdrop that nevertheless pushes Aaliyah’s voice centre stage, as she is the only instrument carrying the melody. As the song progresses, additional effects add to the soundscape before it all drops out for the final chorus.

“4 Page Letter” sees Aaliyah giving direction as she asks for “my music” to be turned “up a little bit more”. It’s a subtle but notable assertion of ownership as she talks about the advice her parents gave her about finding a good boyfriend. Although two years older during the recording of One In A Million than she was for her first album, the songs that discuss love and its emotional highs and lows this time are lyrically age-appropriate and more universal in content than those from Age Ain’t Nothing But A Number: “I’m sending him a 4 page letter and I enclosed it with a kiss” is certainly more elegant, and nearly everyone can relate to both “Your love is one in a million” and “I’m tired of my heart being broken”. Even the most ambiguous lyrics of “Giving You More”, such as “I got what you like, and your love I won’t deny” is mitigated by the song’s promise of devotion and companionship: “You don’t have to worry, I’m with you”… “Call on me and you know that I’ll be all you need.” Of course, everyone involved with Aaliyah’s career at this point had to have been mindful of rebuilding her image, but One In A Million saw this done successfully, with ageless lyrical themes paired to avant-garde musical backdrops.

One cannot close a discussion of the album without mentioning its videos, which also showcased aspects of Aaliyah’s identity and abilities the public hadn’t seen before: fashion-conscious confidence and slick dance moves. Age Ain’t Nothing But A Number‘s videos were nothing to write home about, and the most Aaliyah had to do in them was wander about in shades and a bandanna while she nodded her head and lipped along. “If Your Girl Only Knew” starts off similarly, but sans baggy clothes and instead with startling green and red backgrounds, the video soon establishes a language all of its own, with key words from the song’s lyrics writ large in black paint.

We truly see Aaliyah’s dancing chops in the title track’s video, when she is dressed all in white (quite the contrast from her usual black attire) and executes a routine with a male dancer where they interact as if conversing through their movements, but without touching until the end, when she embraces him. Meanwhile, she also shares screen time with Ginuwine, who is revealed to have her name tattooed on his arm. Aaliyah’s agency in these videos is amplified, where she is front and centre, not in anyone’s shadow and certainly not with Timbaland and Missy peeping over her shoulder at every opportunity. “4 Page Letter” finds Aaliyah creeping through a forest to observe a male dancer; by the video’s end she frees her love interest from slavery, blows some dust that sets their campsite on fire, and then dances with him in a silver two-piece outfit. It’s all a bit silly but throughout it all, Aaliyah is in control. Now, her maturity beyond her years has become her strength.

A cinematic interlude…

It would be a long 5 years before Aaliyah would follow up One In A Million, during which she sought to develop her career as an actress. As well as playing roles in front of the camera, she contributed to the soundtracks of Anastasia (“Journey To The Past” allowed her another opportunity to flex her vocals), Dr. Dolittle and Romeo Must Die.

Dr. Dolittle‘s contribution, “Are You That Somebody?”, remains a prime example of the classic Timbaland sound, with the prominent use of a baby’s cry, myriad clicks and whirrs, and a hyperactive bass guitar forming the song’s musical bed. The whole thing sounds like an experiment in weirdness, with repeated occurrences where the whole song falls silent mid-verse and operatic call-and-response in the second voice – but it utterly works and teases the listener’s ear until resistance is futile.

Romeo Must Die had four contributions. Single “Try Again”‘s acid bassline would later be sampled by George Michael on “Freeeek!”, and adds a sinister urgency to the song’s jumpy snare and syncopated bass. The melody is simple and catchy, but Aaliyah is content to play a supporting role in the music. “Come Back In One Piece” is a rote collaboration with DMX, and “I Don’t Wanna” is a sweet R&B ballad that’s acceptable without being remarkable. “Are You Feelin’ Me”, meanwhile, is a hyper club jam that is one of Aaliyah’s most uptempo songs, and the hidden gem among her contributions to the soundtrack. The song is less than three minutes long but is never less than musically engaging, with Timbaland announcing a “switch” near the song’s end, causing the bassline to morph into something different as the song plays out. It’s exciting and fun, and all of these songs only heightened fans’ anticipation for what Aaliyah would bring next for her third album.

Aaliyah

“We Need A Resolution” lived up to expectations. The opening frame of the video showed Aaliyah sitting front and centre, both eyes regarding us coolly as if she had been waiting for us. The song was an elegant reintroduction to Aaliyah as a singer, and it also demonstrated that she was still pushing the envelope. The video combined the gothic (Aaliyah’s black sheer outfit, long straight hair and fierce makeup linked with her recent role in Queen of the Damned) with the futuristic (she levitates, she sits in a curved chair that hurtles through cyberspace) as Aaliyah lamented the absence of her lover. The most arresting scene of the video is when she writhes in a pit of snakes; we realise that Aaliyah is not only dangerous but also fearless – and grown.

These adjectives perfectly encapsulate what Aaliyah the album set out to achieve – a variety of styles and collaborators never before heard on one Aaliyah album and a range of subject matter that showed her as the arbiter of her own destiny. “Rock The Boat” was an instructive sex jam where Aaliyah takes the lead; “Never No More” sees her leaving an abusive lover and not looking back; “I Refuse” is an epic ballad that dismisses a partner that has taken advantage of her affection one too many times. Aaliyah was also feeling herself: “Extra Smooth”‘s bump and grind mocked suitors who thought a little too much of themselves, while “More Than A Woman” trusted in her transformative abilities as an unparalleled lover. Musically, the album was less chilled than previous efforts: while “Rock The Boat”, “It’s Whatever” and “Those Were The Days” sounded effortlessly relaxed and fluid, “Loose Rap”, “More Than A Woman” and “U Got Nerve” showcased some of the most dynamic production of her career. Her vocal performances were as accomplished as ever, with “Never No More”, “I Care 4 U” and “I Refuse” unleashing the power and an expressive range that had first been teased on One In A Million‘s “The One I Gave My Heart To”.

The imagery of Aaliyah (as well as the fact that it was self-titled) was vital to the album’s statement: the cover was washed in a bright, statement red, and Aaliyah did not wear sunglasses or a coat for the first time. She was unveiling herself, fully blossomed and at the height of her powers. Every photo in the album booklet displayed a different, poised and confident look, and each was a facet of Aaliyah’s developed identity. The cartoon version of her on the album’s limited edition cover was no joke; instead, it perhaps represented Aaliyah’s ability to morph into whatever form she desired. While the “Rock The Boat” video was bright and summery in a way that Aaliyah had never really been before, “More Than A Woman” found her inhabiting various parts of a motorcycle zooming through the city. (Sidebar: cars and motorbikes are omnipresent throughout Aaliyah’s videos and photoshoots.) These videos demonstrated Aaliyah’s stylistic growth and confidence to take risks with her image.

Upon the release of Aaliyah, it felt like she was on the cusp of something greater. With the help of smart management and staff, she managed to somehow navigate her career smoothly past her association with R. Kelly (a feat perhaps not so easily done today, in an age of blogging and social media journalism) to focus on creating music that broke new ground and building a career that balanced her musical and cinematic ambitions. It’s important to remember that Aaliyah always seemed older than her years – it’s quite surprising that even in the “One In A Million” video, she was 17 years old, and only 20 by the point of “Try Again” and Romeo Must Die. But although the songs that she sang and the clothes that she wore were crafted by other, extremely talented people, I do think that we also witnessed Aaliyah developing her own identity as her career progressed and the confidence to express this identity through her art. By the time she passed away, Aaliyah was the executive producer of her final album, and so I firmly believe that we witnessed Aaliyah discovering and expressing herself through her art in real-time. One can only wonder what her career would have become had she lived on. We miss you, Aaliyah.

Playlist: Remembering Aaliyah

The post Remembering Aaliyah: A Young Woman Asserting Her Identity appeared first on THE 97.

I have an interesting relationship with the Mariah Carey Memoirs of An Imperfect Angel album. During this era, for the first and only time in what is now 18 years, I jumped ship as a Mariah Carey fan. To make a long story short, I was exasperated. For starters, the continued use of auto-tune felt like Mariah was lowering herself to compete with the less-vocally-talented artists of the moment. It also appeared that she was pigeonholing herself by shutting out all other producers and just working with what I perceived as the flavors of the month, The-Dream and Tricky Stewart. It felt like a losing combination. As the rollout progressed the single selections, poorly photo-shopped album artwork, live performances, and promised-and-then cancelled remix albums further disenchanted me.

With all that said, there was no way I was actually going to avoid the album. The day it hit the net, I had it, and I listened to the hell out of it. I swore to everyone that I despised it when it was released, but it was Mariah, and that’s just not possible for me. As time passed I grew to openly appreciate and enjoy it (I even have the vinyl box set), and I listen to it regularly as I do her other albums. It still holds a strange place in my heart, both due to the album’s strange cohesiveness and my initial perception of it as a whole. I realized just how far I’ve come in my relationship with this album when I started putting this list together, and I struggled quite a bit narrowing down to just 5.

When I listen to Memoirs Of An Imperfect Angel, these are my top 5 songs:

“More Than Just Friends”

My absolute favorite on this album. This paints a fun, exciting picture of a blossoming relationship. Mariah delivers the song in a playful, whispery, half-rapping/half-singing voice over staccato piano chords while a cleverly placed melodic sample of Biggie’s “One More Chance (Remix)” makes this a true earworm.

• Standout Lyric: “Boy you got me all mixed up like Cerrato, you got me spinnin’ round for ya like a little model, steady feignin’ for you like them fries at McDonalds, I wanna be all on your lips like gelato- ice cream”

“It’s A Wrap”

The prolonged introduction (and accompanying whistle run that recalls Cissy Houston’s soprano showcase on Aretha Franklins’s “Ain’t No Way”) and the impeccable and powerful vocals have always made this a standout. This break up ballad is a serious Mariah gem, especially when she goes off during the bridge.

• Standout Lyric: “Put all your shit in the elevator, it’s going down like a denominator”

“Languishing”

One of the only songs on the album not crafted by The Dream & Tricky Stewart. This is a classic Mariah-Big Jim Wright collaboration. It recalls their earlier interlude collaboration “Rainbow” with a free-form and shortened structure, and understated vocal take. Once again though, Mariah’s brutally honest pen game drives this song to impact and resonate.

• Standout Lyric: “I was wondering, would you reach for me, if you saw that I was languishing?”

“Ribbon”

Another upbeat love song that, at first glance refers to the early moments in a relationship, but upon further examination, describes a relationship that shows no signs of wavering and still maintains the sparks of inception. The best part? It’s set to an instrumental that could easily double as a dirty south hip hop beat (which may be why Ludacris sounded so good on the remix).

• Standout Lyric: “It’s only been 20 good minutes since I kissed you, come back boo, I miss you”

“Betcha Gon Know (the prologue)”

A stellar example of Mariah Carey’s unwavering ability to tell a story with her lyrics. This is one of those songs that you can close your eyes and see scenes playing out as she sings. It also serves it’s purpose well as the album’s opening track, setting the tone well for an album full separate songs that are individual stories and scenes but come together under the cohesive production of The-Dream & Tricky Stewart.

• Standout Lyric: “I’m goin’ ‘bout 100, mascara runnin’, laughing out of anger, but it don’t strike me as funny”

Bonus: “Skydiving” 

This is a demo produced by Timbaland that did not make the album, or even get finished. It’s very rough around the edges, but something about it is whimsical and leaves you craving more. Plus, hearing Mariah curse without it being censored? Yes please.

• Standout Lyric: “So they say you got some chick, that keeps you warm at night along for the ride but, if you ask me that’s bullshit, because obviously heaven sent you for me”

Stream the Mariah Carey Memoirs of An Imperfect Angel album below, and jump into the comments to share your top 5 with us!

The post Top 5 Songs: Mariah Carey’s Memoirs of an Imperfect Angel appeared first on THE 97.

The music industry is fickle. Many artists come and go. Although, every so often comes an artist who manages to defy the odds and return time and time again; still making hits, and still receiving success after success. For producers, this happens even less frequently than with a vocalist. While many producers can see success through selling their work on places like tellingbeatzz, it is hard for many producers to see sustained, long-term success in the industry. Well, DJ Timmy Tim, better known as Timothy “Timbaland” Mosley, certainly defied those odds.

If you have been listening to popular music for the last two decades, you’ve undoubtedly heard his work. You may have even had heard his voice; just not in that Puff Daddy “Take that, take that” or “as we proceed, to give you what you need” corny, unnecessary manner. As a producer, Timbaland has contributed to some of the worlds most talented and prolific acts, while in their prime … in addition to even having his own career as a rapper. The Emperor of Sound takes you through his almost 44 year journey, along with the ups and the downs that made Timothy Mosley the superstar hit making producer-artist-mastermind, Timbaland.

In the book, we learn about all the things that make Timbaland who he is today. How it all began in Virginia, with his Mom playing an important part of his early obsession with music and sounds. Whether he was banging the counter with the spatula, playing with his plastic guitar, or using his Fisher-Price record player, she never heard it as noise. It also highlights his darkest of times, like being shot as a teenager at his Red Lobster job, resulting in him becoming partially paralyzed – temporarily.

Trying to get into the music industry or curious about what goes into creating hit music? The memoir lets you in on the dark side of the industry as an up and coming artist, including how Timbaland was forced to live when in DeVante Swing’s Da Bassment Cru. How “Big Pimpin’, ” one of Jay-Z’s signature songs almost didn’t happen. How the instant organic chemistry came about with Missy Elliott, Aaliyah, and Justin Timberlake. Plus countless other run ins with big name music stars like Beyoncé, Madonna, Jimmy Iovine, and Pharrell Williams.

Longtime, hardcore fans of Timbaland will get their fix too. Finally getting to know what happened to earlier acts associated with Timbaland in The Emperor of Sound. The entire story behind his former Interscope Records imprint Beat Club, and its artists including: Kylie Dean (“Make Me A Song”), Ms. Jade (“Ching Ching”), and Bubba Sparxxx (“Ms. New Booty,” “Ugly”). Sadly, the book doesn’t get into any of the Ginuwine drama that divided the duo over the years. (Side note: they’ve been working together on new materiel for his album) Nor do we learn what Magoo is up to now, or if the Timbaland & Magoo brand will ever make a musical return for a fourth album.

For any fans of Timbaland, fans of Pop/R&B/Hip Hop music over the last 20 years, or even just enjoy the story of someone achieving their set goals and dreams, this book is for you. The Emperor Of Sound lets you into the personal life of Timothy Mosley and professional life of the man we all know by name, Timbaland; facets you don’t get to hear much of from superstars, let alone music producers. The book lets you in on the insight, tips and tricks one man utilized during the journey of his lifetime. From praying for his own safety and future, to owning his own Empire, in more ways then one, The Emperor of Sound is indeed the story of the American dream.

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Menacing. Pusha T knows how to select beats that agree with his unique voice, signature “yuuuh”, and dark, snowy, lyrical content. Bringing back Puff Daddy on the boards results brilliantly in the disjointed, aggressive “Crutches, Crosses, Caskets” and a few more notable moments. Timbaland excels as Pusha projects “The flow plays limbo courtesy of Timbo” over a middle eastern-inspired beat on ‘Got ‘Em Covered’. Beanie Siegel delivers the powerful “you watched me walk through hell, now watch me walk up out it” on “Keep Dealing”. One of the year’s final rap releases is also among the best.

Grade:
90/97

The post 97 Words: Pusha T’s ‘King Push- Darkest Before Dawn: The Prelude’ appeared first on THE 97.

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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