My Top 7 Artists of 2024

7. Mariah Carey

Mariah is always my #1, and sleighs in at #2 on my Replay list with 7,300 minutes, but since most of those minutes are due to listening to old music, I’ve bumped her down to #7. While of course she did rerelease a remastered version of “Rainbow” with some new remixes and blessed us with the “Portrait” Hopeful Child Remix, it was otherwise a year of Mariah nostalgia for me. I created a podcast and published a print magazine about “Me. I Am Mariah… The Elusive Chanteuse,” which consumed a lot of my Mariah-listening this year. I hope that in 2025, she’ll be my top artist, album, and song due to finally releasing #MC16. Let us pray.

THE 97 ZINE, Issue 1 – “Me. I Am Mariah… The Elusive Chanteuse”

6. Tori Kelly

With her album landing at #2 on my Replay list, it’s only natural that Tori Kelly belongs on this list. I also had the pleasure of having a meet-and-greet moment before seeing her live on her Purple Skies tour. It was amazing to see how much she has grown as a performer. She’s always been great live, but with this new music, her on-stage confidence has been amplified ten-fold. She’s doing choreography, serving diva chic, divine vocals and Y2K realness. Honestly, I was blown away by the artist that I saw blossoming before my eyes, and can’t wait to see what’s next for her.

5. JoJo

JoJo only released three songs this year, but perhaps more importantly, she released her memoir, “Over the Influence.” She’s always been one of my favorite artists, so reading (and listening to) her story was so impactful and made me appreciate her so much more. I also had the fortune to meet and speak with her at her book signing in September, and then watch her join Tori Kelly to perform “Bottomline” at Kelly’s show in October. She capped off the year by releasing two new songs, “Porcelain” and “Too Much to Say,” ahead of her forthcoming EP, “NGL,” expected on January 24. I can’t wait to hear the full EP and see her live on the Too Much to Say tour in March.

4. Usher

Usher is an artist I have loved and admired since 1997. He’s not one of my top-tier faves and I wouldn’t call myself his “stan,” but I love much of his music. Several of his songs are so special to me, and his music was a constant presence throughout my formative years, from 1997 through 2012 when his output began to slow down. Somehow, I had never seen Usher live… but after hearing the rave reviews for his Las Vegas residency, seeing his Tiny Desk concert, and finally his Superbowl performance, I knew I had to see his Past Present Future tour. I immediately secured tickets when they went on sale, and saw him for the first time in September. But… my seats were not ideal, and I was left frustrated by being so far away from a star I had wanted to see for so long. Luckily, the musical gods smiled down upon me: Usher announced a second run of shows at Barclays Center, and I splurged on VIP Pit tickets for his December show. I was front row, standing less than 6 feet away from the icon himself, with only a barricade (and a security guard between us. That experience alone lands him at #4 on my final list, despite him being #10 on my Replay artists list.

3. Barbra Streisand

If Apple Music tracked my vinyl record listening or my Audible account, Barbra Streisand would be much higher on this list. Listening to her 48-hour-long memoir, I learned so much about the legendary Ms. Streisand and wanted to listen to her music more as I heard her speak in such detail about each album. So, while she did not release a new album this year, it was my exploration of her catalog that landed her on my list. The great thing about getting into an artist like Streisand is that most of her work is from the era when vinyls were ubiquitous, making her albums easy to find used, and at an affordable price, usually just a few dollars a piece. My favorite albums of hers (of the ones I’ve spent time with this year – I didn’t listen to them all) are “Stoney End” and “Guilty.”

2. Ariana Grande

Another artist whose catalog I explored this year was Ariana Grande. In December 2023, I had the good fortune (thanks, Michele!) of being third row at Mariah Carey’s Madison Square Garden Christmas show when Grande (and Jennifer Hudson) joined Carey to perform “Oh Santa!” Witnessing Grande’s love and reverence for our mutual fave earned her a soft spot in my heart. Upon the release of “Yes, and?” a few weeks later, that soft spot turned into a fondness. I loved the track, and, to my surprise… so did my fave; Mariah jumped on the remix. So, with the Queen’s co-sign, I ventured headfirst into Grande’s catalog. Not much from her first two albums stuck (which, is probably why I never really took to her earlier) but I fell in love with (most of) her later albums, “Sweetener” and “Thank U, Next,” and had already liked “Positions.” I deeply connected with album tracks like “Fake Smile,” “Breathin'” and “Needy” (which ended up on my Replay songs list) along with singles like “God is a Woman” and “No Tears Left to Cry” that I had never paid much mind to, along with ones I had always liked (“Thank U Next,” “7 Rings,” and “Breakup With Your Girlfriend…”). Then, “Eternal Sunshine” dropped, cementing my respect for Grande. This week, I finally saw Wicked, and I have even more appreciation and admiration for her. She went above and beyond my expectations of her as an actress and as a singer. While it took some time, it was worth the wait. I am proud to say Ariana Grande has earned her place on my favorite artists list.

1. Beyoncé

I mean… what more can I say? Trouncing everyone else on my Replay list with over 12,000 minutes of listens, is Beyoncé. With 6,000 minutes for “Cowboy Carter” alone and the other 6,000 likely attributed to 2022’s “Renaissance,” there is no artist whose music was more ever-present throughout my year than Beyoncé’s. She was my top artist in February, April, and November. The majority of my Top 30 songs belong to her. It’s been 25 years since I became a fan, and she continues to inspire, motivate, and enthrall me with her work. After her phenomenal Christmas Day “Beyoncé Bowl” performance and 1.14.25 teaser, I remain on the edge of my seat, eagerly anticipating “Act 3” or whatever else she has in store for 2025.

My Top 7 Albums of 2024

7. Trouble In Paradise, by Chloe

It was like fate that Chloe dropped her beach-perfect, tropical paradise vibe of an album the same day I arrived for a long weekend in Florida this August. The album was in constant rotation that weekend, and the entire month, landing it at #5 on my Replay Top Albums list. While it’s an enjoyable listen, I brought it down a few spots on my final ranking because I didn’t find myself going back to it too often once summer ended.

6. Short n’ Sweet, by Sabrina Carpenter

In the pop sphere, this year belonged to Sabrina Carpenter. The breakout, it-girl of the year, she went from little-known to ubiquitous with her hit singles “Espresso,” “Please Please Please,” and “Taste.” The entire album is solidly sticky ‘n’ sweet pop confection, showcasing Carpenter’s knack for satirically sassy songwriting and mesmerizing melodies. Hopefully, she will continue to grow artistically beyond the rather typical sexually liberated trope that works so well for formerly innocent pop stars such as herself. I’m not sure how it only ended up at #11 on my Replay list – perhaps because I had the “Espresso” single saved in my library and not the album version.

5. HIT ME HARD AND SOFT, by Billie Eilish

While “Happier than Ever” was a solid album, it landed closer on the “sophomore slump” side of things than anything, from a commercial and critical perspective. With “HIT ME HARD AND SOFT,” Eilish showed real growth both personally and artistically. Opening up about her sexuality on songs like “Lunch,” letting her voice shine on “Birds of a Feature,” and taking it to the club on “L’Amour De Ma Vie,” she offered a variety of sounds and vibes on this set that proved she is more than just a “Bad Guy” …or sad girl. While it was at #8 on my Replay list, that’s gotta be because the extended dance mix of “L’Amour” is a separate single. Also, probably because the album is not a “listen all the time” sort of vibe.

4. Access All Areas, by FLO

When I was 9 years old, I chose my team in the Great War of Y2K boy bands and girl groups: Destiny’s Child. I have to say, it turned out to be a pretty great choice, all things considered. Since 1999, many girl groups have come and gone (admittedly, I might like men but I have little interest in boy bands), but none have grabbed or impressed me like FLO has. Most of the noteworthy groups have come from competition shows (Fifth Harmony) or manufactured settings (Danity Kane), lacking the sisterhood or necessary support systems to thrive in the way Destiny’s Child did. That is, until now. While “Access All Areas” may lack any standout hit, it makes up for that by being a strong showcase of their undeniable talent and tight harmony — both in and out of the studio. Despite being released in mid-November, it managed to fly to #4 on my Replay list, equaling my final reflective ranking.

3. TORI. by Tori Kelly

I’ve loved Tori Kelly since her debut album, but I always wished she’d step out of the acoustic, gospel girlie lane and take more of an artistic risk. With a new label and new team, she’s finally done that on her first self-titled set, TORI. Well aware that most of her fanbase is, like her, Millenial, she leaned in heavily on the R&B/Pop nostalgia that has inspired her to deliver an album that is perfect for her target audience. Steeped in the Y2K sound, she managed to celebrate it without the music sounding reductive or dated. She remains true to herself throughout it all, making its eponymous title perfect for it. In its final iteration, she added “a lil more” for us nostalgia heads, with tracks that recall Y2K icons like Usher (“u”) and a duet with one, her sister in song, JoJo, on “Bottomline.” The deluxe edition lands at #2 on my Replay ranking; and while I am not sure if the original version is included in that, it wouldn’t have ended up surpassing my #1. I’ve only bumped it down to #3 because…

2. eternal sunshine, by Ariana Grande

There is no way that Ariana Grande’s “eternal sunshine” is my #6 album of the year (according to the Replay list). With the amount of times that I know I’ve listened to it, it just can’t be true. Perhaps some sort of error due to the different versions of the album she released, I don’t know, but I know that, in my heart, it’s second only to one. I’ll speak about it more in the Artists section below, but this album has made me respect Grande as an artist in a way that I hadn’t before. From the introspective nature of the lyrics, to its crisp production and vibe-perfect vocals, she truly impressed me. Plus, I realized how she is truly my fellow-Cancer, fellow-Italian sister at heart with her many nods to Y2K nostalgia and remixes featuring Mariah Carey, Brandy, and Monica. Then, of course, there’s the fact that she starred in the film adaptation of one of my favorite musicals. It’s like she crafted this era for me, to be quite honest. Or, maybe there’s more to astrology than I ever thought.

1. COWBOY CARTER, by Beyoncé

Thousands of minutes ahead of everyone else (5,947 and counting; by comparison, TORI. has 1,818 at #2), nobody else stands a chance at #1 in the year that one of my lifelong faves drops an album. Immaculate from start to finish, there are albums, and then there are works of art. Beyoncé is truly the only artist on her level. While some artists and albums may have better music, objectively or out of context, there is not an artist, past or present, that has put more thoughtful consideration into the creation of an album than Beyoncé. She is more like a prolific author of historical fiction, the Lin-Manuel Miranda of pop music, who researches history and curates her knowledge and influences into intricate works of art. She has transcended the confines of the crossover pop star mold and is truly the one-woman Renaissance of our time.

My Top 7 Songs of 2024

The Top 30 on my Replay songs list is filled mostly with tracks from Beyoncé’s “COWBOY CARTER.” While it’s my favorite album of the year, I wouldn’t say that my Top 7 songs of the year are also my 7 favorite songs from that album. So, I’ve sifted through the other songs to select this list, limiting myself to one song per artist. Here goes:

7. “Big Boy (feat Starrah)” by Normani

The album opener should’ve also been the lead single from “DOPAMINE.” This stellar track has such a vibe, filled with attitude and a catchy hook that would’ve made it an inescapable hit.

6. “Too Much to Say” by JoJo

Of the two new songs JoJo dropped ahead of her “NGL” EP set to drop in January, “Too Much to Say” actually came in a bit lower on my Replay list than the other, “Porcelain.” However, that may only be because it’s been out longer. “Too Much to Say” was the more immediate and sticky of the two, which felt more in line with where JoJo is headed with her career both sonically and thematically. Clocking in just under 3 minutes, it begs for a replay. Here’s hoping an extended dance mix is yet to come.

5. “thing u do” by Tori Kelly

When Tori Kelly dropped the “Tori” EP ahead of her fifth studio album, and I heard “Cut,” I didn’t think that she could top such a certified bop. I was proved wrong with my first play of the album in April. As soon as I heard “Thing U Do,” I was grabbed and slain. The song showcases so many elements of what makes Tori great. Big vocals, catchy melodies, gospel-influenced arrangements, and her newfound confidence are all on prime display.

4. “BIRDS OF A FEATHER” by Billie Eilish

I don’t love every Billie Eilish song, nor do I consider her one of my favorite artists. She makes great music, though, and when she makes a great song she knocks it out of the park. I think “Birds of a Feather” might just be her best song to date. It’s the perfect combination of her signature chill, contemporary sounds, and classic influences. Then, of course, there’s that glorious vocal climax where she truly rises to the occasion.

3. “eternal sunshine” by Ariana Grande

While the album’s singles rank higher on my Replay list, that’s probably just because they were so catchy (and because its lead featured a remix with Mariah Carey) and easier listening. The title track, though, is a real artistic triumph for Grande, and the perfect encapsulation of what she did on this album. Deeply personal, vulnerable, and perfectly produced, “Eternal Sunshine,” the song, captures her growth both personally and artistically. Being so introspective and emotional (hell, it opens with an emotional sigh), it’s tough to keep on repeat like the album’s singles. Undoubtedly, it’s the best track on the album and one of the best of her entire career.

2. “Portrait (Hopeful Child Remix)” by Mariah Carey

One of my favorite Mariah modes is Remixriah, and this year she truly delivered on that front. From appearing on the “yes, and?” remix with Ariana Grade, to the “Made For Me” remix with Muni Long, to reimagining album tracks like “Rainbow’s End” and “Portrait,” she showed that a legend can still celebrate their legacy and be prolific creatively. While her fans might (incessantly) complain that it’s been over 6 years since the release of “Caution,” the parent album of “Portrait,” we’re frankly lucky that she’s giving us gems like this pair of dance remixes. Carey hasn’t done a new full-length, re-sung dance remix since 2012’s “Triumphant,” so hearing her go back to the studio and reimagine two fan favorites was truly a treat. Plus, the mini-audiobook component that came with “Portrait” was just as enlightening as a new album. Of course, we’d listen to an album much more… but hearing her speak her truth directly in your ear is an equally personal experience. Listening to the Hopeful Child Remix of “Portrait” feels like a window into Ms. Carey’s soul.

1. “BODYGUARD” by Beyoncé

Now, I don’t like to be one of those whiny BeyHivers who complains about promotional strategy and things of that nature… but… damn, “Bodyguard” is such a deserving, undeniable HIT. I cannot believe it’ll remain an album track forevermore. From the first play of “COWBOY CARTER,” the song hit and hooked me and hasn’t let go since. There is no occasion where I would ever hit “skip” on this song. It’s such a fun song that encapsulates what Beyoncé meant when she said the album is “not a Country album, it’s a Beyoncé album.” Look no further than “Bodyguard.” It has a little something of every genre and for everyone. While “Texas Hold ‘Em” was the perfect pandering Pop/Country crossover to lead with (alongside the perfect “16 Carriages” on the other end of the spectrum), “Bodyguard” would’ve been the follow-up hit to bring it on home. But, I guess Columbia, or whomever, bet on labelmate Miley Cyrus for a hit with “II MOST WANTED” – and we all lost.

Listen to Vincent’s “97 Minutes of 2024” Playlist

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In his latest single, “GLU,” the growth of Usher’s vocal delivery and overall lyrical content when compared to his 90s discography is apparent. With Lil Jon serving as producer, this Prince-inspired slow jam puts Usher’s signature falsetto on full display. While the song may not have the same hit potential as his more commercial classics, it is a welcome addition to Usher’s expansive catalog. If 1998’s “Nice & Slow” was the amuse-bouche, “GLU” is its NSFW entrée. Preference aside, both show that the man’s words ring true: “You either evolve or dissolve.” Legendary behavior, if you ask me.

Watch the “GLU” live video, stream it here, or grab some Usher 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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Ever-enduring R&B legend, Usher, has undergone a retrospective renaissance thanks to his massively successful Las Vegas residency and the re-release of his iconic breakthrough album, “My Way.” On its second single, “Nice & Slow,” released in 1998, Usher vividly depicts teenage lust and desire, memorably summed up with the line, “I got plans to put my hands in places you’ve never seen, girl you know what I mean.” It’s a song that is truly of its time, yet still sounds current within today’s R&B landscape — a testament to the strength of his catalog, and the impact of his legacy.

Watch the “Nice & Slow” video, stream it here, or order “My Way” on CD.

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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The album marks Mary’s shortest LP ever at just 38 minutes, and she doesn’t waste any time getting down to business. “What’s love these days? We don’t know what to say,” she ponders on the album’s opening cut “No Idea,” which gives you a sense of what’s to follow. The landscape of 2022 Mary J. Blige is still bruised but definitely not broken. Though she’s skeptical at times, she’s resilient as ever and making progress as she trudges onward.

She’s a bit subdued here vocally, reminiscent of Mariah Carey’s vocal approach to her last LP, 2018’s Caution. The focus is more on navigation of this stage of life, with lyrics and production that seamlessly bridge the gap between Mary’s classics and today’s musical landscape. That doesn’t mean that she’s emotionless though. “I’m so goddamn sick of the pain” she exasperatingly vents on the chorus of “Love Without The Heartbreak,” where she muses on a more perfect love and laments her bad luck with relationships. “When will love give me a break?” she ponders, similar to her woeful laments on introspective “Failing In Love” and the effervescent “Love Will Never.” 

Mary’s not all misery though, those days are behind her. The album is titled and sequentially centers around the title track, “Good Morning Gorgeous.” It’s a simmering blues record akin to 2009’s “I Can See In Color” that finds Mary revealing her key to transcending the worst days, she looks in the mirror and says “good morning gorgeous” when she wakes up in the morning. 

A playful side of Mary that appears both in love and in life. She flexes about buying a coast for her man and challenges him to “match that so we can have two” on the sensual, lounge-y “Come See About Me.” She also trades lines with Anderson .Paak, Usher, and Ne-Yo (on the Target edition) about relationship dynamics ranging from what’s “supposed to be” with .Paak on “Here With Me,” to a dependable partner with Usher on “Need Love,” all the way to the inception of an unexpected attraction with Ne-Yo on the Target bonus track “Running.” 

Mary also mixes in a few feel-good records as a reminder just who she is on her best days. For “On Top” she flips the same sample of The Delfonics “Ready Or Not Here I Come (Can’t Hide From Love)” utilized on Three-6-Mafia’s “Who Run It?” Thanks to production from Cool & Dre, the Philly soul classic assumes another place in hip hop (it was already cemented into The Fugees’ “Ready Or Not” and Missy Elliott’s “Sock It 2 Me”) and transforms it into a hard-hitting Brooklyn drill record, sealed with a verse from Fivio Foreign. This is classic Mary; seizing a hip hop sound and sweetening it with her R&B sensibility. Moments like this reinforce her title of Queen of Hip-Hop Soul. 

She also wades into reggae/rocksteady territory on the album’s other big feel-good record, “Amazing” featuring surprisingly subdued ad-libs from the ubiquitous DJ Khaled. This one is a grower. It’s like nails on a chalkboard at first, but the infectious hook quells that initial feeling and this track built for the clubs and VIP tables has an effect, just like the music video illustrates. 

 The album’s only regressive moment isn’t even in a song as a whole, just a sample choice. Third single “Rent Money” is a smooth R&B kiss-off to her deadbeat ex, who drained their joint accounts and then won a hefty alimony sum, forcing her to go on tour to pay his alimony. The song utilizes the hook from The Notorious BIG’s “Fuck You Tonight,” which was performed by R.Kelly, who also co-wrote the song. That means this record is putting money into the pocket of a convicted sexual predator currently attempting to overturn his conviction while simultaneously preparing for a trial on additional charges. It’s an unfortunate choice from someone who herself has vulnerably shared her own experiences of surviving sexual assault.

With the exception of that glaring inclusion, Good Morning Gorgeous is a fantastic addition to the Mary J. Blige canon. It shines bright like it’s title. Mary’s life is so closely intertwined with the content of the music, that this is yet another chapter likely to resonate with and help the masses, just as My Life first did in 1994.

Listen to Good Morning Gorgeous

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Nina Simone was, by all accounts, a musical pioneer. Her seamless integration of classical music into jazz, show tunes, blues, gospel, and soul is, in it’s own, monumental. Pair that with her unmistakable voice- by her own account was sometimes like coffee with cream, and sometimes like gravel, and she is one of the most important figures in American music. The genius, moving documentary What Happened, Miss Simone? tells Nina’s story mainly through her own words, and to accompany it is Nina Revisited… A Tribute To Nina Simone. The album compiles an A-list roster of guests to pay tribute to the late Miss Simone.

Jazmine Sullivan, Usher, Mary J. Blige, Common & Lalah Hathaway, and Nina’s daughter Lisa all contributed, but Ms Lauryn Hill is the real draw of this album. She felt strongly enough about Nina and the project to contribute 6 new recordings (the largest volume of studio recordings she has released at one time since her debut album was released 17 years ago). Quite frankly, Hill not only makes the project but also saves it from being a monotone snooze-fest.

The thing that made Nina so magical outside of her unique voice, was her ability to seamlessly weave in and out of musical genres. This tribute features mainly interpretations of her songs, but they all ended up swirling around smooth jazz/neo-soul and the influence of the incredible Robert Glasper, who serves as a producer on the project. There’s nothing wrong with Glasper. His unmistakable keys, contributions to Kendrick Lamar’s To Pimp A Butterfly, and own Black Radio albums are nothing short of brilliant. However, his involvement with this project is extremely disappointing. His influence causes these songs to end up feeling more like a Glasper album, which is sonically narrow, especially compared to that of a musical virtuoso like Nina.

Take Mary J Blige’s contribution of “Don’t Let Me Be Misunderstood.” On its own it’s a great reading, mirroring her vocal delivery on 2005’s “Father In Me,” but mixed in with the rest of the album it becomes just another monotone smooth jazz arrangement. Newcomer Grace (who recently delivered a mesmerizingly haunting cover of “You Don’t Own Me”), can’t capture the magic of “Love Me Or Leave Me,” because it lacks the walking bass and classical breakdown that made Nina’s reading so unique and attractive. Common delivers poignant verses while Lalah Hathaway coos away on the re-imagined “We Are Young Gifted & Black.” Placed on a Glasper album it would be a standout, but here, once again it simply sinks in with the rest.

Alice Smith takes on “I Put A Spell on You,” but her feeble and disjointed arrangement hasn’t got shit on the spell-binding reading Annie Lennox unleashed last year. Usher shouldn’t have even been allowed to participate with his deflated attempt at “My Baby Just Cares For Me” (surprisingly produced by the usually-on-point Salaam Remi), nor should Gregory Porter. Arguably, Nina’s “Sinnerman” is not only her greatest recording but one of the greatest recordings of all time. She unleashes a religious experience that can shake a listener’s soul over and over, effortlessly. Porter’s reading sounds more like glorified elevator music from a department store.

In stark contrast is Ms Lauryn Hill, the project’s savior, who also produced all of her contributions. She delivers stellar rendition after stellar rendition, and is vocally impassioned on each cut she tackles. Her deliveries of “Black Is The Color of My True Love’s Hair” and “No me quitte pas” are so beautiful, searing, and powerful they’re tear-inducing. Hill sounds as if she’s waited her entire life to sing these songs, and sings them as if Nina is meticulously observing her, note for note. She reads “Feeling Good” in a straight reading that closely mirrors Nina’s, while she adds politically-charged rapid-fire rap verses around a clever sample of “I’ve Got Life” that would make the activist in Nina proud. The parallels that link Simone and Hill, including extensive hiatuses and erratic behavior, as well as outspokenness in all the right ways, make Hill’s presence here feel ever so appropriate, and even necessary.

Nina’s daughter Lisa does her mother right on a respectable and notably bluesy reading of “I Want A Little Sugar In My Bowl.”  The only other artist who should be commended for their work here is the incredible Jazmine Sullivan. Her take on “Baltimore” may not divert heavily from Nina’s, but it’s captivating, soulful, authentic, and very appropriate based on the social climate. The album closes with Nina herself performing “I Wish I Knew How It Would Feel To Be Free.” Hearing her voice and arrangement only further displays the distance many of these songs have from the singer’s musicality.

Nina was a versatile musician, and these covers do not properly represent that. This is the antithesis of Nina’s musical range. There’s nothing wrong with interpreting a Nina song in a jazz or neo-soul-based manner, but damn near all of them? The irony is that Nina has always been mis-classified in record stores and mis-identified in conversation as simply a jazz singer, and this is probably the only body of work with Nina’s name attached to it that by enlarge fits that mis-classification.

Looking for some more good Nina Simone covers/ covers of songs Nina recorded? Start here:

Aretha Franklin “Young, Gifted, & Black”

(Lisa) Simone “Love Me Or Leave Me”

Marsha Ambrosius, Ledisi, Kelly Price, Jill Scott “Four Women (Live)”

Annie Lennox “I Put A Spell On You”

XEO3 “Strange Fruit”

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While Usher technically made his debut at age 16 with his 1994 self-titled album, it was 1997’s My Way that established a 19 year old Usher Raymond as a one of R&B’s most talented and sexiest crossover stars.  Released this week in 1997 (September 16), My Way was the album that introduced Usher to the masses. This was largely in part thanks to the hit lead single, “You Make Me Wanna…,” helmed by Mariah Carey’s favorite collaborator, Jermaine Dupri.

The infectious midtempo track was everything you could ever want from mid-90s R&B.  It’s catchy, rides smoothly over a rhythmic, bass heavy beat, and features an impassioned vocal from a young Usher.  Of course, the relatable and somewhat drama-ridden lyrics helped it’s success, and would become a trademark for Usher’s music, as seen by songs like 2001’s “U Got It Bad,” 2004’s “Confessions,” and 2009’s “Papers,” to name a few.  “You Make Me Wanna…” was Usher’s biggest hit thus far, peaking at #2 on the Billboard Hot 100.

The album takes its title from its third and final single, “My Way,” featuring Jermaine Dupri.  The song is a cocky assertion of Usher’s sex appeal and swag.  He even drops a rap verse (penned by Dupri, most likely) about his dominant nature.  The song is fun and memorable but not the best offering from the album.

That title belongs to the album’s second single, the sensual slow jam “Nice and Slow.”  Once again produced by Jermaine Dupri alongside Manuel Seal and Jagged Edge’s Brian Casey, the song is pure 90’s R&B perfection.  Rightfully so, it peaked at #1 on the Hot 100.  Usher perfectly executes the song’s romantic and enticing lyrics with his smooth, buttery vocals.  The line, “It’s 7 o’clock on the dot, I’m in my drop top, cruising the streets,”  alone is a classic.  It’s hard to look at the time and see that it’s 7, and that line not come to mind.

Other highlights on My Way include the duet with Monica, “Slow Jam,” and “Bedtime,” both penned by Babyface, as well as the Teddy Riley helmed “I Will.”  The remainder of the songs on this short, 9 track album, are, like the singles, produced by Jermaine Dupri and don’t really stand out for any reason aside perhaps for the Lil’ Kim feature on “Just Like Me,” which serves up a cool groove.

My Way was Usher’s breakthrough album, producing three hit singles, and one #1 hit.  The album itself has been certified 6x Platinum by the RIAA.  After it’s release, four years went by before he released its follow up, 8701.  

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“Family Portrait” by P!nk creates quite the juxtaposition with the last track, but it is a necessary exhibition of the spectrum of effects that divorce has upon children. What makes “Family Portrait” so especially heartbreaking is that P!nk wrote the song from the point of view of her younger self. It’s as if she has given her childhood a voice. Without a doubt, her words resonated with listeners, giving a voice to countless other children of divorce. One particular focus of “Family Portrait” is how the child feels as though he or she is in the middle of the two fighting parents, and sometimes even feels like the divorce is his or her fault. She shows this through lines like, “I told dad you didn’t mean those nasty things you said,” and “I promise I’ll be better, daddy please don’t leave.” She deals with the very difficult question that if her father leaves, does that mean he doesn’t love her? Or, the insecurity that develops in relationship to love: “I don’t want love to destroy me like it did my family.” (A fear that becomes all too real for P!nk, but more on that in the weeks to come.) There are so many emotions that P!nk punches through in this song that it’s a wonder she is able to perform it on tour. For me, the most emotional moments of the song are when she sings, “I don’t wanna have to split the holidays, I don’t want two addresses, I don’t want a stepbrother anyways, and I don’t want my mom to have to change her last name” and then pleads, “Daddy don’t leave, turn around please… Remember that the night you left, you took my shining star…” The delivery is so childlike, so innocent, yet so heartbreaking.

“Mine” by Beyoncé features Drake, as well, and could be considered a controversial selection. However, it has not been chosen to feed into the divorce rumors I so adamantly spoke against last week… but rather, to help refute it. My favorite part of “Mine” is its piano-driven ballad introduction that features some of the most honest, candid lyrics in Beyoncé’s catalog, sung quite emotionally. I also think it’s no coincidence that she chose to open her VMA performance with this track, and end it with “Blue” and “XO” followed by a touching family moment on stage. “Mine” is clearly referencing imperfections in her marriage to Jay-Z. There’s no telling when this momentary trouble occurred, but she does sing, “I’m not feeling like myself since the baby, are we gonna even make it?” so it can be assumed it was recently. However, one cannot ignore what follows: “Oh, because if we are, we’re taking this a little too far…” which is eventually followed by the more uptempo portion of the song, in which she sings lyrics like, “we should be married,” and “fuck what you heard, you’re mine, you’re mine.” It was courageous of Beyoncé to share this vulnerable, confessional track, ultimately showing the world that not all marital issues need to end in divorce. As she sings in “Pretty Hurts,” “perfection is the disease of a nation.” Beyoncé and Jay-Z’s marriage is an example of a relationship that should be looked upon with admiration by the public for working through their imperfections, rather than ridiculed for said flaws.

“Papers” by Usher, ironically, was written and recorded before he was divorced, and apparently before he was even considering it. Regardless, the lyrics to the song are still very heartfelt and come from a very real place. In it, he sings about how his marriage has changed him as a person – and not for the better. He was discontent with becoming “the man that I never thought I’d be,” he sings. He also references a falling out he had with his mother, and other drama in his life, which ultimately leaves him feeling like he’s “ready to sign them papers.” Divorce papers, that is. By the time the song was released, he was in fact divorced. While I appreciate the honesty and introspective nature of the song, I do feel it was a bit tactless of Usher to attempt to capitalize off his divorce by releasing the song to ignite conversations around its controversial subject matter.

Listen to the Songs About Divorce playlist, so far, here:

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Week two’s word in Michelle William’s Journey to Freedom journal contest is “honesty.”  Once again, when prompted with the word “honesty” the first thought that came to my head was again in the form of lyrics: “honesty, is such a lonely word, every one is so untrue, honesty is hardly ever heard, but mostly what I need from you” from Billy Joel’s “Honesty.”  And, well, honestly, that about sums it up.

Thinking about my own “journey to freedom,” this holds true for my most defining life experiences.  As Michelle says in her video, being honest with yourself and with others is crucial.  I know Michelle and I are not alone, because everyone experiences this, and some of music’s biggest stars have all released songs that deal with this issue quite poignantly.

On the songs I’ve selected, the artists delve into their personal life experiences and very vulnerably share these private emotions with their listeners.  These cathartic expressions are no doubt therapeutic for the artists, but also for the listeners.

1.  “Honesty,” by Billy Joel is the quintessential song dealing with the theme of honesty.  Joel does a wonderful job of encapsulating this theme in the lyrics to this piano ballad.  The quote I included above does a wonderful job of summarizing the song’s message: “honesty, is such a lonely word, every one is so untrue, honesty is hardly ever heard, but mostly what I need from you.”  The song was released in 1978, but no one’s said it better since.  (However, Beyoncé did cover it.)

2.  “Honestly” by Kelly Clarkson is an emotional ballad from her 2011 album, Stronger.  On this track, though not written by Kelly, she deals with the frustrating feeling of wanting someone to be honest with you about their feelings.  She sings pleadingly, “if you’re hating me, do it honestly.”  We probably all know the feeling of being in a relationship where you can tell your significant other is unhappy but won’t admit it.  On this song, Kelly is expressing those feelings, demandingly singing, “Face me, make me listen to the truth even if it breaks me… you can tell me.”  

3.  “Losing You” by Solange is from her 2012 EP entitled True.   Like Clarkson on “Honestly,” Solange is seeking honesty:  “Tell me the truth, boy am I losing you for good?  We used to kiss all night but now there’s just no use.  I don’t know why I fight it, clearly we are through.”   She too shows her vulnerable side on this track, grappling with the same frustrating uncertainty as Clarkson on “Honestly.”  While the vibe of the production harkens back to 80’s R&B, the vocal arrangements and vulnerable nature of the lyrics are both a bit more in line with one of Solange’s inspirations, Mariah Carey, who appears later on this list.

4.  “Can’t Handle the Truth” by JoJo is brutally honest, but not in the way you’d expect.  On this track lifted from her 2012 mix tape, Agápē, JoJo tells her man, “I hate lying to you, but you can’t handle the truth.”  This song explores the reason why people opt to lie instead of being honest: because the truth hurts.  Here, JoJo is confessing to infidelity, but blames it on his mistakes.  It is not the kind of track typically heard from a woman (though, Destiny’s Child did something very similar, more on that here), but her honesty is commendable, despite her actions being a bit questionable.

5.  “Confessions Part II” by Usher is very similar to JoJo’s “Can’t Handle the Truth,” and also preceded it.  This song was huge in 2004, and is the title track of the diamond selling album.  While it actually is not a true story (for Usher; apparently it’s cowriter Jermaine Dupri’s story) the messy honesty of “Confessions” turned the catchy song into a huge hit for Usher, and made Confessions his most successful album to date.  The public loves a good, dramatic confession, it seems…

6.  “Truth” by Janet Jackson is a mid tempo from her 2001 album, All For You.  The song, a kiss off to her ex-husband Rene Elizondo, finds Janet reflecting on her career and defunct marriage.  She urges him to accept the truth in this very honest, diary-like track.  The song seems sweet but there are several rather shady lines laced within, such as, “It’s sad to think we couldn’t work it out, but how much is enough to pay for this mistake?”  The song ends with the repetition of a question: “Do you know the truth?”  as Janet commands him to: “Feel it.  Live it.  Trust it.  Believe it.  Embrace it.  You want it.  And need it. Find it. Embrace it and never let it go.  The truth will set you free.”  Here, Janet flat out says that on a journey to freedom, honesty and truth are essential elements.

7.  “Resentment” by Beyoncé has been a controversial track as of late with her performing it on tour as divorce rumors swirl around her marriage to Jay-Z.  The song, recorded for 2006’s B’Day album, was actually first recorded by the Spice Girls’ Victoria Beckham, and perhaps written about an affair by David Beckham.  Beyoncé did however change some of the lyrics, perhaps to suit her own life experiences.  Her rendition of the song drips with soul and intricate harmonies.  Her vocal performance is gritty and raw, filled with intense emotion.  Victoria’s is… well… quite understated.  One of the most hard hitting lyrics to the song strikes at the very end, when Beyoncé quite vulnerably sings, “I can’t stop crying… You could’ve told me, you weren’t happy.  I know you didn’t wanna hurt me, but look what you’ve done done to me now.  I’ve gotta look at her in her eyes, and see she’s had half of me… how could you lie?”  This bit also illustrates why this song is a perfect addition to this list.

8.  “Languishing” by Mariah Carey falls in line with a number of her other introspective ballads (such as “Petals,” “Looking In,” and “Sunflowers”) however, it’s theme is a bit different.  On “Languishing,” Carey is seemingly speaking to the public.  She is essentially asking the listener whether or not they’d care if she was in pain.  She opens the song by stating, “I was not put here for you to judge me and dispute my innermost truths.”  The song is from her 2009 album Memoirs of an Imperfect Angel, which was released only months after the passing of Michael Jackson, and Mariah dedicates the album to him in its booklet.  It is curious that Carey chooses to dedicate the album to him, and also this song about fame, questioning the public’s response if perhaps she too were suffering like Michael.  The media and public love to ridicule celebrities for their struggles and hardships while they’re alive, but the tune changes with their death as evidenced by the reaction to Michael Jackson’s death compared to his public perception when he was alive.  Even now, with recent rumors and seeming confirmation of a separation and looming divorce between Mariah and Nick (as well as Beyoncé and Jay-z), the media and the public already are saying negative and defamatory things, blaming Mariah, when no one knows the true story.  It’s truly a shame, and Mariah poignantly handles the issue on “Languishing.”

9.  “Dope” by Lady Gaga is a heartbreaking piano ballad from her latest album, ARTPOP.  Here, Gaga sings about her struggles with substance abuse, which includes alcohol and other drugs.  She asserts her desire to be clean and pleads for the love of someone – perhaps a significant other, or her fans.  The audience is unclear, however, Gaga is being gut-wrenchingly honest with herself on this track and it is a truly moving listen.  Her vocals are emotive and imperfect, yet beautiful, as she sings lines like, “Each day I feel so low from living high.”  “Dope” is one of the highlights from ARTPOP.  

10.  “Don’t Speak” by No Doubt was a colossal hit in 1996, written by Gwen Stefani about fellow No Doubt member, Tony Kanal.  The pair dated for seven years, but it ended, causing Stefani to write this emotional ballad of heartbreak.  Again, we find the public gravitated towards a song with a confessional style lyric, dripping with honesty.  “Don’t Speak” is filled with fear, as Gwen begs, “don’t speak, don’t tell me cause it hurts.”  She knows the truth, but doesn’t want to know it.  It would pain her to hear him say it because it would make it true.  Honesty has an intense power and the truth really can be painful at times.  Her emotional, pleading vocal is impassioned and moving which makes the song irresistible and moving.

11.  “Dear Lie” by TLC is a song with an interesting concept.  It’s essentially a letter from lead singer T-Boz, to a “lie.”  She explores the problems with lying and ultimately realizes that the truth will set you free.  The lyrics acknowledge how lies can have power over people, and that it takes a certain amount of strength to be honest and truthful: “Won’t let you control me, the truth will only free me and your lies won’t hurt no more.”

12.  “No More Drama” by Mary J. Blige marked a pivotal moment in her career.  The album, of the same title, brought Mary crossover success like never before thanks to its lead single, “Family Affair,” but “No More Drama” became her signature song.  With this album’s release, Mary was honest with herself and admitted to dealing with substance abuse and, with this song, found a way to break free from those demons.  The song is liberating, as Mary declares her freedom from the pain that suppressed her for so many years.

13.  “My Vietnam” by P!nk is a metaphorical song comparing her childhood, to the Vietnam.  This has a particular significance for P!nk, since her father actually served in the war.  The song lives on P!nk’s breakthrough album, M!ssundaztood, on which P!nk opened up with several confessional like songs, under the guidance of Linda Perry.  This is a lesser known song, hence why I chose it for this list.  A companion to the better known “Family Portrait,” “My Vietnam” talks more specifically about her parents and life’s challenges with unrestrained honesty.  On “Vietnam,” P!nk creates an honest dialogue with the listener and the people in her life.

14.  “Beyond Imagination” by Kelly Rowland is one of several very personal songs in Rowland’s catalogue.  Of course, the more obvious choice for this list might have been “Dirty Laundry,” but I think most are quite familiar with that song (and I plan to do a more in-depth article on it at a later date).  However, “Beyond Imagination” was Kelly’s first introspective song, from her solo debut, Simply Deep, and was written by Solange Knowles.  The song is a metaphorical pop/rock ballad that discusses Kelly’s childhood, more specifically, how her father abandoned her.  It is written in a more relatable fashion (similar to the way Mariah Carey often writers her introspective tracks) so that the listener can apply it to their own situation.  Kelly uses the pronoun “you” as if she’s saying that she knows what you’re feeling, and even sings “I hear your tone, and you’re so not alone.”  However, the most telling line of the song is “father’s vacation tonight, is somewhat permanent…”

15.  “Childhood” by Michael Jackson is one of his most moving songs, and perhaps even more so following his passing.  Throughout the later years of his life, Michael was ridiculed for his “immature,” childlike personality.  On 1995’s “Childhood,” the theme song to the film Free Willy,  Michael is open and honest about this – he knows he is different.  Asking the listener, “before you judge me, try hard to love me, look within your heart, then ask… have you seen my childhood?”  He attributes his “strange eccentricities” to his lack of a childhood growing up as child star in the Jackson 5.  While this song is well-known and was undoubtedly heard by many in 1995… I am not sure anyone really listened until it was too late.

16.  “15 Minutes” by Michelle Williams is an epic, almost theatrical ballad from her 2004 solo album, Do You Know.  In “15 Minutes,” Michelle vulnerably sings about the gratitude she feels for finding success as a musician.  She attributes this good fortune to God, and thanks Him for the blessing.  On the most telling lyric of the song, she sings, “I should’ve been a one hit wonder, 15 minutes of fame, with nothing gained and nothing left to lose… my only chance was you, and here you come again, I just don’t understand.”  She struggles to understand God’s blessings, reveling in the miraculous nature of it all, in this very honest and humbling ballad.

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