Whether it be one of many iconic remixes, a scathing diss track, a bonafide money making anthem, or a one off song… our list this year feels rather random, but full of bops all the same. Scroll down to delve into our favorite singles of 2017.

At EST. 1997, we chose the 19 “97” singles of 2017, which simply means the 19 best singles of 2017. If you’re familiar with the way we review singles/albums, then you know that “97” is our top score. We love every song on this list, ranked them according to how much, and weighed in with a few thoughts about each. Please feel free to comment with your thoughts, as well! We’d love to hear from you and engage in any discussion.

EST. 1997’s Top Singles of 2017: The 19 “97” Singles

19. “Caught In The Middle” Anastacia

After years of building a solid catalog, Anastacia finally came through with something progressive. “Caught In The Middle” takes a touch of the influence of “Sick And Tired”, but keeps it fresh. -Andrew

18. “Love So Soft,” Kelly Clarkson

It was the Kelly Clarkson single we’d all been waiting for. Not since her debut on American Idol had Kelly Clarkson released a single so soulful, so R&B. “Love So Soft” is a soul bop of mighty proportions with soaring vocals, just vague enough innuendo and pristine production (Earth Wind & Fire play in the band! C’mon!). While it’s still poppy, treading dangerously close to Meghan Trainor territory, Kelly’s genuine love for the genre and her undeniable vocal talent makes “Love So Soft” an authentic reading of 1960s soul. It is respectable blue-eyed soul. Oh, and the video is glorious. -Vincent

17. “Love Galore,” SZA

In “Love Galore”, R&B songstress SZA basically says what a lot of single black women like myself want to say, but are probably afraid to… at least publicly. In the Travis Scott assisted track, SZA lyrically takes a “love ‘em and leave ‘em” stance towards love and relationships, opting for casual liaisons with her lovers, as opposed to full blown romantic attachments. At the surface, it seems like a very narcissistic take on matters of the heart, but in a world where Issa Rae’s hit show reins supreme, this song is one where many young women may find common ground. On top of all of that, the song is an absolute vibe. Mood for this year, next year, and the next decade. -Jordan

16. “SHEther” Remy Ma

Call it the diss track that shook a million teenagers. Remy Ma released one of the most seething, aggressive, and lengthy attacks in recent memory. Opening with Nicki Minaj yelling “fuck you! Free Remy!”, Remy unloads round after round after round after round of attacks on Nicki, over the unparalleled beat of Nas’ “Ether”. From her relationship with Meek Mill and the authenticity of her body, to attacks on Nick’s spars with pop stars and the child molestation accusations against Nicki’s brother Jelani, Remy lets it all hang out. It’s unprecedented. Crown achieved. -Andrew

15. “LOYALTY,” Kendrick Lamar ft. Rihanna

14. “Slow Hands” Niall Horan

The black sheep rides ahead of the pack as One Direction’s left fielder comes through with the strongest post-1D single to date. Who expected Niall Horan had this in him? This song is absolutely irresistible, and arguably the best solo single post-One Direction from any member of the band. -Andrew

13. “U + Me (Love Lesson),” Mary J. Blige

This was the second single released from Strength of a Woman and the moment I knew the album would be amazing. The production is contemporary, but still has that throwback gusto and Mary took us through what was going on in her mind after the divorce. It’s a reflection on her relationship with Kendu and all the feelings separation brings to the surface. -Mario

12. “Mi Gente,” J Balvin, Willy William and Beyoncé

After each and every national or worldwide tragedy, a group of musicians usually gathers to record a charity single to benefit relief efforts. Usually, these songs are some sort of overwrought yet heartfelt ballad. Unfortunately, that more often than not results in a song you probably won’t want to stream, listen to on the radio or even buy. Not in this case. In reaction to the devastating hurricanes that hit Puerto Rico, Houston, Texas and other areas of the Caribbean, Beyoncé teamed up with Colombian artist J Balvin and French DJ Willy William to remix their hit single “Mi Gente.”

The result reminded us of Bilingualoncé, who has been hiding since 2008. She flawlessly rides the song’s Reggaeton beat while singing in Spanglish before dropping a new few bars of her own in English. The remix catapulted the song to #3 on the Hot 100. That makes it J Balvin his biggest hit to date. It’s also Beyoncé’s biggest hit since “Drunk In Love” in early 2014 (until, of course, that other duet came out…). –Vincent

11. “Unforgettable (Mariah Carey Remix),” French Montana, Mariah Carey & Swae Lee

“Unforgettable” was already a certified summer hit in its original form, but the addition of Mariah Carey took it up a notch. This was what people want a Mariah single to sound in 2017 and she gave us what we wanted. Her echo-y vocals slide smooth over the beat and elevate the already infectious track. The “Mariah Carey Remix” package also came with an acoustic version of the song. That version is only has piano, guitar and a minimalistic drum beat that showcase the Queen’s contribution. Too bad the label chose the wrong week to release it and never properly pushed the remixes. This collabo would and should have been a smash. Know that. -Mario

10. “What About Us,” P!nk

P!nk really put her foot down as one of the Pop greats this year when she came back with her new album, Beautiful Trauma. The lead single, “What About Us,” was an unusual choice from what we were expecting from her. Instead of being the classic rocker single, full of attitude, the song is an anthem for love, equality and unity. P!nk sounds as great as ever on the track and it rightfully became a hit on the charts as well. It was also really good to see her finally getting recognition for her consistent achievements in music. -Mario

9. “The Star,” Mariah Carey

With her eyes clearly set on Oscar gold, Mariah Carey fulfilled her latest calling as the Queen of Christmas by delivering this impeccable new ballad about the birth of Jesus for the animated Nativity story film, The Star. No stranger to penning her own classics, whether they be for Christmas or in general, the legendary diva does not disappoint with “The Star.” She teamed up once again with the extraordinary Marc Shaiman to co-pen and co-produce this gorgeous ballad, featuring guest vocals from her children. Already nominated for a Golden Globe for Best Original Song, “The Star” is a welcomed addition to Carey’s iconic Christmas catalog. -Vincent

8. “Took Us a Break,” Lil’ Kim

The buzzing of the introduction creates the buzz, and then that voice! On the warm up single to an album more than a decade in the making, Lil’ Kim makes it clear: She’s back. Marrying mumble rap with her own flow, she doesn’t mince words. She fires off everything from “bitter bitches, got em mad now” to “givin y’all my old clothes, my old flows, like hand me downs (y’all can have that!)” 21 years later, Kim still has No Time for the haters, and still knows how to turn heads with her lyrics (case and point: “Bomb pussy, that’s a boom box”). -Andrew

7. “Wild Thoughts,” DJ Khaled ft. Rihanna and Bryson Tiller

Sometimes all it takes is a simple 808 to take you back. When I first heard the opening seconds of “Wild Thoughts”, I was taken back to third grade, and the little girl who sang “Maria Maria” by Carlos Santana and Wyclef Jean. In this updated track, Khaled masterfully blends a classic hit with very some contemporary vibes, accented with the partnership between Rihanna and Bryson Tiller (though it remains questionable if Tiller’s involvement was really needed). The lyrics, which speak to seduction, and lust, mixed with Santana’s patented guitar riff, and Rihanna’s sex appeal, made for one of the hottest songs of the summer, and one of the best of the year, hands down. -Jordan

6. “Skywalker,” Miguel ft. Travis Scott

Miguel glided into Star Wars season on the Millennium Falcon alongside Luke Skywalker with his latest single. Not really, but that’s how metaphorically fly this new song is. It won’t hit you in the face right away, but “Skywalker,” featuring Travis Scott, is an infectious mid tempo house party jam. It’s no wonder its walking toward sky-high levels on Billboard’s R&B charts. -Vincent

5. “The Cure,” Lady Gaga

https://www.youtube.com/watch?v=RP3UsFrDJfY

Nobody expected Gaga to debut a Pop single at Coachella this year because she had just wrapped her Joanne era with the Superbowl. And yet, she came with one of her strongest bops in a long time. Supposedly written during the Artpop era and then scrapped for the album, “The Cure” is dedicated to one of Gaga’s closest friends who was, at the time, battling cancer. Its personal nature is probably why it never got the promotional push that it deserved or a music video, but she finally decided to give a live performance at the AMAs, live from her tour. If this is what it feels to have a focused Lady Gaga then we can’t wait for the next album because she sure hasn’t lost her touch! -Mario

4. “That’s What I Like,” Bruno Mars

3. “HUMBLE,” Kendrick Lamar

Hip-hop and “HUMBLE” are oxymorons. They rarely fit together in a literal sense, and Kendrick’s “HUMBLE” is no exception. He relentlessly berates his peers on “HUMBLE.” He embodied a swag that was anything but humble and ordered everyone else to sit down. And they did… because they had no choice. King Kendrick reigned in 2017, and it all started with “HUMBLE.” -Vincent

2. “The Story of OJ,” Jay-Z

2017 saw the re-emergence/rebirth of the Jigga Man himself, Jay-Z. After a whirlwind three year period, which included the infamous 2014 MET Gala elevator incident, and Beyoncé’s revelatory album, LEMONADE, the world had long-awaited a musical response from the rap legend. The subsequent album, 4:44, resulted in a conglomeration of some of his most detail oriented, thematic, and introspective works yet. In the single, “The Ballad of O.J.”, Jay uses the plight of disgraced former football star O.J. Simpson as a metaphor for capitalism, and the financial status of blacks in America.

In the song, he muses about financial responsibility among black people, and more so the need for blacks to work more towards investing in a financial legacy, and in black commerce, as opposed to the instant gratification of purchasing materialistic things, all while saying true to one’s roots, and refusing to sell out. The track masterfully samples the Nina Simone classic, “Four Women”, in which the phrase, “my skin is black” hauntingly echoes all throughout, and the accompanying video, which was shot in the style of a classic Looney Toons short, is one of the best visuals I’ve seen in a really long time. -Jordan

1. “Bodak Yellow” Cardi B

Everyone loves a a come up, and Cardi B fulfilled that story line fully and effortlessly. “Bodak Yellow” is catchy and motivational, simple as that. She says it all, “I don’t dance now, I make money moves.” With the first #1 by a solo female rapper in 19 years and 2 Grammy nominations, it’s safe to say she makes a lot of money move. -Andrew

What makes “Bodak Yellow” a special song is not about the song itself but its performance. The fact that a Rap single by a female was able to dethrone a powerful Pop star like Taylor Swift and her lead single on the charts in 2017 is a victory for the genre. And it was definitely needed. -Mario

At some point in 2017, I found myself hearing about Cardi B incessantly but not knowing who the hell she was. And then I heard “Bodak Yellow.” And then I knew why. Unfortunately, it’s rare that a worthy female rap star comes along and has success. Fortunately, Cardi B came to see that changed. -Vincent

I have never wanted to see someone win so badly as I did for Cardi B. From stripper, to Love and Hip Hop star, to a genuine rap powerhouse in only a few years; Cardi reminds me of that friend that you watch struggle until they find their glo’ up. Should Bodak Yellow be praised for it’s lyrical prowess? Is Cardi a very technically sound rapper? No. But there’s a undeniable charisma that this Bronx bred artist has that is simply infectious. Make ya money moves, sis! I stan. -Jordan

Talk about a come up, glo up, #Goals, which ever way you see it, Cardi B is the 2017 definition of all that. Without featuring any other artists, her crossover smash hit “Bodak Yellow (Money Moves)” became an anthem that managed to make her the first female rapper to top the Billboard Hot 100 since Lauryn Hill’s ’98 hit “Doo Wop (That Thing).” If thats not a money move, just think Cardi’s rise to the top saw previous stints like being a cast member of Love & Hip Hop: New York. Cardi B’s music career has quite easily become the biggest success story of any member from all incarnations of Mona Scott-Young’s Love & Hip Hop franchise. No wonder why Cardi gave Scott an epic shoutout, alongside her own bragging rights on her debut single. -Keenan

The post The 19 “97” Singles of 2017 appeared first on THE 97.

Deliberated on by our team of writers, we’ve ranked the top albums of 2016 that we loved. If you’re familiar with the way we review songs/albums, then you know that “97” is our top score, and not because we’re featuring 90s bands in our list. We love every album on this list, ranked them according to how much, and weighed in with a few thoughts about each. Please feel free to comment with your thoughts, as well! We’d love to hear from you and engage in any discussion. Now, without any further ado…

EST 1997’s Top Albums of 2016: The 19 “97” Albums

19. VIEWS, Drake

There’s often a sense of contradiction when an artist’s biggest album is their weakest material wise, something that makes the era bittersweet in retrospect. That is the case with VIEWS, an album that could’ve been so much more if only Drake had bothered to trim it down a bit and maybe explore with new lyrical ideas and some new sounds. As it is, it’s a safe album that works fine as a collection of tracks that are meant to launch him as a superstar. There are more Pop-leaning songs than the usual but the ones that are not meant to be singles don’t really bring anything new to the table, except when they sample some throwback classics. Perhaps it works best as someone’s first introduction to Drake and his music. As a fan, unfortunately it hasn’t exactly been his best work to listen to. Still, there’s no denying its impact on music and pop culture in 2016. Highlights: “Controlla,” “Keep the Family Close,” “U With Me?” –Mario

18. Smoove Jones, Mýa

Since her last successful album, 2003’s Moodring, Mýa languished through the pangs of the music industry, grappling to find her place. Eventually, she did – via her own Independent label, like so many other artists. The positive side of being Independent is the creative freedom and control, but of course that comes with a lack of promotion and access to big-name producers. Smoove Jones indeed suffered from a lack of promotional awareness, but creatively it is a cohesive, solid body of work and a return to form for one of R&B’s brightest stars. Smoove Jones seemingly picks up where Moodring left off, with Mýa sliding through many different styles of R&B, throwing it back as suggested by the album’s old school radio themed storyline of sorts. Whether you want a sassy bop (“Spoil Me”), a love-making groove (“Afta Glow Show,” “Coolin’”) or a self-proclaimed “Ol’ Skoo’ Joint” (“One Man Woman,” “Circle of Life”), Smoove Jones radio host Mýa has you covered. Don’t hesitate; just tune in. Highlights: “Afta Glow Show,” “Elevator” –Vincent

17. “Awaken, My Love!,” Childish Gambino

Seriously, is there anything that Donald Glover, can’t do? With a starring role in the hit show FX Atlanta, an upcoming feature in the future Star Wars films, and this latest offering released under his alter ego, Childish Gambino, Glover is the epitome of the modern day renaissance man. Everything from his third studio offering, “Awaken, My Love!,” from the content of the album, the live instrumentation, to the cover art is simply mystifying. In Awaken!, we see Gambino take a complete departure from his earlier hip-hop work in lieu of a true funk record. Calling on the spirit of Prince, with clear derivatives from P-Funk pioneer George Clinton, Soul pioneers The Isley Brothers, and Earth Wind and Fire, and Rock god Jimi Hendrix, Awaken! was created for the eclectic listener with a nostalgic soul. Like Bruno Mars did with 24K Magic, Gambino managed to take influences from these aforementioned artists and create his own unique sound; all while managing to sound current. Highlights: “Redbone,” “California,” “Boogieman” –Jordan

16. No Hard Feelings, Dreezy

Dreezy did something most other artists this year could not: she compiled a consistent body of work with a plot. Her debut album No Hard Feelings showcases the dissolution of one relationship while another one begins to blossom. She does double duty throughout, striking an ideal balance of singing (without auto-tune, by the way), and spitting nothing short of straight fire. Whether she’s firing off warning shots on the menacing “Spazz”, lamenting an incomplete relationship on “Wasted” (“I’m only on yo mind when you wasted”) or declaring superiority on “Invincible” (“You can imitate it but no bitch you cannot replicate it”), Dreezy proves herself to be versatile, formidable, and powerful figure in hip-hop. Highlights: “Spazz”, “Wasted”, “Invincible” –Andrew

15. Milestone, Chrisette Michele

Indeed, Chrisette Michele’s Milestone comes at a monumental moment for her. She now heads her own Independent label, and is newly engaged. As a result, her sound is more refined, and more liberated, too. For years, Chrisette seemed to be boxed into the realm of adult-leaning contemporary R&B, but with Milestone, her sound is a bit more youthful. Lead single “Steady,” for example, is a complete and total bop; as is the celebratory “Black Girl Magic.” The ballads are still there, though. Look no further than “To the Moon,” an ode she wrote to her fiancé, after they became engaged. On Milestone, Chrisette came into her own, and that’s probably because she is now her own boss. One thing remains the same though: a phenomenal (and meticulously-trained) voice that makes her a diamond in the R&B crowd. Milestone, for sure. Highlights: “Steady,” “To the Moon,” “My Body” –Vincent

14. The Human Condition, Jon Bellion

If his ElectroPop sleeper hit “All Time Low,” (which could be the sole song to describe 2016) has yet become a staple for you, Jon Bellion and his music is soon to. Not only is his debut studio album, The Human Condition, extremely diverse, combining Hip Hop, Pop, ElectroPop and beyond, Bellion co-wrote and produced the entire album! Long Island, New York native Bellion utilizes his singing and rapping skills to create an album that sees him tell introspective stories about relatable life experiences us humans live daily. On The Human Condition Jon Bellion offers a taste of nearly everything; from throwback Hip-Hop (“New York Soul” Pt. II) head bopping-radio Pop tunes (“Overwhelming,” “All Time Low”) introspective, Gospel-infused, Alternative R&B (“Hand Of God” Outro) to soundtrack oriented Pop (“80’s Films,” “Fashion”). Mike Posner returned to the music scene this year, but it seems like Jon Bellion created the album he should have. Joining fellow breakout act Twenty One Pilots couldn’t have been a better pairing, their Emotional Roadshow World Tour seems like it’s going to be a great live show filled with tons of future hits we’ll hear throughout 2017. Highlights: “Overwhelming” “80’s Films” “All Time Low” –Keenan

13. The Altar, Banks

Banks proved that second time’s the charm with The Altar. While her first album Goddess was a great body of work, The Altar is concise in length. This abbreviated length finds her both more adventurous musically, while more focused lyrically. Don’t mistake though, she’s as dark and angsty as ever, especially on “Fuck With Myself”. One surprising highlight is the beautiful and unapologetic “Lovesick,” where she begs “please call me your baby, baby, baby”. If Banks’ The Altar was intended to evoke praise, then consider it a success. Highlights: “Gemini Feed,” “Lovesick,” “Fuck With Myself” –Andrew

12. Mind of Mine, ZAYN

Zayn Malik quit One Direction in 2015 to live the life of a normal 22-year old. Releasing Mind of Mind, his chart-topping debut R&B album, he has clearly achieved just that. The normal 22-year old life according to Zayn is one where he can freely belt about fucking, which, snark aside, can be truly liberating, indeed. Central to his desire to come off as “normal” is being able to serenade the lady(ies) of his affection – the same ones he previously sang to in chaste terms while in One Direction – in loving, lovely tones smothered in falsetto that evokes lust in all the right ways, as in the two-punch album stand-outs, the gorgeous midtempo slow jam, “She,” which beautifully flows into “Drunk,” an exquisite, 90s R&B-evoking ode to the joys of intoxication – never had a song about falling down from being so smashed sounded so uplifting. The lengthy track list evidences a mind that is not fully made up, but it’s still a stellar display of what lies ahead for the former One Directioner. Highlights: “Drunk,” ‘She,” “Rear View” –Patrick

11. Ology, Gallant

While we awaited the return of Maxwell (which ended up arriving this year as well), Gallant debuted a stellar body of work in Ology. His voice and vocal tendencies are pretty much where the Maxwell comparisons stop though. The album is dark, moody, and self-reflective, starting with the internalized “Talkin’ To Myself”. The album is urban rooted, but has a number of alt-pop and even electronic tendencies. Take “Weight In Gold”, where bluesy guitars fuse with EDM-esque drops to create one of the most memorable songs of the year from a debut album. Gallant’s ability to let his passionate vocals captivate and shake your soul is a unique way. Highlights: “Weight In Gold,” “Talkin To Myself,” “Chandra” –Andrew

10. Mad Love, JoJo

It has been ten long years since JoJo released an official album, but Mad Love. proved to be worth the wait. JoJo did a lot of growing in 10 years, in more ways than one, and that growth is ever-present throughout the album. From her vocals, to the lyrical content and the range of sounds, Mad Love. is a reintroduction to an artist that deserves, well, mad love. The opening track “Music.” is gut-wrenching, the singles “Fuck Apologies” and “FAB” are both sassy and commanding, the title-track and soaring ballad “I Am” are soulful vocal masterpieces, mid-tempos “Wreckless,” “Honest” and “Edibles” drip in sensuality and honesty and truly show how much she’s grown, while songs like “Clovers” and “Good Thing” showcase JoJo’s ability to move a dance floor. There’s a song for every mood and stage of life – fittingly so, considering it’s an album that’s been 10-years-in-the-making. Let’s hope the wait for the next one is a bit shorter. Highlights: “High Heels.,” “Music.,” “Honest.” –Vincent

9. Joanne, Lady Gaga

Lady Gaga ditched the costumes and the dancefloor to bring us into the world of Stefani Germanotta pre-fame. The world of a Pop singer/songwriter with a passion for acoustic songs and Rock ‘n’ roll. That’s what Joanne is all about: showcasing the real, honest Gaga. Dedicated to her prematurely deceased aunt, the album is a collection of songs that retain most of Gaga’s writing sensibilities and taste for metaphors, while pairing them with organic productions and live instruments. With influences spanning from 70s soft rock, to Country, doo-wop and early 80s R&B, Gaga as an artist has created an album that allows her to finally shine bright without being suffocated by the heavy beats and the attention seeking costumes. Highlights: “Million Reasons,” “Diamond Heart,” “Dancin’ in Circles” —Mario

8. ANTI, Rihanna

When you’re an artist who, year after year, releases gems like “Umbrella,” “Rude Boy” or “Diamonds,” releasing an album with a Tame Impala remake, a 1-minute ode to smoking weed, a couple of FKA Twigs-sounding sex jams, and with only the vaguest notion of what you want your album to sound like, it unnerves people who expect another Sia chart-topping pop ballad. But ANTI seems built to overcome its initially alienating-inducing sound, with tracks like “Work” that sounds about as much like any popular song today. ANTI’s second single, “Kiss It Better,” brings out Rihanna’s greatest instincts for flawed singing: Belting lines where her rasp complements rather than hinders the song.

This can’t be said of the album’s other ballads that capitalize on her charming lack of control as in “Love on the Brain” or “Higher.” Those songs are probably calculated to sound exactly the way they do – imperfect. Even those fiercely opposed to lazy guitars-and-vocals, though, will be charmed by ‘Never Ending’, and find solace in its tenderness in an album that seems to repel it. Like most of the production on ANTI, Rihanna’s attempt at being a serious artiste seems unfinished. It’s not an album that you’d embrace at first listen; with ANTI, she serves up this album that is by turns unpredictable and sultry, infuriating and mesmerizing. Highlights: “Kiss It Better,” “Never Ending,” “Same Ol’ Mistakes” —Patrick

7. 4 Your Eyez Only, J. Cole

J. Cole followed up 2014 Forest Hills Drive with yet another unexpected album release, again with no singles or features. Well, sort of. 4 Your Eyez was prefaced by two singles that were not on the album, but he certainly got people talking. 4 Your Eyez Only continues the storytelling motif of Forest Hills Drive, in that the album takes the listener on a journey. This time, the story is not his own, with the exception of the pair of “She’s Mine” Parts 1 and 2 – the latter on which he revealed he is now a father of a baby girl. Ultimately, though, 4 Your Eyez Only is a story for a different young lady: the daughter of his friend who was killed at the age of 22. The friend’s story runs parallel in comparison to Cole’s own story.

The album is yet another session of heavy, thought-provoking lyrical content. By now, however, it has been pretty much established that Cole is a skilled lyricist. What is new and notable about 4 Your Eyez is that he is the sole composer of all of the album’s 10 tracks — and there are no musical samples, either. Cole built these tracks from the ground up, which isn’t something that can be said for most his peers. Y’all need to stop underrating this man! Please throw all the GRAMMY’s at him in 2018. Highlights: “Neighbors,” “4 Your Eyez Only,” “For Whom the Bell Tolls” –Vincent

6. Starboy, The Weeknd

The Weeknd was back with one of the best albums of this year, if only for the production work. With impeccably crafted Pop smashes, Starboy feels like the natural evolution of the transformation Abel started with his last album, Beauty Behind the Madness. The level of success he’s obtained has prompted him to further explore his newfound mainstream sensibilities and mesh them with the moody R&B sound he debuted with, working with producers such as Daft Punk and Max Martin without ever feeling forced. The results are exquisite experiments in throwback, but progressive Pop numbers that are sure to capture the public. The Weeknd has now completely transitioned into a Pop star, but he’s definitely earned it for his work first and foremost. Highlights: “Secrets,” “Sidewalks,” “Die For You” —Mario

5. blackSUMMERS’night, Maxwell

“In the age of immediacy, the idea waiting seems hopelessly outdated. But that said, there’s something to be said about anticipation…” – Maxwell.

If there’s anything that can be said about Maxwell, it’s that he will definitely make you wait for an album. Similar to the seven year gap between 2001’s Now, and 2009’s BLACKsummers’night, Maxwell held on to the second installment of his “blacksummers’night” trilogy for six years, and while the musical climate of R&B has changed drastically in that time, Maxwell proved that he was worth the wait. As always, Maxwell’s work reflects his endless pursuit of love, and his need to relate to his audience through that journey. With songs that showcase the varied stages of relationships, such as infatuation (“1990X”), trepidation (“Fingers Crossed”) harmony, (“Lake By The Ocean”), anger, (“Gods”), and finally cessation (“Lost”), Maxwell includes us in the story, and makes us look forward to the next chapter. Highlights: “Gods,” “Lost,” “Lake By the Ocean” –Jordan

4. 24K Magic, Bruno Mars

Of all the albums on the list, this is the one that you’ll party to the most. On Magic, Mars takes his cues from some of the pioneers of the modern R&B sound. Whether it comes from Teddy Riley-esque New Jack Swing, (“Finesse”), James Brown tinged funk, (“Perm”) or hip-hop reminiscent of Jermaine Dupri’s prime, (“That’s What I Like”), 24K Magic will make you sweat, sway, and swoon. On Magic, Mars never takes himself seriously, almost to a fault. Lyrically, the album is far from innovative, however, the innovation lies in Mars’ ability to take nostalgic sounds and create material that sounds current. In a time where tensions are globally high, 24K Magic serves to be a fun, albeit brief, distraction from the madness. Highlights: “Chunky,” “Calling All My Lovelies,” “Finesse” —Jordan

3. Glory, Britney Spears

It had seemed that, since 2007, Britney Spears’ creative direction was more or less on autopilot. Her music, despite the quality track (and hit) here and there seemed impersonal and vapid. Her vocals were heavily filtered and computerized. It was all very calculated. The once Princess of Pop seemed to had lost her “pop.” However, Glory changed all that, reintroducing the world to an bubbling Britney filled with personality, depth, emotion and enthusiasm, representing the most consistent and organized body of work from Britney Spears since at least Femme Fatale, if not Blackout. The set begins with an “Invitation,” welcoming the listener back in the musical world of a very present and vibrant Britney Spears. This Britney didn’t even rely on her constant go-to hit makers (Max Martin and Dr. Luke), but sought a more subtle approach. She felt hungry for more once again.

Britney Spears: The Pop Icon

Jumping genre-inspirations but never leaving the realm of Pop, Glory reminds us why Britney Spears is a Pop Icon. It’s well-produced with light, digestible lyrics, and that signature Britney voice. No matter how produced they are, for once she delivers worthy vocals that don’t make you wonder why anyone gave her a singing contract in the first place. Songs like “Man On The Moon” and the surprising all-French “Coupure Électrique” showcase a chill side of Spears, while the majority of the album is upbeat and club-ready. “Slumber Party” is the standout, but the erratic “Clumsy,” classic-Spears “Do You Want To Come Over” and church-revival-esque “What You Need” all bring out the best in Britney. The album works because it is what her die-hard fans wanted from her: some Dance, some Pop, and some Urban Pop. If her beloved In The Zone (2004) and Blackout (2007) had a child, Glory would be it! Yes, Britney’s still got it, and glory, we should rejoice. Highlights: “Change Your Mind (No Seas Cortes),” “Just Like Me,” “Better,” “Moodring” –Vincent, Andrew, & Keenan

2. A Seat at the Table, Solange

It’s been three months since A Seat At The Table dropped, and Solange STILL has us shook. It seems as though the element of surprise is one that the Knowles sisters are fond of. The only other common element between the sisters’ albums (aside from being R&B) is that they celebrate Blackness. A Seat at the Table is a masterclass in conversing about race relations in 2016. To summarize our in-depth review, Solange pervaded the inner most thoughts of today’s modern day Black woman, and offered up soul, sass, and self care. Literally.

From “Weary,” to “Mad,” to “Don’t Touch My Hair,” and “F.U.B.U.,” Solange tackles topics that very much needed to be brought to the table. Woven together by interludes featuring Master P., Tina Knowles-Lawson, and Matthew Knowles, the album is flawless and holds the potential to be (and probably already is) the springboard to an array of think-pieces or, hell, a course in Black women’s rhetoric. Inspired largely by the poetry of Claudia Rankine’s Citizen, Solange creatively and concisely addresses issues most are afraid to. Fearless is something she has always been, and with A Seat at the Table it has finally paid off, earning her a #1 album and widespread critical acclaim. There isn’t anything left to say about it, other than constant expression of gratitude for such an amazing body of work. Let’s hope Solange is slept on no longer. Highlights: “Don’t Touch My Hair,” “F.U.B.U.,” “Mad” –Jordan & Vincent

1. LEMONADE, Beyoncé

Where do you even start with LEMONADE? Beyoncé began 2016 in her newfound, truly trolling fashion — by teasing the hell out of the Beyhive with random moments and elusive unconfirmed rumors. She dropped a single that pissed off White America (“Formation”), proceeded to perform it at their Almighty Superbowl, hid the song on YouTube and Tidal … and disappeared. Nobody knew what the hell was going on and then April 23rd came around and Beyoncé decided to debut a visual album on HBO, because why not? LEMONADE was inescapable, dominating the music world and pop culture. It’s filled with bites that can be hashtagged, thrown on shirts, and even used in daily conversation. It’s the perfect album for a social media-driven market.

A Concept

What makes LEMONADE interesting is surely the visual component of the project, but it’s definitely also its nature as a true concept album; an epic. Opening with “Pray You Catch Me” and its Greek chorus-like chants, the album starts as a tragedy: the tragedy of betrayal. The suspicion starts to make its way into the mind of the woman who finds her husband is cheating. From then, the songs are a chronicle of the relationship going south, reaching the lowest point only to resurface until its happy ending. The suspicion turns into a warning (“Hold Up,” “Don’t Hurt Yourself”), it grows into nonchalance with “Sorry,” then becomes a celebration of female independence and work ethics (“6 Inch”). The woman starts then a process of self-reflection and self-doubt, exploring the roots of her distrust towards men (“Daddy Lessons”) and questioning her own role in the relationship (“Love Drought”).

The latter part of the album is occupied by a gradual, growing sentiment of forgiveness, culminating in the reconciliation of the beautiful “All Night.” Amid the story of lost and regained love, Beyoncé also took the time to make a couple of social statements with “Freedom” and “Formation,” positioning them at crucial points in the album and tying them with the main theme by also making the film a social statement. It also comes as a tremendous surprise that there’s still some joy to be had from listening to songs like “Don’t Hurt Yourself,” “Freedom” and “Formation.”

Genre-Less

We’ve never truly seen a genre-less Beyoncé… until now. On LEMONADE, she collaborated with musicians whose artistry she appropriated for her own nefarious purposes – to show every living human that she truly is a grown woman who can do whatever she wants. If 2016 showed us one thing, it’s that Beyoncé is comfortable tackling any genre out there, similar to her idol, Michael Jackson. Like the King of Pop, King Bey slayed in varied, new musical waters, infusing genres from country to rock into her native R&B and pop. If she wanted to, she could become a legitimate Rock star or a Country crooner, too. Through it all, she tells a story that, whether true or false, runs its course throughout the album with an unexpected, yet happy ending; she weaves a fantastical yarn of betrayal, hurt, anger, then forgiveness.

For Women

Though she unleashed a flood of speculation about her marriage thanks to said storyline, LEMONADE is not only the story of Beyoncé and her marriage, but the story of women in general (specifically, Black women) their psychology, their feelings and their often troubled universe. Beyoncé, as a role model for many, captured the essence of being a Black woman in 2016 and that’s how she was able to make THE album of the year. Nothing has come close to this level of depth and power, even in her own discography.

You wouldn’t think anyone would ever be capable of putting Beyoncé in an emotional state where she is made to feel like someone’s inferior, but in this tight piece of work, she succeeds in letting us think she can be. Of course, in true Beyoncé fashion, nobody knows what the truth is. Indeed, it is her secrecy that makes her so captivating. LEMONADE was a seeming unveiling of her private life, thwarted by the fact that she refuses to comment on it. Beyoncé’s control over her personal narrative is of equal parallel to her control of the music industry. Beyoncé holds the reigns, and we’re all just waiting on her to quench our thirst with her next concoction.

Until then, we’ll be sipping LEMONADE. –Staff

Listen to our Spotify playlist featuring our favorite highlights from the top albums of 2016 below. For LEMONADE, you’ll need TIDAL.

The post The 19 “97” Albums of 2016 appeared first on THE 97.

At EST. 1997, we chose the 19 “97” singles of 2016, which simply means the 19 best singles of 2016. If you’re familiar with the way we review singles/albums, then you know that “97” is our top score. We love every song on this list, ranked them according to how much, and weighed in with a few thoughts about each. Please feel free to comment with your thoughts, as well! We’d love to hear from you and engage in any discussion.

EST. 1997’s Top Singles of 2016: The 19 “97” Singles

19. “Come Down,” Anderson Paak

If you don’t know who Anderson Paak is, please leave and go to your Apple Musics or your Spotifys or your Tidals and listen to him right now. Nah, for real. RIGHT NOW. You’re missing out if you don’t. Anderson Paak is the free and wild child of 2016 R&B, with a raspy timbre and expert usage of instrumentation to match. Following a stellar year in which he was heavily involved with Dr. Dre’s Compton album, Paak seems to have stumbled upon the cusp of a full on commercial breakthrough. In “Come Down”, which stems from his second full length studio effort Malibu, Paak utilizes a deep bass line and a crisp usage of the high hat to carry the track the whole way through. In terms of lyrics, the track is a feel good anthem for being lack of a better word, lit. Paak’s performance of Come Down at the 2016 BET Awards was a standout of the night, and served to put him on a lot of people’s radars, and I am ecstatic to see that his time for greatness is truly drawing near. —Jordan

18. “Chantaje,” Shakira featuring Maluma

Continuing with the trend she began after her debut English language album Laundry Service in 2001, Shakira is seemingly following up her last album, the eponymous and English-language Shakira., with another Spanish-language album to be released in 2017. “Chantaje” is the lead single from that set, featuring Colombian sensation Maluma. The song is a return to form for Shakira, recalling her 2005 collaboration with Alejandro Sanz, “La Tortura,” in its reggaeton-inspired, danceable-duet nature. The song is intoxicatingly catchy and oozes sex appeal; you certainly wouldn’t notice that Shakira is 17 years Maluma’s senior, either. Perhaps that is the “Chantaje” they sing of… (chantaje translates to blackmail). Their chemistry is fierce, and the song is an infectious smash because of it. –Vincent

17. “Twist,” Nathan Sykes

Nathan Sykes may not be the former boy band heartthrob getting all the attention in 2016, but believe this: His voice is a force to be reckoned with. He abandons the dance pop of his former boy band The Wanted and goes full-blown retro-soul on this foot stomper. It could fit in fabulously with the upbeat 60’s guy group classics, but Sykes shows that his voice can carry the whole show solo. —Andrew

16. “Starboy,” The Weeknd

After obtaining success on the Pop and international charts, The Weeknd enlisted Daft Punk for the lead single and title track of his new album. “Starboy” is a thumping mid-tempo with Electronic influences that finds him reflecting on his newfound stardom, the beginning of a new era in his artistry and the possible negative consequences of this new journey. While it appears as a catchy cute track, it’s actually a unique song in the current Pop landscape for its theme and dark imagery. But that’s also exactly what makes Abel fascinating and mysterious, despite now being a Pop star. —Mario

15. “Don’t Let Me Down,” The Chainsmokers featuring Daya

Move over Calvin Harris, Major Lazer, and Zedd. The Chainsmokers have finally arrived as a new pair of EDM kings. If you remember back in 2014, the same duo created the nearly ear jarring, but viral smash “#SELFIE.” Over the years since The Chainsmokers fine-tuned their sound, and found something that works for their genre and more importantly radio. Explosive drops perfect for raves mixed with simple relatable lyrics was key; not only to keep them in constant rotation, but helped solidify themselves and Indie-Pop newcomer Daya as Top 5 artists. The two newbie acts came together and presented their best work to date. “Don’t Let Me Down” was inescapable in 2016, and became a massive hit. “Down” succeeded the Top 10 hit “Roses” which began the new string of Chainsmokers hit music. The Daya collabo was also the perfect setup to their followup summer smash hit, “Closer.” A hit that managed to out peak the former, and top the Hot 100 for an impressive 12 consecutive weeks after “Don’t Let Me Down,” finally decided to retreat. Drew Taggart and Alex Pall seem to have finally found the perfect formula for EDM Pop success. 2017 looks bright for the duo! —Keenan

14. “Hymn For the Weekend,” Coldplay featuring Beyoncé

A sign of a great song is when it can be transformed from one sound or genre to another. That’s exactly what Coldplay’s “Hymn For The Weekend” was; a great song, with an even better remix thanks to Seeb. With lyrics “feeling drunk and high” it made perfect sense for a rave-ready EDM remix. Seeb adds additional pulse to the alternative jam, which features vocals by Chris Martin’s personal friend Beyoncé, and tackles the original vibe Martin desired for the jam. Usually known for their melancholy music, it was nice to see Coldplay try a new more experimental sound on “Hymn,” truly showing why they have managed to become a premiere Rock act due to classic hits like “Speed Of Sound” and “Viva La Vida.” If you want to please a diverse crowd or bop to something (vibey cue original, dancey cue Seeb remix), add this to your playlist. —Keenan

13. “Death of a Bachelor,” Panic! At the Disco

My friend put me on to this song over the summer, and I’ve been completely addicted ever since. Mix one part Frank Sinatra bossa nova and one part Beyoncé’s “Drunk In Love”, with the angst of Panic! At The Disco’s early days, and you have this brilliant composition. It’s a complete departure for the Brendon Urie-driven vehicle, but his admiration for Sinatra and contemporary pop sensibility create the perfect genre fusion. —Andrew

12. “Pillowtalk,” ZAYN

“Pillowtalk” is a great showcase of what Zayn Malik can do solo, without any of his verses being countered by former bandmate Niall Horan’s underwhelming vocals. 2016 paved the way for Zayn to make baby-making jams that are “100% honest“, and “Pillowtalk” served as the perfect conveyor of that honesty. The “alternative R&B” debut single is sung with singular passion that the video comes off as an affront to that passion, as Zayn listlessly acts out “pissing off neighbors” as a result of all the pillow-fighting, -talking and fucking. Nonetheless, “Pillowtalk” drips with all the charisma and horniness that Zayn had been wanting to show as his god-given right since stepping on to the stage of X-Factor. The reckless behaviour in which he engages in is in stark contrast to the discipline in which he sings it; in his former life as one-fifths of a boy group, that would have been shocking. Freed from all that, we get to see the artist he’s always wanted to become: a bearded, grown-up crooner with serious R&B chops. —Patrick

11. “Million Reasons,” Lady Gaga

The current single from Joanne, “Million Reasons” is also arguably Lady Gaga’s best ballad thus far. What makes it special is its incredible honesty and the fact that, for once, she wrote a song that many can relate to. The lyrics are simple and clear, there are no innuendos, nothing to decipher here. The structure and the instruments used allow her to showcase her singing abilities, to bare her soul and every live performance she’s done of this song has been unique because Gaga really wears her heart on her sleeve. You can really feel every bit of the emotion she’s put into it. —Mario.

10. “Everybody Dies,” J. Cole

“GODDAMN GODDAMN GODDAMN!” This was my genuine reaction to the surprise track, “Everybody Dies”, by lyrical master J. Cole. 2016 nearly came and went without a peep from Cole, until late November when “Dies” and the Kanye West pointed “False Prophets” leaked online. Jermaine, why you gotta ether everybody like that?! Now, as far as diss records go, this one takes a stab that all who fill up rap’s current musical landscape. In a market that is oversaturated with talentless, dispassionate, cookie cutter hacks, Cole takes everyone to task in hopes that his art, and the art of the true rap performer shines through. Instrumentally, the song is simple, and very reminiscent of Nas’ Illmatic era. In this abbreviated two minute track, Cole’s message is quite clear: he’s back, and everyone else has to go. –Jordan

9. “Fuck Apologies.,” JoJo featuring Wiz Khalifa

“Fuck Apologies.” officially reintroduced JoJo to the airwaves once again. It was a daring choice to release a song with profanity in its title, but, well, JoJo was unapologetic. The talented vocalist and songwriter has a lot to say and “Fuck Apologies” is a symbolic anthem for her struggles over the last ten years with the music industry. For all that she’s been through, she has no regrets. “Fuck Apologies.” was the perfect reintroduction because it represents JoJo so well. She is sassy, confident, honest, raw, and delivers it all with powerful, skilled vocals. The catchy hook shows her pop sensibilities, while the hard urban beat, soulful vocals and guest feature from Wiz Khalifa remind us that her heart lies in R&B and hip-hop, straight from the Mariah Carey school of Pop. –Vincent

8. “24K Magic,” Bruno Mars

Any song that can incorporate influence from Roger Troutman and Zapp is an automatic BOP. I mean for real, Bruno was serving some serious Dr. Dre, Death Row Records circa 1995 realness on this one. The song is downright infectious, and a much needed light hearted offering, served in the midst of more self-introspective work from other artists of today’s musical landscape. While the feminist in me isn’t thrilled regarding Mars’ slightly misogynistic lyrics on the track, you honestly can’t help but hit a two step with a drink in your hand to this one. Sorry morals, you lose today. Anyway, the song is a great opening to a smartly done album, and most definitely a standout on the body of work as a whole. TENS! —Jordan

7. “Kiss It Better, Rihanna

If there is a true casualty to the ANTI’s messy release, it’s the gorgeous, smoldering baby-making slow jam, “Kiss It Better,” arguably one of the most underrated singles of the year. “What are you willing to do? Tell me what you’re willing to do” Rihanna inquires on the chorus of this unconventional earworm. With a hazy and strange guitar-driven instrumentation, there are so many reasons the song shouldn’t work, but it does, and so well. The layered vocals and catchy lyrics make it an irresistible standout from the already unique ANTI. –Andrew & Patrick

6. “Don’t Touch My Hair,” Solange

Solange introduced A Seat at the Table with two singles, “Cranes in the Sky,” and “Don’t Touch My Hair.” The song’s title is an extended metaphor for one’s identity being questioned, invaded and appropriated. For Solange, that means her identity as a woman of color. For Black Americans, hair is a controversial topic, and one that White people like to touch on; literally and figuratively. “Don’t touch my pride,” Solange sings, warning those who seek to appropriate or question her identity to reconsider. As a later track on A Seat at the Table chides, some things are not for “you” – not for everybody. “Don’t Touch My Hair” is a statement that needed to be proclaimed, and major props to Solange for bringing it to the forefront by promoting the song not only as a single, but by performing it on Saturday Night Live, as well. It’s as though Beyoncé’s call to Black women to get into “Formation” was answered by the best possible responder: her own sister, who was able to go much deeper and further, taking very specific conversations… to the table, if you will. —Vincent

5. “Into You,” Ariana Grande

The second single off Dangerous Woman starts with a pulsating beat and sultry vocals by “princess-turned-bad bitch” Ariana Grande. It builds up to a euphoric pre-chorus where Ariana puts into excellent use her skill of embodying the persona of someone left hanging by a man whom she always courts back by her sensual vocals. She emotes with precision that all too familiar feeling of longing directed at people who just won’t make a move. Ariana is very much in her element here and her emotive vocals saves this beat-driven, infectious slice of dance-pop from being just a product of Max Martin’s lab, and turns it into one of her finest moments. In an album filled with high profile guest verses, it’s quite telling that she stands out when left to shine on her own. The very sly, very cute nods to Elvis and Mariah in the chorus don’t hurt, either. —Patrick

4. “Sorry,” Beyoncé

In the context of LEMONADE and its story arch, “Sorry” represents the moment the wife has stopped caring about her husband’s sexcapades and decides to leave and not look back. In Beyoncé’s world, it was the song that created the “Becky with the good hair” controversy that had fans, haters and the tabloids talking and speculating for weeks. That’s not to say the song should be reduced to that, because it deserves more attention for being one of the most commercially viable songs on the album, first of all. It’s catchy, it’s empowering and the music video has Serena Williams bopping and twerking like her life depends on it. However, the choice to include Serena is likely deeper than that. Serena is the ultimate unapologetic Black girl, after years of being made to feel out of place in, as someone once said, “the most Lily White” sport there is. Serena’s inclusion was indeed a political statement. If that isn’t reason enough to love it, then you’re simply not a fan. And I ain’t sorry to make that clear. —Mario & Vincent

3. “Slumber Party,” Britney Spears, featuring Tinashe

Catchy is an understatement to describe “Slumber Party.” From the first listen of Glory this song stood out as something special (and hearing Britney say “fuck” is always an added bonus). It could have easily been buried under Glory’s many stand-outs, but, instead, it was chosen as a sensible follow-up to the sultry, low-key first single “Make Me.” The assist from the underrated Tinashe adds a slight but refreshing splash of sultriness. With slinky, sensual verses and upbeat hooks, Britney shines strong here. Tinashe adds a welcomed layer of vocal diversity, meshing well with Britney’s. The pair took it the next level in the fantastic video, only adding to the song’s overall wow-factor. –Andrew & Patrick

2. “Cranes in the Sky,” Solange

When speaking of “Cranes in the Sky,” Solange recounted that it is actually a song she began in 2008, but finished in 2016 at the end of her sessions for A Seat at the Table. Now, “Cranes in the Sky” is the nucleus of the album. The mellow groove is R&B perfection that encompasses Solange’s style in a cool four minute jam. The jazzy vibe, the soft vocals and the lyrics all work together to create an ethereal and captivating track. Lyrically, it is a thematic focal point to which all the tracks go back to: feelings of pain as a result of being rejected and outcast; it is this struggle that is the focus of the album as a whole.

There’s nothing particularly catchy about “Cranes,” but each of these elements contributes to making it as great as it is and that’s the brilliance of the song. The track does what so many great songs do: it transcends the intended specificity of its theme by being a song that is relatable to all. It’s no surprise it is the track that got the most attention when the album came out. There’s really something about it that makes you stop for a moment and realize that you’re listening to an R&B masterpiece. –Mario & Vincent

1. “Formation,” Beyoncé

Who would’ve thought Beyoncé would release the most politically charged, controversial song and video of 2016? When you’re Beyonce, you can either come out of the gate swinging, or come out of the gate slaying. When Beyonce opens “Formation” with “Y’all haters corny with that illuminati mess”, every Queen in the land, male or female raises a hand and emits a collective “YAS”. The biggest statement Beyoncé could make this year was “Formation.” 

Beyoncé has come a long way from her humble Destiny’s Child beginnings where she simply bashed her imaginary male suitors. But oh, how times have changed. With the Black Lives Matter movement in full force, racial and social injustice reaching new heights in the US and her natural disposition towards feminism, it now seems only natural that she would address all of that. The best thing about it is that she did so during Black History Month, with some of the most powerful visuals she’s ever created: the image of Beyoncé sinking on top of the police car alone is goosebumps inducing. With one song, Beyoncé smashed White Supremacy and Patriarchy by celebrating her Blackness and her Womanness without giving a single solitary fuck. “Formation” is the truest expression of black girl magic, giving space not only for the diva herself, but for all Black women to be their magical Black girl selves, and be proud of it, with nary a fuck to give.

Once again King B was able to create awareness and controversy by using her platform and influence to shake the institutions and the masses alike, over possibly the only Mike Will Made It Beat that doesn’t have a drop. Regardless, nae naes were hit, folks were dropped, edges were snatched, and life was gotten. With “Formation,” Beyoncé to solidified her place as a leader in today’s music industry. Hot sauce? Check. Swag? Check. “You know you that bitch when you cause all this conversation,” she drawls as the song closes… a self-fulfilling prophecy. –Vincent, Andrew, Mario & Jordan.

Press play on our YouTube playlist below for the perfect soundtrack to your New Year’s Eve get together, or any occasion, really! So long, 2016!

The post The 19 “97” Singles of 2016 appeared first on THE 97.

At EST. 1997, we chose the 19 “97” songs of 2015, which simply means the 19 best songs of 2015. If you’re familiar with the way we review songs/albums, then you know that “97” is our top score. We love every song on this list, ranked them according to how much, and weighed in with a few thoughts about each. Please feel free to comment with your thoughts, as well! We’d love to hear from you and engage in any discussion.

The 19 “97” Songs of 2015

19. “Confident” by Demi Lovato

With an army of horns Demi asked the question: what’s wrong with being confident? A far cry from “Don’t Forget,” “Confident” saw Demi demand a new, edgier sound, flaunting an assertive attitude and some killer vocals. A perfect fit for radio, “Confident” was exactly that: a definitive track from an artist who has never shied away from expressing herself through her music. It was also nice to see Lovato have a bit of fun of both the title track and lead single “Cool For the Summer” from her latest set. Here’s to you Demi! –Reece

18. “Style” by Taylor Swift

Add together a pulsating beat, semi-risqué relatable lyrics, a simple sweet vocal, and what do you get? Arguably one of the best singles to be released from Taylor Swift’s mega successful, five times platinum 1989 album, “Style.” In the same vein as “Dancing On My Own” (Robyn), and “Meet Me Halfway” (Black Eyed Peas), “Style” straddles the balance between dance anthem and heartfelt ballad perfectly. As a single, “Style” managed to peak at number 6 on the Billboard Hot 100, while peaking at number 1 on various other charts including the Mainstream Top 40. “Style” is sure to be another Taylor Swift hit that will never go out of style for years to come. –Keenan

17. “Levels” by Nick Jonas

Nick Jonas surely shed the remnants of his “Jonas Brothers” image with the release of his eponymous album and the hit single “Jealous,” which placed on our list last year. While too soon for a new album, Nick didn’t want to stop while his name was hot and released a new single, “Levels” to promote the reissue of his 2014 set. The dance floor igniting romp is a short but fiery, and usually leaves listeners desiring a second spin… perhaps the reason for its success? There are levels to this slayage. –Vincent

16. “Circles” by Tamar Braxton

https://www.youtube.com/watch?v=Qnzp6OCmfv4

The sweet doo-wop sound of “Circles” paired with the lyrics about a relationship that doesn’t seem to be going anywhere but down, are the recipe for a classic R&B ballad. The old school sound is definitely a match for Tamar’s passionate delivery and harmonious background vocals, something that not many singers today are good at crafting. “Circles” is easily the pinnacle of a great album, a track that represents its core and had the potential to be the hit it needed to take off, had it been more than a promotional single. At least it isn’t going to go unnoticed. –Mario

15. “Closure” by Jill Scott

Jill Scott has always been a storyteller. It’s what made her famous, and stems from her background as a poet. She introduced us to her new album, Woman, with three singles: a heartbroken ballad, “You Don’t Know,” a subdued, midtempo track “Fools Gold,” and the energetic “Closure,” the standout of the three. It has all the makings of a classic Jill Scott record: it’s sassy, it’s comedic, it’s sexual, it has spoken elements, it has SANGIN’ elements, and, of course, it tells a story. If you haven’t heard it, I won’t spoil it for you by divulging the plot details… just listen and be reminded of how Ms. Scott is a poet at heart; and a badass one at that.  –Vincent

14. “All Day” by Kanye West, featuring Theophilus London, Allan Kingdom and Paul McCartney

Kanye’s debut of “All Day” at this year’s BRIT Awards was met with as much criticism and acclaim as a Kanye West release should. From the masses of UK Grime artists featured on stage, to the live censoring, “All Day” was one of 2015’s most exciting musical events. The song saw Kanye return to a more hip-hop orientated sound, whilst still showing his experimental side. The track features Theophilus London, Allan Kingdom and Paul McCartney on guitar and guest vocals! Still, it is undeniably a banger – let’s hope that So Help Me God (or is that SWISH?) has more of the same! –Reece

13. “Lean On” by Major Lazer and D.J. Snake featuring MØ

Take some of the worlds most popular EDM producers, Major Lazer (which includes Diplo) and DJ Snake, along with Iggy Azalea’s 2014 “Beg For It” collaborator MØ, and you’ll get one of 2015’s most popular dance cuts: “Lean On.” Simple lyrics and an eclectic reggae fusion beat catapulted “Lean On” to the top of the charts. “Lean On,” went on to eventually reach a number four peak on the Billboard Hot 100. Despite not receiving a Grammy nomination, Billboard named it as their pick for “top dance/electronic song of the year.” Add a music video set in India, with more awkward dancing by MØ (see her on SNL with Azalea), and you get a YouTube video that has garnered over 960 million views to date. A must see clip, and must hear song indeed! –Keenan

12. “King” by Years & Years

From the opening spastic progression of chords, it’s clear that “King” is something special. Years & Years exist in a realm similar to Disclosure, but lead singer Olly Alexander sets them apart with his complimenting vocals and layers of vocal takes. The dance-pop/electro/house sound elevates the hauntingly lyrics and catchy “ooohhhh’s” to the point of no return. It’s a quintessential earworm that weaves a dark tale with quotables such as “I was a king under your control.” Crown them. –Andrew

11. “Hotline Bling” by Drake

When “Hotline Bling” was released as a standalone single, no one probably imagined that it would become Drake’s biggest hit to date, amid all of the success he’s had this year with not one, but two albums. The song, which was originally a re-working of D.R.A.M.’s latin-flavored “Cha Cha” was then changed to its final form. The lyrics aren’t even all that when one thinks about it, but the looped catchy beat did all the hard work. Pair that with the most viral music video of the year and you’ve got a huge smash. More proof that Drake can do no wrong. –Mario

10. “When Love Hurts” by JoJo

In every way, “When Love Hurts” leaves nothing to be desired. For JoJo to springboard her major label return (after 9 years!) with this along side two other songs (coining the irresistible term ‘Tringle’), was nothing short of brilliant. It’s catchy and pop, yet the vocals have that soul and power that made JoJo an unforgettable name when she was just 13. Today, she is indeed grown, sexy, and her voice is better than ever. Best of all, despite the time and struggles to release new music under a label, she’s never sold out. She makes the music she loves regardless of whether or not it’ll be a hit. It seems to be working out for her, too – she’s on tour selling out venues across the United States, and is venturing abroad next. –Andrew & Vincent

09. “Love Yourself” by Justin Bieber

“Love Yourself” stands as one of the most important releases from Bieber’s Purpose album. Although lead collaboration “Where Are U Now” and single “What Do You Mean?” seemed to turn everyone and their brother into Beliebers, “Love Yourself” showed lyrical and vocal growth, whilst also being a throwback to his “kidrauhl”days. Co-written by Ed Sheeran, the acoustic kiss-off is a far cry from the heavy urban production featured on Journals and ironically is one of Bieber’s most relatable songs. More power to the Biebs. –Reece

08. “See You Again” by Wiz Khalifa and Charlie Puth

One of the most inescapable songs from 2015 was the product of an artist most people didn’t even know of: a singer-songwriter-producer named Charlie Puth, a young Berklee graduate. Paired with a rapper who’s already spent weeks atop the charts before and being promoted as a meaningful soundtrack tribute to deceased actor Paul Walker was all that was required for a new mega-hit collaboration… not to mention a new star was born. The song managed to top the Billboard Hot 100 for an impressive 12 weeks, a feat tied with only Eminem (“Lose Yourself”) and the Black Eyed Peas (“Boom Boom Pow”) for 12 week long Hip Hop chart leaders. Despite its somber vibe, many would consider “See You Again” the song of the summer (Billboard ranks it behind six week chart leader “Cheerleader” at number two). The song even managed a nomination for Best Original Song at the 73rd Golden Globe Awards. Not bad at all for a 24 year old newcomer and a 28 year old hip-hop artist. –Keenan

07. “Fools” by Troye Sivan

As the phenomenon of out and proud pop singers continues, up-and-coming stars emerge from all realms to tell their story. The draw of YouTube star-turned-pop star Troye Sivan’s 2015 releases is the blunt yet heartbreaking and relatable nature of his lyricism. On ‘FOOLS’ he speaks to the tragic nature of jumping the gun and moving too fast in a potential relationship. Without providing time for thought he “sees swimming pools, and living rooms, and aero planes. (He) sees a little house, on the hill and children’s names.” That sounds all well and fine in good time, but “everything is shattered and it’s (his) mistake.” While he may be a fool, he speaks for a million others like him. –Andrew

06. “Can’t Feel My Face” by The Weekend

The Weeknd + Max Martin could’ve easily gone bad because their styles are so different, but their collaboration turned out to be a good compromise between Abel’s alternative R&B roots and the crossover spirit of today’s biggest Pop producer. The common denominator for “Can’t Feel My Face” is Michael Jackson, a worthy hommage to the King of Pop by 2015’s biggest male artist and revelation for the Pop world.  –Mario

05. “Here” by Alessia Cara

Subtly, sweetly and with a bit of sass, Alessia Cara arrived on the scene with the aptly-titled “Here.” With this groovy, midtempo bop she declares her own space and identity at the typical teenage party and subsequently, her place in the music industry itself. Alessia is a 19 year old Canadian Italian singer-songwriter, and a promising talent. The song, with its message of independence and interesting song structure was a refreshing addition to the airwaves and thus was everywhere this summer. No doubt, it was an anthem for those who feel the same as she does at such shallow parties. Her debut album is solid, and while the track indeed has had very long legs, hopefully her next single can have similar success. –Vincent

04. “Sandwich and a Soda” by Tamia

Slinky, sexy, understated and very necessary. Tamia’s return to music after a 3-year hiatus starts with the simple strumming of an electric bass. Her voice echoes in “Sp-sp-sp-spend the night” and from there it’s an R&B love fest that, when played in a dimly lit room after a good night out, can only end with one result. Even with lines that might otherwise be corny such as “I dig you hard like a metal shovel”, it’s hard to not find them being repeated while performing daily routines and chores.  –Andrew

03. “No Sleeep” by Janet Jackson, featuring J. Cole

When Miss Jackson announced new music in 2015, people began to wonder what kind of material she’d deliver. Re-uniting with Jimmy Jam and Terry Lewis, Janet brought back the brand of R&B that made her a household name in the 90s after her breakthrough. “No Sleeep” is sexy without indulging in glaring detail, it’s smooth and warm and it’s catchy, so it’s no surprise that it became her biggest R&B hit in a while. It has all the elements one needs to find in a Janet Jackson song and the addition of J. Cole to the single/music video version helps bridging the gap between its throwback nature and what today’s Urban listeners expect to hear on the radio.  –Mario

02. “Hello” by Adele

Four years after the release of her blockbuster hit album 21, Adele made her formidable, much-anticipated return this fall with the perfectly-titled “Hello.” Teased with a genius commercial during an episode of U.K. X-Factor, “Hello” broke the Internet a month prior to its parent album’s release. Only Adele could have pulled off such a risky and epic single debut, and it was a huge success. The song is still #1 on the Billboard Hot 100, where it debuted, for a 9th week. It was, and still is, inescapable. It yielded dozens of priceless internet memes upon release, and still it’s almost impossible to hear the commonplace greeting of “Hello” without Adele echoing in ones mind with an “…it’s me.” If that in itself isn’t proof of not only its immense success but also the fact that it is an undeniably great song, then, well, what is? –Vincent

01. “Alright” by Kendrick Lamar

When To Pimp a Butterfly was released, it was expected that someone like Kendrick would tackle socially conscious themes in his album. “Alright” has become the Anthem for #BlackLivesMatter, the movement against violence toward black Americans that made its voice heard throughout 2015. It’s easy to see why this song would be chosen as the chant to recite during protests: its uplifting nature, the simplicity of the message it conveys, are essential to the cause the movement wants to promote. The song has become a hymn for those who believe in a better future. It’s a message of hope that violence will cease and that by sticking together the difficulties of an entire race will be overcome.

However, “Alright” is more than an anthem for equality. In the context of the album, it is a shimmer of light amongst the darkness of Kendrick’s struggle that is illustrated and eloquently orchestrated over the course of the album. While, of course, part of his struggle is rooted in racial inequalities – his struggle, his metamorphosis is an uncertain one. He questions his future, his purpose. “Alright” follows “u,” an emotional, introspective moment where he is unabashedly honest with himself – painfully. “Alright” follows as a reassurance that he will, indeed, be alright.

While he is searching for his place in this crazy, unstable world… perhaps Lamar should realize that he has already found it. His place, his purpose, is to create music like this. Not only to inspire and rejuvenate his own sense of self, but have the same effect on fans who can relate. After all, if inciting an anthem for the biggest social-cultural movement of the year, and giving a feeling of hope to your entire race isn’t finding your purpose, then what is? After this year, we need some hope that we’re gon’ be alright. Perhaps its no coincidence that both our #1 and #2 albums of this year featured songs of, essentially, the same title and message (Janet had her own “Gon’ B Alright” on Unbreakable). In short, “Alright” became an anthem for Kendrick, for black Americans, and really, for everyone. –Vincent & Mario

The 19 “97” Songs of 2015 Playlist

For your listening pleasure, we’ve compiled a playlist of the songs we selected. Unfortunately, Taylor Swift chooses not to put her music on Spotify, so it is absent from this playlist. Enjoy!

The post The 19 “97” Songs of 2015! appeared first on THE 97.

At EST. 1997, we chose the 19 “97” albums of 2015, which simply means the 19 best albums of 2015. If you’re familiar with the way we review songs/albums, then you know that “97” is our top score. We love every album on this list, ranked them according to how much, and weighed in with a few thoughts about each. Please feel free to comment with your thoughts, as well! We’d love to hear from you and engage in any discussion. Now, without any further adieu…

The 19 “97” Albums of 2015

19. How Big, How Blue, How Beautiful by Florence + the Machine (May 29th)

You don’t just break Florence Welch’s heart; you put her in the throes of the belly of the beast. How Big, How Blue, How Beautiful is full of similarly grand declarations of hurt, longing and despair which doesn’t sound like the kind of album that you would want to listen to for days. But, as with most works of art steeped in subject matter that requires the artist to burst a blood vessel every line or so (see: “Various Storms and Saints”), Florence + The Machine’s third album serves as a marvelous vessel for all these grandiloquent proclamations of heartaches with majestic aplomb. Too much? Well, as mentioned in this review, Florence and company’s largeness of sound and feeling is hard to shake off and the infectiousness carries on. —Patrick

18. Woman by Jill Scott (July 24th)

While her last album, The Light of the Sun, was a bit subpar in comparison to her first three, with one word: Woman, she proved that she’s still got it. Jill is a respected and revered name in the world of R&B/Soul for many reasons: for her poetry, her storytelling, her no-holds-barred topics of song and revelations, and for that phenomenal voice. While she is certainly not innocent, her music is simply pure; honest. There’s nothing she won’t say – if she feels it, she says it – and she uses her fair share of sonic experimentation and vocal acrobatics to accentuate her fearless words. Woman is no different. It begins with an engaging, spoken word poem-intro, “Wild Cookie,” and is followed by the introspective “Prepared,” about making herself a better self. Meanwhile, songs like “Run Run Run,” “You Don’t Know,” and “Coming to You” showcase a ferocious, old school sound, and are as energetic as they are emotional. Of course, it wouldn’t be a Jill Scott album without a little unabashed sexuality; here it is found on the lustful “Can’t Wait.” Other highlights include slow jams “Fools Gold,” “Cruisin'” and “Lighthouse,” as well as the touching dedication to her son, “Back Together.” However, the album’s standout, for sure, is “Closure,” which placed at #15 on our singles list. With Woman, Jill Scott reclaimed her throne and reminded everyone why Jilly from Philly should always has a place in our hearts. –Vincent

17. All American Boy by Steve Grand (March 23rd)

Steve Grand got his fair share of press over the past year for a few reasons: Being mislabeled as an openly gay country artist (his music blends together elements of rock, pop, and country), being less-than-clothed in his pre-music career to raise funds for his music career (he looks pretty damned good in his underwear, okay?), and most importantly, for being the third-highest funded Kickstarter music campaigns to date. His debut album is a breath of fresh air, unapologetically using gender pronouns to express his feelings and address his love interests. Songs like “Say You Love Me” and the title track “All American Boy” perfectly tackle and capture the essence of the gay guy who falls in love with his straight best friend (been there). Not limiting himself lyrically by any stretch, there’s also the charming country love song “Stay”, the Gaga-inspired LGBT anthem “We Are The Night”, and a moment of channeling his inner Springsteen on “Run” and “Red, White, and Blue”. His diverse blend of musical styles, combined with trailblazing lyricism and catchy melodies make All American Boy a must listen. –Andrew

16. Right Here, Right Now by Jordin Sparks (August 21st)

After falling off the map as an aspiring Pop star post-American Idol (“No Air,” her duet with Chris Brown, is still a notable moment from that era, though), Jordin Sparks picked up her pen and a pad and went into the studio to craft her best material to date: Right Here, Right Now. She may have had to give up the top 10 hit “The Way” to Ariana Grande because of label politics, but Right Here Right Now is worth it nonetheless. While it could use a bit less of the forced ratchetness on the midtempos, the ballads are its best moments. Current production and a little something for the throwback lovers, including an Aaliyah hommage on the ethereal “100 Years,” make the album a notable progression in her career. Jordin’s vocals are clear and crisp, and she’s never sounded as confident as she does on this album. Highlights: “They Don’t Give,” “Tell Him That I Love Him,” “Silhouette.” –Mario

15. Confident by Demi Lovato (October 16th)

The transition from Disney star to respected musical artist is never an easy or seamless transition. It’s a true display of artist development when executed successfully, and that is exactly what Demi Lovato accomplished with Confident. From the breezy yet seasonal “Cool For The Summer” to the Gary Glitter “Rock’N’Roll Parts 1 & 2” recalling title track, Lovato proves that she has the upbeat pop chops for the charts. However, it’s when she tackles the ballads, most notably “Stone Cold” and “Father,” with full soul and voice that she solidifies her place as a major player in today’s pop stratosphere. –Andrew

14. Tetsuo & Youth by Lupe Fiasco (January 20th)

The curious case of Lupe Fiasco… upon his debut, he was seemingly free to do as he pleased: he had his deal, and he made great, quality hip-hop that he genuinely loved and was proud of. Then, he made the mistake of having an actual hit single that crossed over (“Superstar”). From then on, his label’s goal was to repeat that success and forced Lupe into some questionable predicaments as far as his reputation was concerned. While he was seemingly given freedom for Food & Liquor II, the road to Tetsuo & Youth was yet another battle against label-propagated crossover tracks. As a result, Lupe recorded a bunch of overtly edgy tracks to counterbalance the label fluff he was strongly encouraged (read: forced) to record (“Old School Love” with Ed Sheeran, anyone?). Eventually, with a little help from Anonymous, the label subsided and Lupe was able to craft Tetsuo & Youth, an album the way he liked it… and thankfully, it is as good as you’d hope. The one flaw in Lupe’s music has always been the lack of a hook: on Tetsuo, he met that challenge with one of the album’s highlights: “Mural,” a 9 minute long flow – with no breaks, and no hook. Meanwhile, on “Chopper,” a 10 minute long trap track featuring a jukebox of verses from 6 of Lupe’s favorite rappers, the hook takes a backseat to the realness of the featured artists’ bars. In typical Lupe fashion, the album is filled with metaphors (“The Adoration of the Magi”), social commentary (“Deliver”), and an alternative, rock inspired jam featuring a male vocalist (“Blur My Hands”), among other quality moments. It is a quintessential Lupe Fiasco album that any fan of his, or lover of hip-hop, would enjoy. –Vincent

13. Unbreakable Smile by Tori Kelly (June 23rd)

2016 Grammy nominee for Best New Artist, Tori Kelly, gained notoriety this year thanks to a moderate hit (“Nobody Love”), a Pepsi commercial, a lot of good word of mouth, and most importantly: a phenomenal voice. Truly, if anyone deserves to be compared to Mariah Carey, it’s not Ariana Grande – it’s Tori Kelly. Also from a mixed race background, Tori, like Mariah, is a talented not only as a singer but also as a songwriter (and guitarist), who crosses the boundaries of race and genre: her sound is R&B, pop, and hip-hop. She can riff up, down, and all around, leaving the listener blown away… and yet, in the same song, she can drop a 16 that’ll make you wonder if there’s a featured artist on the track. With a little less label pressure, more creative freedom, and a little bit more life experience, Tori Kelly could turn out the next Miseducation, ala Lauryn Hill. It’s an album that deserves a listen, and your undivided attention. Highlights include a live performance of “Funny,” on which her vocals will leave you hollering “YASSSS!”, the undeniable bop of a title track, the sassy “Bottled Up,” and ballads “Falling Slow” and “First Heartbreak.” So, do yourself a favor and get your life by letting Miss Tori Kelly into your life. –Vincent

12. If You’re Reading This It’s Too Late by Drake (February 13th)

Released as a digital surprise, If You’re Reading This It’s Too Late was originally intended by Drake as a mixtape more than an album. It bears, however, the coherence we’re used to find in a Drake album: all the songs have a sonic cohesiveness and deal with the themes that are most true to Drizzy’s artistry. Such themes include fame, success, relationships and Toronto, the city that’s still so dear to the rapper even as a superstar. The melodic sadness the beats bring, even to the songs about being victorious against the enemies, is a typical Drake trait. The catchphrases the album spurred are now essential online lingo. The 6 God can literally do no wrong, even in the trying times such as when he’s accused of not writing his bars, he still wins because he essentially remains his true self. Highlights: “Know Yourself,” “Energy,” “Jungle.” –Mario

11. Blue Neighbourhood by Troye Sivan (December 4th)

What is a day in the life of a 20-year-old gay boy? Listen to Troye Sivan’s Blue Neighbourhood and get a generally realistic perspective on the day-to-day, with an electro/alt-pop backdrop. The reincorporated songs that originated on the WILD EP (released earlier this year as a pre-cursor to the LP) provide a good introduction to the new songs which solidify that his pen is mighty and his voice a force to be reckoned with. From catchy alt-pop bops like “YOUTH” to the sincerely beautiful “for him.” (“You don’t have to say ‘I love you’ to say ‘I love you'”), all the way to the tragically beautiful “LOST BOY” (“I’m just some dumb kid tryna kid myself that I’ve got my shit together”) and the pensive “HEAVEN” (“Without losing a piece of me, how do I get to heaven?”), Troye proves song after song to be important new voice in pop. –Andrew

10. Badlands by Halsey (August 28th)

A newcomer on the scene, Halsey has certainly made some noise, and a promising name for herself. Her debut album, Badlands, is one of this year’s most interesting releases that has generated a great amount of buzz. It begins with the cinematic “Castle” that will leave you with the same feels you’d expect from a Lana Del Rey track, yet sounds nothing like her; aside from having a similarly cinematic quality (and it’s perfectly featured in the trailer for Huntsman: Winter’s War). Badlands is a journey through the curious young mind of Halsey that drops off an anthem or two: “New Americana” for the rebellious youth, “Hurricane” if you’re just a bad bitch, and “Castle” if you’re simply a QUEEN. Other tracks, like “Drive,” show off her creative and compelling storytelling skills. On songs like “Ghost,” she makes her hip-hop influence clear with a rapid-fire delivery and a hard-hitting bassline. You may see Halsey defined as Electronic, or Alternative, but she is a hard one to pigeonhole. Certainly, her sound was influenced by a multitude of genres and that makes her Badlands undeniable, captivating, and, frankly, genius. –Vincent

09. Purpose by Justin Bieber (November 13th)

Who would have thought that 2015 would be the year of the Bieber? After a string of public mishaps and the messiness surrounding Journals, Justin reemerged triumphant. This year brought a string of hot singles (“Where Are U Now?,” “What Do You Mean?,” “Sorry,” and “Love Yourself,” so far) and a bevy of music videos (see Purpose: The Movement) showing that Justin Bieber’s return was one that everyone wanted to see come to fruition, positively. As a child star in his teens, Bieber was beloved and cherished until the fame got to him and he became a bit of a disappointment. As he’s stated, he felt as though he lost his purpose, but with this album, he reclaimed it – and wanted to offer “hope and light” to others who might feel the same as he once did. Songs like “Mark My Words,” “I’ll Show You,” “All In It” and the title track show that this is a new confident man who’s successfully matured his sense of self, and image. Not only is it more mature in lyrical content, but in sound, too; he has transcended the confines of teen pop and has become a formidable, respectable, adult artist. A rekindled collaboration with Big Sean (“No Pressure”), an embrace of newcomer Halsey (“The Feeling”), and the cosign of hip-hop veteran Nas (“We Are”) add to his credibility. With a world tour beginning in 2016, it’s clear that Team Bieber has no intentions of slowing down, and with an album this good they don’t have any need to. –Reece & Vincent

08. Calling All Lovers by Tamar Braxton (October 2nd)

Tamar Braxton released her 3rd album at a time when she couldn’t really give music all her attention, busy as she’s been with her other ventures. The lack of commercial success for Calling All Lovers wasn’t, however, due to the quality of its tracks. The album is the result of careful work, with which Tamar ditched everything that made her breakthrough two years ago sound a tad bit silly and dated. She focused instead on a more mature and classic R&B sound and on making her musical influences shine. The album is cohesive, maybe a bit too much for some, but it shares a story, Tamar’s story, and it feels honest and heartfelt. Highlights: “Circles,” “Angels & Demons,” “I Love You.” –Mario

07. Wildheart by Miguel (June 29th)

If you don’t pay attention to the words, you’d think Miguel is simply singing about wanting to fornicate in some valley in “The Valley”. You’d think the song is nothing but a minimally produced anthem for perversity which it is of course not. Themes of lust-sickness, being simultaneously ‘immoral for the Christians and moral for the cut-throat’, and falling back to The Only One all mesh perfectly in Wildheart. Not that playing close attention is key to enjoying Miguel’s discovery of a sound that just about puts him ahead of his peers, the tight group of falsettoing R&B men. Wildheart is a patchwork of organic sounds that separate him from the Chris Browns and the Jason Derulos (whose Everything is 4, is, to be fair, quite excellent). Twisty vocal arrangements cocooned in melodic crooning (“waves”), understated sexiness (“FLESH”), brilliant wordplay (“Coffee [Fucking]”), and going back to one’s true love (“Face the Sun”) are the sort of tracks that Miguel, if we’re lucky, would sing in his legacy concert tours 15-20 years from now. Can’t wait. –Patrick

06. Beauty Behind the Madness by The Weeknd (August 28th)

The biggest breakout star from 2015, seemingly new to many, isn’t new at the very least. 2015 just so happens to be the year the mainstream public decided to take notice when The Weeknd released his sophomore album, Beauty Behind The Madness. The Weeknd retains his dark, moody, experimental, electronic R&B vibe on the album. Songs like “Can’t Feel My Face,” and “The Hills,” both of which became Billboard Hot 100 number 1 hits, still feature themes like drugs and sex. The mid-tempo standout “Acquainted,” leaked as “Girls In The 90s,” features The Weeknd serenading a lover he’s glad to put time in with. The Album of The Year, Grammy nominated LP even sees The Weeknd collaborate with a diverse group of artists. Ed Sheeran duets with The Weeknd on “Dark Times,” about continuing bad habits and always “going back to the street,” again and again. Fellow moody, experimental, pop/electronic act Lana Del Rey joins for “Prisoner,” which speaks to the struggles of addiction. Beauty Behind The Madness is the album you’re looking for if you want a unique spin to that classic, usual R&B album. There are elements of Pop, Dance, and Electronic music, but at its core its a soulful, honest record. Fair warning listeners, get ready to hear the beauty and the madness! The Weeknd explores real topics that make the world and this thing called life enjoyable, harsh, and painful. Like the opening track says, “thats real life.” –Keenan

05. Love Life by Tamia (June 9th)

Tamia’s return was far from the spectacle it should have been. Her first body of work in 3 years is easily one of the most cohesive and memorable R&B albums of the year. From the enchanting opening progressions of “Love Falls Over Me” to the slinky perfection that is “Sandwich and a Soda”, all the way to the soaring cover of “Black Butterfly” that closes things out, Tamia excels in sharing the happiness and love of in life. It’s an inspiration, and a motivation, down to the breathtakingly beautiful marriage ballad “Day One”. –Andrew

04. Reality Show by Jazmine Sullivan (January 13th)

Thank God Jazmine decided her hiatus had to be brief, because the R&B world needed more of her soulful touch. Reality Show, Sullivan’s 3rd album, is her best effort yet. Bringing some contemporary themes and sounds into her classic R&B/Soul repertoire, it shows that her pen game is still sharp and her beautiful voice is still able to touch its listeners’ hearts with its unique grit. The honesty of Jazmine’s approach to music makes her one of the best R&B artists out right now and one who will continue to make great music for as long as she’ll be able to. Her talent is undeniable. Highlights: “Mascara,” “Let It Burn,” “Brand New.” –Mario

03. 25 by Adele (November 20th)

It’s not the year’s best-selling album for no reason. While 25 is by no means a groundbreaking work, it is simply damn good. There is a simple formula to Adele’s success, really: honesty, and soul. She is not afraid to unabashedly share her feelings with us, and sing wholeheartedly. The carefree nature of her music makes it have such mass appeal. There is a certain undefinable quality to Adele that makes her all the more accessible to the masses. Perhaps its her transparency; her celebrity is not one shrouded in extraneous fanfare: she makes music, she sometimes tours, she has a son, a boyfriend, and not a single fuck to give about what anyone thinks about her or her life. What is most important, though, is that she indeed makes great music. Such examples on 25 are a six minutes long song of yearning that drips in sensuality (“I Miss You”), yet another hometown ode (“River Lea”), a perhaps-Mariah-inspired Spanish guitar ballad (“Million Years Ago”), next single “When We Were Young,” and should-be single “Water Under the Bridge.” Many will tell you that 25 is no 21, and that’s true. Lyrically, it is more mature; happier, and a bit more reflective rather than reactive. Sonically, she has delved in some sounds that are new, but, again, nothing shocking and nothing that doesn’t still feel like her old self. It probably won’t become her best selling album (21 will be hard to topple), nor is it her best (for me, 19 still reigns), but there is a progression that makes one thing very clear: her best is yet to come. —Vincent

02. To Pimp a Butterfly by Kendrick Lamar (March 15)

Funky. Jazzy. Important. If there are three words to accurately describe Kendrick Lamar’s heavily anticipated To Pimp A Butterfly, those are the best ones without overstating, or underestimating what kind of staying power it may have. He scat-raps “this dick ain’t free” and “you really think we could make a baby named Mercedes without a Mercedes Benz?” over a jazzy upright bass, promotes self-love on the superior mock-live version of “i,” falls apart on the dark, anxious, introverted “u,” provides the timely and necessary chant of “we gon be alright” to the Black Lives Matter movement on “Alright,” embraces the funk on “King Kunta,” and gets aggressive on “The Blacker the Berry.” It’s entertaining to watch as people debate and try to diminish the value, musicality, and relevance of this album as 2015 comes to a close, but listening to it for the first time in a few months, it is as powerful and thought-provoking as it was when released in March. –Andrew

01. Unbreakable by Janet Jackson (October 2nd)

When deciding what the year’s best album is, it is important to not only consider the quality of the album and its success among fans and the general public, but also the relevance of its content, to society and culture. We won’t pretend that Janet Jackson’s Unbreakable was a cultural phenomenon that sold 5 million copies in a month; no, that was Adele. We won’t pretend it was the most critically lauded album of 2015; that was probably Kendrick Lamar. However, if any album released in 2015 best represents the year’s events, on a global scale, it is indeed Unbreakable.

The foundation of the album, its concept and namesake, is the notion that love’s bonds are unbreakable in all forms, whether it be romantic, familial, friendship, or something greater. Unbreakable was Janet’s way of starting a conversation about the state of the world today, like she did back in 1989 with Rhythm Nation. The album’s title track introduced its theme, and “Dammn Baby” speaks of said conversation. Naturally, most of the album was likely recorded prior to 2015, however, its themes and sentiments rang all too true. The year, it seemed, was more troubled than others, but there were also some notable highs. One of said highs, in the United States, was the Supreme Court ruling on marriage equality. Janet’s “The Great Forever” is not only a defense of her own marriage to a Muslim man, but of marriage equality in general. On the track, she questions why anyone else should be concerned with the object of others’ affections. It is subtle, yet perhaps one of the best (and not forced in our face; looking at you, Gaga) anthems that exists for the LGBT community in regards to marriage equality.

Such socially conscious sentiments are continued on “Shoulda Known Better,” a reflective song about the way history seems to repeat itself. It is a general song that could be applied to multiple situations, but she refers to casualties of war, racism, and the need to cure social ills and abuses that exist in the world today. On the song, she encourages us all to have open minds to help make the world a better place. Later in the album, she reflects on her travels and displays her own openmindedness, singing about the beauty of all the different cultures and races around the world (“Well Travelled”).

One of the songs that became particularly relevant in light of the terror attacks in Paris, and the world’s reaction to Muslims and Syrians following it, is “Black Eagle.” It is a song about racism and inequality, and its message of acceptance and compassion is a much needed lesson for many. Other songs, like “Promise of You” speak of the value of self-worth and judgment; a message that the gunmen of the year’s many shootings might’ve needed to hear. With so many victims of hate this year a song of love and loss like Janet’s dedication to her brother Michael, “Broken Hearts Heal,” is another anthem that the family and friends of such victims might relate to. Meanwhile, on “Take Me Away,” Janet yearns to escape to a peaceful place, no doubt a yearning we all can relate to after so many saddening events this year. However, the album does end on a positive, hopeful note with “Gon’ B Alright,” ala Kendrick Lamar.

Janet may have decided to remain silent even after the album was released, but that’s because she let the songs she put together be the topic of discussion. Unbreakable is her way to reconnect with a fanbase that felt the need to hear from their idol again and she chose to do it in the most precious way, by giving them herself on record. Reuniting with Jimmy Jam and Terry Lewis also made the experience even more special, because it brought back the team behind the classic music she’s delivered in a career spanning almost three decades.

She may have not gotten into the Rock & Roll Hall of Fame, but Janet’s worth this year has been cemented and her contribution to Pop music is very much evident.

–Vincent & Mario

The Best of the 19 “97” Albums Playlist:

For your listening pleasure, we’ve compiled a playlist of our favorite tracks mentioned within our reviews of the above listed albums. Enjoy!

The post The 19 “97” Albums of 2015! appeared first on THE 97.