#is it bad fifth harmony's hit song “that's my girl'' started playing in my head during one of her. you knows.

[angeltism]

(he said, like a lying liar)

I am no longer gay for Okazaki.

[emisonme]

Did you read Stuck's post about Camila's long term plans? If so, what are your thoughts on her long term plans? Thank you.

I did read Stuck’s post. As usual, it was a great post. I completely agree with it.

It doesn’t matter if Camila was pressured, manipulated, or convinced to do this stunt, the fact is, she did have to agree with it, and she did have to agree to sign a contract to do it. That said, I don’t think Camila, (and I hope) nor Roger, would have let her get into this type of circus, if she wouldn’t benefit from it somehow, at some point.

Camila knows what it means to make sacrifices. Her, and her family have been doing it, since she was a child. They didn’t allow fear of the unknown, keep them from trying. Did Camila think this whole thing would go a bit differently? Probably....But, if I’m honest, maybe not. Maybe it’s going according to HER plan, as well.

She is his beard. It’s obvious this whole thing has been about him, and his career...but that doesn’t mean Camila, and those around her, haven’t planned out how to make it work for her, eventually. I’ve been keeping this little THEORY to myself, but now’s as good as time as any, to put it out there. The longer this circus continues, the more it actually starts making more sense TO ME.

In my honest opinion, Camila may have shown us, earlier this year, what was actually going on. The My Oh My music video was a visual masterpiece about the path Camila was taking in her career. She showed us all the roles the Industry made her play. We had “Doll Face”, the bubbliest showgirl. Then “The Silent One”, then, “We’ll always have Havana”, a Lavish, LUSCIOUS, and Hilarious hit. When all she really wants to be, is “Badass Bob (Cam)” the new badass in town.

She just wants to be the hero in her own story. She’s tired of the “blonde bimbo” or the good girl next door image the Industry was pushing on her. So, she “meets” DaBaby (Canada/Andrew Gertler), and notice how she played that part. Coy and sheepishly...She got an idea. Canada was down on his luck, because his image and career were tanking. He needed a beard, and someone to prop up his career and image. She agreed to be all that, for money. He isn’t saving her. She is making a shit load of sacrifice because of that money. She gave up her song, her entire Romance era. She lent him her home in Miami, and her house in LA. She has worked her ass off, and gave up a lot for that money.

She even had to give up part of her real image, that she values. She’s had enough. Her last role, was the “Helpless Victim- a call she would regret, to a man she never met” (Ew). She absolutely shredded, not only that image, but a part of herself she values. She made the sacrifice, and made it look like she was a scandalous good girl gone bad, by “cheating” on her “boyfriend”. The paps were called, and her “good girl” image was tanked. The headline in the video literally read: “How bad can a good girl get? The wild night and fast times of Camila Cabello”. Sounds kind of familiar, right about now, doesn’t it?

The business side of the Music Industry is ruthless and toxic. You have to play their games, to get anywhere. But, when you get stuck in a shitty situation, sometimes you have to play them at their own games. Destroying the Image the Executives thought was more profitable for them, made her less profitable for them. When you are less profitable to the Executives, it’s easier to get out of shitty situations.

Basically, Camila used their game against them. THEY wanted her to stunt with Canada, and they’ve wanted this since 2015. Canada needed a career boost, and a reason to get media hype for this upcoming era, and a beard. He payed the Executives, for her image and services. She gave everyone what they wanted. A beard, a career boost, and a stunt THEY have wanted since 2015, and she, ( and Roger) played them at their own game.

The video ended, with Camila getting to be the “hero” of her own story. Surely I wasn’t the only one to notice, it was a horde of angry men, ALL MEN, who were out to get her. She was going to fight every one of them off, come hell or high water.  There was no backing down. She took them head on, as they came for her. Bring it motherfuckers. She’s good at this damn game, as well.

Maybe, just maybe, this has been the plan all along. To destroy her PUBLIC image, so she could eventually get out of a shitty situation. THEY did do it to her afterall. THEY destroyed her PUBLIC image, to get her out of Fifth Harmony.

I have actually had this thought, since I watched that video, but was reluctant to put it out there, because even I thought it was farfetched. Stuck’s post made me think, maybe it’s not as farfetched as I originally thought. Maybe it is all part of her long term plan.

As always, I could be completely wrong... It’s just a THEORY I’ve had. But I thought I’d put it out there anyways. Thank you Stuck, for actually giving me the incentive to write my thoughts, even if they are farfetched, and a little crazy.

[3monthsineurope]

May 8, 2018 TAYLOR SWIFT’S REPUTATION STADIUM TOUR OPENING DAY I woke up Tuesday so excited! I had never been to an opening night of tour before! Whenever Taylor had come to Seattle in the past, it was near the end of the tour, so I knew about the set list and costumes from Tumblr. I was so excited to be at opening night! Haley and I woke up at 10, while Mom, Aunt Lisa, and Grandma Sue walked around all morning. We had some breakfast of toast, and leftover quesadillas. Haley and I started getting ready! We hoped to get our toes done, but the salon didn’t have space for us that day. Haley did my make up, and Mom straightened my hair. Did I mention how hot it was? Over 100 that day! We left Buckeye around 1:45 and headed to the University of Phoenix Stadium. We got to the parking lot right when it opened at 3, then headed into the West Gate Center for some lunch before the concert. We ate at Yard House and all shared a bunch of appetizers. I was so excited and focused on Twitter and Tumblr that I could barely eat! I was trying to post our group photo to Twitter and Tumblr; I was trying to get picked to meet Taylor Swift by her or her team! Around 4:15 Haley and I headed over to the stadium! I got in line for the Getaway Shop (the merch store based off the song Getaway Car), and hoped to meet fellow Swifties (Taylor Swift fans). I was a few people ahead of a girl from Georgia, Jacie, so we chatted for a bit. I saw another girl from Twitter, Sarah, and said “hi” to her. IT WAS SO HOT! Mom, Aunt Lisa, and Grandma Sue all joined us. Haley and I took photos in Taylor’s throne from the Look What You Made Me Do music video, and then it was almost five! I got interviewed by an Irish radio station, because he liked our shirts! I recognized a few other Swifties from Twitter, then we headed into the stadium at 5! Immediately in the stadium we got in line for Instamax photos! Then we hit up the merch table since the line was so long outside. I got a sweatshirt, the clear bag for stations, and the Glendale tour patch. We found our seats, way up in 419 and settled in. I was still trying to get attention online, but I was sooo excited! Our seats were high up and near the back, but our view was amazing, I think! At 7, Charlie XCX started. I knew a few of her songs, and she did some covers of songs she’s featured in. She put on a good show! There was a little break, then Camilla Cabello came out! She’s a former member of Fifth Harmony. She put on a great show! Mom, Aunt Lisa, and Grandma Sue liked her because of her song Havana! There was about a half hour intermission and then Taylor came on! I was freaking out! The was a video speech and then Taylor popped up! She opened with …Ready For It? and it was sooo good! The concert lasted over two hours and she played 14/15 of the songs from reputation, only leaving out So It Goes. She pulled in ten other songs from previous albums: Love Story, We Are Never Ever Getting Back Together, Bad Blood, Style, Shake It Off, Blank Space, All Too Well, You Belong With Me, Should’ve Said No, and Long Live. She played on three stages, and flew above and walked through the crowd. She played Dancing With Our Hands Tied acoustically, Shake It Off with Charlie XCX and Camilla Cabello, and All Too Well (which I found out later to be a rotating or surprise song) acoustically. I started bawling when she started playing All Too Well. It’s just such a sad song, I got really sad thinking of Taylor being hurt so badly. Taylor gave some great speeches and really made the whole show feel intimate. She brought up feeling connected to her fans and following us on the internet (she follows me on Tumblr!) and played a Long Live/New Years Day mash up on the piano that was really beautiful. The show had amazing visuals and fireworks too! I loved every second of it. She finished right around 11. I didn’t get picked to meet Taylor, but I was so happy! We all filed out of the stadium and ate leftovers in the jam packed parking lot. Eventually we got out of there and headed back home. I was in a bit of a daze, I was so happy! We make it home around 1 and I tied to sleep, but I was so jazzed from the show of a lifetime. :]

[problematic-camren]

Thoughts on Down

This is a long-ass shit, and I’m not forcing you to read. Also, please be reminded that this is just MY opinion. We all have different opinions, and I’m here to simply share my thoughts, and not to convince you to change yours. So please don’t go to my ask pushing your opinion. I already heard yours. I woke up to a bunch of “asks” and I already know that some don’t like it, while some do.

My initial reaction:

• why is this so auto-tuned? Okay, Dinah’s voice sounds like smooth warm caramel on top of a sundae. Why is this so basic? Lauren’s adlibs tho! Why are the lyrics so generic? Oooh WFH melody… It’s gonna be a bop! Wait why is the chorus so blandly repetitive? But it’s not that bad. Why do they sound so alike?

• and picture me with my earphones on listening to the first verse, pre-hook, chorus and shit with a pensive look on my face, and disappointment running through my head like damn I wanted more…

But then Gucci Mane came in, (and I know I’m the minority in this one), but for me, the first authentic reaction the song elicited from me was his part.

Why? Because his part was so off and out of nowhere that it took me out of the rut I was in. Like imagine a flat line where the song was just monotonous, like a car cruising on a smooth freeway (not bad, but also kind of boring) but then you run into a pothole and you get jerked off your stupor…

That’s what gucci’s part was for me. A tiny spike on that flat line. A deviation that held my attention. I’m not saying it’s amazing. I’m saying that the grating sound of the bass and the randomness of it was what made me smile while listening to it. I’m not even exaggerating when I say that I was smiling the whole time I was listening to that weird bass with a tiny bit of goosebumps on my skin because I knew then that I COULD like Down without lying to myself. It was the only thing that caught my attention, aside from Lauren’s adlibs (which, girl, I wish she did more. I live for Lauren going offffff)

Don’t get me wrong though, I’m so done with these collabs with rappers, like I wanted to hear them alone, like they did with Boss (idc if you say that one is trash lmao, Boss is a bop for me. I fucking love that shit 😂), but if they really have to collab with rappers, I wish it wasn’t Gucci. Maybe Chance, or Migos damn…

But if it were up to me, I wish they would have collabed with female rappers. I still am salty that NTKG wasn’t utilized much. A missed opportunity with Missy Elliott like bitch you had to release TMG over NTKG? NTKG was at least more authentic with the sound it’s trying to project. It was old school and it owned it. Like Voicemail was reminiscent of 90’s bops and not lacing it with today’s trendy dancehall or tropical vibe. It has its own sound, and not a mix of everything generic we hear today where we hear a song and we automatically hear the edm producers more than the artist.

But OMG I digress, sorry.

So yeah, DOWN…

So after my initial reaction, I gave it a couple more listen, and then I watched the live performance, then I slept, then I woke up the next day and I listened to the audio a couple more times, watched the live several more, and here’s my conclusion:

• Down is that kind of a summer bop which grows on you. It’s not a bad song. It’s simplistic but also season-friendly. It’s probably what the label insisted on as their first release.

The reason why it probably feels lacking for me, aside from its repetitiveness, is that maybe it lacks another verse. It’s shorter than WI and WFH so it feels incomplete. There must be a reason for it. It could really be just a teaser.

• at this point in my 5h-stanning life, I’m not even expecting anything mind-blowing. All I want is for 5H to slay the charts, because this should be their era. They seem genuinely happy now and my god after everything they’ve been through (label shit and all), ALL FIVE OF THEM deserve our unwavering support.

• Sure, Down isn’t what I expected. Yes, I wanted more. I wanted more lyrics. I wanted a kickass sound. But, idk man, after several repeats, I think it’s a good enough bop.

• with regards to the vocals, I still hate the auto-tuned shit. I get that maybe they’re finally utilizing Lauren’s range, but I prefer that they don’t auto tune much because I could barely hear her rasp (which was still obvious in her live performance, despite the higher tone she’s using).

Maybe they’re doing it on purpose, making them sound the same as a symbol of their new sound’s “cohesiveness”, but I prefer old 5h where their voices are uniquely different.

• and I’m not even complaining that it sounds like WFH. I don’t have a problem with an artist using a tried and tested formula for ONE of their album’s single. It’s meant to hook the audience. It gives them that familiar sound which could make a NON-FAN recognize their older hits and draw them to the new one. Just because they said “NEW ERA” doesn’t mean that they should change their ENTIRE sound. There’s always that one or two singles that are meant to hook the general public. It’s a constant compromise a mainstream artist makes with their label.

(I mean, The Chainsmokers basically generate the same sound over and over and they’re charting as if they created music. And no, I’m not a big fan of the chainsmokers.

Point is, re-using WFH is not something unheard of. It’s a business move.)

You really can’t please everybody. Because when Lady Gaga released an album that felt authentic for her, some people criticized it and kept saying they wanted the old “Bad Romance” Gaga. When Lorde released her new single, Green Light, her hipster fanbase called her a sell-out and didn’t like that she’s deviated from her “sound” to be more mainstream and I was like bitch can’t an artist explore a different side of her artistry?

And on the flip side, can’t an artist use their old sound? My point is, Down was produced by the same people who made WFH for a reason. They are playing safe. They wanted a single that would generate enough attention like their previous ones did. Then maybe, just maybe, their next singles which probably showcase their authentic sound and lyrics will have as much impact since now people are paying attention. Because no matter how much we want them to be authentic, they’re still a girl group under a greedy ass label who needs them to maintain what their idea of a girl group music and image should be..

And while Down is not something I’m particularly excited about, it’s starting to get stuck in my head, and I don’t hate it. It’s a light summery chill song that’s good to play with your friends while sipping on your drinks by the pool. It is what it was supposed to be.

I get it, I was disappointed too. Down is a downer. But I’m not gonna judge the whole album with one single yet. I’m gonna wait.

This is why I wrote this one before Down was released:

https://problematic-camren.tumblr.com/post/161338803713/5h3

Because I knew that I wasn’t expecting much from their music. I sure hope for more, definitely, BUT stanning 5H isn’t always about their music.

And just because I don’t like a few of their songs, doesn’t mean they don’t deserve my support.

I’m supporting 5h because they represent girls who are not a standard definition of what society thinks a girl should look like or how they should act like. They symbolize us. They showed us that one can achieve their dreams through hard work, and while they have been mistreated before (by their label and by fans alike) they still kept their heads up high, with grace and maturity, and kept on spreading love and inspiration, and they kept on smiling even if their hearts were breaking. They kept striving to be the best they could be, and it’s inspiring. And to see genuine warmth from these pop stars, their love and appreciation for their fans, is something that makes me wanna stan them forever. That’s why even if i really don’t like their music, I’d still keep on stanning them, because what they shared to us, the representation they gave us, the beauty and poise they all showed us, man, even if they fucking screeched for an entire album, I’ll be fuucking putting that on loop and still support their asses.

And I know it’s blind support, but I knew what I was getting into when I started supporting 5h. I wasn’t a pop person before this, I knew I won’t love their music so much. I stan them because I like them, plain and simple.

And I know it’s different for everybody. It’s all just a matter of preferences. Some could unstan just coz they don’t like the song, and that’s totally okay. We’re free to stan or unstan whoever we want. But like I said, it’s just one song. Let’s wait for the other singles and the album.

Ideally, I would love for them to show us everything they have as artists. This is their chance to go big. They have so much potential and I would have liked to see it shine while they’re still in the group. I want the brand Fifth Harmony to leave a lasting mark in this industry. I want them to be on the same spot as TLC or SG or DC. I want them to legit deserve their title.

And Down is not it. But guess what? Down is just one single. I’m gonna wait patiently for the rest of their stuff. I ONLY NEED THAT ONE CLASSIC HIT I’VE BEEN CRAVING FOR SINCE I STARTED LISTENING TO THEM. ONE CLASSIC SONG THAT WOULD STILL BE PLAYED GENERATIONS LATER BECAUSE IT’S JUST SO DAMN RELATABLE AND HEARTFELT.

That’s all I want. And I hope I’ll find that in 5H3.

Yes, Down is empty.

But I won’t unstan just because of one song. We can be disappointed (as I sure was), but I think that 5H is worth more than a few musical disappointments.

💁🏻

[viralnewstime]

As a kid in the mid-’90s with a nascent interest in music, I started to explore my parents’ CD collection. Money was tight and so all entries held symbolic weight. There was The Beatles’ Abbey Road, The B-52’s self-titled LP and a curious amount of k.d. lang. There was also an album bearing a collaged image of a red car with what looked like a croissant draped across the top of it: Crowded House’s Together Alone.

I gave it a spin, but was initially disappointed. Where were the songs I knew from the radio like ‘Weather With You’ and ‘Don’t Dream It’s Over’? A friend of mine would soon trump this discovery with a cassette tape version of the band’s 1996 greatest hits compilation, Recurring Dream. We played that tape to death and it’s had a lasting impact on the things I look for in pop music. Namely, that it be familiar and melodic, but also somewhat opaque, introducing a sense of emotional ambiguity that lingers on.

It’s a lot to ask, but this quality was present in the majority of Recurring Dream’s 19 tracks and buttresses the argument that Neil Finn is responsible for some of the finest pop songs of the last 40 years. But what about the albums these hits were drawn from? Have they stood the test of time or are they more or less defined by their singles?

When you’ve written songs with such gargantuan resonance as ‘Mean to Me’, ‘Better Be Home Soon’, ‘Private Universe’ and ‘It’s Only Natural’, you kind of get a pass where deep cuts are concerned. But Neil Finn – who also worked in collaboration with his brother Tim for a short period – is an incredibly consistent writer and each of the band’s six albums is an absorbing listen.

Here is every Crowded House album ranked, from excellent to sublime.

6. Intriguer (2010)

After 2007’s Time On Earth – Crowded House’s first LP in 14 years – there was no certainty about whether the band would continue on. Intriguer arrived three years later, however, and suggested the band was entering a second heyday.

Wilco producer Jim Scott captures a band not inclined to simulate their earlier selves but still in possession of the spark and sly melodic complexity that brought them to such heights in the first place. While none of its tracks rank among their best, it’s hard to find a bad song on Intriguer.

The pleasingly direct ten song, 40 minute suite begins with ‘Saturday Sun’, which is driven by Nick Seymour’s murmuring distorted bass playing. The penultimate number, ‘Even If’, can be filed in the category “Neil Finn songs that sound like lost Beatles gems.”

5. Woodface (1991)

What? The album that contains ‘Chocolate Cake’, ‘It’s Only Natural’, ‘Fall At Your Feet’, ‘Weather With You’ and ‘Four Seasons In One Day’ only makes it to fifth? It’s an ecstatic opening sequence, but the low ranking is a testament to the strength of the competition.

Tim Finn joined the band for this record after some incredibly fruitful songwriting sessions for a planned Finn Brothers album gave rise to many of the aforementioned FM radio staples. The brothers sing in harmony through much of Woodface, including on the George Harrison-indebted ‘It’s Only Natural’, which quickly became a live favourite. Neil carries the bulk of the load on the album’s preeminent slow burner, ‘Fall At Your Feet’, which demonstrates his knack for rendering nuanced sophistication as infectious pop music.

The album’s a bit long, however – it could do without Tim’s ‘All I Ask’ and drummer Paul Hester’s ‘Italian Plastic’ – and Mitchell Froom’s production wants for warmth. That said, arriving in 1991, it’s not weighed down by any of the era’s affectations, choosing instead to zoom in on the brothers’ idiosyncratic songcraft.

4. Temple of Low Men (1988)

Following their impeccable 1986 debut can’t have been an easy task, but Temple of Low Men showed that international success hadn’t interfered with Finn’s clarity of purpose. Crowded House became pop famous in 1986 with a kind of singer-songwriter focused rock music that was anomalous to the period. Doubling down on this artistic independence, rather than playing to the crowd, was the logical next move.

Temple of Low Men is a darker and more varied record than its predecessor and while the rockabilly influenced ‘Sister Madly’ gets a bit tiring and the mid-tempo ‘Mansion in the Slums’ fails to excite, it’s loaded with canonical Finn compositions.

The first half includes the funk subtleties and power pop blasts of ‘I Feel Possessed’ and the lush meditation on infidelity, ‘Into Temptation’. The album’s final song, ‘Better Be Home Soon’, rivals ‘Don’t Dream It’s Over’ for the band’s most unconquerable sing-along. It took on extra significance when Finn performed it at the 2005 ARIA awards in the wake of Hester’s death.

3. Together Alone (1993)

The final record of the band’s original run was also the only real stylistic departure of the bunch. Albums one to three were exercises in crisp studio sophistication made with LA producer Mitchell Froom, but Together Alone saw the band working in New Zealand for the first time and flying in Killing Joke member and Paul McCartney collaborator, Youth, to produce.

Together Alone sounds like the 90s, especially the distorted power chords that kick off ‘Black and White Boy’ – an effect in scant usage across the band’s entire catalogue – but the arrangements are warmer and the textures more inviting. Opener ‘Kare Kare’, for example, reveals a psychedelic inquisitiveness infiltrating Finn’s singer-songwriter classicism.

A whopping seven singles were lifted from Together Alone including ‘Distant Sun’, ‘Private Universe’ and ‘Pineapple Head’ all of which were immediately frolicking with the haut monde of Finn’s oeuvre. Maori singers Te Waka Huia Cultural Group Choir make a prominent appearance on the title track, which should tilt the debate about whether Crowded House are an Australian or Kiwi band in favour of the latter.

2. Time On Earth (2007)

The announcement of Time On Earth stirred controversy in 2007. Two years prior drummer Paul Hester had taken his life, which inspired Finn and Seymour to get back into the studio together. Finn initially asked Seymour to play on his next solo album, but it would soon metamorphose into the fifth Crowded House album.

The controversy was related to Hester’s absence, but Time On Earth bears the distinct imprint of a Crowded House record, carrying some of Finn’s sharpest songwriting since Woodface. Johnny Marr adds guitar to two songs: first single ‘Don’t Stop Now’, which could suitably described as a ‘Fall At Your Feet’ follow-up, and the album’s peppy highlight, ‘Even A Child’.

Producers Ethan Johns (Laura Marling, Kings of Leon) and Steve Lillywhite (U2, The Pogues) were on hand to give Time On Earth the most organic sonic character of the band’s catalogue. There’s an autumnal shade to the record, nothing is overdone and Finn proves he’s a committed craftsman still capable of summoning lines like, “And I wake up blind, like my dreams were too bright.”

1. Crowded House (1986)

Neil Finn joined Split Enz in 1977. He made seven albums with the band before they split up in 1984. For the final two – Conflicting Emotions and See Ya ‘Round – Neil took over from Tim as the main songwriter. Songs like ‘I Got You’, ‘Message to My Girl’ and ‘History Never Repeats’ were early indications of what Neil was capable of, but still couldn’t prepare you for the start-to-finish brilliance of Crowded House’s 1986 debut.

Bringing Hester with him from Split Enz and recruiting visual artist Seymour, Crowded House is built on the confluence of hearty comradeship and blazing creativity. They’ll be playing its opening four tracks – ‘Mean to Me’, ‘World Where You Live’, ‘Now We’re Getting Somewhere’ and ‘Don’t Dream It’s Over’ – on Smooth FM until the end of days, but their ubiquity shouldn’t veil the quality of Finn’s writing.

The record’s other major hit, ‘Something So Strong’, is undeniable. No matter your mood, it’ll draw you into a place of optimism, dangling in front of you the notion that anything indeed might be possible.

It’s not that the other records pale in comparison to their 11-song debut, but it’s the only one where every song could’ve been a single – and the sort of single you don’t tire of hearing.

–

Crowded House play Byron Bay Bluesfest this April.

The post Every Crowded House Album, Ranked appeared first on Music Feeds.

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[themomsandthecity]

Fifth Harmony Alum Dinah Jane Drops Solo Single with Former Groupmate Lauren Jauregui's Boyfriend Ty Dolla $ign

Harmonizers no longer have to keep their feelings “bottled up!” Fifth Harmony alum Dinah Jane dropped her new single “Bottled Up” on Friday with hip hop artist Marc E. Bassy and former bandmate Lauren Jauregui’s boyfriend Ty Dolla $ign. “We were trying to find who would be a good feature in ‘Work From Home’ and I was like ‘Ty, totally gotta get on this!’ and they listened to me,” Jane told Music Choice about the start of her friendship with the rapper. View this post on Instagram Bottled Up ft @tydollasign n @marcebassy – September 21st (about damn time I shared this with yall) A post shared by ♛DinahJane (@dinahjane97) on Sep 10, 2018 at 7:07am PDT //www.instagram.com/embed.js The 21-year-old is the first of the Fifth Harmony members to drop her own solo song following the girl group’s hiatus announcement in May. “My baby is finally here !!!!!!,” she tweeted. “can’t stop smiling rn …” My baby is finally here !!!!!! can’t stop smiling rn … #BottledUpOutNow follow spree 9.21 – be on the look out tomorrow x I love y’all so much ….. it’s finally yours whaaaaa — ♕DinahJane (@dinahjane97) September 21, 2018 https://platform.twitter.com/widgets.js Jane performed the song at Teen Vogue’s Body Party during New York Fashion Week  earlier this month in the presence of her former bandmate, 22, and her boyfriend, 33. Jauregui posted videos of Jane’s performance on her Instagram story. #IG | Lauren on Ty Dolla $ign's story pic.twitter.com/WoOODXTljS — Lauren Jauregui Updates (@LMJUpdates) September 12, 2018 https://platform.twitter.com/widgets.js In the song, Jane refers to the two tracks that brought Fifth Harmony to become the most-watched girl group on YouTube with nearly 2 billion views on “Work From Home” and 1.6 billion views on “Worth It.” “There’s a ‘Work From Home’ reference in there, ‘Worth It;’ I just wanted to play around with it and be a little cute,” she told Music Choice. “I’m a bad chick, I need a bad one with me / Work from home, but he gonna stay up for me,” she sings. She throws Harmonizers back also by referring to hit single “Worth It” from the group’s first album Reflection. RELATED ARTICLE: Lauren Jauregui Fires Back After Tiffany Haddish Disses Fifth Harmony at the MTV VMAs “But he putting in the work / Let me feel if this is worth it,” she later sings. Jane recently announced her solo signing to L.A. Reid’s record label Hitco after the group — originally comprised of Jane, Jauregui, Normani Kordei, Ally Brooke and Camila Cabello, who left the group in December 2016 — decided to go on a “hiatus from Fifth Harmony in order to pursue solo endeavors.” RELATED VIDEO: Fifth Harmony Shares Message to Fans After Group’s ‘Final’ Show: ‘Thanks for the Memories’ “We are all very excited and grateful to be able to take this time to learn and grow creatively and really find our footing as individuals,” the members said in a statement following their hiatus announcement. “In doing this, we are allowing ourselves to gain new experiences, strengths and perspectives that we can bring back to our Fifth Harmony family.” pic.twitter.com/4rDpt7sXvQ — Fifth Harmony (@FifthHarmony) March 19, 2018 https://platform.twitter.com/widgets.js Since May, the group members have been working on solo projects. Jauregui, who is featured on Halsey’s “Strangers,” went on a Latin American tour with the “Bad at Love” singer this summer and is expected to release her first solo album next year. “I touch upon so many different topics,” she told Nylon earlier this month. “But I explore them all from my own experience or what I think of it, so that way it doesn’t really infringe on anybody and I’m not really telling anybody what to do with their lives.” Kordei, 22, reached No. 1 Pop Song radio airplay this month for her song “Love Lies” alongside Khalid. Brooke, 25, spoke to PEOPLE last month before heading to the U.K. for her first solo performance at Fusion Fest, where she debuted the song “Vámonos,” set to release next month. View this post on Instagram LET’S GO A post shared by Ally Brooke (@allybrooke) on Sep 2, 2018 at 3:01pm PDT //www.instagram.com/embed.js “For so long I was in this box and now I’m out of it,” she said. “I’m able to be who I want to be.” “Everyone’s doing their own thing so we haven’t really talked to each other,” she added. “I think everyone’s just in their own lane, in their own element.” http://bit.ly/2pAgORD

[listensandreviews-blog]

Album review, track by track: Fifth Harmony by Fifth harmony

“Fifth harmony” is the first album without Camila and I was excited to see what the girls would do. I’m not a huge fan of Fifth harmony but I think they’re all very talented girls and I enjoy some of their songs. Here’s my track by track review of the album. Track 1: “Down” This was the first single released from the album and I must admit, it disapponted me. I mean, sure, it’s a nice song and I wouldn’t necessarily say it’s all bad. I just feel like it starts of good, it has a nice beat and I dig it, until you get to the chorus and nothing new happens. To me the song just feels flat and boring because it doesn’t have any dynamic, it just sounds the same all the way through. There’s no part that’s stronger than the others or a part were the melody changes, except for maybe the rap. If this song came on the radio when I was in the car, I probably wouldn’t even register it. Track 2: “He like that” I like this song! I think it’s catchy and fun and the chorus get stuck in tour head so easily. I’ll admit that my first reaction to the song was that it was good but not more but now ir had grown on me and I think it’s one of the best songs of the album. Track 3: “Sauced up” I love the first verse, it’s probably my favourite part of the song. As a whole, I think Sauced up is, again, fun and catchy but not as much of a hit as the previous track. I feel like Sauced up is somewhere in between on a scale from album filler to a hit. It’s not the best song but it’s not the most unnecessary one either. I would probably play this at a party because it has a party vibe to it but I wouldn’t put it first in my spotify queue. Track 4: “Make you mad” Like Sauced up this is somewhere between album filler and hit. It’s good, it has a nice, easy to listen to melody, I like the lyrics and it got stuck in my head after listening to it but once again, I feel like it doesn’t stand out. It’s not the first track I remembered after listening to it for the first time. Track 5: “Deliver” This is a good confidence booster. I will definitely listen to this sometimes in the morning when I’m getting ready and I’m standing in front of the mirror doing my makeup and just sing to it and feel the confidence flow trough my body. This one also stands out a bit from the rest of the tracks, it’s not just a catchy melodic pop song but more of an attitude filled, in your face song. I have to say though, that this is not something I would listen to on an everyday basis, but more avery now and then when I need said confidence boost.

Track 6: “ Lonely night ” This song is really nice to listen to. It’s smooth and sexy and I love the girls voices on this track, I think it suits everyone’s voice really well. I especially love Dinah in the choruses, her high notes are gold! Track 7: “ Don’t say you love me ” This is a song I relate to a lot and therefore, it’s one of my favourites of the album. It’s honest, vulnerable and a beautiful stripped down song, which is a nice contrast to the rest of the more upbeat and big production tracks. I will definitely cry myself to sleep to this song since I relate to it so much. That sounded so sad. Track 8: “ Angel ” Yes! This is a solid hit in my opinion. It’s got a great vibe, it’s exciting, fun and filled with girl power. I also love the music video, it somehow gives me major 90’s vibes and it makes me think about the Spice girls for some reason. In my top 3 favourite tracks from the album. Track 9: “ Messy ” Nice to listen to at nighttime was my first reaction to this song. It’s soothing and I just need to mention the wistle notes in the background towards the end. I’m not sure but I feel like it’s ally who sings them so creds to her. All in all it’s a nice song but not a strong track on it’s own, it wouldn’t make it as a single but it fits nicely on the album.

Track 10: “ Bridges ” I get goosebumps from this song. It’s their most mature song in my opinion and it has a beautiful message. I’m very happy that this track got a place on the record since it’s such an important song considering the world we live in today. I want to hear more songs like this from the group in the future. With this song, they really had something to say and they used their platform to spread some love and positivity. A nice way to end the album. Conclusion: Top 3: Angel, Bridges and He like that Bottom 3: Down, Make you mad and Messy Rate: 3/5 Final comments: The girls have matured since their last album, they all sound great on this one and it’s a pretty good album all in all. Some of the song are a bit flat and boring but there are some gold stars in there. I’m excited to see these song being performed live.

[allthingstailoredlive-blog]

Top 35 Albums of 2016

I’ve heard several different people argue that 2016 was where the music matched the of our newly elected President: trash. While there were a fair share of tepid releases, there were even more gems and masterpieces released as well. It marked the comeback of some major industry icons, the big break from some under the radar talents, and the domination of a legend. Below you will find my ranking for the top thirty-five albums of 2016. Feel free to comment with your opinions and feedback.

35. Ariana Grande, “Dangerous Woman” — Not quite on level with her first two studio albums, D.W. takes some risks where Grande has yet to explore. While standouts “Sometimes”, “Touch It”, and “Leave Me Lonely (featuring Macy Gray) are true delights, her transition falls short on tracks such as the unconvincing “Bad Decisions”, the overdrawn”I Don’t Care”, and the overrated radio-tune gem that is “Side to Side”. The album is probably the most evident of all of her releases that she is still trying to find her own sound, though there are some delights along her journey.

34. Shy Glizzy, “Young Jefe 2” — One of the most anticipated projects in the urban market was “Young Jefe 2” from Shy Glizzy. While ultimately the work doesn’t offer many full length tunes that enable you to crave it, it does suffice as a guilty hip-hop pleasure for 2016. Gems such as “Waiting on My Time”, “Rounds”, and “How It Go” prove that the rhymer can spit real life lyrics aligned with versatile concepts — a rarity amongst his generation’s peers.

33. Meghan Trainor, “Thank You” — Trainor’s sophomore release continued her trend of radio friendly pop tunes (“No”, “Me Too”), with some lavish, soul ballads (“Champagne Problems, “I Won’t Let You Down”) proving she why she continues to evolve as an artist. The standout track of the album is the median between these two styles, “Hopeless Romantic”, which has single written all over it. While the album didn’t exceed expectations in terms of sounds, it provides curiosity to what may come of her work in the future.

32. Childish Gambino, “Awaken My Love” — Another highly anticipated album in the hip-hop community came from Mr. Gambino. Riding high off of the success of his television show, “Atlanta”, he couldn’t have released new music at a greater time. Rich in sounds for the eerie and dramatic, the album takes an alternative route than that of “Because The Internet” album, while still focusing on real life centered lyrical content.

31. Blake Shelton, “If I’m Honest” — Adding to controversy this past year was the ever-blossoming relationship between superstars Gwen Stefani and Blake Shelton. Sparking his album was about the relationship, the ‘honest’ approach behind the album lived up to expectations in a raw, yet predictable approach to his usual content. While a pleasant listen for Shelton fans, doesn’t overly add to the drama or impact of his relationship with Stefani.

30. Fifth Harmony, “7/27″ — One of the greater surprises this year was the quality behind pop girl-group, Fifth Harmony”. Riding off of the success of their single, “Worth It”, the group quickly capitalized with a sophomore release, leading to their second top-ten single, “Work From Home”. The album dances with balladry with the reflective standout, “Write On Me”, and showcases superstar powers with tracks “Flex (All In My Head)” and “Not That Kinda Girl” featuring Fetty Wap and Missy Elliot respectively.

29. John Legend, “Darkness and Light” — 2014 was the biggest year of John Legend’s career. It took him to new heights after being in the music business for a decade. Taking his time to properly carve out his next release to the world, “Darkness and Light” shed ‘light’ on where he planned to go next. While the lead single, “Love Me Now”, is a slight departure from his adult-contemporary work that has followed his career, the majority of the album sticks to typical John Legend formula. The tracks “Overload” and “Penthouse Floor”, are singles waiting to dominate urban radio, with the assistance of Miguel and Chance The Rapper respectively.

28. Miranda Lambert, “The Weight of These Wings” — One of the most consistent workers in country music is without a doubt Miranda Lambert. It isn’t just because she releases new music, but she releases QUALITY good music. Need proof? Listen to these cuts from the album: “Vices”, “We Should Be Friends”, and “Smoking Jacket”.

27. Shawn Mendes, “Illuminate” — For his sophomore release, Mr. Mendes further embellished in the sound that made him a hit with young teens the year prior: heartwarming ballads and luscious tunes to churn. Lead by the single “Treat You Better”, you’ll learn early that no single on the record quite tops that one, or that of “Stitches” from yesteryear; but that doesn’t mean you won’t find pleasant listens such as “Patience” and album-opener, “Ruin.

26. Post Malone, “Stoney” — After creating quite the buzz with “White Iverson” earlier in the year, Malone’s first full length album proved that he could handle the pressures of a new release. The album luckily doesn’t focus so much on the mainstream style that it’s lead single invokes, but that doesn’t say that it lacks appeal either. The Justin Bieber assisted “Deja Vu” is one of the albums greatest gems, while listeners will surely find plenty more worth vibing to.

25. Kid Cudi, “Passion, Pain & Demon Slaying” — It has been an interestingly rocky past few years for Kid Cudi. His personal life has been not just bait for the tabloids, but also for fellow rappers (just ask Drake). Luckily, that hasn’t stopped his abilities to produce a consistent album worth waiting for. Lead by singles “Frequency” and “Surfin”, the album would return Cudi to the sound that made him one of the leaders of the alternative rap game. Drawing inspiration from his first album, the album is broken into chapters. Standouts include “Swim In The Light”, “Baptized In Fire”, and “Cosmic Warrior”.

24. Usher, “Hard II Love”–It had been an overwhelming four years since Usher last blessed our ears with his music. Moreover, for his traditional, old-school Usher fans, it had been well past that since they had received music that they were satisfied with. Despite your opinion on what his past had produced, his current was a steady body of work. The lead single, “No Limit”, showed fans the the veteran still could deliver an urban radio gem. As for his slow jams, “Missin U” and “Tell Me”, prove he can still sing effortlessly amongst the records in his prime. Welcome back, Usher!

23. Britney Spears, “Glory” — To this date, Britney hasn’t been able to find a sound or album that recreates the magic of ‘Oops…’ or ‘Britney’, and critics don’t let her forget it. For “Glory”, Britney let go of those antics and simply focusing on the music. From start to finish, this album easily produces Britney’s finest collection of songs in over a decade. The songs, with the exception of the lackluster “Private Show”, display an album that is a full body of work, starting with the standout “Invitation” and its effortless transition into the G-Easy featured single, “Make Me”. Britney also ventures into new sounds with the reggae-sexy “Love Me Down” and “Slumber Party”, and delivers sonic perfection on the edgy “Liar”. If there’s any doubt to whether or not teen-pop’s most prized possession still has it eighteen years later, listen to “Glory”.

22. Alicia Keys, “Here” — It’s hard to believe Alicia Keys has been around for sixteen years. Unfortunately, for her past few releases, it has been somewhat apparent. That changed with 2016’s defiant “Here”. The album follows no current trends whatsoever, not even that of her own past works. The album is complete with conversations and interludes to transition between the different songs. Keys confidently displays her message through rap-styled delivery, playing with the apparent change in her vocals in an array of different manners. The true gem of the entire album comes in the form of lyrically, musically, and delivery is an absolute masterpiece: “Illusion of Bliss”.

21. Fantasia, “The Definition of…” — In search of a new-retro style sound, Fantasia produced what was a complete sleeper of the year. With production that perfectly blends with her rasp and power, the entire album gradually progresses and telling a story: the definition of the woman who is Fantasia, and not just the artist. She experiments as well with more gospel-tingled tracks, with a surprising cameo from Tye Tribette, and country music with the daring “Ugly”. Standouts include “No Time For It”, “When I Met You”, and “Sleeping With the One I Love”.

20. Travis $cott, “Birds in the Trap Sing McKnight” — Alternative rap has become a popular sound and trend in current music. No one currently showcases this with such mastery the way that Travis $cott does. His second full-length album showcases his versatility as a producer, as an lyricist, and as a storyteller. Features aside, he holds his own on the same track as Kendrick Lamar in standout, “Goosebumps”. If this album is any indication, expect to see many more great moments from Mr. Scott.

19. Rihanna, “Anti” — The first major release of 2016 came from Rih-Rih herself. Lead by her historic number-one single, “Work”, the album shows why Rihanna continues to dominate the music scene. The album features some of her absolute finest ballads (“Love on the Brain”, “Same Ol’ Mistakes”), and her at her absolute finest (“Needed Me”, “Kiss it Better”). While in some tracks its evident she should not reach of showcasing vocality, such as “Higher”, the album is still a solid welcome. See the full review for this album available on a separate page.

18. A Tribe Called Quest, “We got it from Here…Thank You 4 Your service” — An as a formal goodbye from one of the most acclaimed hip-hop groups to ever grace a microphone, A Tribe Called Quest blessed listeners with this cry for nostalgia. While not their finest body of work, it easily outpaces many of the releases from today’s rappers with its underlying messages, intellect, and assertive abrasion. To name just a few standouts, would take away from the overall message of the album so I’ll suggest to start with “The Space Program” and end with “The Donald”.

17. Metallica, “Hardwire…To Self Destruct” — There is no discussion on the greatest in heavy metal, without the inclusion of Metallica. After an eight year gap between this and their most recent work, this album proves why they should still be included in the discussion. The title track, “Hardwired”, speaks volumes for itself and sets the pace for a hard hitting album that rocks on all the way through.

16. Maxwell, “BlackSUMMERS’night” — Seven years is too long of a gap for what we need and deserve from Maxwell. He is such a gift to music. Changing the presentation of the title from his last effort, Maxwell reminds audiences why we fell in love with his last collection of greatness. The lead single, “Lake by the Ocean”, was just a sampler of an infectious collision of gems. The opener, “All The Ways Love Can Feel”, I would argue as one of the greatest songs of the entire year. If you’re looking for Maxwell at his finest, listen to the track “Hostage”, which is the perfect median from his last two albums. In entirety, the album is genius and draws large anticipation for where he will take listeners in the final installment of this trilogy.

15. Common, “Black America Again” — In the midst of the drama that is the election, Common produced one of the greatest odes to Black America in recent memory. From the cover art, to his HBCU campaign via social media, Common’s message was clear. And his album did not fall short of displaying that genius in work. The album’s closing track, “Letter to the Free”, is a perfect depiction and ending message to advocate for the message presented in a defiant, bold album worthy of its acclaim.

14. Lady Gaga, “Joanne” — One of the most overlooked projects from 2016 is the newest release from Lady Gaga. Known for her bold, daring pop creations, Joanne is one of her most personal releases to date and matches up with some of her best work. The lead single, “Perfect Illusion”, builds off of the successes that her former lead singles have seen in style and structure, but the remainder of the album explores the core of the pop star, revealing a side that’s been masked over the years. “Million Reasons” is one of her best singles to dates because the lyrics and power of her singing speak alone free of overproduced synths. “Grigio Girls”, “Hey Girl”, and “Angel Down” prove why she’s one of the greatest songwriters of her generation.

13. Jeezy, “Trap or Die 3” — A veteran to the rap game, Jeezy has seen many commercial successes. After experimenting with different arenas of rap, he returns to his roots: trap music. On an album that is feature heavy, Jeezy pulls his own weight with some of the most well thought out bars of his entire career. The production is also amongst his finest on an album from start to finish. While every track stands out for its own reason, “Sexe (feat. Plies)”, “Ain’t Bout That”, and “Pretty Diamonds (feat. Chris Brown)” confirms he is back in his element of trapping behind the microphone.

12. J. Cole, “4 Your Eyes Only” — Similar to the release of his last effort, “4 Your Eyes Only” follows the low-promotion approach to music rollout in attempt to let the music speak for himself. While the effort doesn’t surpass that of either of his two more recent works, it does suffice as a diligent listen. “Deja Vu” and “Folding Clothes” are standouts on an album that presents Cole focusing more on consistency than progression.

11. “The Hamilton Mixtape” — Released in the last month of the year, “The Hamilton Mixtape” is the epitome of nostalgia. As a compilation set comprised for the Broadway spectacle of the same name, this album does something that is a rarity amongst even the greatest of soundtracks (Titanic, the Bodyguard), sound like one cohesive body of work. Every song speaks its own story and brings to life the drama behind the Broadway production. The soundtrack is truly a well-vested production worthy of listening.

10. Sia, “This is Acting” — Long before she was a pop star herself, she was a critically acclaimed songwriter. For her most recent release, Sia’s primary interest was to showcase her skills as a seasoned, talented songwriter. Though the album is deeply regarded as being “impersonal”, it is very much an album true to its concrete form: a concept album. “Cheap Thrills” was such a gem that half it made folks realize Sia actually had an album out. Her genius collaboration with Kendrick Lamar is another stand out from the album and the title speaks for the record itself: “The Greatest”.

9. Drake, “Views” — Even if you have lived under a rock for the last year, you can recite the melody to “Hotline Bling”. You can recall the splendor that was “One Dance”. And you most certainly can’t state that you haven’t heard the radio banger that was “Controlla”. But the greatest moments on Views are the album cuts. While the album is definitely not a step forward creatively from any of his previous works, it is a steady median for those looking to become in tact with the Drake that was present on “Take Care” and “Nothing Was The Same”. The best song of the entire album is without a doubt the collaboration with Rihanna, “Too Good”, which is the perfect combination of radio and depth. Other standouts include “Redemption”, “Faithful”, and “Fire & Desire”. This is definitely not Drake’s finest hour, but it is without a doubt a steady worthwhile listen that defined 2016.

8. The Weeknd, “Starboy” — “Starboy” was one of the most anticipated albums of the entire year. In a way that many folks I’m sure didn’t expect, it delivered. For those hoping for more of The Weeknd that was on his earlier works, you are going to be disappointed. As evident in the singles from “Beauty Behind The Madness”, The Weeknd wants to continue to evolve as a pop-artist, following his inspiration behind Michael Jackson. That is present the most in album closer and second single, “I Feel it Coming”. Not only is the style reminiscent of Michael’s “Off The Wall” era balladry, but the way that he coos confirms the influence Michael had on his career. That doesn’t say that the record doesn’t include the more edgier tracks, the uncredited feature of Future on “Six Feet Under”, “Party Monster”, “Reminder”, and “Sidewalks (feat. Kendrick Lamar)” provide satisfaction. The album’s finest moments come in the form of the mid-tempo ballads, “True Colors” and “Die For You”, both combining the elements of alternative pop and soulful hip-hop.

7. Solange, “A Seat at the Table” — The perfect title for the perfect arrival of a superstar. Solange has spent majority of her career living in the shadow of her sister’s successes, but not letting any of that define her. She has made music that she believes in and that is just as relatable; it just never quite came all the way together for the masses. And then, there was “A Seat at the Table”. Easily one of the year’s most compelling stories, Solange flawlessly crafts real emotion with theatric, yet understated melodies capped off with slick, seductive production. Every single song and the interludes that coincide tell an intimate story, one worth indeed having a seat at the table to listen to. The interludes don’t at all feel forced together, as they are very reminiscent of vintage Janet Jackson styled-albums. As if “Cranes in the Sky” itself isn’t the gem of gems for the year, also listen to “Borderline”, “Mad”, “Where Do We Go”, and “Don’t Touch My Hair”, and it is clear that we have clearly overlooked a genius, star. Lets hope 2017 more tables are provided for us to have seats at.

6. Kanye West, “The Life of Pablo” — Mental state aside, there’s no arguing when Kanye puts his mind to the studio, fire ensues. ‘Pablo’ is no different. From start to finish, it is obvious that Mr. West has a story to tell, as present in the album’s first song, “Ultralight Beam”. The Rihanna-assisted “Famous” is an ode to controversy in the months that have followed it’s initial release. “Waves” and “Wolves” are also standouts where the production does take control, but not in a way thats overbearing; its very welcoming. While many may argue that many of the songs seem unfinished and a work in progress, the progression is what makes the album that much more enticing and satisfying to the ears. It allows you as a listener to create assumptions and do your own storytelling, which is the goal of any true author and songwriter. For what it’s worth, ‘Pablo’ is an example of Classic Kanye doing Classic Kanye. If you still need proof, just listen to the interlude “Old Kanye”.

5. Frank Ocean, “Blonde/Endless” — The most anticipated record of 2014, 2015, and 2016 was “Boys Don’t Cry” by Frank Ocean. Instead we got “Blonde” and “Endless”, two separate cohesive bodies of work. So why are they ranked together? While “Endless” is one visual gem put together, a la Prince, it serves as a teaser for what could come on a grander stage. That grander stage belongs to “Blonde”. It is hard to even put Frank into a genre, as he just yearns to be someone who continues to excel to new heights with his lyrics, his ad-libs, his harmonizing, and his production. “Nikes” is the perfect opener to those experiencing curiosity to Ocean’s style and sound. “Pink + White”, “Solo”,  and “Self Control” present the vulnerable aspect of being alone, uncertain, and most of all of worth. “Blonde” not only serves as one of the greatest musical releases, it is one of the releases that absolutely defined 2016.

4. Kendrick Lamar, “untitled unmastered.” — Most albums that are put together of unreleased work feel uninspired. There’s not a universal element that brings them all together musically. It is a compilation of songs that were deemed unworthy for the album released at the time of the recording. There is something remotely different about Kendrick Lamar’s version. Weirdly enough, every “leftover” track is a complete gem in its own realm. And for the records to me unmastered, there’s a sense of nostalgia that binds them altogether to where they seem to be all influenced from the same creative vision. Or, perhaps that is why Lamar selected these records — because there was a commonality that he found when listening to them. Whatever the method in discovering the potential in each of the songs, the end product was one of genius. For a man who has been robbed of his full critical accolades, maybe this serves as a teaser for what is to become in 2017. All I know is if this is what leftover tracks from the past few years look like, I fear what the ones we have yet to see released behold.

3. Bruno Mars, “24K Magic” — One of the last releases of the year was Mar’s third studio album. While the title track/lead single follows the formula that took “Uptown Funk” to #1 in 2015, the remainder of the album ventures more into rap-sung gems that bring the soul of the 60s, 70s, 80s, and 90s all to 2016. And unlike his counterparts, Bruno is fully capable of belting out the finest vocals right along with his cliche songwriting and divine production. “That’s What I Like” is the ultimate not-so-subtle invitation to romance that radios will be eating up in 2017. Meanwhile, “Versace on the Floor” is an infectious ballad dedicated to that special person for an anniversary, birthday occasion. If you’re looking to dance, get lost in the new-jack styled “Finesse”, which could’ve easily fit in on your parent’s wedding reception playlist in the 1980s. With assistance from Halle Berry, “Calling All My Lovelies” steals the show with a melody that flirts with the assumption that “all men cheat”. However, Mars puts up quite the dissertation to defend his actions. And if you’re looking for the churning of classics like “Just The Way You Are” and “When I Was Your Man”, the album’s closer, “Too Good To Say Goodbye” is a complete tear-jerker. Written and produced with the legendary Babyface, the song sounds directly out of the soundtrack to all of your favorite 90’s love stories. For a man who had many doubts about releasing an album that met everyone’s expectations, I think its safe to say Mars has completely exceeded them with the strongest release from any male vocalist of the year.

2. Beyonce, “Lemonade” — ‘You can taste the dishonesty/its all over you breath/as you pass it off so cavalier” coos Mrs. Carter with destain and restrain on the album’s opener, “Pray You Catch Me”. Speculation aside from what influenced the album, Beyonce took us to a place creatively she probably didn’t even think existed. After the slay that was her self-titled fifth studio album and the records it broke, what more was there for her to do? “Lemonade” answers that question with a short film and album that tell the story of woman’s journey back to happiness after being scorn by a lover. It is not an easy journey, just see rock-infused “Don’t Hurt Yourself” or the piano-driven “Sandcastles”. But that doesn’t say the album doesn’t have some fun moments as well; the-IDGAF “Sorry” dominated radio, the reggae “Hold Up” is everyone woman scorn’s first thought, and “6 Inch” is the perfect half-time performance before going back to love and heartbreak. The absolute showstopper, however, is “Freedom”, the rebellious anthem that adds the expertise of Kendrick Lamar. For an artist who has already achieved so many things musically, Beyonce once again cemented her legacy as a legend in this business with arguably the strongest album of her career.

Chance The Rapper, “Coloring Book” — While technically speaking, this was a mixtape and not an album, Chance has officially marked his presence as the future of all music. For an artist who isn’t signed and in control of his own music, he very meticulously crafted the best project of 2016 hands down. From start to finish, the entire project manages to color in the lines and never blur outside of them. The 2 Chains/Lil’Wayne assisted “No Problem” was an absolute juggernaut and still remains a massive hit. But that’s not it, there are so many things to be gained from his record. What he’s able to do perhaps more than any other project released in 2016 is produce an album that feels real and relatable from start to finish. The standout, “Same Drugs”, holds a double meaning. It derives not only from the literal content of the lyrics, but also as a metaphor for reaching new heights professionally and personally from fame and how it causes you to adjust in your life. The sexy “Juke Jam” reminds you of the days of early, dangerous infatuation as you began to understand your hormones. “All Night” should’ve been the highlight of every radio station this fall, and even though it didn’t, it certainly was a playlist favorite for everyone’s functions. To continue on a tangent and attempt to identify just a few stand outs would’ve be a crime as this ENTIRE album from start to finish. And it is evident with his commercial, endorsements, and appearances everywhere the Chance isn’t going anywhere or going to sellout anytime soon. 2017 will be a big year for Chance, with the hope all the recognition he deserves takes him to new mainstream heights. Until then, we have “Coloring Book” and every color properly merged on every page to depict the future of music for years to come, as long as Chance the Rapper is our author.

Here’s to more gems in 2017. Feel free to drop your comments and feedback below.