Although she doesn’t want or need my pity, I am often sorry for Mýa. A few of my friends will say “fret not for Mýa, for she is the Beyoncé of Japan or the Rihanna of Taiwan,” but we all know that’s not true. Beyoncé and Rihanna are the Beyoncé and Rihanna of everywhere in this solar system. Okay, Japan does seem to provide safe haven for Black artists of the 1990s, but Mýa should still be a thing stateside.
She’s pretty with a great body, can actually sing, is a trained dancer, writes, has made her own beats, and had legitimate hits. See “It’s All About Me,” “Best Of Me,” “Case of The Ex,” “My Love Is Like…Wo,” plus the “Lady Marmalade” remake and whatever that lil’ Rugrats soundtrack song was called. Wait, it was called “Take Me There.” Yeah, I never really liked that song, but I know it was hit. Whatever, you get it. The girl wasn’t like…Christina Milian, who only had a single hit and a half to her name (and Ja Rule’s).
And yet, we don’t even give Mýa Paula Abdul-levels of adoration. Hell, does she even get Pebbles or Jody Watley-like celebration? The Moodring was too good an album for Mýa to be ignored this way. Then again, it did come out the same summer as Dangerously In Love, Chapter II, and After The Storm. I’d include Mary J. Blige’s Love & Life album, but y’all hated that. So while Moodring went gold, it was overshadowed.
Story of Mýa’s life. Poor girl. See, there I go again. I can’t help it.
I’ve always wondered what exactly happened with Mýa. She didn’t have the sort of big personality that propelled many of her peers. And she clearly didn’t hire a publicist who could find a way around it. The only thing I ever heard about Mýa on a personal level came from Wendy Williams — and I’m not repeating any of that here.
Or maybe her application for the Illuminati was thrown in the shredder by a hater. I don’t know, but she had a nice little run (that still seemed overlooked at the time) and then she went to Tokyo and America went, “Sayounara, sis.”
That said, Mýa hasn’t exactly done herself favors over the years. When she wasn’t creating R&B for Japanese Disney Radio, she was recording birthday dance tracks that sounded like it was made primarily for Club Seventh Circle, hosted by your least favorite party promoter and the Towanda Braxton to the Jesus’ Tamar, Satan. Finally, her music has returned to something reminiscent of what made me like her ass to begin with.
With Love reminds me of Moodring, only it’s a slightly older and more mature cousin. I enjoyed it so much that I gave Mýa my $3.96 on iTunes for the EP. From my understanding, she wants to remain on the independent route. Mýa wants the control and lion’s share of whatever amount of albums she makes. Such is her right. That’ll make it harder for her to gain back even a fraction of the success she used to have, but what does it matter if the coin isn’t correct?
One thing is for sure, though: If she creates music more like this, she’ll continue to get my (monetary) support. I would also like to hear more songs like the unreleased track “Backseat,” produced by Pharrell. I wish Pharrell would go find her and help her out. The girl’s still got it. Do you all remember Janet’s ICON special? Mýa deserves another chance.
Hell, she deserves one of the many chances we kept giving to Ciara (in vain). Give the EP listen. Give Mýa’s new EP a chance, y’all. Good luck, girl.