neo soul

Devil’s Halo

admin — Sat, 28 Nov 2009 17:01:00 +0000

I have always admired the artist who is not afraid to spotlight the daily catharsis we call life, and put it into an artistic pill that the masses will not sicken themselves on if left to process with their own devices. Some examples of this type of artist are Marvin Gaye, James Baldwin, and Stevie Wonder. I am not comparing or contrasting; I am simply stating personal observations and opinions. People generally do not get criticized by those closest to them for their growth—be it emotionally, spiritually, or even physically. Those who love us, or are simply enthusiastic admirers of who we are and what we do, tend to be very supportive and appreciative of our plight.

Given the preamble, those enthusiastic admirers who fall outside of the category of family (and sometimes this is also true for those who fall inside of it) tend to be a bit more conditional with their admiration. They want a brilliant finished product, not the torturous, heart-wrenching but beautiful in-betweens. In my humble opinion, Meshell Ndegeocello’s Devil's Halo is that beautiful in-between because it is a compilation of her experiences on the way to the finished product. “Tie One On,” “Bright Shiny Morning,” and “Blood On The Curb” remind me of songs that should be in a movie about twenty-somethings having an existential crisis—and that’s a good thing. “Love You Down” makes me wish I were in Ndegeocello’s head to figure out how she rendered Ready For The World’s original to such a soulful level. I am sincerely apologetic when I say I didn’t care too much for the original version, but I can’t get enough of this one. “Devil’s Halo” is a grooved out track I wish were longer, and a couple honorable mentions are “Lola” and “Hair of The Dog.”

Ndegeocello has never been afraid to take things to another level; although not everyone has appreciated those levels. Her works suggest that she chooses to maintain her own artistic integrity, not the desires of an industry continually adhering to a code of values that fluctuate with the value of the dollar.

Fans tend to be conditional with their appreciation, or lack thereof, and only want a perfectly packaged product that sounds exactly like why they began to like the artist in the first place. I presume the musical diversity Ndegeocello presents as songs suggest her emotional, spiritual, and physical growth-something we all go through, but are not as critical of. The in-between times are manifested in those artistic pills we aren’t always willing to swallow on our own. Hopefully, this one will go down easy for those who truly and enthusiastically admire Ndegeocello's work.

Written by: Olupero R. Aiyenimelo, November 28th 2009

John Legend and Raphael Saadiq (12/2/2008)

admin — Wed, 18 Feb 2009 18:07:00 +0000

Orpheum Theater

Boston, Massachusetts

John Legend and Raphael Saadiq are already viewed as icons of neo-soul, but each artist possesses a distinct pallet from which they conjure their melodic visions. Legend has clearly become the more well-known star out of the two, having put forth three major albums that have garnered both critical acclaim and solid record sales. Comparisons to classic crooners like Marvin Gaye have also been abundant, and with Legend only recently entering his third decade on the planet, more accolades and success are sure to come.

On the other side of the coin is Raphael Saadiq, now a veteran of the R&B scene at age forty-two. Saadiq first came to prominence during the late nineteen eighties as the lead singer and bassist for popular R&B act Tony! Toni! Tone! The group enjoyed a string of hits including the songs "Little Walter," "It Never Rains in Southern California," and the classic "Anniversary." In the ensuing years, Saadiq would form the short-lived super group Lucy Pearl and release his first solo album Instant Vintage, which was viewed by many as an instant classic. Saadiq is now happier in the role of behind-the-scenes man, as he has become one of the most successful and sought-after producers in the game, producing hit songs for artists such as D'Angelo and, yes, John Legend.

The creative juxtaposition of these two R&B heavy hitters was on display this evening, much to the delight of the audience at the Orpheum Theater in Boston. Saadiq opened the show with the upbeat cut "Love That Girl" from his new Motown inspired album The Way I See It, and the crowd abided as they danced in the aisles and sang along with the band who, with Saadiq himself, were entirely decked out in vintage 1960s garb. What became quickly evident was Saadiq's energetic showmanship and his ability to woo every woman in the house simultaneously, as he danced around the stage strategically removing bits of clothing until he revealed his tattooed biceps.

Although Saadiq continues to be under appreciated in the mainstream pop world for his slick R&B gems, the crowd at the Orpheum were clearly not your average R&B fans, giving Saadiq the dap he so rightly deserves. For a moment he truly transported the old Orpheum Theater back to the 1960s golden age of R&B. A highlight included the infectious headbopper "Be Here," from Instant Vintage, and "Big Easy," Saadiq's heartfelt tribute to the victims of Hurricane Katrina.

Not to be outdone, John Legend entered the theater and smoothly sauntered down the aisles, through the audience, and onto the stage--all while a montage of Legend as a boxer skulking around the ring was beamed into the crowd. His opening number was the energetic track "I Used to Love U" from his debut Get Lifted. The set featured a variety of songs with equal output from each of Legend's three studio albums, including the tracks "We Just Don't Care," You Know That I Love You," "Green Light," and (one of the high points) "Slow Dance," during which Legend pulled a lucky girl from the audience (think Bruce Springsteen "Dancing in the Dark" with Courtney Cox) up on stage to engage in a slow dance of their own. The show was brought to a close with a beautiful encore version of the already classic piano ballad "Ordinary People" and a short PSA about Legend's "Show Me" campaign, in which he encouraged the crowd to text a donation to aid Bossaso Village in Ghana and closed the show with a song of hope, "If You're Out There."

Written by: Steve Sousa, February 18th 2009

The Real Thing: Words And Sounds Vol. 3

admin — Wed, 21 Nov 2007 23:24:00 +0000

By Jill Scott

Hidden Beach

Jill Scott was introduced to the world on her aptly titled, brilliant, neo soul debut Who is Jill Scott? (Words and Sounds Vol.1). She co-wrote the classic Grammy winning "You Got Me," performed by The Roots with Erykah Badu, and we've been discovering more of her ever since. With soulful, hip hop poetry style here on her third proper studio release, she continues the trend, but with more jazzy flourishes. Having experienced the vagaries of fame, as well as a brief marriage in the last few years, her lyrics as ever are cathartic, and the sound more mellow.

Opening things is the brief, hip hop styled "Let It Be." The title track is full of wailing electric guitars, giving a lite-rock feel, with Jill declaring she is the real thing. Lead off single "Hate On Me," also guitar and horn driven and set to heavy hip hop beats, is her retort to those hating on her because of her fame. The airy, bouncy, bass heavy "Whenever You're Around" belies the lyrics of the song: "cause I'm lonely/whenever you're around." Other standouts are the quiet storm of "Come See Me," the brooding, spoken "Epiphany," bass heavy "Only you" and, as its name implies, heavily blues styled "Celibacy Blues."

Another classic from Ms. Scott, who always gives her fans the real thing!

Written by: Nse Ette, November 21st 2007