R and B

Lady Love

admin — Thu, 10 Dec 2009 01:07:00 +0000

It's hard to believe that it's been over ten years since Destiny's Child released their first album. I was a teenager at the time, and as a big fan of bubblegum pop, I always enjoyed their music. One of my favorite Destiny's Child songs was “Independent Women;” their music had a sassy, you-go-girl vibe to it (although I'm sure many feminists prefer their empowering anthems to come from artists who aren't so “Bootylicious”). A decade later, not much has changed; I still listen to their music, now with a slight twinge of nostalgia.

And all the women of Destiny's Child have since become “independent.” Founding members LaTavia Roberson and LeToya Luckett left the group early on due to management disputes, and the other members eventually followed suit. Beyoncé Knowles is not the only member to have found success after Destiny's Child; Luckett just released Lady Love, her second solo effort. An R&B/pop fusion, Lady Love's upbeat cuts are infectious and fun. Standout tracks include the Rihanna-soundalike “She Ain't Got...,” the slow jam “Over,” and the funky beats of “After Party” and “Drained.” Lady Love is a radio-friendly record that will be likely enjoyed by pop and R&B lovers.

Some famous friends also provide guest vocals on this album—“Love Rollercoaster” features rapper Mims, “Take Away Love” co-stars British songstress Estelle, and Ludacris guests on “Regret.” I was very curious to see what “Regret” would sound like since Ludacris is not famous for having particularly progressive lyrics, but this is pretty restrained anthem about dumping a no-good boyfriend.

Indeed, this is the predominant theme on the album, with Luckett telling off a litany of lovers for doing her wrong. Some of that old Destiny's Child “Girl Power” vibe comes through on a few of the cuts, like when she chides an ex-boyfriend for spending all her money, I can't help but think of “Bills, Bills, Bills.” This is a rather interesting contrast to “She Ain't Got...” which is extremely catchy but has somewhat desperate lyrics threatening “that ho,” a woman competing for the affections of her partner. (“Does she cook like me? Clean like me? No, she ain't got sh*t on me!”) The “cheating men” theme gets a bit tired—but music is therapeutic, so perhaps this album was a way of working through some frustrations. And hopefully, she didn't really mean it when she sang about chasing “the other woman” with a baseball bat.

Written by: Beeb Ashcroft, December 9th 2009

Devil’s Halo

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

By Meshell Ndegeocello

Mercer Street Records

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

The Annie Lennox Collection

admin — Tue, 05 May 2009 17:27:00 +0000

By Annie Lennox

Arista

There are some striking facts that become evident when listening to this collection of the former Eurythmics frontwoman: first, how similar her music sounds to her work with Dave Stewart— lots of thick, fat synthesizers and glassy dance beats. Second, Lennox is an artist that personifies contradictions: she’s a white woman from Scotland with a soulful wail that would rival any gospel shouter; her songs are full of melancholy and longing, yet the production is often pristine and classy to the point of antiseptic. Also noticeable is just how consistent her sound is—her solo work has changed little during her considerable career—a testament to her ability to maintain a level of quality in her music (this record sounds like a full studio LP, as opposed to a collection).

The record starts off with a bang, with three of her best solo records from her strongest solo album, her debut Diva: the funky “Little Bird,” the paranoid “Walking on Broken Glass” and the gorgeous weeping ballad, “Why,” which is Lennox’s sole solo classic. The songs are Lennox at her best. “Little Bird” and “Walking on Broken Glass” are both great dance numbers and, despite the peppy arrangements, Lennox still sings lyrics of lost love.

“No More 'I Love You’s'” was the best single from her sophomore release, Medusa. A collection of covers and remakes, the album wasn’t terribly well-received, although this song won her a Grammy and was a hit on MTV. It’s a pretty obscure 1980s synthpop tune that Lennox has resuscitated. The chorus is very catchy and Lennox is, of course, wonderful, soulful and predictably heartbreaking.

“Precious” breaks up the excellence of the album, with clunky, dated R&B production (the mile-wide bass slaps are ridiculous). Lennox sounds as if she was convinced of the mediocrity of the song and phones in a decent, if unremarkable performance very unlike her usual professionalism.

Aside from “No More 'I Love You’s',” Medusa gave Lennox another gem with a lovely cover of “Whiter Shade of Pale.” The cool production, with its pulsing beat (it sounds like a heartbeat), and creamy, blanket-like orchestration and tinkling harpsichord matches the committed and brilliant performance by the singer.

“A Thousand Beautiful Things” was an excellent cut from her comeback record Bare. It’s classic Annie Lennox—by the song’s release in the mid 2000s, Lennox had defined a sound for herself— namely, stately, polished pop/R&B with wall-to-wall synthesizers and thumping drum machines, eccentric backup vocals and usually a melisma-filled bridge. “A Thousand Beautiful Things” satisfied all these qualities well.

On “Sing,” Lennox addresses politics—specifically feminism, with a chorus of fellow female superstars including Madonna, Gladys Knight, Dido, Fergie, Mary J. Blige, Anastasia, among others. The single from her underrated 2008 Songs of Mass Destruction is an excellent female anthem. It takes a cue from USA for Africa’s “We Are the World” with an all-star cast; though, interestingly, it’s only Lennox and Madonna that are distinguished on the track. Wisely choosing to write a driving up-tempo number, Lennox crafts a thoughtful song that is at once intelligent and fun to listen to.

By the next song’s opening strains, listeners are lead to believe that they’re in store for another trademark Lennox ballad. Instead, after the plaintive opening of “Pavement Cracks,” (another choice track from Bare) a chugging bass enters with a clanging guitar, turning the yearning ballad into a sprightly dance cut. “Love Song for a Vampire,” Lennox’s theme to Bram Stroker’s Dracula, is another minor entry in the singer’s resume. A decent, if unspectacular song, with some interesting sounds and a typically good performance by Lennox. “Cold,” a word often used to describe Annie Lennox is another wonderful ballad, in a similar vein to “Why.” There are some great, backup vocals that allow for Lennox’s inner gospel diva to be released as she spars with her background singers. “Dark Road,” the initial single from Songs is also a pretty ballad, although it’s a bit redundant of her other slower works, and doesn’t live up to the standards of “Why” or “Cold,” but does boast a moving string section.

The record closes with two new songs: “Pattern of My Life” and “Shining Light”—neither are particularly memorable, but they aren’t complete time-wasters either; they just pale in comparison to the classics.

__The Annie Lennox Collection_ is a good overview of Lennox’s career; there are some omissions, such as her duets with Al Green, Aretha Franklin, and Sting; it would also have been nice to have some more obscure material like “Mama,” an esoteric entry for a charity record, or “Step by Step,” a dance-pop single she wrote for Whitney Houston. Still, it’s a good buy for first-timers; those interested in getting to know Lennox better would be better served buying her classic debut record.

Written by: Peter Piatkowski, May 5th 2009

From the Heart

admin — Mon, 13 Apr 2009 10:29:00 +0000

By Etta James

Legacy Recordings

Discovering new music from a classic artist makes you feel like you’re getting to know an old friend a little bit better. The picture of them in your mind feels more complete and well-rounded. By compiling fifteen tracks of previously recorded songs in From the Heart, Legacy Recordings introduces us to new a new side of one of our old favorites, Etta James.

Unlike other recordings, this album exposes her more soulful R&B talents that are rarely associated with her. Legacy proves that there’s more to this expressive diva than her famous cover of “At Last.” This is most evident in her cover of “I’ve Been Loving You Too Long” and “Try a Little Tenderness.” James’ classic brassy baritone oozes over the smooth beats and creates sounds that are entirely different from her well-known jazz croon.

Don’t worry though, Legacy doesn’t skimp on the old stand-bys. Listeners will get their James jazz-fill with tracks like “My Man” and “My Funny Valentine.” Etta James is currently experiencing a second wind in the media spotlight because of the film Cadillac Records and a new, svelte figure. This album serves as just another reminder of how talented and versatile she is as an artist. Like a surprise phone call from an old friend, James is letting us know that she’s still here and remains one of the greatest female jazz and blues artists of her time.

Written by: Sara Custer, April 13th 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