Bun B closes his Trill series superbly
Bun B ⎪Trill O.G.: The Epilogue ⎪Rap-A-Lot ⎪⎪ US Release Date: November 11, 2013
“It’s over, it’s over!” Why you ask? “‘Cause the best is back… b**ch!” That’s right, veteran MC Bun B has released the fourth effort of his Trill series, Trill O.G.: The Epilogue, which follows Trill (2005), II Trill (2008) and Trill O.G. (2010). The highest profiled effort of the series was Trill, which arrived at a time when there was a resurgence in Texas’s rap scene. Bun B’s impact commercially as a solo artist was never huge, but B remains an important fixture in hip-hop history and as a collaborator in my eyes. Trill O.G.: The Epilogue is by no means ‘the second coming’, but it is a a well conceived rap album by all means.
Opener “The Best is Back” lives up to its titular bravado as well as Bun B’s consistency as an MC. Initiating with incredible confidence on the intro (“Guess who’s back in the mother f*ckin’ house? / the King of the trill b**ch, you guessed it…”), vet Bun B easily back up his ‘trash talk’. He certainly ‘goes off’, including memorable moments such as “Ladies and gentlemen, you already know that it’s him again / lettin’ ‘em hang, non-feminine, crunk like I’m gone off Ritalin / chopped off top, there’s no middle and throwed on that load again…” He confirms his rap royalty status on the hook: “Guess who’s back? Me / There’s no competition…shut ‘em down / hurt-hurtin’ boys / it’s over, it’s over / cause the best is back b**ch.” Unapologetic, further inspired by banging, malicious production work, Bun’s on autopilot.
“Cake” doesn’t let up off the gas, featuring his late, great UGK partner Pimp C on the catchy, electrifying hook: “Boss get cash money, smokin’ the vapors / don’t chase the cake, chase the paper / them thighs come with that shake / b**ch in yo mind, ho I got cake…”. In that old-school, lush and luxurious rap style (produced by Big K.R.I.T.), “Cake” is certainly a gem. Bun B continues to flex his rap muscles – what else does he have to lose? “When I see you lickin’ your lips, you wanna blow my whistle / but I got that harmonica, you can play it like Stevie / they say that pimpin’ ain’t easy, man it is if you be me.” Now that’s O.G. Throw in sound guest verses from Lil Boosie (“I get cash in duffle bags, I don’t chase the cake / let ‘em ride, get ‘em high as I pay for cake…”) and Big K.R.I.T. (“The type of dick that run a chick some sh*t that she could bill for … I break her off ‘cause she bring it back to daddy”), and “Cake” is among the album’s best.
“Fire” caps off an exceptional trio of cuts for Bun. Serani covers the hook: “When the heat is on we burn hotter than fire / people will burn up on, we burn hotter than fire / turn my enemies to dust, burn them up with fire / whether life or death, guess we’re far from fire”. Following a similar format to “Cake”, Bun B sets the tone on the first verse (“Mother f*cker beware ‘til I retire or expire / cyanide in them, know that we are coming with more fire…”), while Rick Ross and 2 Chainz lend their ‘expertise’ on the second and third verses. The results? Top-notch, did you really expect anything less?
“No Competition” continues consistency, featuring Raekwon and Kobe. The sound cut doesn’t achieve the same grandeur as the opening trio, but it certainly gives up little quality. Bun B excels as he compares himself to everybody and their brother: “…I am Mike Jordan, Mike Tyson, Mike Phelps / Michelangelo with the flow bro and the mic helps / Ha! The mic stealth, that’s for the mikes health…” As always, Raekwon is nothing short of a ‘beast’. Pimp C once more plays a vital role, even if it is posthumously on “Don’t Play With Me”. Solid, I prefer its follow-up “Gladiator” (featuring Truck Buck), which is dedicated to the late MC. The truly gladiator-fueled lyric? “They thought it was over, they thought that I was done / they said I wouldn’t last, I’m the last one / I’m “Still Standing” like the Goodie to the Mo-B / In a black hoodie, it’s the O.G., you know me.” Riled up, Bun B definitely lives up to his ‘gladiator’ status.
Bun B ‘don’t play’ with another all-star cast on “Stop Playin’”, which brings in Redman and Royce Da 5’9”. Brash with no bullshit, the tail-end of the hook best sums up this number: “… it’s not the sh*t you say, it’s the sh*t you not saying / you know better, show better, step it up and stop playing / stop playing”. Hard as ever, both Redman and Royce Da 5’9” accentuate the edgy MC. Kirko Bangz adds some ‘R&B swag’ on “Triller”, though with plenty of bite as he proclaims to be a “mother f*cking killer / H-Tow in this b**ch / and you know it’s for real.” As for Bun B he spits nothing but truth: “P***y n***as need to stay off in they lane / sitting sidlines, want to quarterback the game / backseat drivers get to taking too much / but now when I’m around, cause they know they get touched…” Well, at least we know who’s “triller”.
What’s better than two bangers in a roll? Three! “Dippin’ & Swervin’” is arguably the strongest of the three, giving Bun B something even the younger generation can bump. I mean, what wrong with B “…dippin’ through the city, fresh fitted on my dome / comin’ down candy and I”m sittin’ on chrome…”? Additionally, his “pockets stay swollen, money [he] be holdin’…” He follows up the freshness with the smooth “On One” (featuring Devin the Dude and Gator Main), which favors “Cake”. It’s not as polished mind you, but it’s solid. Penultimate cut “The Legendary DJ Screw” is more notable, featuring numerous guest MC’s and paying ode to DJ Screw. The closer “Bye!” could’ve been scrapped, but I suppose Bun B wanted to make sure you know what it is and who makes it do… or something OG and illy like that. LOL.
Ultimately, Trill O.G.: The Epilogue is a solid close to the Trill series as well as a close to a chapter of Bun B’s career. Save for the questionably included final cut, …The Epilogue is incredibly enjoyable and consistent. It may not woo or compel the new generation of hip-hop fans, but this effort should certainly please Bun B, UGK fans, and the old-school.
“The Best is Back”; “Cake”; “Fire”; “Gladiator”; “Dippin’ & Swervin’”
- Bun B featuring Pimp C, Lil Boosie and Big K.R.I.T. – Cake (backtohiphop.com)
- Bun B Performs With Houston Symphony For “Concert Against Hate” [PHOTOS] (hiphopwired.com)
- Bun B – Triller (f. Kirko Bangz) [@bunbtrillog @kirkobangz] (dayandadream.com)
- Trill OG Bun B Speaks on his Views of Rap + Kicks a Freestyle on Sway in the Morning (getwritegossip.com)
Gaga strikes gold on ARTPOP’s second single “Do What U Want”
I’ll be the first to admit that I wasn’t applauding too much over Lady Gaga’s first single “Applause” from her upcoming studio album ARTPOP due November 11. It was merely ‘good’ in my opinion, but just didn’t stack up to juggernauts like “Poker Face”, “Bad Romance” or her numerous hit singles. Believe me, I wanted to be ‘gaga’ for Gaga, but “Applause” just wasn’t enough. But fear not fellow Gaga super fans – second single “Do What U Want” easily atones for any un-Gaga-ness that made “Applause” too safe. This ladies and gentlemen is the single that we’ve been waiting for and can once more crown Lady Gaga and guest R. Kelly (shocker!) as the “Gaga of them all”… or something like that!
So many things are irresistibly delicious about “Do What U Want”. First and foremost is that Gaga is among her most assertive I have ever heard her vocally. As I was listening and evaluating the single on rdio.com, I couldn’t help but notice people making comparisons to Christina Aguilera. I’d agree that Gaga’s grit and powerhouse vocals on this particular cut show her transcending dance-pop in itself, a sub-genre not known for top-notch vocals. Is Lady Gaga Xtina? Of course not and in the regard of ‘lumping’ them as one and the same, that is unfair, but what is an accurate description is that Gaga definitely stepped her game up vocally.
So is “Do What U Want” really just a shallow sex-oriented pop cut? It can be interpreted that way given the suggestive lyrics such as “So do what you want / want with my body…”, but there is a deeper message. If one pays closer attention to all the lyrics, it is best interpreted as a ‘double meaning’, maybe even ‘triple meaning’ depending on how one’s mind tends to wander. Eschewing the simple sexual read, Gaga is suggesting that she’s more than just the ‘body’ that the media seems to be focused on. She’s hence suggesting the media are ‘shallow’ because that’s all their focused on. Because of this particular assertion, she suggests that the media and skeptics can do whatever they want with her ‘body’. Maybe the sexual interpretations are more thrilling, but seems a stretch for Gaga to merely be objectifying herself in man’s eyes for sexual play.
Going back to vocals and such – Yes I know, there’ll be that group that says that she had to considering that R. Kelly is definitely no subtle vocalist, even when he’s his most salacious and outrageous. Honestly, who would’ve ever saw this duet coming? It’s odd enough and unique enough to work. Surprisingly, the vocal chemistry and respective solo performances by both stars are electrifying. Gaga is at her most memorable on verse one when she states “I, I stand up, and then I’m OK / but then you print some sh*t that makes me wanna scream…” as well as her powerful bridge (“Sometimes I’m scared I suppose / if you ever let me go / I would fall apart / if you break my heart / so just take my body / and don’t stop the party.” Kelly stands out on the second verse (“Early mornings, longer nights / Tom Ford, private flights / crazy schedule, fast life / I wouldn’t trade it in, cause it’s our life…”) but definitely creates a stir at the end of his pre-chorus (“…yeah we taking these haters and roughing ‘em up / and we lay in the club like we don’t give a f*ck”). Who would’ve thought it would be a match made in heaven?
As suggested, this song transcends its suggestiveness. If that was the read many folks were adapting, the chorus definitely disproves such a hypothesis: “You can’t have my heart, and / you won’t use my mind but / do what you want (with my body) / do what you want (with my body) / you can’t stop my voice, cause / you don’t own my life but / do what you want (with my body)…” My take? Genius Gaga, bloody genius!
- The Singles Party: Lady Gaga (f. R. Kelly), ‘Do What U Want’ (pop-break.com)
- Lady Gaga and R. Kelly Duet on New ARTPOP Track ‘Do What U Want’ (amp.cbslocal.com)
- Lady Gaga: Duets with R.Kelly ‘Do What You Want’ (thegoldengrenade.com)
- Lady Gaga strips NAKED on stage at London nightclub G-A-Y (mirror.co.uk)
- Lady Gaga no Madonna copy (contactmusic.com)
- Is Lady Gaga trying to alienate people? – Venus review. (joshipgirl.wordpress.com)
- Lady Gaga : Venus (lifeunderaluckystar.org)
- Lady Gaga – Do What U Want (feat. R Kelly) (Single Review) (musicreloaduk.com)
Khaled’s Not ‘Suffering from Success’, perhaps suffers from a lack of innovation…
DJ Khaled⎪ Suffering From Success⎪ Cash Money ⎪⎪ US Release Date: October 22, 2013
If there is one reservation I (and likely others) have with DJ Khaled’s albums, it is that generally they all seem ‘one-dimensional’. Maybe that is a harsh critique, or maybe it’s just actual reality. Of the Khaled albums that I have partaken of in recent times, they’re always good for some top-notch club bangers (“I’m On One”), but cohesively, the albums feel like somewhat detached compilations. Suffering From Success proves no different, ultimately yielding some pleasant, head-nodding moments, but eschewing the ‘second coming’.
After intro “Obama (Winning More Interlude)”, “Suffering From Success”, featuring Ace Hood and Future, kicks off the album of the same title. Ultimately, the production work (Young Chop) is dark, malicious, and characteristic of the hardcore rap idiom. Future delivers his first of many hooks, sounding his typical, auto-tuned self: “Got too many racks on me, I can’t even go to sleep / just to get ‘em out V.I.P., I’mma need to see I.D. (I don’t trust you) / I’m sufferin’ / I’m sufferin’ from success / I’m sufferin’…” Really, “suffering from success”? Please! The best part of the so-so title track may be Ace Hood’s aggressive rhymes.
“I Feel Like Pac / I Feel Like Biggie” is much stronger, sporting production from The Beat Bully. Ah the weight that synthesized brass and a hard underlying beat carry! The inspiration seems to be full-fledged here, whether that’s just the mere mention of rap royalty or a star-studded cast including Rick Ross, Meek Mill, T.I., Swizz Beatz, and Puff Daddy. Swizz Beatz’s hook is definitely ‘on point’ as they say, while Meek Mill kills it on his verse. The momentum is propelled even further on “You Don’t Want No Problems”, yet another juggernaut assisted by Big Sean (the hook), Rick Ross, French Montana, 2 Chainz, Meek Mill, Ace Hood, and Timbaland (who produces with Khaled). There are numerous highlights, including memorable lyrical moments from Rick Ross (“On the phone at the light, Kelly Rowland’s a friend / Catfish in the Benz, Manti Teo’s a sucker…”), 2 Chainz (“They slept on me, I stopped sellin’ work and started sellin’ coffee…”), and Ace Hood (“My sanctuary’s that cemetery / my choppa, named it obituary…”)
“Blackball” follows, again relying on the ubiquitous Future for a hook (“They tryna blackball me, they say I get too much money / they want my name from me because they know what it do…” etc.). Plies and Ace Hood handle the verses, though compared to the previous duo, “Blackball” is less triumphant. “No Motive” featuring Lil Wayne sort of falls into the same boat, sounding ‘solid’, but not exceptional. The hook definitely didn’t take much thought: “F**k all you b*****s… f**k all you hoes… one million, two million, three, four…” “I’m Still” is enjoyable enough, but I feel like I’ve heard this cut over and over again. Chris Brown excels at infusing some R&B into hip-hop, but at this point it’s not truly new or rousing. Wiz Khalifa joins the lengthy credit list, rapping unsurprisingly “So high don’t see no problems / b**ch I’m on them trees like Tarzan…” It works, but doesn’t excite. Personally, I’m sick of hearing about Wiz getting high.
“I Wanna Be With You” again brings in Future, but also sees another return from Rick Ross and a debut appearance from Nicki Minaj. Minaj remains at her best when she’s raunchy, if you can handle her un-lady rhymes. Even though Minaj is a “girl on fire”, Rick Ross has arguably the best line: “That ho chick gets you no play, all I talk is cocaine.” Hit “No New Friends” is a showstopper, again rekindling some magic between Khaled and Drake (“No new friends, no new friends…f**k all y’all n***as except my n***as…”). Rick Ross hops on board (“…All I hug is blood n***a, Khaled that’s my flesh though / all I want is love n***a, money bring that stress though…”) as does Lil Wayne (“…B**ch we good-fellas, boy all them n***as with you they just pall bearers…”). The production work is aligned with the ‘Drake’ sound as the track is produced by Boi-1da and Noah “40” Shebib. A standout? Of course!
The remainder of the album is so-so. “Give It All To Me” (Mavado featuring Nicki Minaj) sounds like it’s going to be a deal breaker initially, but it’s respectable enough. “Hell’s Kitchen” has its moments, thanks to the sound and solid rhymes from J Cole and Bas. Still, “Hell’s Kitchen” sits too long. Lengthy duration also hurts the super ambitious “Never Surrender”, which manages to utilize three R&B singers in John Legend, Anthony Hamilton, and Akon. Add raps from Scarface, Jadakiss, and Meek Mill to that mix and it’s quite ‘big’. “Murcielago (Doors Go Up)” is not only ‘tired’ in name, but the song itself is a ‘C’ at best – merely average and unmemorable. “Black Ghost”, credited to Vado is ok, but like “Murcielago”, it’s nothing to write home about.
Thoughts overall? Suffering From Success isn’t really suffering from success, but it may be suffering from a lack of innovative spirit. It’s good enough, not great If you’re looking for depth, avoid it. If you want to get it poppin’ at the club, this is for you.
Favorites: “I Feel Like Pac / I Feel Like Biggie” ; “You Don’t Want These Problems” ; “No New Friends”
Pusha T captures a darker portrait of life exceptionally on his ‘official’ solo debut
Pusha T⎪ My Name Is My Name ⎪Def Jam ⎪⎪ US Release Date: October 8, 2013
To call ‘street life’ captivating would probably be an incredibly irresponsible statement to make. What isn’t an irresponsible description is that Pusha T delivers and captures a darker portrait of life exceptionally on his official solo debut, My Name Is My Name. Sure, the ‘dope game’ is nothing to glorify by any means, but something about Pusha T’s honest and authentic stories of a checkered past proves to be an interesting listen across these 12 excellent tracks. If nothing more, one definitely knows where half of rap duo Clipse stands.
“King Push” initiates with dark-tilted production work, driven by a marching band-like snare drum. From the jump, Pusha T is confident and hardcore about his intentions. This is evidenced by the hook: “I’m king Push, still King Push / I rap n***a ‘bout trap n***as / I don’t sing hooks.” Indeed Pusha T avoids sung hooks throughout My Name Is My Name and definitely sugarcoats nothing. The unapologetic nature of “Numbers On The Board” is welcome, with Pusha T kicking off things in electrifying fashion: “I’m so bossy, b**ch, get off me / it’s a different jingle when you hear these car keys…” Adhering to the 2013 rap trend of ‘god status’, Pusha seems to have more oomph than many of his contemporaries as he spits “It’s only one God, and it’s only one crow / so it’s only one king that can stand on this mound / King Push, kingpin, overlord…” There it is.
“Sweet Serenade” isn’t true to it’s title, continuing to sound mysterious and dark. Chris Brown’s usually enthusiastic pipes are subdued in effect to make the ‘sweet serenade’ a bit more ‘realistic’ you might say. “Come on let’s toast the champagne, this one’s for the life / did everything you could do to be here for the night / man it feels good, everything feels right / energy is strong enough to bright city lights / my whole team winning, no vision on quitting…I risk my life to try everyday to go and get it…” The track wins and apparently the “team [is] winning”, so why so scary? Well it is Pusha T. “Look, my ouija board don’t never lie to me / the best rapper living, I know who’s alive to me / yeah the competition’s all but died to me / Raah, I make these motherf**kers hide from me…” Maybe that’s why!
“Hold On” brings in Rick Ross, a perfect collaborator for Pusha T. Pusha never falls short lyrically, always delivering a compelling performance. Again, it is the brutal honesty that lifts Pusha, moments like “I sold more dope than I sold records / you n***as sold records never so dope/ So I ain’t hearing non of that street sh*t / cause in my mind, you motherf**kers sold soap…”. Pusha T is also equally effective on socially-conscious lines like “They tipping the scale for this crackers to win / no reading, no writhing, made us savage of men…”, seeming a reference to the ‘lot’ of the black man. Rick Ross balances the street and money on his guest spot: “Over night I seen a n***a go get a Carrera / two weeks later I had to be that boy pall bearer / young king bury me inside a glass casket / windex wipe me down for the life after.” Well we know one thing, Rozay has a thing about how he’s treated after death (see “Bury Me A G”). Brilliant by all means.
“Suicide” continues the enthrall and consistency, with Ab-Liva guesting on the third verse (“My future is bright hot, you never can last here / I’m top five, listen, who hot in the past year?”). Naturally given its title, Pusha T is in it for ‘blood’, but he still manages to deliver the street with some eloquence you might say: “You n***as clique-ing up with my rivals / like the bible don’t burn like these bullets don’t spiral / like I can’t see the scene that you mirror in your idol / but a pawn’s only purpose is completely suicidal…” On “40 Acres”, The-Dream lends his beautiful pipes to the hook of this reflective, autobiographical cut. One of the more notable moments from Pusha references his mother’s broken marriage: “Unpolished, unapologetic / might have broke a heart or two but gave an honest effort / my nonchalant attitude is always ‘eff it’ / 35 years of marriage and my momma left it…” Consistency continues.
“No Regrets” features Kevin Cossom singing the hook and Young Jeezy given his two cents on second verse. Ultimately, “No Regrets” is nearly enjoyable if not as enjoyable as everything else, but it also seems a bit overproduced. Still given the attitude conveyed here, the abundance of production and dynamically-loud moments doesn’t seem that far-fetched. “Let Me Love You” softens the mood, something that feels right at this point on My Name Is My Name. Kelly Rowland is the perfect R&B diva to deliver sexiness vocally, singing “Boy you got that six in the morning / you got that thing that’ll make a girl feel high… boy let me love you.” Pusha T isn’t exactly thinking ‘chivalrously’ though: “Hey mama come f**k with the shotta / with the Givenchy toppa, shoe Balenciaga / if you act right, I can match you up proper / if it’s about a dolla thing, big like Poppa.” Can’t go wrong with a Notorious B.I.G allusion, right?
“Who I Am” is nothing short of fire, no questions asked. Sure Pusha T didn’t select the most ‘intellectual’ crop of MC’s to guest with 2 Chainz and Big Sean, but it works out superbly. But honestly it should since all Pusha T really wants to do is “…buy another Rollie” and “…pop another band / I just wanna sell dope forever / Just wanna be who I am.” 2 Chainz does simple ambitions well, here rapping “Entrepreneur, strip club connoisseur / hot fudge sundae, pour it on you hallelujah…” – need I go further? Big Sean also keeps it simple and 100 at the same time, rapping “Pretty girls is my reputation / one on my arm, that’s decoration…” We all enjoy a good club track about excess though, so I give this one a pass…a highly recommended one at that.
“Nosetalgia” is a perfect follow-up, only made more perfect by featuring Kendrick Lamar. The rap IQ here is off the charts, with “Nosetalgia” ranking among the top echelon, and that’s saying something considering how well put together this effort is. One of Pusha’s best lines is his proclamation he was “Black Ferris Bueller, cutting school with his jewels on…what I sell for pain in the hood, I’m a doctor…” while Kendrick Lamar’s slaughtering verse is capped off with “Go figure motherf**ker, every verse is a brick.” “Pain” is a solid penultimate cut, still very ‘heavy’ in content and in its overall sound. Standout closing cut “S.N.I.T.C.H.” succeeds not only because of it’s production or Pharrell’s distinctive voice performing the hook, but because it continues to keep things real. The evidence lies lyrically: “Nowadays n***as don’t need shovels to bury you / pointing fingers like pallbearers how they carry you / so much for death before dishonor / might as well have a robe and a gavel like your honor…”
Now the burning question is just how great is My Name Is My Name? I’d say pretty great; one of the best rap albums of 2013. Pusha T is quite underrated, but he is definitely one of the better MCs in the game. Sure rap about dope may not be for everybody by itself, but Pusha T’s authenticity and honesty easily atone for any reservations.
Favorites: “Numbers On The Boards”; “Sweet Serenade”; “Hold On”; “Who I Am”; “Nosetalgia”; “S.N.I.T.C.H.”
- Pusha T reclaims his name (audiomob.wordpress.com)
- Pusha T- My Name Is My Name: a review (samxgillard.wordpress.com)
- Pusha T:The Underground Champion***messymandella*** (messymandella.com)
- Pusha T Says Popular Rap Has Become More About Fashion Than It is About Talent (subzinfo.wordpress.com)
- Pusha T – My Name Is My Name (recordhoarder.wordpress.com)
- Pusha T (ebaker4.wordpress.com)
- MNIMN album review (markweininger.wordpress.com)
- Album Review: Pusha T “My Name Is My Name” (theopnation.com)
20 years later, Us3 still got it
Us3⎪The Third Way (Hand on the Torch, Vol. II)⎪Us3.com ⎪⎪ US Release Date: October 14, 2013
Of latest album The Third Way, Us3 co-founder and bandleader Geoff Wilkinson calls it “the follow up album I never made at the time [of Hand on the Torch]. Throughout The Third Way, Us3 keep the hooks simple and the grooves infectious. The formula is patterned after the band’s platinum-certified debut, once more drawing jazz classics as it’s basis (interpolations). The results? A fine jazz-rap sequel to the original, arriving 20 years after the first. KCB, Tukka, and Akil Dasan rule the rhyming roost here, definitely doing the game justice.
“Never Go Back” (featuring KCB & Tukka) opens The Third Way exceptionally, lifting from Dizzy Gillespie’s classic “Manteca” as its backdrop. Old-school but incredibly hip, “Never Go Back” takes you back to Us3’s “Cantaloop (Flip Fantasia)” days, sigh. Solid production and a fantastic, simplistic hook make the opener a winner. The dusty-sounding beat anchors the rhythmic pianist hits perfectly on “Be Bop Thing”. The rhymes are agile and continue to embrace that ‘throwback’ vibe. Why should the enjoyable, swinging “Be Bop” have it any other way? “Gotta Get My Hustle On” definitely ‘gets its shine on’, with its infectious Latin groove and Tukka’s reggae-rhymed contributions. Akil Dasan’s none too shabby here himself, providing a welcome contrast to his colleague.
On “I Want One Of Those” (featuring Akil Dasan), the prominence of a the walking bass line truly shapes the overall production. That’s not the sole highlight mind you; Akil Dasan continues to allure lyrically. “Keep Your Head Right (Keep Your Fist Tight)” is undeniably delicious, thanks to its ‘funkifized’ soul-jazz groove while “The Out Crowd” is really ‘in’ considering it just happens to sample notable jazz cut “The In Crowd” (Ramsey Lewis). “Wha’ G’wan” allows for Tukka to flex his reggae muscles once more, painting his rhymes over replayed elements of Lee Morgan’s “The Sidewinder”. Pretty awesome if you ask me.
“Beautiful” is certainly more chivalrous than most rap of 2013, eschewing the overindulgent sexual references that characterize the more hardcore extreme of the genre. Old school is well at work here, though the synthesized bass line is very much relevant for 2013. “Dance With Me” gives the effort another Latin-jazz based number, incredibly suited given the title and theme of the number. “What Would You Do?” definitely stands out not only because of the superb, thoughtful production, but also because of how superbly the MC’s deliver their respective verses. KCB, Tukka, and Akil Dasan are truly electrifying here, perhaps more so than other performances from The Third Way.
Horace Silver provides the perfect inspiration on “Are You Nuts” with elements of his classic “Nutville” working full force. Maybe KCB speaks of aloofness (“you’re out of touch / what are you nuts?”), but there’s nothing “nuts” here, just excellence. “If You’ve Got It Flaunt It” is a bit less satisfying in my eyes. It’s interesting, but I’m not sure that the Duke Ellington lifting cut (“It Don’t Mean A Thing (If It Ain’t Got That Swing)”) is as consistent as the rest. The nonsensical portions from the original may just be slightly too corny. “I’m Goin’ (Come Along)” is certainly an interesting penultimate cut, certainly feeling much more modern in sound than the majority. It still has its ‘foot in the door’, but it also has ‘swag’. “You’ll Never Come Close” (featuring KCB) closes The Third Way on a ‘high note’ – or rather a head-nodding groove and some sick-sounding horns.
Ultimately, The Third Way is an album that should definitely be receiving more attention. Sure once more attaining the success of that an experimental effort from the 1990s attained is a tall task (and highly unlikely), but what isn’t too tall or unattainable is critical praise and success. Personally, I find Us3’s jazz-rap endeavors to still be incredible captivating, 20 years later.
Favorites: “Never Go Back”; “Be Bop Thing”; “Keep Your Head Right (Keep Your Fist Tight)”; “What Would You Do?”; “You’ll Never Come Close”
Garland impresses with his abilities big time on this self-titled compilation
Travis Garland⎪Travis Garland⎪ Stereotypes Music ⎪⎪ US Release Date: September 10, 2013
Let’s just cut to the chase and cut all the bull-. Pop (I’d label him predominately contemporary R&B) singer Travis Garland should have blown up by now, period. When I listen to album Travis Garland, I ask myself the question in a Martin Lawrence movie quote: “What the problem is?!” Travis Garland is in the same league if not higher than the best pop albums of 2013, no questions asked. Sure he may not have quite achieved that Justin Timberlake swag yet, but this effort seems like a step in that direction by all means.
“Where To Land” opens Travis Garland strongly, embracing a modern pop and contemporary R&B sound. Garland flaunts his compelling tenor, impressing particularly with a falsetto that seems to be innuendo in itself (if there’s such a thing). Maybe it’s an exaggeration, but the vibe emitted from “Where To Land” is all about making passionate love (“Why don’t you tell me where to land? / yeah, yeah, baby / I’m falling right into your hands… tell me our love is deeper, tell me it’s like the ocean”). “Motel Pool” is suggestive like the opener, but it’s also poetic, and romantic: “Baby I take the weight from your heart / wash the worries off your mind tonight…” Like the opener, Garland shows incredible command vocally proving to be incredibly talented.
Even the most talented artists likes to have fun too. Not that either “Where To Land” or “Motel Pool” where bores as they weren’t, but “Easy” is all about a percussive groove that gets the blood running hot. Definitely a more grown and sexified Michael Jackson styled cut, “Easy” definitely finds Garland making swag, soulfulness, and overall artistry seem easy. He’s even better on the gospel-infused “Abby Lee” which is nothing short of a showstopper. Just how churchy is it? Like ‘lets use organ’ churchy! Perhaps it’s sinful and blasphemous, I think every guy can relate to its message, particularly the chorus: “Abby Lee, have your way with me / Abby Lee, I’m starting to believe”. Hey, at least Garland ask for forgiveness over his lust…more than many guys I know, LOL.
“Clouds” is as slickly produced as anything else. It’s also as sensual and suggestive as anything else (“The way my name rolls off your lips / I think there’s no better sound… you’re like a drug, I see them hips…”). Staying attuned to the stoner influence in pop-music, it seems appropriate to allude to being “high” right (“You got your head in the clouds / and I just wanna get high…”)? Horny or not, “Clouds” is another solid showing for TG. “Pullin My Hair” works well too, with the suggestiveness continuing to run rampant. To further accentuate the innuendo is hip-hop/reggae production work. Honestly, “Pullin My Hair” would be the perfect club cut, particularly with naughty lines like “Oh girl, it’s killing me / tryna put her hand on my trigger, oh no no…”
After a wild night at the club, Garland gets serious about his ex’s mistakes. “You f**ked up, don’t you know it babe? / When you wake up, you’ll still my face…”, he sings on “You Made Your Bed (So Lay In It).” A message ‘tried and true’ as well as a grinding tempo and moody production The-Dream or The Weeknd would kill for, makes “You Made Your Bed” another winner. After a broken relationship, Garland seeks to begin an immoral one on “Neighbor” in which he sets up this illustrious tale of bedding his married neighbor. Arguably the most memorable line? “F**k a neighborhood watch / all you need is me girl I’m always on the clock.” A common fantasy, right? Definitely hip modern R&B at its best. Chris Brown would eat this up.
“Other People” chills from the physical, opting for the emotional side of love. If chivalry never showed itself before this cut, it does as Garland proclaims “Cause I just want the best for you / even if that don’t include me.” Still might help towards bedroom aspirations… did I just say that. Anyways, “Modern Life” adds some rock-soul sensibility, giving Travis Garland sort of a different sound. Here, Garland reminds me of Bruno Mars, particularly given his grittiness. While both “Other People” and “Modern Life” shine, I prefer “AllSheWannaDo”, one of the albums strongest showings featuring a rap verse courtesy of Casey Veggies. The title pretty much gives away the theme, particularly the final word “do” (hint, hint, hint). This is confirmed in the present generation’s speak and I quote “That’s that sh*t I’m talking about…” There it is. Call it young and dumb, or call it swag. We’ll never be ”Royals“ according to Lorde.
“Homewrecker” seems sort of a continuation of “Neighbor”, fully embracing going through with the immoral act. “Blue Electric Roses” is stronger though, even with arguably the most unromantic, possibly most ineffective line ever in “Please don’t take this the wrong way, but you should f**k with me.” However maybe Garland gets away with it… for all us other guys, I wouldn’t try it. “Chariots of Fire” is fiery, but not in the sexual sense. Here, Garland talks about relationship issues as a celebrity, a legit concern and theme: “Saying that my profession is too much and you quit / but you knew what you signed up for the first time that we kissed…” True TG, true. “1 of 1” appears as a worthwhile bonus cut (iTunes). The idea? “You’re the only one… Darling, you are the 1 of 1″. Some girl is lucky in the world apparently, LOL.
My overall thoughts on Travis Garland? Why hasn’t this guy blown up? I think LaShun Pace puts it best, even if she was referencing God and not a secular, parental advisory album: “all things are working”. In other words, all the pieces seem to be soundly working together on this compilation effort by Garland. He can sing, he has swag, he has the looks, and his music is edgy aka sexually charged. Sure there are a ton of pop and R&B singers trying to make it in an oft hellacious music industry, but personally, I think Garland is incredibly special. And who cares if the album runs a bit long? Just more swagaliciousness to take in!
Favorites: “Where To Land”; “Motel Pool”; “Abby Lee”; “Clouds”; “Neighbor”; “AllSheWannaDo”
- Artist To Watch: Travis Garland (dynamicdolls.wordpress.com)
Despite lacking cohesion, Timberlake’s second installment of ‘perfect vision’ still captivates
Justin Timberlake⎪The 20/20 Experience 2 of 2 ⎪ RCA ⎪⎪ US Release Date: September 30, 2013
So I’ve been given the tall task of describing Justin Timberlake’s second album of 2013, The 20/20 Experience 2 of 2. Oh these are the albums that make a music critic work extra hard – these big uns you know. How does one describe such an affair such as this? Well, it’s certainly ambitious, lengthy as far a duration, very urban in quality, and well ‘all over the map’. Here’s the thing, Justin Timberlake tends to do pretty well by being all over the map and making a big, if disjointed pop album. Maybe disjointed isn’t even the right word, but I’m certainly pretty sure that this album couldn’t possible have ‘20/20 vision’, save for it’s focal theme of love. That said, even if this album has plenty of flaws, it still manages to be sort of captivating, somehow.
“Gimme What I Don’t Know (I Want)” is a solid starting point overall, with a funked up beat and dually soulful and hip vocals from Timberlake. The song is definitely not promoting the chivalrous, with sexual innuendo being the focus on JT’s introduction: “Sounds are calm, when we become the animals that were made in the jungle.” If Justin’s dirty-minded antics weren’t enough, he confirms his lustful desires on the chorus: “Now take me to your jungle, I’m not afraid / and if you’re looking for your animal, hop in my cage…” All in all, while Timberlake overplays sex and Timberland/Jerome “J-Roc” Harmon overdo the production ever so slightly, “Gimme What I Don’t Know (I Want)” works.
“True Blood” is an interesting listen if nothing else, but nearing the ten minute mark, the cut is a bit exhaustive. Still, one can’t deny the pleasure of this sensually-driven dance cut. It’s twisted, but undeniable, which seems to be Timberlake’s intention. “I think she’s got that true blood / every time your ‘round I can smell it in you / she’s got that true blood / I come around and raise the hell out of you / it’s that demon in me that’s got me screaming…” If you can bear a ten minute number (and a slickly produced one at that), this one has some great things going for it.
“Cabaret” featuring Drake isn’t too shabby, though like the previous cuts, the production work trends hyper. Still, the pop-soul quality, aided by the underlying harmonic progression and of course Timberlake’s pipes makes this cut a winner overall. Having Drake on the track doesn’t hurt either… Still, lyric “Cause I got you saying Jesus so much it’s like we are laying in the manger” seems a bit much, for believers and non-believers alike. Blasphemy, I say! What was he thinking?!?! Was it that serious JT?
“TKO” is cohesive lyrically, if you consider alluding to ‘the nasty’ through sports clever. Sure it’s on most people’s minds, but I’m not sure that boxing is usually associated with the bedroom. “Baby, every day in training to get the gold / that’s why your body’s crazy”, Timberlake generalizes on the first verse. Later, he goes onto say that “Baby, now I really know what we’re fighting for / this rematch sex is amazing…” Yeah, I think I threw up just a little bit. I’m all about swag and all, but is a does such a line really represent swag? Well, at least the hip-hop experimentation and switch-up at the end keeps things interesting.
“Take Back The Night” is a no-brainer highlight, no questions ask. Where the solid but somewhat clunky “Gimme What I Don’t Know (I Want)” opens and establishes a tone for The 20/20 Experience 2 of 2, “Take Back The Night” sort of brings the album back to earth. The cut is this edition’s “Suit & Tie”, only with less fanfare. All the pieces are in play here, with Timberlake killing it with his falsetto and the production continuing to bang. Perhaps why “Take Back The Night” is more effective than some cuts is because it feels less forced in regards to the innuendo. Of course, The Benjamin Wright Orchestra doesn’t hurt either as the sound is as important as everything else.
“Murder” once more pairs Timberlake with the ‘Picasso’ himself, Jay-Z. There isn’t a supersession of their first collaboration, but “Murder” is a worthwhile listen from my perspective. Here, the vibe is more hip-hop oriented and of course JT fits right in. The song has its moments lyrically, with Timberlake’s line “You know you killin’ me softly but we can go as hard as you want to…” standing out. Jay-Z manages to successfully close out the allusion of murder and a favorite three-letter word: “Suicide I’m trying to cut / white chalk line ‘em up / give new meaning to dying to f**k…” There it is.
“Drink You Away” has an interesting sound, combining cues from R&B, pop, country, and rock. The use of acoustic guitar particularly provides some extra timbral contrast compared to previous cuts. As far as the concept, it is actually interesting too, but lyrically, the cards seem to be dealt to obviously and too early. “I can’t drink you away / I’ve tried Jack / I’ve tried Jim / I’ve tried all of them things / but I can’t drink you away…” I mean it’s not a deal breaker, but its pretty predictable to see where and how the lyrical narrative is going to end. Alcohol rarely solves big problems, remember that.
“You Got It On” is firmly slated in contemporary R&B and benefits from slightly cooler production and perhaps being less ‘forceful’. Sure, the production is still ‘busy’ and characteristic, but it doesn’t seem to pound ‘pedal to the metal’ like earlier numbers. Throw in exceptional vocal production and more emotionally thoughtful lyrics, and “You Got It On” is pretty well rounded, regardless of its six minute duration.
“Amnesia” finally kicks off a six-eight groove – you knew it was coming! The chorus in particular is smooth and lush, sort of matching the state one could imagine for amnesia itself. Still, “Amnesia” plays like an open book if you are familiar with the condition as profundity where lyrics are concerned seems nonexistent. “Only When I Walk” adopts a pop/rock edge, again finding production work to be top-rate. Timberlake delivers the song with distorted vocals, which reminds of vintage soul and rock. Good, “Only When I Walk” is not perfect nor in the same tier as the best.
Let me be the first to say I’m not fan of hidden tracks. In CD form, “Not A Bad Thing” closes the effort with hidden track “Pair Of Wings”. To take 11 and ½ minutes in duration, the final track(s) are just so-so. “Not A Bad Thing” isn’t bad, but it does lack flare. “Pair of Wings” doesn’t sustain attention particularly well, sort of closing an album that opened so resolute a bit underwhelming. My boredom may not be someone else’s though.
Thoughts? I dunno – on the fence. I think The 20/20 Experience 2 of 2 lacks cohesion and is by no means the best album of the year nor necessarily better than the earlier effort. I don’t think it’s bad, but the overstuffed tracks do take away from the album. I do dig the production switch-ups and Timberlake’s vocal abilities. Vocally, Timberlake seems to always shine, even if he has to fight layers of rhythm. Ultimately, I’d say this effort lies somewhere in the middle. It likely will be considered the stepsister to its older brother, The 20/20 Experience.
Favorites: “Gimme What I Don’t Know (I Want)”; “Cabaret”; “Take Back The Night”; “Murder”; “You Got It On”
- Music Review: Justin Timberlake’s “20/20 Experience – 2 of 2″ (200wordreviews.wordpress.com)
- Review: Timberlake’s ‘The 20/20 Experience – 2 of 2′ (nicholashautman.wordpress.com)
- Review: Justin Timberlake edgier on ’20/20 Experience – 2 of 2′ (latimes.com)
- Chart Moves, October 2, 2013: Drake 3Peats (brentmusicreviews.com)
- Justin Timberlake’s The 20/20 Experience – 2 of 2 Is Stellar in Its Own Right (people.com)
- Video: Justin Timberlake Performs ‘TKO’ on ‘Ellen DeGeneres Show’ (aceshowbiz.com)
Elton John Doesn’t Miss A Beat on His Latest
Elton John⎪The Diving Board ⎪ Capitol ⎪⎪ US Release Date: September 24, 2013
When I hear the name Elton John, one of the first words that comes to mind is legend (piano too, but we’ll stick with legend for our purposes). Elton John was certainly a gargantuan presence in pop and rock music back in the day. That might be an understatement within itself. Sure, his days of being a commercial fixture are long past, but where many new artists lack musical longevity, John will always remain musically relevant. That’s part of the reason why his first solo album in seven years, The Diving Board, is kind of a big deal. Sure, there is no “Candle in the Wind” or “Philadelphia Freedom” on this oft stripped set, but there are plenty of well written, worthwhile additions to John’s juggernaut-like collection. Hey when Elton and Bernie get together – musically and lyrically – it’s always a good thing.
The Diving Board opens superbly with the stripped “Oceans Away”, which finds John accompanied solely by his piano playing. Sure the number is an understated way to begin a ‘comeback’ of sorts, but don’t let the setting sway you away. “Ocean Away” is prudent, definitely packing more punch than expected. And ode to the previous generation, John urges for the embracement of their consummate wisdom: “I hung with the old folks / in the hope that I’d get wise / I was trying to bridge the gap / between the great divide.” The understated opener is proceeded by the more overt “Oscar Wilde Gets Out”, a fascinating narrative-driven number based upon the 19th century writer. It may not necessarily appeal to all, particularly those unfamiliar with Wilde, but it has some truly notable moments. The prized lyric? “Looking back on the cold bleak winter / looking back on those long dark days / felt like the head of John the Baptist / in the arms of Salome.”
“A Town Called Jubilee” infuses some funkiness into The Diving Board, propelled not only by an initial groove, but also John’s bluesy piano lines. John gets to further flex his pianistic muscles during an instrumental section. But more than John’s keyboard skills shine, so does his voice as well as the backing vocal support he receives during the standout chorus (“Come on little sister get up offa my knee / gonna settle down someday / in a town called Jubilee…”). “The Ballad of Blind Tom” follows the epic number with less ‘hooky’ though still compelling results. If nothing more, John’s piano skills always incite ear-catching moments. This is especially true of the recurrent interludes. “Dream #1” provides an intimate, piano only moment.
After the pianistic moment, “My Quicksand” captivates through its darker, more mysterious vibe. John may not sound incredibly optimistic here (“My quicksand / let me introduce you / to my final stand / I went to Paris once / I thought I had a plan / I woke up with an accent / I wound up in quicksand…”), but the sprinkles of jazz lighten things up during the instrumental interlude. Yeah, maybe he’s morose, but at least it’s impressively conveyed, right? “Can’t Stay Alone Tonight” provides more hope, though the lyrical bridge is still heavy stuff: “Bruised in this cold war of words / we’ve come undone two loose ends alone / possessed by the curse you’ve endured / the spell that I cast couldn’t make you come home.” Well, it’s in a major key with a gospel-country element. Oh and Raphael Saadiq plays bass.
Any track titled “Voyeur” can only have an edge to it. “Voyeur” certainly lives true to its title, as John sings “…the solitary eyes I’ve been looking through / committed to connecting the old ways to the new.” There it is. “Voyeur” would never be a ‘commercial’ single given chordal progression quirks and an unapologetic singer/songwriter feel, but that wouldn’t be the intended approach anyways. “Home Again” appeals more, accentuated by the use of horns, keyboards, and bowed (arco) bass. Strong songwriting and the expected commanding vocal performance by Elton John certainly doesn’t hurt.
As good as “Home Again”, “Take This Dirty Water” steals the show, with Elton John combining facets of gospel, blues, and rock. Incredibly soulful and feel-good, “Take This Dirty Water” just might be the album’s crown jewel. “Dream #2” precedes “The New Fever Waltz”, which is indeed a waltz and doesn’t miss a beat. “Mexican Vacation (Kids in the Candlelight)” gives “Take This Dirty Water” a run for its money, again calling upon gospel as a chief influence and some more bass accompaniment courtesy of Saadiq. “Dream #3” finally delivers the entirety of the “Dream”, this time finding John receiving an assist from bass and drums. Title track “The Diving Board” closes solidly, if a bit too slow and prolonged. It’s a cut with good intentions, but doesn’t dare supersede stacked numbers like “Oceans Away” or “Take This Dirty Water”.
Ultimately, The Diving Board is an incredibly well done Elton John album. It supersedes nothing from John’s discography, but it neither needs to or really should. John has already shared with us his greatest contributions to music… he has nothing more to prove. The Diving Board is John on autopilot, doing what he does best. They say you can’t teach and old dog new tricks. In John’s case, why would you want or need to?
Favorites: “Oceans Away”; “A Town Called Jubilee”; “Home Again”; “Take This Dirty Water”; “Mexican Vacation (Kids in the Candlelight)”
- Elton John finds ‘room to breathe’ on ‘The Diving Board’ (latimes.com)
- The Diving Board – Elton John (ljfacesthemusic.wordpress.com)
- Enter to win “The Diving Board” from Elton John! (firedownbelowonline.com)
- Album Review: The Diving Board performed Elton John (notethismusic.wordpress.com)
- Elton John Performs at USC w/ Student Choir & Orchestra (hangout.altsounds.com)
- Elton Johns new album “The Diving Board” (musicbymissy.wordpress.com)
- Review: Elton John, The Diving Board (huffingtonpost.com)
On Mechanical Bull, KOL show listeners that their latest album was worth the wait.
Kings of Leon⎪ Mechanical Bull ⎪ RCA ⎪⎪US Release Date: September 24, 2013
For a while, it seemed that southern/traditional rock darlings Kings of Leon were toast. Done. Rumors ran rampant that the band was splitting up. Thankfully, Kings of Leon quieted such troublesome talk by returning with their highly anticipated new album, Mechanical Bull. Following up mixed Fall 2010 effort Come Around Sundown, Mechanical Bull has plenty of positives throughout its 42 minute duration. To call the effort truly innovative would be an overstatement, but it is definitely Kings of Leon among their best. Maybe a “Use Somebody” or “Sex on Fire” is missing from the mix, but there is plenty for the audience to sink their teeth into.
“Supersoaker” opens Mechanical Bull with great enthusiasm. Caleb Followill’s vocals are incredibly soulful, easily rising above the production. Adding to the strength of the cut, lyrically it impresses, most notably on the pre-chorus and chorus sections: “Cause I’m the supersoaker red, white / and blew ‘em all away / With the kisses unclean as the words that you say // I don’t mind sentimental girls at times / mister walk away, walk away.” In addition to the in-your-face guitars, Jared’s bass playing anchors the production down. “Rock City” follows up “Supersoaker” in groovy fashion, finding the quartet delivering more of their signature soulful southern rock without missing a beat. “I got back to Rock City / that’s where she saw me / everybody’s seen her / everyone believes me,” Caleb sings on the catchy, easygoing refrain, after boasting things like “Oh baby I could shake it like a woman…” and “I found myself face-first on the floor, searching for something / but never finding something.” Captivating, “Rock City” rocks, as it should.
“Don’t Matter” sports a driving groove (a wall of rhythm), tightly packaging its contents at under three minutes much like “Rock City”. As the title suggests, Caleb confirms “It don’t matter to me”, period. Numerous illustrations are mentioned lyrically, including “Such a swine lips like wine / but it don’t matter to me…”, “Like a snake I wake and I back…I could f*ck or I could fight / it don’t matter to me…”, or “You could bleed stain my seed / it don’t matter to me…” Yeah… Apparently it doesn’t matter because “It’s always the same / and I’m always the same…” Ultimately, it’s another enjoyable number.
“Beautiful War” expands the duration, clocking past the five minute mark. In addition to the expansion of duration, the tempo slows a bit, but not sans rhythmic presence. The cut isn’t a ‘smooth ballad’ by any means, as Caleb definitely asserts his presence throughout the progressive pacing. The main quibble is it’s length, and perhaps a bit of one dimensional thinking, as the cut relies on a minimalist harmonic progression. “Temple” predictably accelerates the tempo, but this proves to be a smart move. While a return to three-minute cuts fails (it stands at over four), the length is more accessible than the lovely, though longish “Beautiful War”. As a song, “Temple” certainly isn’t bad, but nor is it valedictory. Still, The Followill boys would “…take one in the temple / I’d take it for you…” I suppose they’ll also take criticism in regards to “Temple” falling short of the glory of say “Supersoaker”?
“Wait For Me” arrives in the nick of time to provide atonement for any ceded momentum. “Wait For Me” is certainly not ‘new’ Kings of Leon by any means, but well conceived, familiar territory. Medium in speed and open to multiple interpretations, “Wait For Me” seems to be a plea to its audience to ‘wait’ and not ‘give up’ despite the past, problems, so on and so forth. The refrain is simple, finding the band not over thinking by any means: “Wait for me, wait for me / it’s all better now, it’s all better now / wait for me, wait for me.” “Wait For Me” stands tall alongside “Supersoaker”, the top echelon of Mechanical Bull.
“Family Tree” funks things up, In a traditionalist rock and roll sense that is. Everything definitely feels like it’s in the pocket. The highlighting moment? The breakdown section with some good ole southern gospel sensibility. Let the church say yessssssss! “Comeback Story” is no slouch itself, featuring signature KOL cues in play. Anchored by a pleasant, memorable chorus (“I walked a mile in your shoes / and now I’m a mile away and I’ve got your shoes…”), the “Comeback Story” is overall soundly presented. Oh and did I mention the use of strings? Beautiful.
On “Tonight”, Caleb’s pipes seem incredibly drenched in nuance, particularly on recurring lyrics “It’s coming on, it’s coming on”. The impact on the refrain is large in scope, but who expects any less, right? “Tonight” is a fine cut overall, but a bit lengthy when it’s all said and done. Penultimate number “Coming Back Again” pushes the tempo while maintaining brevity. The results? It receives my approval. “On The Chin” closes solidly, though isn’t necessarily a highlight per se.
How does Mechanical Bull rank? Pretty well ultimately. It’s not perfect by any means, but it is a soundly conceived effort that should please both fans and critics alike. Personally, I’m just glad one of my favorite bands are still a band, period.
Favorites: “Supersoaker”; “Rock City”; “Wait For Me”; “Comeback Story”
- Kings of Leon: Mechanical Bull (Review) (popmatters.com)
- YSP Sound: Kings of Leon, “Mechanical Bull” Review (yongestreetportage.wordpress.com)
- REVIEW: Kings of Leon Pick Themselves Up On ‘Mechanical Bull’ (codareview.com)
- Review: Mechanical Bull by Kings of Leon (sweetpremium.wordpress.com)
- ‘Mechanical Bull’ – southern vibes (beatouttherhythm.wordpress.com)
- Kings Of Leon – ‘Mechanical Bull’ – Album Review (lucasfothergill.wordpress.com)
Janelle Monáe Scores A Home Run on The Electric Lady
Janelle Monáe⎪The Electric Lady⎪ Bad Boy / Wandaland ⎪⎪ US Release Date: September 10, 2013
Merely calling Janelle Monáe one of a kind would be a total understatement, like really. Janelle Monáe is one of a handful of R&B artists who brings something truly different, fresh, and eclectic to the table. Incredibly nonconformist, Monáe beats to her own drummer, from the tuxedo she swears by to the bombastic, illustrious tunes she captivates us with. Her second full-length album (third if you include her debut EP in that conversation) The Electric Lady shows no fall-off for Monáe – girlfriend’s got it y’all. Perhaps most shocking about the album is that she was able to get Prince to collaborate with her – your mouths should be agape ‘cuz don’t no one get ‘The Purple One’ on their album!
An orchestral overture opens, entitled “Suite IV Electric Overture”. Establishing the refined, artistic liberation of this album and the incredibly individualistic Monáe, the overture seems appropriate. “Givin’ ‘Em What They Love” brings the first punch, intact with Prince lending his distinct pipes. The vocal chemistry between the two is like a match made in musical heaven – it’s that good. The vocal harmonies rock as well, though perhaps the biggest highlight is when Monáe really digs in to her inner rock-chick showing some unstoppable grittiness. Follow that juggernaut up with another, the fantastic single “Q.U.E.E.N.” which features a legend in it’s own right in Erykah Badu. Catchy, ‘real talk’, soulful, contemporary, and laden with swagger, “Q.U.E.E.N.” is one of the best songs of 2013, regardless of genre. “Am I a freak for dancing around?” Of course not! Monáe even throws some rhymes in there, further showing the artist’s versatility and restlessness. No complaints thus far.
Title track “Electric Lady”, featuring Solange, continues the musical impressiveness, even if it can’t outdo the one-two punch of “Givin’ ‘Em What They Love” or “Q.U.E.E.N.”. As always, Monáe compels vocally, as does the more eclectic, hipster Knowles sister. Following one of many interludes (“Good Morning Midnight”), “Primetime” is an alternative R&B match made in heaven. Janelle Monáe and Miguel? YES! No wonder “…it’s a prime time for our love / and heaven is betting on us”, as the standout refrain goes on this valedictory showing. To make it even more romantic and sexy, those vocal harmonies are simply stunning as are the lead vocals. After being “Primetime”, Monáe declares “we were unbreakable / we were like rock and roll / we were like a king and queen / I want you to know…” on the fine “We Were Rock and Roll”. Like “Primetime”, love remains the theme, compared with rock and roll. Works right? Yep.
Following “The Chrome Shoppe” (another interlude), Janelle goes cray cray on “Dance Apocalyptic”. The hip-hop leaning intro is enough to signify this: “Bands they make her dance apocalyptic now…” Initially, I felt a bit less enthused about Monáe’s second single, but hearing it contextually, it is still good stuff. I mean, she “…need to know, if the world say’s it’s time to go / tell me, will you freak out?” Sensible enough, right? Well in Janelle’s world that is. Monáe goes chill on “Look Into My Eyes”, sounding much like ‘60s or ‘70s pop. A lovely showing, “Look Into My Eyes” doesn’t supersede any juggernauts, but it still manages to please at a high level. It closes Suite IV capably.
Another orchestral overture opens Suite V (“Suit V Electric Overture”), borrowing it’s basis from none other than “Look Into My Eyes”… at least initially. The interlude eventually opts for major key, uptempo fare, only to return to a slower tempo. “It’s Code” proceeds with soul in mind, anchored by a rich, animated bass line. As always, Monáe delivers the vocal goods with her nuanced vocals. The cut segues into the uptempo, groovy “Ghetto Woman” which sounds like a soulful, funky throwback as well, but without being anachronistic. The words are as much a draw as the production, particularly the chorus: “And when you cry don’t you know that I am crying with You? / When people put you down, yeah way down and you feel / like you’re alone…” Empowering, “Ghetto Woman” seems like a fine companion cut to the previous “Q.U.E.E.N.” – rap intact as well. And shout out to Kellindo Parker’s awesome guitar solo as well.
Following the android-themed interlude (“Our Favorite Fugitive”), Monáe wants the “Victory”. “And if tomorrow shall come to me,” she sings at the end of verse one, “I’ll count your every kiss as a victory.” She confirms the toughness of victoriousness: “Cause to be victorious, you must find glory in the little things…” True, and I suppose a kiss could certainly signify a blooming romance. Lyric analysis aside, what about those soaring upper range notes from Monáe? This totally sounds like a Lauryn Hill type of song! Continuing on the much travelled pathway of love, “Can’t Live Without Your Love” is self-explanatory. That definitely doesn’t make it a deal breaker or second-rate either.
“Sally Ride” is definitely clever, particularly if “Can’t Live Without Your Love” seemed the slightest bit too ‘normal’ for Monáe. While there are several messages going on here, there seem to be allusions to the late Sally Ride (“I’m packing my space suit / and I’m taking my shit and moving to the moon”) that transcend Monáe’s ‘android’ stuff. Also lines like “Just wake up, Mary / Have you heard the news? / oh, just wake up, Mary / you got the right to choose…” seem like a reference to freedom of choice in numerous social regards (sexuality, career, etc.). This wouldn’t be far-fetched given Monáe’s love of individualism, nonconformity, and empowerment of women.
Monáe receives the assist from another eclectic, classy standout in Esperanza Spalding on penultimate cut “Dorothy Dandridge Eyes”, another love-oriented. “It’s too late, you’re hypnotized / she’s got Dorothy Dandridge eyes / and you love her, you love her, you love her, you lave that girl…” The poetic nature of the cuts makes it shine. The closer “What an Experience” says it all. Sure it’s referencing love, but in the context of this 19 track effort, isn’t it quite the experience in itself?
How good is The Electric Lady? It’s awesome, simply put. Consistent, fresh, retro, and captivating, Monáe continues to pave her own way. Forget all notions about a post-R&B world where the soul is dead, Monáe has got it going on. Go on and twerk it Janelle! #QUEEN