After much delay, Candice Glover finally delivers her debut album
Candice Glover • Music Speaks • 19 • US Release Date: February 18, 2014
Honestly, it seemed like an urban-sounding artist might never win American Idol again, let alone a female contestant after a string of victorious males. Candice Glover became the first female victor since Jordin Sparks, though bad timing kind of killed her vibe. Glover was brilliant throughout a season where everything seemed dead WRONG. The judges’ panel lacked chemistry (and sometimes tact) while many of the contestants seemed, um, blasé. The ratings were down and despite a set summer 2013 release for Glover’s debut, it was pushed back to the Fall. After being pushed back to the Fall, well, the album again was pushed back… until 2014. Finally, Glover delivers Music Speaks to her fans. Unfortunately, what little buzz surrounded her or the show seems nearly mute, and winning single “I Am Beautiful” doesn’t even make the album cut. Still as Lupe Fiasco would say, “The Show Goes On” and Glover definitely shows she has considerable talent throughout Music Speaks.
Promo single “Cried” opens Music Speaks incredibly. A well-written, heart-wrenching track (co-written by R&B singer Jazmine Sullivan), “Cried” showcases the power, finesse, and nuance of Glover’s voice. As far as being a single that truly elevates Glover to stardom or commercial aspirations, “Cried” is likely not the answer. Another minor rub against the notable cut is its specific placement within the track list; perhaps it could’ve been even more effective elsewhere besides the opener. Regardless, Glover gives her all on the incredibly underrated single.
“Die Without You” isn’t a shabby follow-up in the least, sporting a “cool, calm, and collected” sensibility about it. “Die Without You” succeeds at being both modern yet old school. “Die Without You” has enough swagger that it falls in line with the tenets of adult contemporary R&B, but also has that ‘grown folks’ sexiness (“I’d die without you”). If there is one nitpick, it is that Glover could have even freed her voice more on the ad-libs. Still, that falsetto towards the end is pretty sweet. Two tracks in, Glover is on the right track.
“Same Kinda Man” benefits from its retro-soul production, which proves to be a perfect fit for Glover. Glover feels as if she’s found her niche here; it doesn’t seem far-fetched that she’s an old soul. Something about the ambience of horns and a compelling, powerhouse voice makes “Same Kinda Man” extremely appealing. “Damn” is equally captivating, even if the full production of “Same Kinda Man” is traded for a more stripped, piano-driven backdrop. Regardless of less instrumentation, Glover truly sells the “I love another woman’s man” narrative. Sure, the concept is ‘tried-and-true’, if not completely cliché, but even if Glover doesn’t seem to be the type to experience what she sings of, it’s still a treat. “Damn, damn, damn / I fell in love with someone else’s man,” she sings on the simplistic, but addictive chorus. So far, so good for Candice Glover.
“Passenger” from a first listen comes off a bit of a bore; its length certainly doesn’t help either. After a couple of spins though, the adult contemporary track has some magic about it, specifically the chorus (“I’ll be your passenger / I’ll go where you want me too / I’ll let you navigate / just let me ride with you”). By the end, Glover’s rousing ad-libs certainly atone for any miscues. Perhaps it isn’t quite as ‘elite’ as the opening quartet; “Passenger” is another solid, love joint. “Forever That Man” and “Kiss Me” also lack the same fire/intensity of the opening tracks. Both are solid listens ultimately, but they don’t necessarily separate Glover from other artists in the same vein. “Forever That Man” gives Glover a pop-oriented ballad, which does at least open the door for crossover appeal. Even so, it isn’t quite a perfect match. “Kiss Me” lacks a bit of excitement, though Glover certainly performs it well.
“In The Middle” is a surprise once it begins playing, particularly following somewhat more conservative cuts like the trio preceding it. The interpolation of “Ting A Ling” is obvious, but it definitely works contextually. If anything, compared to the previous three cuts, “In The Middle” has more sass and personality. Worth noting is that former American Idol champ Fantasia serves as a co-writer. The personality of “In The Middle” also translates onto “Coulda Been Me”, a six-eight cut using some chopped-n-screwed vocals for flavor. Don’t worry folks; Glover’s talented pipes remain intact and flawless.
Penultimate cut “Thank You” has a vintage nature about it, given its main idea and production, but it shows Glover truly in her ‘zone’. Like “Cried”, “Thank You” may not be the lift to propel Glover to commercial success, but it is definitely enjoyable and inspiring. “Love Song”, Glover’s ‘ace in the hole’ on American Idol, concludes the brief 11 track affair. The performance is solid, but similar to Fantasia’s cover of “Summertime” is a performance that just can’t be perfectly replicated in the studio setting. Still, “Love Song” caps off Music Speaks sincerely and appropriately.
Ultimately how does Glover’s Music Speaks stack up comparatively to former Idol debut albums? It’s respectable, though not classic. There is enough solid material and magnificent vocals from Glover to make the album sound and enjoyable, but there is nothing that makes it a contemporary masterpiece. The greatest pro in regards to Music Speaks is its potential; that potential is certainly grand.
“Cried”; “Die Without You”; “Same Kinda Man”; “Damn”; Thank You”