Here it is, the first of the Record Rerun series. Beginning with 2010, I'll be moving backwards, picking an album from every year.
It could be a little tricky to predict that an album less than 2 years old will be one I listen to for years to come. 2010 was a decent year for music, but I have to admit, this decision wasn’t so difficult for me. Although there were a fair amount of stand-out albums - Sufjan, Kanye, Janelle Monae, Erykah Badu, Beyonce, Cee-Lo, Arcade Fire and The Black Keys, to name a few – still, Wake Up! was a relatively quick pick. It did help that I’ve written about a few of the albums above already. But ultimately, this gospel-saturated collaboration between John Legend and The Roots (and a few other guests) gives off the sense that it intends not only to be a great album of its year, but an all-time classic.
In 2010, I so anticipated this record. I love John Legend's voice and style, but am often let down by his actual song choices, so I was stoked for him to work with The Roots on some soul covers. I picked it up immediately, and was not disappointed. The animated cover art is beautiful, and the music is even better. I suggest a relatively high volume for your ideal listening experiece. Speaking of, if you want to listen along, here's the soundcloud link: http://soundcloud.com/billboard/sets/wake-up-john-legend-and-the-roots
“Hard Times” kicks off the album with some brief reflection time, as ?uestlove gives us some cymbal love, and John Legend freestyles a bit before the beat drops. And when it does, it drops hard. Nearly every beat is accented by something, whether it’s the drums, horns, or bass. It's a full song, with a lot of anger-release potential, showing off just how tight The Roots can be.
“Compared to What” settles into a groove, without ever
letting go of the drive already established. As it fades out, piano runs and
tambourines give us a decidedly philly-style introduction to the title track,
“Wake Up Everybody”. The duet
features Melanie Fiona, who sounds best when harmonizing with Legend, but I am
probably biased. Common also makes
an appearance, which is also just fine with me. I feel like it would be a good idea for him to collaborate
with John Legend more in the future.
The call to “Wake Up” continues into “Our Generation”, with the punchy
response of, “let’s straighten it out”. The invitation to accept responsibility and make things better is refreshing, and the baritone
saxophone doesn't hurt either.
“Little Ghetto Boy” – first the prelude, which comes
across more as a spoken word over piano and drums, and then the song – begin Side B of the record. The song
flows seamlessly, and kicks in with Black Thought rapping over a progression
led by an organ. These two
related tracks represent what this album is all about: optimism in the face of
pain and suffering. Never does
“Little Ghetto Boy” excuse the kid to spiral – he's expected to grow up and
change his situation – but neither does it minimize the difficulty that his
situation presents. Like in “Our
Generation”, a the choral response is repeated, but instead of an imperative, a
different kind of hope is offered: “everything has got to get better”.
I somehow always miss the next song on Wake Up! Even
when I intentionally listen to it, by the time “Humanity” drops its reggae
feel, and talking “about love the way it should be…” and I forget all about
“Hang In There”. Both songs offer optimistic hope and encouragement, and feel laid-back, which you should enjoy before you're taken to church on Side C & D of the vinyls.
“Wholly
Holy” is a song I would legitimately love to hear in a church. On this record that calls us to not only believe, but act towards making our world more live-able, it makes sense that the spiritual
overtones would be given some explicit reference.
I have a sneaky suspicion that “I Can’t Write Left
Handed” was The Roots' favourite song to record. Legend opens it up with some preamble, recognizing that, “war is always hell. It always will and it always has been”, before launching into to this beautiful soul-folk song, telling the story of a man shot in the arm. This song is long, builds slowly, and is performed in
every imaginable collection of dynamics.
John Legend shows what he’s made of, as he repeats a lot of the
story several times, yet every time brings the lyrics alongside a deep-seated
emotion and soul.
One last time, I flip the vinyl over for the shortest
Side of the record. “I Wish I Knew
How It Would Feel to be Free”, and “Shine” complete the song cycle, by moving
the focus not just to ourselves, but letting stifled voices heard. You should probably listen to Nina Simone doing “I Wish I Knew…” as well, because she is the bomb. "Shine" works almost as a benediction, or a modern day version of "This Little Light of Mine". While we move out to Wake Up the world around us, and make it better, "Shine" reminds us not to write anyone off, and let them shine on.
It is so easy to complain about everything and anything, but this album inspires hope in a way that few have the confidence to do. Happy listening, and I'll try to be quick with posting my 2009 rerun. Peace out.
I have become especially aware of this since the show, The Voice, has returned. While my friends are mostly creeped out by Cee Lo's evil looking cat (named purrfect), or his tendency to flirt with his female teammates, I am utterly charmed. Not because I am won over by his celebrity, or want to imitate his unique sense of style. I am simply attracted by the fact that Cee Lo Green is a quirky guy who is not afraid to show it, nor is he ever notably threatened by others' eccentricities. There's room for everyone's brand of odd.
However, ironically, I've decided to write about his most widely accessible album to date, The Lady Killer, which is intentionally so, as he admits it's his attempt to broaden his fan-base. To some extent, Cee Lo quiets his eccentricities in order to release some billboard-able singles, and not only did he achieve just that, but created a solid r&b album that sounds both retro-nostalgic and fresh at the same time. Success. The best part is, he doesn't really put his personality on hold for this record, but casts himself in two hard-to-hate roles as international spy and underdog. Still, even while, as the underdog, he's singing about pain and frustration, it always comes across as downright playful.
When I first bought this album, it was stuck on repeat for a couple months, but it has been a while since then. I decided to throw it on in anticipation of his new album that's supposed to drop later this year (along with a Goodie Mob reunion album). This week was the perfect opportunity, since the surprise snow inspired me to bus, and therefore have a bit more time for headphones in my day. Also, I find the regular use of Bari Sax incredibly helpful in cold situations.
So let's begin at the start, with the slightly creepy "Lady Killer Theme Song", which sets a very James Bond-esque tone as Cee Lo smoothly warns that "when it comes to ladies.... (he has) a license to kill". Although "Bright Lights Bigger City" isn't a perfect transition from the theme, it hangs on to a few Bond-sounding themes, especially violins that sit on high notes before tumbling back down to earth. I don't know about you, but it gives me an especially espionage-tastic feeling, and I find myself itching for an entourage to escort me downtown for some weekend nightlife. I will wear shades, of course.
There has been plenty said about "F*** You" already, but two things stand out to me as worth risking repetition: First of all, coining "Forget You" as the censored version is some of the most creative censorship in radio-version history. We basically get two songs for the price of one. Secondly, lyrically, the entire thing is built on cursing out an ex that's treated him badly, and yet it is one of the most confident and fun songs of all time, full of sass and sarcasm. Cee Lo is dancing though his heartache, making "F*** You" an ironically appropriate place for a bit of gospel music. Example number one of Cee Lo's underdog status as well, building up our sense of sympathy.
"Wildflower" is probably lifted straight out of Cee Lo's flirting repertoire. He pulls out every stop - horns, strings, piano, and lots of notes held forever. I'm not going to lie, he caught my heart instantly with the line, "sexy is season". Who can argue with that? He might be a weird, little man, but he takes his job seriously as a professional charmer.
"Bodies" and "Love Gun" are together the album's primary nod to the never-fully-established 007 theme. After songs of full blown volume and instrumentation, "Bodies" hits us with minimalism, supported primarily by finger snaps, a snare roll, and some muted trumpets. It goes on slightly too long for my taste, and I'm always pleased when "Love Gun" brings us back with gun shots and a little more swagger. I think the best thing about this duet is that, at the point we most expect to hear The Lady Killer himself feature prominently, a female voice (Lauren Bennett) is given space for the first time on the album. The one thing that would highly improve this song is having someone like Janelle Monae du-et. (hehe - sorry I couldn't resist). I can't help but think they would make a sweet cat-and-mouse music video together. What's done is done, but can this collaboration please happen sometime?
The next several songs on this album are super solid. "Satisfied" has some more of that vintage happy-clappy energy, and in un-lady-killer-like fashion, he just wants to satisfy his girl. "I Want You" is most of the time my favorite song on this album. Although he starts out trying to sound like a cool player, he ends up letting everything go for his desire for his woman. The song makes a full circle to the point that he is downright charismatic in his thankfulness to God for his relationship. Also, I think it has to do with the arrangement of horns and strings, but "I Want You" makes me feel as though I should be walking a red carpet instead of cement on Venables St.
"Cry Baby" is another retro-fabulous fun, breakup song that stars not so much Cee Lo, as it does the Bari Sax. Here's the music video, and yes, that is Jaleel White from family matters, looking like a character somewhere between Steve Urkel and Stephan Urquelle. I mostly just want to dance with them.
"Fool for You" (which brought home the best R&B song Grammy this year) has a truly classic R&B feel and sound, and features regularly smooth transitions between the punchy, beat-driven verses and the chorus which hangs on the vocals and drops all percussion with the exception of some cymbal brushes. At this point I'm wondering which is the act: is Cee Lo the Lady Killer, who pretends vulnerability to lure his prey, or is he an underdog dressing up to convince himself. Either way, he has become a man of mystery.
"It's OK" sounds to me like the little brother of "F*** You". It has the same, dance-through-the-pain kind of attitude and groove, but is less in the anger stage of grief, and more in the acceptance stage. They say grief is less linear and more like a spiral, so I suppose Cee Lo is in the midst of a healthy recovery from rejection. In other news, "It's OK" has the least viral, but possibly best video of Lady Killer.
"Old Fashioned" is true to its name, harkening back to a 50's ballad with soul and class. Oddly, it pairs well with the indie Band of Horses cover, "No One's Gonna Love You Like I Do". In songs, the album ends on a mellow, slightly reflective and certainly heartbroken tone, which is why I feel the return to the loud and obnoxious "Lady Killer Theme" sounds terribly out of place. But perhaps it is meant to draw attention to the juxtaposition of Cee Lo's underdog status with his lady-killer persona. In the end, it's all about winning over the ladies. As a follow up to his last solo record in 2004, Lady Killer might as well been titled Cee Lo Green is a Charm Machine.
PS.In case you don't have this album and want it, you might notice that there was a Platinum edition, released November 2011, that includes two extra singles including the super-fun love song "Anyway". Go for it, but I'll warn you that my favorite, "I Want You", is a different, less-awesome version. So make sure you get that original song as well.
*Note: I wrote this blog draft back in November and forgot to finish/post it! Better late than never...
I have been thinking about Kanye West quite a bit lately. Perhaps because of my favorite November game - attempting to predict the Grammy nominations - and now that they have been announced, My Beautiful Dark Twisted Fantasy has become the most talked about album, not only because of the nominations it has received, but also those it has evaded (namely, Album of the Year).
What do I like about Kanye's Beautiful Dark Twisted Fantasy? Well, to begin with, it's a great title. The album not only embodies each descriptor, but holds them in tension with one another. The fantasy often leaves us (and Kanye himself) wondering if he's bat-poop crazy, yet always in awe of the demented beauty in his stories and sounds. And sights too, if we've watched "Runaway", the accompanying short film that makes use of all but 4 of MBDFT's songs.
But for now, this is a post about the listening experience, and the album begins with Nicki Minaj quoting(ish) from Roald Dahl's "Revolting Rhymes", setting MBDTF up as one of those classic, twisted nursery rhymes that we routinely censor and disney-fy. Not that I think we try to child-proof Kanye, but perhaps it's on this album where he most deeply attempts to come to terms with the person that he feels he truly is, with the person of his celebrity. "Dark Fantasy" kicks off the album with an almost Moby-esque repeated line over piano chords, long before he funnels to the center of his psyche, peaking at "Monster" and then spirals back along a slightly different path, getting "Lost in the Woods" along the way, and finally wondering who can survive America - perhaps the source of his insanity.
Kanye can't help but offend most people at some point. He certainly would like to. But I appreciate that the shock is rarely for shock value alone; He actually has some really great motivations. The song that is getting the most Grammy attention, "All of the Lights", is epically full of everything: guest appearances, horns, catchy hooks, and an anthemic sense of greatness. At face value, the song is about Kanye walking in on his girlfriend cheating with someone else, and him wanting to reveal the truth with the brightest lights possible. It may seem hypocritical if he weren't starkly honest with his own imperfections on tracks like "Runaway" and "The Blame Game". The whole album is really a call for turning on the lights - to quit hiding what we're not proud of.
I am finding it difficult to write about Kanye's Fantasy in a linear fashion, and I wonder if the songs simply aren't meant to interact with one another that way. We are meant to think of "All of the Lights" during "Hell of Life", and we are meant to hear "Gorgeous" echoing in our mind when listening to "The Blame Game". Kanye has provided transitions with intentionality and artistry that is hard to beat - it seems he is following a true and free flow of his own thoughts. The songs and themes feed into one another. Together the songs work at getting to the bottom of what makes Kanye West tick: they explore a mourning of his two greatest role models (his mother and MJ), his experience of celebrity, and his incredibly dysfunctional relationships with all female creatures; They bring some of the best and most eclectic artists in the business together, from Bon Iver to John Legend, to create something even better than Kanye could do by himself (GASP!?); They creatively combine all the things Kanye has done best on his previous 4 albums: the raw, catchy hooks of College Dropout and Late Registration, the dark and epic sense from Graduation, and the experimentation of 808's and Heartbreak. And I know I could say that he has done all of these things more successfully together on My Beautiful Dark Twisted Fantasy.
Let's rewind to some of the stand-out moments on the album. Because it was leaked early, many of us heard "Power" before anything else, and while it sounds like a political question, there is something personal about it as well. What is the power we have handed over to Kanye himself, or any one person for that matter, why do we do it, and does anyone deserve it? Meanwhile, KWest is not about to let go of any he finds. Even when he offers a confession of sorts in "Runaway", we know it is a backhanded apology, as it proves that none of us are actually ready to run away from him. He knows he deserves to be dropped, but lets us know on an addictive beat and catchy hook.
Recently for my birthday I was given Blood Bank, The Bon Iver EP from which "Lost in the World" gets its foundation (the song "Woods"). I keep listening to this song, trying to imagine Kanye hearing it and thinking, "I can make that even better". In its own right, it is hauntingly beautiful. And although I know several haters (or Indie purists?) who will vehemently disagree with me on this, but there is something that Kanye really does add to this track. He seems to have made it his own, and although very different from Bon Iver stylistically, both artists seem to deeply wrestle with and understand the concept of lost in a deep way. For me, "Lost in the World" holds its own more than any other track on the album, and yet every song is given context within this bizarrely personal and introspective Kanye collection. Whatever you think of this egotistically, self-proclaimed workaholic jerk-off, MBDTF is an honest look at a complicated man that at its best calls us to question our own motives and behaviour, and at its worst sounds good. Sounds like a grammy-contender to me.
Today marks an historical moment. This is by far the most recent release I have ever written about. This past Tuesday BJ Block and Dawn Pemberton's The Land of Make Believe was released on iTunes, but can also be found on cdbaby. It's the work of BJ Block and his friend Dawn Pemberton, who after having many successful shared shows have finally written some music together, and the result is refreshing and uplifting. Local Vancouverites BJ and Dawn are each incredibly talented musicians, but this is definitely one of those collaborations where the sum is even more than its parts.
The album notes on cdbaby describe The Land of Make Believe as "a children's record for grown-ups," and when I read that I laughed out loud. That is exactly what it is. BJ's guitar lines often sound 80's-Sesame-Street-inspired, and the references to the classic television show get a little less subtle when two tracks, "You Happy?" and "Up and Down" lift direct samples from my favorite Sesame Street guest: Little John John. The result? Wisdom from the mouths of babes, and a nostalgic smile on my face.
I'm getting ahead of myself though; those are nearly the last songs on the recording. "Just Be" beams us straight into a happy "make believe" world, without it feeling too foreign a place. In fact, a lot of the album has an optimistic take on life in a way that is almost otherworldly, yet Dawn Pemberton's soulful voice make it thoroughly believable.
When "Unlucky"'s dirty bass line begins to groove I find myself unexpectedly weighing the ever-debated paradigms of choice vs. circumstance. "Turn It Around" feels a bit like a continuation of the same thought, but I don't find it quite as strong. There are, however, some pretty boss guitar solos. And I am left wondering whether to call this jazzy soul or soulful jazz.
The next stretch of songs are my favorite, probably because they are all danceable party tracks. "You Happy?" makes it clear that this is far more than a "children's album for adults," but the kind of album that anyone can enjoy. I am seriously thinking of getting it for my parents, my brother who has three young children, and my teenage nephew who plays guitar. And I can literally think of nothing else that would be a good gift for all three of those demographics. Except maybe food.
By the time I've thought this thought I realize how perfectly appropriate the name of the next song is: "Everybody's Party." BJ and Dawn just want everyone to have a good time, and I think they're accomplishing their goals pretty well. And though the last couple songs have done their job at creating a certain mood for the room, I am quite sure that "Up and Down" makes me want to do the muppet dance (you know, the one with the limp arms?) all on my own. I can't help imagine the guitar licks expressing the movement and language of some ridiculous new Jim Henson creature popping up around buildings and from behind trash cans.
The album is rounded out by two slightly more reflective love songs, "Without You" and "Tender," which do their part in making me crave more from this duo. BJ and Dawn to answer your question, I am happy too.
