Danice's Favourite 2012 Albums

12.  Devotion - Jessie Ware

Some classic UK R&B has been coming out this year, but Jessie Ware is the one most worth paying attention to.  She doesn't look like your typical pop or soul star, yet perhaps the best comparisons have been made to Sade, one of the greatest R&B vocalists to ever step out of the UK.  Whether Jessie is epically belting about your "Wildest Moment", or playfully singing a catchy pop tune like "Sweet Talk", the sounds coming out of her are raw and beautiful.  In a world of pop music that's trying too hard to be sexy, Jessie Ware's naturally sexy tone is breath of fresh air.  Also, did you know she found her earliest success in a taxi?  Yep, check this out:

11. Coexist - The XX

Since their album Islands, I have been falling in love with the work Jamie, The XX's DJ does.  He has created some of the most original and beautiful remixes I have ever heard or imagined.  With The XX, he generally creates an atmosphere for Romy Madley Croft's soft and haunting voice.  Their 2012 album, Coexist does more of the same of what they do best.  Their sound feels detached, as if they are primarily creating a world to step into, rather than communicating an idea or expressing an emotion.  This is one of my favourite records to play while doing administrative catch-up, or to discover is being played in a coffee shop.



10. MTMTMK - The Very Best

This year I was able to go see The Very Best live in Seattle, and had no idea before I got there that they even had a new record out.  I have appreciated everything this Malawian lead and Swedish DJ have ever produced, so it was no surprise that I bought the new album as soon as we got home.  MTMTMK stands for "More to Malawi Than Madonna's Kids," and features a bit more dance music than The Warm Heart of Africa did.  If you are still unfamiliar with these guys, look into both albums - the first for a more African feel, and MTMTMK for more of a sense of blended cultures.  This album also brought some attention to Seye (pronounced like Cher), the Nigerian-born, London-bred singer-songwriter who toured and collaborated with The Very Best.  I would have considered one of Seye's songs in my top 12, only that my favourite is not actually available yet.  Still, here's a video of him singing J.O.A.N.N.A.:

9.   True - Solange
I was racking my brain whether to include E.P.'s on this list.  There were a few really great and really promising short albums that came out this year, from Brandi Carlisle, Shad, and Azealia Banks, for example.  But there is something about this 7-track collection from Beyonce's younger sister that I simply can't exclude.  Maybe it's the 80's R&B throwback (the record is full of drum tracks, synthesizer, and even retro sounding harmonies) just when we most miss Whitney Houston's early years.  Maybe we've all been secretly wishing to know what Beyonce would sound like if she weren't an epic diva. For whatever reason, True feels as though it's exactly what a musical doctor would prescribe. 



8.   The Heist - Macklemore & Ryan Lewis
This album may still be in the "Under $8" section on iTunes.  That's how I picked it up, only having really listened to the two tracks that had viral videos, "Same Love," and "Thrift Shop".  I actually forgot I had purchased it, until one day a song popped into my headphones while my ipod was on shuffle (a rare moment, indeed).  Macklemore surprised me by being far more than your average white rapper.  He does hip hop justice by both speaking out on issues, and having a sense of humour, two things that I believe hip hop music does at its best.  There are a couple moments that could feel slightly preachy to some, but for the most part this is a solid record built on thought and guts.



  7.   Love this Giant - St. Vincent and David Byrne
I think this collaboration makes more sense than any I've heard of in a long while.  Two incredibly talented, brilliant, and quirky musicians from different generations team up to give us exactly what you would expect, plus some extra horns.  The only downside to Love This Giant is that Annie Clark (St. Vincent) doesn't have nearly enough guitar solos.  Still, it's clear through the work they did produce that both David and Annie respect and generally enjoy each other's music and style, which along with their stunningly complementary vocals, makes this team-up worth every effort. 

6.   ...Little Broken Hearts - Norah Jones
Like no Norah you've heard before, ...Little Broken Hearts shows off the jazz standard singer's versatility, and producer Danger Mouse's ability to transform an artist's sound.  Like Adele's 21 the year before, ...Little Broken Hearts is an album dedicated to a break-up, and although it hasn't reached nearly the level of mainstream success that 21 did, I find it refreshingly more mature and balanced on the dejected-to-irate spectrum.  Highlights for me are "Sad Goodbye", "Happy Pills", and "Miriam".  Just click on the album image to stream all the songs.




5.   Boys and Girls - The Alabama Shakes
The Alabama Shakes have the secret power of time travel.  Every time I play Boys and Girls I have to remind myself that I do not actually live in the 60's.  The album kicks off with the addictive single, "Hold On", and then does nothing less than restore my faith in Rock & Roll.  The album is filled to every last edge with lyrics of desire, anger and sadness that are only deepened by Britney Howard's soulful, raspy, low croon.  I have yet to see them live, but I've heard this is necessary, so if you have the chance, don't pass it up.  




4.   Good Kid, M.A.A.D. City - Kendrick Lamar
I did not like this right away.  At first listen, I couldn't handle the macho and misogyny long enough to get past the first half.  Good Kid, M.A.A.D. City tells Lamar's own coming-of-age story, and at first, Kendrick tries to prove himself a man with the usual tough act. In order to see him grow, you need to give the album/story time.  Punctuated by voicemails left by Lamar's parents (beginning angrily asking for the car back but eventually become gentle invitations to come home) this solid rap record leaves a surprising message of manhood: that it's not perfected in violence but in taking care of family.  Although it is heard best in context, I've embedded my favourite song off the record below.

  

3.   The Idler Wheel... - Fiona Apple

I had started to give up on hope that Fiona Apple would come out with another album as amazing as Tidal or When the Pawn...  She has certainly returned to the longer album title though, this time with an exactly Twitter-kosher 140 characters.  The Idler Wheel... is exactly what I want to expect from Apple: fast jungle-inspired rhythms mixed with slower angst-y ballads, held together by Apple's own eccentric personality and dark imagination, and unique percussive-style piano.  The best place to stream this one is on grooveshark, so instead of a soundcloud link, here's a bizarre video you should watch from The Idler Wheel is Wider Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do:

2.   The Bravest Man in the Universe - Bobby Womack

There was something about 2012 that brought a lot of older artists out to record.  Springsteen, The Stones, The Beach Boys and even Van Halen all released music this year, but only Bobby Womack was able to give us something that feels stunningly relevant and original, while holding a greater depth of experience and wisdom.  His age can be heard in his voice, and I think it makes The Bravest Man in the Universe Bobby's best album yet.
Stream it at the Guardian, here.

  

1.   Channel Orange - Frank Ocean

Someone asked me what my life highlight from 2012 was, and my first instinct was to say Frank Ocean.  I anticipated this album like nothing else this year, so it had a strong potential to let me down, but obviously it did not.  Channel Orange explores the disadvantages of living a privileged rich kid's life along with a couple deep and personal instrospective pieces that are held together by flipping television channels that offer news from the outside world.  The music is fresh and heavy R&B with a hip hop attitude, and I can't get enough of it.  If you still don't have this album, click the image to the right for a stream of it on soundcloud.  I doubt you'll last long without purchasing this one.

2010 Rerun: Wake Up! - John Legend & The Roots

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.

The Lady Killer - Cee Lo Green, 2010

I have a giant a soft spot for Cee Lo Green.

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.  

4 - Beyonce, 2011

One of my favorite things to do around the new year is reflect on the finishing year by reading lists and making some of my own.  There are a number of artists that have shaped my 2011 with new and newly discovered albums - Bon Iver, Florence, Adele, Josh Garrels - but I've decided to talk about Beyonce's 4, because I doubt I will ever be inspired to write about any of her other albums, past or future.  And I cannot stop listening to it.

Who would have expected this?  A chock-full collection of hit after hit, that somehow sound even better together, from a woman who has built her career on singles and music videos.  Beyonce has never been what I've considered great at the art of album, but 4 is an incredibly happy exception.

"1+1" reintroduces Beyonce to us as a sexy balladess with clear control on her vocal range.  Before we dance, we are asked to remember that she is not only a beautiful, engaging performer, but a vocal contender as well.  "I Care" and "Miss You" are best paired together, both using 80's instrumentation to recall a classic pop-r&b fusion, and both wrestling with relationships either on their way out or regretfully finished.  Come to think of it, "Best Thing I Never Had" is a part of the series too - but adds some real Beyonce attitude.  Sure it's a pithy chorus, but Beyonce's never been hailed as a lyricist anyway, and it's a great song to sing at the top of your lungs in the car.  Try it sometime.

By now, we've remembered what Beyonce is capable of, but we're not sure if she's still really got the power to start the party.  By the time I listened to 4 in it's entirety I had already seen the video for the last track, "Run the World (Girls)", and was at best disappointed.  Was that going to be the strongest dance song on the album?  Certainly not.  And this is where the party begins, appropriately with "Party", which brings along with it Andre 3000 and Kanye, and a sample of La-Di-Da-Di.  It's a massive summer party track, but was unfortunately released a little too late to get the attention it deserves.

There's always one song I don't love, and on 4 it's "Rather Die Young", which feels inauthentic and silly, referencing a bad boy who is worth all the trouble.  Beyonce is getting too old for that, and I find "Start Over" to be far more believable as she searches to reignite a spark with a long-term partner.

"Love on Top" is a throwback to past divas such as Whitney of the 80's and even Diana of the 60's, as she once again shows what she can do, this time in 6 key changes.  It was the perfect song to let the world know of her anticipated Knowles-Carter child in this pop-historic VMAs performance.  You should probably watch it here if you haven't yet:

The party refuses to stop as Beyonce uses a counting down sample from Boyz II Men (good move B) to "Countdown" which is one of the most eclectic songs that doesn't sound scattered ever made in the r&b world.  The video is nearly perfect as it mirrors this collage of a song, with great dance moves and even greater outfits.  If you haven't seen it, you should probably watch it here:

THEN, "End of Time" comes on, with its massive horn shots and epic marching beat.  This for me is the highlight of the album.  By now I am sold on B, and all that is left to do is shake whatever your mother gave you, regardless of how it compares to what Beyonce received from her mother.

"I Was Here" slows everything down again with the track that will likely be played at Beyonce's funeral.  Written by legendary love song writer Diane Warren, it might be a little melodramatic for my taste, but every diva needs to plan ahead for a memorial or life-time achievement award.

The album ends with "Run the World", which actually has an incredible beat and similar energy levels to "End of Time", but falls flat when compared to other girl-power/feminist anthems like Destiny's Child's earlier "Independent Women".  The video has some amazing dancing, but it mostly frustrates me by what it could've been.  Still, considering this post has been video heavy, I might as well conclude one last performance that almost convinced me of this song:

When I think of 2011, I will undoubtedly think of Beyonce's 4.  What will you think of?

Janet Jackson's Rhythm Nation 1814, 1989

If I were writing a top ten list of albums that shaped me as a kid, I might as well start by putting this record on top.  So forgive me if I wax nostalgic.  No matter what song is played from this album, my first mental image is of being in my older brother's basement room, using his double bed as a stage and a deoderant bottle as a microphone, trying my darndest to be Janet.  Before spending countless hours in front of the tv, trying to memorize her brother's "Thriller" dance, I was taking lessons from Rhythm Nation 1814.

I won't attempt to talk about this album with mentioning the videos associated with it because very few of us who have ever seen this, can listen to "Rhythm Nation" without being transported to the stark setting of the streets or the sparse warehouse where militant dancers are being trained to transform the world.  Janet has a long resume of impressive music videos with high production quality (and costs), however what I love about the videos connected with Rhythm Nation is that they are all very simple ideas and settings allowing the focus to remain on choreography and narrative.

As soon as the bell tolls, opening the album, I am there - one of Janet's army - and to be honest, I've never counted myself out of this number since first hearing this record.

The first three tracks set the foundational concern towards social injustice, calling for a new formation of people along the same line as George Clinton's One Nation Under a Groove.  Here, Janet reminds us that there is still a place for the protest/socially conscious song in R&B that was established in the 60's and 70's by Marvin Gaye, Stevie Wonder, ect, but had been missing for nearly a decade.  Janet is young here, but with the New Jack Swing fathers, Jimmy Jam and Terry Lewis she is able to deliver a call to justice and equality that packs a punch, and keeps us dancing.

After reminding us of the "State of the World", and delivering her thesis that only "The Knowledge" can conquer the likes of prejudice, ignorance, bigotry and illiteracy, she moves the album along with:
"Get the point?  Good.  Let's dance..." and continues to encourage movement with two power dance tracks, "Miss You Much", and "Love Will Never Do (Without You)".  For someone with such a light wispy voice, she sure knows how to energize her listeners.  Still, she never let's us get too far away from the issues at hand, reminding us to think of the children in "Livin' In a World (They Didn't Make)".

I recently bought this on vinyl, and "Living in a World..." appropriatly concludes the chapter that is side A.  When I turn it over I'm thrust back into the action with the brilliant anthem, "Alright".  This song could alone define New Jack Swing with its street class swagger, and marriage of R&B melodies with heavy hip hop beats.  Not to mention it boasts one of my favorite music videos of the time.  I'm going to go ahead and imbed this one...

Together with "Escapade" these two tracks offer two attempts to hide from the harsh reality, the first with imagination and friendship, the second with flight.  "Black Cat" instead faces the danger of the streets as a warning to her lover.  Written by Janet herself, I'm not always sure how the harder rock-inspired track fits into this dance record, but it's an example of decent songwriting that sounds eerily like Michael. 

There is a very small part of me that wishes the album ended here.  However, the last three tracks prepare us all for Janet's sexual revolution that is to come.  We can't say she didn't warn us.  I read a review somewhere that said "Lonely" is the sexiest song about not getting any that ever existed.  That's probably true, at least as of 1989.  As in any new nation, love is never left out of the equation entirely.   Still, when she takes it all the way to the anticipatory "Someday is Tonight", I just feel dirty.  For some reason, this song is so much worse than her way more explicit stuff that comes in the 90's.  I don't know why, maybe her age, or how it fits on Rhythm Nation...  but however I might justify it, this is my favorite track to skip for sheer awkwardness. 

A brief Interlude followed by the same bell tolls that open the album asks us not to allow our eyes to deceive us, since it is only our "knowledge and wisdom that separate us".  If I were to critique her philosophy here, I might say we need more than darkness to be blind to our differences, but brighter light to see how deeply we are the same.  But that's not what I'm here to do.  The real point is that this unlikely young Jackson does exactly what she sets out to do: inspire us to dance in the darkness and invite everyone to join in, regardless of race or status.

ArchAndroid - Janelle Monae, 2010 (Part II)

I have trouble knowing exactly how to understand the two Suites found on The ArchAndroid.  What really throws me off is that the first Suite (Monae's album The Chase) and presumably her fouth/last Suite are albums to themselves.  Why has she put the middle two on one epic album?  Are they incomplete without each other, or was it simply practical?

Although the two Suites are distinct from one another separated by their overtures, the album is listened to in its entirety.  Never have I thought to myself, 'well, I think I'll just listen to the third suite of The ArchAndroid now'.  The album is divided, but it's still one album: If Monae really wanted separate listening experiences, she would have turned it into a double disc at least.


And so here we are where I left off: The third Suite's overture chiming in, interestingly enough not only foreshadowing the melodies to come, but also picking up on themes provided primarily by the final song of Suite II, "Mushrooms and Roses", further evidence that there is something more substantial linking these particular two Suites.

"Neon Valley Street" moves directly out of the Suite III Overture with a much smoother transition then that of Suite II.  It feels almost like a song meant to give you a bit of time to remember where and when you are in the performance, and settle into your seat for the second act.  "May the song reach your heart" beckons the listener back into the story, and by the time Janelle's robotic rap starts up I am hooked again.  The speaking outro could just as easily be the intro to "Make the Bus" which abruptly begins with Of Montreal's Kevin Barns voice which is totally creepy, and works super well with the whole science-fiction vibe.

In fantastic form, Monae proves that she can indie it up, and then move into "Wondaland", whose melody is reminiscent of the catchiest of an Earth Wind and Fire track.  I find myself humming it when I'm walking around work, or waiting for a bus on a regular basis.

The next two tracks are on the mellower side, "57821" (the number referring to Cyndi's droid number) points to her chosen-ness.  Sir Greendown is both her lover, and biggest believer in her being a Messianic figure, and it seems that this song suggests that even her droid number somehow prophecies that Cindi will indeed be the one to save Metropolis.  Musically, the song layers harmony with Monae and Deep Cotton, and reminds me of something that Fleet Foxes would do.  (Have I mentioned that her genre diversity literally blows my mind?)  "Say You'll Go" is haunting and beautiful, and comes across to me as a duet between Janelle and the piano.

Finally, "BaBopBye Ya" which transitions through a whole bunch of varied sections, and yet always makes me think of the James Bond movie songs that scroll during the opening/closing credits.  You know, like this:  It allows the album to end while still holding an intrigue and mystery as to what is to come with Suite IV.  I'm ready for it, Janelle Monae!

The ArchAndroid, though only the middle of a story, has a lot to say.  About love, freedom, race, and boundary crossing.  And it is definitely worth a listen.

ArchAndroid - Janelle Monae, 2010 (Part I)

2010 was a pretty incredible year for music.  And I know it's a little late for any best-of blogs, but part of my hiatus here has had to do with an onslaught of good new music to listen to.  It's time to pay homage to one of those distractions, and although there are several to choose from, none of the records from last year have demanded attention like Janelle Monae's The ArchAndroid.  It's insanely ballsy, diverse in genre and mood, and yet cohesive in both its bizarre concept and polished production.

The album needs a rather large introduction since the only real way to listen to it is within the context of its concept.  The ArchAndroid is composed of 2 Suites, each propelled and punctuated by an overture (at tracks 1 and 12).  This is why I've decided to break this blog into two parts, and will discuss each Suite separately.  Also, there's just way too much to say!

There is a serious overlap of music with drama as Monae theatrically presents the suites (actually the 2nd and 3rd of what will be a total of 4) as work of the futuristic character of Janelle Monae, who was forced to leave her home year of 2719, and is imprisoned as a patient in Palace of the Dogs in the present.  Much of her music regards her sort of alter-ego, Cindi Mayweather, an android (and THE Archandroid whom the album is named for) built with Monae's DNA who is a messianic figure of Metropolis.  Yes, a somewhat complicated story.  But one that adds layers to the listening experience as The ArchAndroid unites Science Fiction to Reality and Past to Future.  Even as the story presents itself as distant from our world, the liner notes name inspirations for each track to be familiar icons of our present and past culture, from "Princess Leia's cinammon (sic) buns hairstyle" to Salvador Dali.

Certainly Monae isn't the first to produce and promote an album through the use of an alter-ego.  Many have gone before, and certainly comparisons have been made - most clearly to David Bowie's Ziggy Stardust - yet it seems worth mentioning this is the first by an African-American woman (no, Sasha Fierce does not count).  The significance of a protagonist of a beautifully crafted Futuristic setting being an African American woman cannot be lost.  I know I'm no Science Fiction buff, but I can think of very few black women in the genre of Science Fiction at all (Nyota Uhura from Star Trek is not exactly a household name), much less as the central figure on whom hope rests.  This album is a statement, or at the very least, a new option of hero for an up-and-coming generation.

Musically, Monae pushes through countless boundaries, as each track seems to hop from genre to genre without feeling disjointed or sacrificing the continuity of the album.  Whether it's funk, soul, rap, progressive or experimental rock, she sounds at home, and ready for company.  She breaks divides by doing collaborations with not only the somewhat expected Big Boi (she's worked with Outkast in the past), but also with the offbeat indie rockers, Of Montreal on "Make the Bus".  On top of it all is her fabulous on stage image, dancing like James Brown in her "uniform"comprised of a black suit with a skinny tie and saddle shoes.  Not to mention the gravity defying poof on her head. 

Ok, let's freaking listen to this thing!  As I mentioned before, the album kicks off with an introduction to the 2nd Suite, which picks up on a few melodic themes from songs to come.  Somehow she manages an effortless transition from orchestral overture to rhythmic, upbeat, bassy and beepy "Dance or Die" which launches Janelle into energetic rap-sing verses (that tends to remind me of Missy Elliott) hoping for heightened freedom, over a beat which is established with Saul Williams' poetry.  It sets the stage, and like any good setting, it's hard to notice when something new has begun, which is exactly how "Faster" begins.  I can't tell you how many times I've felt as though it was the second part of the same song.  Still, it adds to the tension of the story as we're reminded that our hero is a fugitive.  Again, "Locked Inside", which continues themes of captivity and the hope and fight for freedom, begins without drawing great attention to the fact that a new song has begun.  The first three tracks launch us into the tension and urgency of the story, and work as a single unit - kind of like the first act of a play.

Then, probably because of a fade out, Sir Greendown slows down and reflects on the primary romantic relationship at hand: Cindi Mayweather and Anthony Greendown, first introduced to us during Monae's first suite called The Chase.  Greendown's love gives our hero the motivation and power to persevere, even though the next two giant songs of funk and melody, "Cold War" and "Tightrope" lyrically find the work difficult.  Still, the groove in each is enough to feel as though she can do anything, and dance right through it.  "Cold War" makes me nod my head without fail, and "Tightrope", well, it makes me want to perfect my tightrope dance.  Again, grounding us from this dance interlude, Monae slows it down with a backward recording on "Neon Gumbo" allowing us to reflect where we are in the story.  It also bridges into the at first acoustic-sounding "Oh Maker", one of my favorite non-dance tracks on the album. 

Abruptly we find ourselves in two songs linked by their names and perhaps their use of electric guitars, but otherwise could not be more different.  "Come Alive" is fantastic, bizarre, and sometimes angry, while "Mushrooms and Roses" can only be described as the sex scene of the album (if albums can have sex scenes...), which ever so gradually fades out, and thus appropriately ends our second Suite.  But not the album, of course!  Here's a link to ArchAndroid Part II  (and the third suite of Metropolis).

Peace out for now,
Dance

Lauryn Hill: The Miseducation of Lauryn Hill, 1998

I know, you thought I had completely given up on this venture. Well, so had I. Not intentionally. I can't exactly blame business for my lack of writing, because the truth is, I wrote the most when I had the most school work to do, and since graduating I haven't had nearly the deadlines! Perhaps I've been at least partially word-paralyzed by the immensity of the album that has for months now been my next listening project: The Miseducation of Lauryn Hill.

Miseducation is an album that I never need a reason to play. In 1998 it rightly swept the Grammies, and gave a ridiculous know-it-all teenager a strong down-to-earth and talented female role-model. Although I hadn't experienced half of the life Lauryn sings about (love, motherhood...) I felt as though she was singing words from my own soul. Maybe she was just showing me where my English-raised soul was located. Either way, it was an experience of something much deeper than cool sounds.

So I will try my best not to wax sentimental here. Without the nostalgia, which I do realize can be terribly powerful, there is plenty to appreciate. Let's start with the cover art. We find ourselves looking down on a sloped wooden desk, like many times before, oblivious to the lesson spouting at us, tracing with our finger the outlines scratched by earlier students, and wondering who sat here before us. It's clear what we have in our hands is a story of a student who has become the teacher. As soon as the record begins our interest is peaked even further when we realize that our protagonist is missing from the roll call... and my mind's camera seems to pan out and zoom to the real location of Lauryn.

And this is when I tend to wake up. Whenever The Lost Ones kicks in as my alarm, Lauryn spits words at me with a beat that makes it very hard to remain horizontal. Her words are harsh and motivating with a "wake up and pay attention" feel, as she calls her listeners on every mistake of pride and hypocrisy. We're getting ready for a lesson. And it's clear once we're back to the classroom that the topic of the day is love. The entire album moves between two educational settings: the classroom and wherever Lauryn is, and it seems to frame the record as a lesson or at least discussion on the definition of love.  

Yet Lauryn's first love song of the album is not what we might expect from such a lesson! Instead of being about a beautiful man or incredible sex, it's about choosing to keep her child, Zion, and finds her focus on spirituality, complete with a backing gospel choir and the prayer-like solos of Carlos Santana. Meanwhile back in class the kids are talking about what it's like to be in love.

Superstar and Final Hour have always felt like a pair to me and even though they have entirely different feels, they are connected by their concern with being real, calling artists away from selling out with choruses like, "Music is supposed to inspire," and "You can get the money, you can get the power, but keep your eyes on the final hour". She draws attention away from celebrity to personal integrity ("I'm about to change the focus from the richest to the brokest") warning us all to "watch out what you cling to".

When It Hurts So Bad begins to sound a little more familiar as an R&B ballad of unrequited love, and has never gripped me like the rest of the album, along with I Used To which I barely noticed. More than that, its seeming fickleness bugged me: She used to love him but now she doesn't? What's that about? Yet I was forced to pay more attention this time considering not only Lauryn, but Mary J. is also belting out the lesson. The song is really about a unhealthy relationship (abusive?) that is suffocating these strong, beautiful women. I wonder if we are meant to experience the juxtaposition of the fickle sounding background hook and the verses that reveal a true salvation song - much like an outsider might react to a breakup, without knowing the whole story.

Forgive Them Father may sound a bit preachy, but it also proves to me that no one can rap biblical references like Lauryn can. Is she a prophet? It could explain the crazy she now finds herself in.

I have only at this point listened to half of the album and still there is plenty left to say! Nothing Even Matters reigns as the most stereotypical love song on the album, completed by dueting Lauryn with D'Angelo who you do not even need to look at to be physically attracted to (although looking wouldn't hurt). Still, organs add a really unique texture to the track, and the finger snaps are as groovy as finger snaps have ever been.

From here on out, we are deep in love, metaphorically and literally. With Lauryn herself. Ex-Factor is a true-to-life reflection on the complications of love and breaking up, where the singer flits between being the one trying to let go to the relationship, and the one desperately hanging on.

Doo Wop was easily the biggest deal from this album. Everyone remembers this song, and everyone should remember the music video. This track is the perfect example of how great Lauryn is at everything she does: we have layers of perfect old-school soul-filled harmonies, exciting energy, and the heaviest fattest rhymes proving that "female rapper" is no oxymoron, all the while spitting a lyrical truth that though we might call it love, some guys/girls are only about that thing.

The retro feel of Doo Wop (That Thing) launches us into the nostalgic track Every Ghetto, Every City, full of references of early hip hop years that give me the imagination that it's where I'm from, even though I'm a white girl from a suburb called New Westminster.

Everything is Everything at the moment does nothing but remind me of Mia Michaels on So You Think You Can Dance. Everything she loves is "everything". Every instrument on this track hits hard, like Lauryn's rhymes, which give a contrasting background to her smooth vocals on the verses and choruses. Ms. Hill  reminds us that change is always around the corner, so we need to take advantage of what we're given in the time being to make that change a good one. Or maybe, slightly more far-fetched, that regardless of how "schooled" we think we are, we always have the chance to be educated by life. Yep, that was far-fetched. Sorry.

The album concludes (but doesn't finish) with the title track, that's given a vinyl record quality, and I'm forced to imagine what it would be like to have this album on vinyl for real. The organ and keyboard are superfluous and kind of sound like church. Well, what I imagine a black church to sound like. A combination of a black church and my dad. Ok, I'm taking on a bit of Lauryn's crazy now...

Finally The Miseducation of Lauryn Hill wraps up with two bonus tracks: You're Just Too Good to be True, and Tell Him. I think they're bonus because we're not really meant to hear them as a part of the story (whatever that may have been for you), but they're applicable and appropriate. I love these tracks, but I'm going to end this here. I feel as though I've made up for months of missed writing, and these songs are primarily meant to be enjoyed and not talked about.

Peace out,
Danice

#8) Justin Timberlake: FutureSex/LoveSounds, 2006

So now it is officially official: I am behind.  Christmas Day was a lot more tiring than I thought it would be, and blogging was simply not an option at the end of it.  Have no fear though, the list will go on, and if I must I will spend all of New Year’s Day counting down to #1. 

Although I knew quite early that this would make my list, I haven't had the chance to listen to it straight through in the last month, so tonight after work I listened, sitting on my bed, drinking lemon ginger tea (because for Christmas, I got a cold) as I wrote this blog.  My first thought as I began was remembering a conversation I recently had with my niece.  She insisted that Timbaland’s real name is “Justin Timberland”, just like Justin Timberlake.  I don't think she can fully tell the two apart!  And why should she be able to, with the incredible partnership they built up on this album? 

Right from the get-go FutureSex/LoveSounds (the song and album) is like nothing we had ever heard before from a boy-band member, or from Justin himself.  It has darker and sexier tones, that are only given more weight by Timbaland’s heavy bass and diverse sounds.  And then, as if he needed to state the obvious, Justin announces that he has brought Sexy Back.  As hot as this track was the first time I heard it on the radio, it packed way more of a punch on the album.  Naturally, it became one of the biggest dance tracks of the decade, by making each and every one of us want to bring some part of sexy back, in any small way we can. 

Sexy Ladies comes off sounding really cocky, but then he gets away with it by admitting it: “Now it might sound cocky, but is it really cocky if you know it’s true?”  Fine.  You’re forgiven.  I'll even let you put "sexy" in the title of two of your songs back to back.  Who the heck can get away with that?

All of a sudden, I realize I must put joking aside.  Throughout FutureSex/LoveSounds, the Timb's use “interludes” and “preludes” to tie songs together, and therefore contains some of the best transitions on a pop record.  For example the Let Me Talk to You prelude at the end of Sexy Ladies that leads into  My Love is so boss, I actually forget how the whole track goes until it starts up.  And then when it does and I've already heard the chorus several times, I'm not bored by it because of how different it feels.  The movement in the rhythmic synth riff is contagious, and I'm doing a sort of upper body dance that I don't think should ever been seen by human eyes. 

And soon enough it happens all over again in LoveStoned/I Think She Knows.  Half way through the song, instrumentation strips down to beatbox and strings, and then cuts out again to a solo guitar vamping on the same pattern.  By the time Justin is singing again, it’s hard to remember that I’m actually listening to the same song - the same chorus even!  When he does move on to What Goes Around…/…Comes Back Around, he has to make it unmistakably new, yet I feel as though the semi-continuity of orchestral strings still ties the two tracks together a bit.  What Goes Around... sounds like a predictable pop song for once... until about 5.5 minutes in when you expect the song to round down, and instead and it shifts to an entirely different attitude.  I stop feeling sorry for Justin, and begin to feel his anger.

And anger is a good thing to feel a little of in the dirty sound, which is exactly where we're headed with Chop Me Up.  Timbaland's distorted echo is just nasty on this track.  Mafia Three 6 makes an appearance and slows the bounce considerably, but gets nowhere near stopping anything.  I wish the album could keep on going like this, instead of moving to Damn Girl, which sticks out like a sour thumb.  It’s not that it’s a bad track.  It’s a lot of fun, but it takes me a while to get into the old school groove and harmony after half an album of Timbaland’s unique and futuristic sounding influence.

But don’t worry, Timb's back with Summer Love.  I am strutting all over the kitchen, living room, down the stairs, wherever with this one.  And although the next song, Until the End of Time, has a completely different tone, once again an incredibly crafted transition prepares me and takes me there, without me even realizing it.  The album is funneling down into a new thought and sound, and maybe conclusion, but there's no forced-ness or awkwardness about it.

Loosing My Way comes across as far more humble than the rest of this sexy and confident album, although Justin gives himself the character named George.  This one is saturated with MJ influence, complete even with a children’s choir.  “Can anybody hear me, cause I can’t seem to hear myself…” is a prayer for help and forgiveness, which takes a moment to sink into, but ends up believable. 

Another Song (All Over Again) is the only other track on the album (other than Damn Girl) that is not produced by Timbaland.  And yet here I think it works a little better.  At the end of the album, it hits me as a very honest track: After he has been a love god in his own eyes, bringing sexy back and the whole bit, ultimately he’s left as a boy who’s messed up and is begging for a second chance. 

Another Song is very far from where we began FutureSex/LoveSounds, but one that was made by a journey of transitions.  Just as each track is crafted to perfection, the album is shaped in such a way that I do want to put the album on all over again to see just how they did it.  However, I have 7 more albums to listen to, so a repeat will have to wait. 

#10) Amy Winehouse: Back to Black, 2007

Why yes, this is my most embarrassing album on the list, thanks for asking! But as hard as I tried, I couldn’t seem to leave it off. Even though I don’t think we will ever hear anything remotely interesting or intelligent from her again. Even though I think in many ways, the album is a humongous fluke, and should not have gained the popularity it did. Even though Amy Winehouse herself really does not deserve to be on anyone’s top list of anything. Here she is, paving the way for the end of this decade, for white girls from Britain making good soulful music, like Adele and Duffy - who I enjoy far more - but must recognize that they probably would not have made it into the mainstream without Ms. Winehouse

I have decided to not spend a great deal of time in defense of why any particular album is on my list. However, there are two specific things that I must draw your attention to that also act as points of defense.  The first is the quality of production.  Back to Black gives us an old Motown sound and feel that works, even with Amy’s foul-mouth and bad attitude.  Other than Mark Ronson for production, I would give nearly all the credit to the backing band. The Dap-Kings are hands down the number one reason that your body can’t not groove out when you hear nearly any track on this album.   Just listen to You Know I’m No Good, and its phat beats layered with down and dirty saxophone and cutting trumpet tones. If it were up to me, I think I would have started the album with this track, but it’s Rehab that actually kicks it off.

In a way, the album mirrors the way Winehouse effectively walked into the mainstream brashly and unapologetically. Rehab begins as if we’re already in the middle of a conversation, as if we’ve already accused Amy, without having any introduction to her. 

It takes a couple tracks before completely blowing me away though.  What it takes is Me and Mr. Jones, and a brand new use of the f-word: “f---ery”. Only she could get away with making up a word and working it into nearly every verse. It has made it’s way up to my all time favorite use of an obscenity in pop music, based on its originality alone!

A few minutes later as Just Friends is blaring on my stereo with that its super groovy offbeat Bari Sax and horn shots, I recognize that this is a rather appropriate album for the Christmas season, considering the stereotypical plethora of alcoholic beverages and mood lighting. This calls for a Hot Chocolate. Spiked of course. And I return to listen to the rest of the CD while I stare in vain at our house’s 2000 piece puzzle. I don’t think the drink will help with the puzzle, but it sure makes Amy sound even better. No wonder she doesn’t want to go back to rehab!

The title track, Back to Black is so wonderfully bitter, it’s hard not to seethe at any old fling that went wrong. A sample of inspiring lyrics: “We only said goodbye with words… you go back to her, and I go back to black”. Oh the glory of dramatic sexual tension.

And how else could she follow up that song but with Love is a Losing Game. Here Amy puts aside some of her rage, and sunk slightly into a classy depression. You know, the kind where a very sad woman sits alone in her apartment wearing a red party dress? Well, that’s what I imagine. And unless I get up and do something, I’m going to begin melancholing with the best of them. Why yes, I did just use that as a verb! Amy’s inspiring to expand my vocabulary through the art of BS. Thanks Amy!

Luckily I don’t need to get up after all, since Tears Dry on Their Own strikes up. It sort of reminds me of a really ironic TV show theme song. But in a good way… and before I know it, emotions shift again with Wake Up Alone. At this point the album starts to feel somewhat manic-depressive. Still, I can’t help but love the old-school vocal harmonies on this track.

Finally, her ending with He Can Only Hold Her works similarly to Rehab in beginning the album. I can’t help but think that the album isn’t trying to be an entire separate entity, but instead is just a continuation of the great R&B that already exists.  I don’t want to move on to something new; I want to keep listening to good music all evening: I’m jumping all over my funk and soul playlists.  Amy (and her crew) inspires me to return to that classic Motown sound I haven’t listened to for a long time, and that deserves a great many thanks.