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.

Undun - The Roots, 2011

I've been meaning to go back a little and give you reason to pull an older slightly-neglected album off the shelves again, but new music has been so good lately!  Undun is the record I can't get enough of right now, and I want to offer it up as an alternative to Kanye's My Beautiful Dark Twisted Fantasy as an album that attempts to push rap music in a new direction.  The Roots, however, are able to do so far more narratively and positively on Undun, which focuses on a man - Redford Stevens - who dies at the beginning of the album, and everything we hear after that looks back to what led up to that particular moment.  And that's about as much pre-amble as I want to give you, because something tells me Undun is the kind of thing that we'll enjoy as we discover new things each time we listen.

The first thing I notice, before I even hit play, is the album art depicting a kid "flipping in the ghetto on a dirty mattress" as Lauryn Hill so eloquently describes.  Like any great rap album, Undun is full of reference, even in its few, but intentional visuals.  The first track, "Dun", builds (or fades out backwards-ly) sonically toward the first full song, "Sleep": stunning in its short and slow depiction of Redford looking on his own death through incredibly poetic rap.  Similarly, "Make My" is Redford's coming to terms with his near-approaching life's end.  This song is so beautiful, and strikes me as brutally honest in its ability to realistically capture someone's final song or word.  As conceptual as Undun is, I can't get over how catchy the music is throughout.  The Roots are relatively un-rivalled in the arena of instrumental hip-hop (heck, they created it), and prove they are still on top.  The bass line from "Make My"slips and slides around everywhere, and "One Time" is driven forward by percussive piano chords that, although with a low bpm, force physical movement out of its listener.

"Kool On" introduces a completely different beat with one of the slickest transitions I can remember - and it's just a fade in!  And let's face it, using an old-school vocal line as a rhythmic beat is so awesome right now, whether it's on Watch the Throne or not.  This and the next, "The OtherSide" is the closest track to a dance groove that you'll find on the album, but they are not really for dancing at all since they are gritty looks at a life of chasing drugs and money.  Greg Porn has some of the most direct and simple phrases, like "I'm on the edge of my bed making love to my meds".  

I keep thinking that the worst must be over; Redford is dead, so eventually we'll get to some happy memories, right?  On the contrary, it seems like his death is the most peaceful moment on the album, and "Stomp" definitely intensifies things, and gets the physicality of life, viscerally describing "blood sweat and tears, broken teeth and spit".  "Lighthouse" continues that theme as guest rapper Dice Raw asks us to "take a look at my lungs and my liver - it's disgusting".  Again, the rawness of the story is never abandoned in the midst of thoughtful and catchy hooks that can be played anywhere.  I have cooked and cleaned and just chilled out to this record, and it all works.  

"I Remember" suggests that Redford never really had a chance, drawing "a two from the deck" and continues to be fairly aware that death is not too far off.  "Tip the Scale" is the last track that gives us any lyrics, and I suppose it can be seen as the beginning of the end in multiple ways.  It reveals either a real or felt decision he is making between a friend's life and his own.  Knowing the end outcome gives this song even more dramatic weight.  And we are left to contemplate the short life of a thug over Sufjan Stevens' "Redford (for Yia Yia & Pappou)", and its 3 variations in the form of movements.  Each take a very different approach while holding a recognizable piece of Sufjan's original: "Possibility" is high and dream-like, "Will to Power" is is dark and jazzy, and ends with chaotic chordal clusters, and finally "Finality" feels much like a string quartet at a funeral, yet ends with a low hammer on the piano.  

Undun allowed us to peer into a common character's last bits of life, but Redford's stereotypical thug-like behaviour never distracted me from his humanity.  Nothing about this album felt like every other rap about money, drugs, sex, and death.  It was neither braggy nor preachy, yet honestly looked at nothing less than the meaning of life, and I'm left wanting to have another listen.  Don't mind if I do...