Welcome to the May 2018 Issue

May 2018 image FB OK

 

Welcome to the May 2018 issue of Black Grooves, sponsored by the Indiana University Archives of African American Music and Culture.

This month’s releases are related to concepts associated with spring—invigoration and innovation—bringing to light new voices and collaborations that foster hope and discovery.

 

Four featured debut albums are grounded within soul, rock and reggae. The newly formed Zig Zag Power Trio (Vernon Reid, Will Calhoun & Melvin Gibbs) presents the rock fusion project Woodstock Sessions Vol. 9.  Deva Mahal—the talented daughter of jazz icon Taj Mahal—shows her individuality on Run Deep.  Starchild & The New Romantic’s Language features the artistry of Bryndon Cook, and Fort Lauderdale’s Army Gideon offers reggae rock fusion on Forsake Not.

Jazz releases are bountiful. Words to Love by Houston drummer and composer Reggie Quinerly is a vocal jazz album featuring Melanie Charles and Milton Suggs; Don Braden’s Earth Wind and Wonder is a jazz saxophonist’s exploration of the Earth, Wind & Fire and Stevie Wonder songbooks; Miles Davis & John Coltrane: Final Tour is a 4-CD set featuring their final performances together during a 1960 European tour; and Idris Ackamoor & The Pyramids’ An Angel Fell is a spiritual jazz album exploring global themes such as catastrophic climate change and racism.

International offerings root themselves in novel collaborations. Playing for Change: Listen to the Music brings together 210 musicians from 25 different countries for the goal of unifying today’s oft-divided societies, and the seven-piece South African afropsychedelic band BCUC (Bantu Continua Uhuru Consciousness) blends indigenous musical traditions with social commentary on modern Africa on its album Emakhosini.

This month’s featured rap and soul artists include Los Angeles-based rapper Murs, who bares his soul on A Strange Journey Into the Unimaginable, and the veteran Chicago soul band Bumpus, offering Way Down Deep, their first release in over a decade.  Gospel and R&B sow the seeds for this month’s reissues. Sister Sledge: An Introduction is a new “best-of” compilation featuring the four iconic sisters from Philadelphia, and Gotta Serve Somebody – The Gospel Songs of Bob Dylan is a DVD reissue documenting the making of the Grammy nominated album of the same name.

Wrapping up this issue is our compilation of April Releases of Note.

Zig Zag Power Trio – Woodstock Sessions Volume 9

Zig Zag Power Trio
Title: Woodstock Sessions Volume 9

Artist: Zig Zag Power Trio (Vernon Reid, Will Calhoun, Melvin Gibbs)

Label: Woodstock Sessions

Formats: CD, Vinyl, Digital

Release date: March 16, 2018

 

Zig Zag Power Trio’s Woodstock Sessions Volume 9 is a difficult album to classify stylistically. It is also rather startling if the personnel are merely taken at face value. Vernon Reid and Will Calhoun from Living Colour join bassist Melvin Gibbs, who might be most frequently associated with the Rollins Band. Thus, a listener who is only casually familiar with these musicians might expect the trio to be a hard rock band, if not a metal band. Granted, there is evidence of these stylistic expressions, and there are power trio rock influences from artists such as Jimi Hendrix. However, Zig Zag Power Trio also possess more eclectic influences. This is a jazz fusion record as much as it is anything else, a fact that is not surprising given that Gibbs and Reid played together in free-jazz drummer Ronald Shannon Jackson’s Decoding Society decades ago.

There will be guitarists who discover this recording due to Reid’s presence, and they will hear references to many of his influences—Jimi Hendrix; Bill Frisell, who collaborated with Reid on Smash & Scatteration in 1984; and David Torn, just to name a few. More than on any other recording, Reid’s ability to draw from a palette of influence consisting of hints of many players is supremely evident. Frankly, there are stellar individual performances by all three band members, but much of the virtuosity on this album lies in how the members interact with one another. Interaction is, of course, one of the attractive qualities in listening to any group of excellent musicians, but this recording serves as an impeccable example of interplay.

The cover of Junior Kimbrough’s “I Love Ya Baby” is the sole straight-ahead rock song on the album, and it is reminiscent of blues-rock jams à la Johnny Winter or Jimi Hendrix. However, Zig Zag Power Trio definitely puts their own stamp on the genre. “Professor Bebey,” which was previously released by Reid on his 2006 recording, Other True Self, is a departure from every other tune on the album with its African highlife feel. These two tracks are two of the most fun songs on the album. The remainder of the tunes are largely avant-garde in nature, so these two tracks are also the most accessible. However, this should not be interpreted as a negative review of the rest of the recording.

The cover of Ornette Coleman’s “Lonely Woman” is amazing. Not only is it a testament to the haunting quality of the original, but Reid and company put on a clinic in how to communicate musically with other band members. At times, Calhoun’s drumming is reminiscent of legend Billy Cobham, and Melvin Gibbs manages to tear the bass apart subtly, if not sneakily. “Lonely Woman” is an almost nine-and-a-half minute masterclass for any musician, and something new will be heard with each listen. ZZPT’s interpretation of Ronald Shannon Jackson’s “Eastern Voices Western Dreams” is another standout. The ambience is simply beautiful, and Reid and Gibbs play extremely well together—evidence of the fact that they were both playing this tune in Jackson’s band circa 1980. “Woodstock” and “David Bowie” are also songs of interest due to the atmospheric textures produced by heavily processed guitar sounds.

Woodstock Sessions Volume 9 is full of abundant surprises, with each of the members turning in career performances throughout. Combined with excellent musicianship, the sheer number of stylistic influences offers a little something for everyone. Having said that, fans of music that lies somewhere between progressive rock and jazz fusion (e.g. David Torn or Robert Fripp) will be very pleased. Considering the presence of tunes by Ornette Coleman, Pharoah Sanders, and Ronald Shannon Jackson, it is also fair to say that fans of avant-garde jazz in general should consider giving this group a thorough listen. So far, the Zig Zag Power Trio and their debut album are flying under the radar, but that should soon change. Let’s hope there’s another project in the works.

Reviewed by Joel Roberts

 

 

Miles Davis & John Coltrane – The Final Tour (Bootleg Series, Vol. 6)

Davis & Coltrane
Title: The Final Tour (Bootleg Series, Vol. 6)

Artist: Miles Davis & John Coltrane

Label: Sony Legacy

Formats: CD, Digital

Release date: March 23, 2018

 

Other reviewers have covered in great deal various levels of speculation about how much John Coltrane did not want to be touring Europe with Miles Davis in the spring of 1960, so this review will mostly stick to the music at hand.

No matter how much or how little Coltrane wanted to be playing that music with that band in those places, he showed up and PLAYED. And played, and played; blowing wild honking runs, “sheets of sound” as his style of the time was described, for many minutes at a time. In 1960, this was something new, and the audience in Paris on March 21st of that year was not entirely amused. The Paris concert covers the first and most of the second CDs in this 4-CD set, The Final Tour. Whistles and jeers can be heard from the audience during some of Coltrane’s playing, whereas the more traditional piano solos from Wynton Kelly garner warm applause.

Aside from both shows played at the Olympia in Paris, The Final Tour includes a short set from the Tivolis Koncertsal in Copenhagen, Denmark from March 24 and the two March 22 shows at the Konserhuset in Stockholm, Sweden. At the Scandinavian shows, Coltrane is a bit more concise but no less fierce.

The main dynamic on this tour, as described in Ashley Kahn’s liner notes, was a divergence of musical style which inevitably broke up the band Davis had put together to record the classic Kind of Blue album. Alto sax man Cannonball Adderley was already out on his own, about to be become very popular as he moved toward soul-jazz with his group. Coltrane had just recorded Giant Steps, which would go on to become a classic, but at the time was new, different and not fully accepted by jazz fans. According to various accounts, Davis was booked on an all-star tour of Europe arranged by impresario Norman Granz, and convinced Coltrane to come along for one last tour. Coltrane, who may have been suffering from dental problems and wanted to focus on his own music, reluctantly agreed to play one more round of concerts with the man who had plucked him from a B-list career and brought him into the spotlight (including connecting Coltrane with Davis’s lawyer and manager, who were subsequently able to get Coltrane signed to a deal with high-profile Atlantic Records after his contract with tiny Prestige ran out).

But Coltrane wasn’t interested in playing the same old tunes the same old way. He was exploring new ideas and new sounds, and was working out how to produce as notes on his saxophone what he was hearing in his head. He explains this to Swedish radio interviewer Carl-Erik Lindgren in the last cut on Disc 4 (a fine addition by Sony Legacy, which puts Coltrane’s mood and playing on this tour in contemporary first-person perspective).

The end result is a bit of a conundrum for a reviewer. This is four discs of live performances aimed more inward among the players than outward toward an audience. Hardcore Coltrane and Davis fans are going to eat it up, but it may be too much navel-gazing for other jazz fans. The rhythm section of Kelly, Paul Chambers on bass and Jimmy Cobb on drums more than hold their own and hold it together, even during Coltrane’s most intense note-eruptions. When given some space to solo, the rhythm section members are uniformly fantastic. But the fact remains, there are minutes upon minutes of Coltrane work-shopping various sounds and note combinations, with Davis off-stage and not involved. This may be as tiresome to a modern-day jazz fan as it was to at least some audience members in Paris.

As for Davis’s playing, at times (especially in Stockholm) he is several degrees too laid back and cool. He’s seemingly unwilling sometimes to blow hard enough to produce viable and in-tune trumpet notes.

If you’re a fan of Kind of Blue, try on for size the following version of “So What.” If this way of playing the song suits you, then you’ll like the rest of the album. If it’s too fast, too drawn out and not cleanly enough played, it’s typical of these concerts and this particular group of performances won’t be to your liking.

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Criticism circa 2018, or 1960, be damned. It didn’t matter in the long run. The tour made Davis an international star and he toured Europe as a headliner after that. As for Coltrane, he went on to much bigger things too. The kind of “un-pretty” note-heavy percussive solos he was sending out into the European nights on that tour became the foundation of a new style—free-jazz—and Coltrane continued to innovate and follow his unique muse where it led him until his premature death.

Reviewed by Tom Fine

 

Idris Ackamoor & the Pyramids – An Angel Fell

Idris

 

Title: An Angel Fell

Artist: Idris Ackamoor & The Pyramids

Label: Strut

Formats: CD, LP, Digital

Release date: May 11, 2018

 

Idris Ackamoor and his jazz ensemble The Pyramids began performing together in the 1970s when they were students at Antioch College under the mentorship of renowned pianist Cecil Taylor. After releasing several widely acclaimed “space-age” or “spiritual” jazz albums, the group disbanded in 1977.  When a new generation of music lovers discovered The Pyramids recordings and began clamoring for more, Ackamoor decided to reconstitute the group in 2012. An Angel Fell is the third release from this new ensemble, led by Ackamoor on alto, tenor sax and keytar, with Sandra Poindexter on violin and sharing lead vocals with Ackamoor. Other group members (at least on this album) include David Molina on guitar, Skyler Stover on double bass, Bradie Speller on congas, and Johann Polzer on drums.

Explaining the choice of album title and overall theme, Ackamoor said “I wanted to use folklore, fantasy and drama as a warning bell. The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation… but positive themes too, the healing power of music, collective action and the simple beauty of nature.”

The album opens with “Tinoge,” which seems to be a reinterpretation of The Pyramids’ previously released single, “Tinoge Ya Ta’a Ba,” the latter recorded in Ghana with Kologo artist Guy One. “Tinoge” is a compelling track that features the same driving rhythm and percussion, with guitars replacing kologo and an extended free jazz sax solo replacing the vocals. Next up, the title track “An Angel Fell” capitalizes on the “cosmic jazz” theme, with distorted vocals punctuated by spacey, electronic riffs. The Sun Ra tribute, “The Land of Ra,” follows in a similar vein, as distorted call and response vocals segue into a steady Afrobeat groove over which Ackamoor seductively blows his horn. Suddenly, their celestial universe is disrupted by what might be described as a magnetic storm (i.e., all hell breaks loose), but as the piece progresses and harmonies resolve, equilibrium returns.

Two message songs are included on the album. The first and most emotional is “Soliloquy For Michael Brown.” Ackamoor’s sax literally screams in anguish over an underlying conga rhythm. As anguish turn to grief, the bass riffs on a melody reminiscent of the spiritual “Joshua Fought the Battle of Jerico,” then intertwines with violin and guitar as the track draws to a close—but there’s no closure.  “Message to My People” is a warning about climate change and global warming, with Ackamoor sounding the alarm on the alto sax and the group responding as if their life is imperiled. “All I wanted was a chance, to live my life like anyone” chants the chorus, but the raucous conclusion leaves little doubt the world has come to an end.

Concluding with the uplifting song “Sunset,” the Pyramids provide a glimmer of hope and “a prayer to save our world.” The struggle is still very much present, with Ackamoor’s sax sounding another warning as the chorus sings, “The sunset is on the way.” End of the world or just the close of another evening, you decide.

An Angel Fell is a brilliant and intense album, with wild bursts of sound. The socially conscious project takes the concept of spiritual jazz to the next level, but in a manner that is still very approachable.

Reviewed by Brenda Nelson-Strauss

 

Deva Mahal – Run Deep

mahal

 

Title: Run Deep

Artist: Deva Mahal

Label: Motéma Music 

Formats: CD, LP, Digital

Release Date: March 23, 2018

 

Robust talent runs generationally, especially when you’re the offspring of blues icon Taj Mahal and dancer/artist Inshirah Mahal, as proven with Deva Mahal’s debut album, Run Deep. Forging her own sound as part blues, part indie-rock and all soul, Mahal gives her listeners one of the edgiest, most emotionally drawn voices in the industry today.

The first track, “Can’t Call it Love,” opens with a riveting guitar riff and empowering lyrics: I’m feeling new like an old-school instrumental / I’m getting in the mood / And feeling sentimental, which can be taken as both commentary on one’s new found infatuation and Mahal’s coming into her own. The entire album features innovative instrumentality and Mahal’s varied vocalization styles. For example, the closing track, “Take a Giant Step,” showcases her sultry pop sound as she reinterprets this standard by Carole King and Gerry Goffin (a song her father has also recorded).

The focal track of the album, both vocally and visually, is the offering “Snakes.” Mahal’s vocals jump right off the album from the first moment she begins singing, but the visualizations of the video are pure genius—black and white coloring, shadow dancing and the animation of a swamp monster, said to have been inspired by her favorite childhood “girl power” book, Liza Lou and the Yeller Belly Swamp by Mercer Mayer.

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Mahal has definitely come out from under her parent’s shadow with this artistic debut. From the first note to the last few strains, this artist’s soulful and funky melodies will have you running deep into the magical world of Deva Mahal, breathlessly awaiting her next move.

Reviewed by Amy Aiyegbusi

Don Braden – Earth Wind and Wonder

Braden 6PAN1T-C

Title: Earth Wind and Wonder

Artist: Don Braden

Label: Creative Perspective Music

Formats: CD

Release date: May 4, 2018

 

Growing up in Louisville, Kentucky in the 1970s, world-renowned straight ahead jazz saxophonist Don Braden fell in love with the music of Earth, Wind & Fire and Stevie Wonder. According to Braden, “This is the music that first imprinted my teenage brain…and captured my heart.” Now, although this album pays tribute to these great artists and their musical legacy, Earth Wind and Wonder also demonstrates Braden’s versatility and his creativity as a performer and arranger, while re-introducing his audience to the positive messages of strength, love and joy within the music of EWF and Stevie.

This collection of songs includes notable hits such as “Fantasy,” “Higher Ground,” “Can’t Hide Love,” “Getaway” and “Don’t You Worry ‘Bout A Thing,” among others. Also featured are two original compositions by Braden—“The Elements” and “The Wonder of You”—that complement the overarching EWF and Wonder theme of the album. Braden recorded the album over a period of four years (summer 2014, fall 2017, and early spring 2018) with instrumentalists such as Brandon McCune (piano), Joris Teepe (bass), Cecil Brooks III (drums), Art Hirahara (piano), Kenny Davis (bass), Jeremy Warren (drums), and Kahlil Kwame Bell (percussion).

Opening with a medium-up swing rendition of “Fantasy,” Braden uses EWF’s original harmony in his introduction, but soon transitions into his own interpretation filled with re-harmonization and rhythmic figures. We are later treated to “The Wonder of You,” where Braden channels the compositional spirit of Stevie Wonder’s music into a smooth and light bossa-funk groove coupled with jazz harmony and a memorable melody.

Performing new arrangements of Earth, Wind & Fire and Stevie Wonder’s notable hits is certainly not an easy task. However, Braden accomplishes this mission with his superb renditions, while staying true to the essence of their artistry. Earth Wind and Wonder is truly an artistic expression that will capture the hearts and minds of its listeners.

Reviewed by Jamaal Baptiste

 

 

Reggie Quinerly – Words to Love

Reggie Quinerly

Title: Words To Love

Artist: Reggie Quinerly

Label: Redefinition Music

Formats: CD, Digital

Release Date: April 20, 2018

 

 

Raised in Houston, Texas, drummer Reggie Quinerly attended Houston’s High School of the Performing and Visual Art. He’s just one of the many successful musicians who graduated from this school, including renowned jazz artists like Eric Harland, Chris Dave, and Robert Glasper. Quinerly continues to grow and evolve as an artist, as demonstrated by his 2012 debut album, Music Inspired by Freedmantown, and his second release, Invictus, in 2015. On both albums, Quinerly featured vocalists on at least one or two tracks, which is somewhat common for jazz instrumentalists.

For his third album, Words To Love, Quinerly composed music and lyrics for each track, creating an album entirely of songs. Enlisting up and coming male and female jazz vocalists to help him get his message across, Quinerly showcases the talents of Chicago-born Milton Suggs and Brooklyn’s own Melanie Charles. The two vocalists trade off song for song, telling a story of the many facets of love. They are backed by a renowned rhythm section including Orrin Evans on piano, Ben Wolfe on bass, and of course, Quinerly on drums. Also, four tracks on the album feature the well-known alto saxophone player, Jaleel Shaw.

It’s clear when you listen to Quinerly that he’s a straight ahead jazzer. The album includes a very nice mixture of modern jazz song forms and melodies with an obvious nod to older styles like hard bop, which can be found in Quinerly’s harmonic choices as well as the rhythmic feels he chooses to employ. Also, Quinerly’s education and influence from great jazz drummers, like Max Roach and Tony Williams, can be clearly heard. This is especially apparent in certain songs on the album like “Love’s Ferris Wheel,” sung by Charles, which is meant to be a nod to songwriters like Cole Porter or Rogers & Hart, even including a rubato verse prior to the 32-bar chorus. Quinerly lays down a great drum solo on this tune, but for an album lead by a drummer it would’ve been nice to include more opportunities for him to show off. Also, at times Words to Love can feel a little stagnant, since almost every tune is either slow to mid-tempo. A couple of faster tunes or just another high energy drum solo could’ve helped to give the album some shape.

Quinerly was inspired to create Words to Love because of his increased interest in jazz singers, specifically Lou Rawls. After hearing Rawls’ 1966 recording of “A Shadow of Your Smile,” he became enamored with jazz vocals, adding singers like Ella Fitzgerald and Betty Carter to his playlist.

Quinerly also wanted to explore love and all of its varieties and chose to open the album with his tune “Until I Met You,” pertaining to the search for love and falling in love. Shortly after is “Still Frames,” which speaks about the love of memories and times past. Then, of course, there is the gorgeous title track, “Words to Love,” which is easily the most moving song on the album. Charles’ light yet present vocals float over the combo, leading into a wonderful alto saxophone solo by Jaleel Shaw, before they come together, intertwine and share the space of the song as they enter into the final verse.

Words to Love has a very classic hard bop feel created by Quinerly’s straight ahead approach to composition. Though perhaps not as adventurous as his previous albums, Words To Love is an amazing album that keeps the traditions of jazz alive.

Reviewed by Jared Griffin

 

Starchild & the New Romantic – Language

starchild

 

Title: Language

Artist: Starchild & the New Romantic

Label: Motor Mouth Media

Formats: CD, LP, Digital

Release Date: February 23, 2018

 

After years of providing artists such as Solange and Dev Hynes (aka Blood Orange) with quality choreography and guitar riffs, Bryndon Cook has stepped out on his own under the moniker Starchild & the New Romantic with his debut album, Language. This 14-track offering takes its listeners on a ‘90s-inspired groove cruise, guided by what he calls is his self-made motto, “my sensitivity is my strength.”

Hailing from Maryland, Cook has always been a student of black music’s rich lineages that intersect with pop. Challenging binaries of old/new, religious/secular, and black/white, his music is both bold and mercurial, defining perspective and identity while calling for action. The title track weaves out of the speakers and around the mind with Cook crooning the language of lost chances and second glances. The short and tender single, “Hangin’ On,” echoes early-80s Prince in both instrumental sound and its resulting mood:  Fell asleep last night / Thinking about you. Saw you in my sleep, chased you till morning came. My mama said “follow your dreams” / Well I guess you were my warning / Now I’ve let myself go / Hope you’re still holdin’ on.

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Other tracks, such as “Black Diamond,” “Doubts” and “Boys Choir” speak to the root of the record itself—a mystical contemplation of the boyhood community to which Cook finally feels he is ready to bare his soul. Lyrical and emotional, poignant with just a smidge of regret, Language writes on the heart all that Cook was, is and will always be—a star in his own right, romanticizing his way into the minds of all who pause to listen.

Reviewed by Amy Aiyegbusi

Bumpus – Way Down Deep

Bumpus
Title: Way Down Deep

Artist: Bumpus

Label: Bumpus

Release Date: March 21, 2018

Formats: Digital

 

 

Veteran Chicago soul band Bumpus returned in a big way this March, with its first release since 2007.  The band was a funk tour de force in the 2000s, but faced some personnel changes in the early 2010s that sidelined new recording projects.  The group still has performed locally over the past few years, and the band’s new lineup and infectious live energy is effectively captured on its Way Down Deep EP.

 

 

Bumpus is perhaps most well-known for its killer, high-energy live show, with one of the region’s funkiest rhythm sections and a horn line to match.  However, Way Down Deep showcases the band’s vocalists, James Johnston, Ava Fain and Tina Howell, whose layered, soulful voices drive the 6-song set. The band’s bread and butter is tightly knit guitar-driven funk tunes like the self-assured “Step Sure or Step Aside,” a challenge to “suckas” that is propelled by an active bass groove and soulful Hammond organ.  The EP’s highlight is the 2-part “Way Down Deep.” Part 1 is a solid lovin’ song infused with horn hits and funky drumming, but the song’s bridge gradually morphs into the spaced-out P-Funk territory that characterizes Part 2, with phased out vocals and instruments as well as an extended What’s Going On – style saxophone solo over gradually fading backing vocals.

It is a great benefit to Chicago’s music scene that Bumpus is back and bumpin’. Hopefully, Way Down Deep will usher in another decade of solid grooves and soulful songwriting.

Reviewed by Matthew Alley

Murs – A Strange Journey Into the Unimaginable

murs

 

Title: A Strange Journey Into the Unimaginable

Artist: Murs

Label: Strange Music

Formats: CD, Digital

Release Date: March 16, 2018

 

There’s something to be said for raw, introspective honesty. It not only provides relief to the one sharing, but it also lets others know they aren’t the only ones adjusting to difficult life issues. On his latest album, A Strange Journey Into the Unimaginable, underground rapper Murs bares his soul with some of his most candid, direct lyrics yet. Murs, a native of south central Los Angeles, has released nearly two dozen albums, but none of them belt out the trials and tribulations more poignantly than this one. Yet, he still manages to weave some lighter-hearted rhymes in-between his retrospections, showing fans that regardless of the darkness faced, one can still find reasons to smile beyond the pain.

In his first track, “The Unimaginable,” Murs strips himself down to the bone, providing a glimpse into his previously unimaginable life journey dealing with a painful divorce, a 12-month separation from his son, and the loss of his stillborn second son and a personal friend: I cried a whole lot when I filed for divorce, and when a homie got shot /…when I was separated from my son, I cried for almost a year /..a baby boy…he was born without a heartbeat. The next offering, “Melancholy,” is a more upbeat tune that, while continuing its focus on struggle, admits that Murs’ overwhelming grief has morphed into a lingering pensiveness: Hi everyone. My name is Murs, and uh…yeah. I’ve had a rough couple of years…I’m at this point now where I’m not too high and not too low. I’m just here.

“Same Way” is a fun, tongue-in-cheek diss to friends and family of Murs’ girlfriend who don’t like him, as he simply states, “Tell them I feel the same way.” On “Superhero Pool Party, Murs’ son asks for a bedtime story and is treated to a comical what-would-happen narrative involving characters such as Batman, She-Hulk and Professor X. Providing touching tributes to love and commitment on “So Close So Far” and “Vows,” Murs shows his softer and more hopeful side, and he closes out his album with the somewhat dark but still completely candid “God is the Greatest,”

While his experiences so far were something he most likely couldn’t have imagined, Murs has turned his tragedies into therapeutic rhymes. Spinning his tales so that everyone knows they aren’t alone, Murs has managed to turn the unimaginable into a tale of perseverance, giving all of his listeners hope for their own journey through life.

Reviewed by Amy Aiyegbusi