Cheryl Fortune – Simply Cheryl

Cheryl Fortune
Title: Simply Cheryl

Artist: Cheryl Fortune

Label: Tyscot

Formats: CD, MP3

Release date: October 13, 2017

 

 

Well known in the gospel community for her cutting-edge songwriting and heartfelt vocals, Houston native Cheryl Fortune inspires and amazes with her debut album, Simply Cheryl for Tyscot Records. Prior to the launch of her solo career, Cheryl served as a vocal arranger and background vocalist with Grammy nominated artist James Fortune & FIYA in addition to co-penning several of the group’s hit songs, which have graced the top ten on Billboard gospel charts. Along with her work with FIYA, she has served as songwriter and guest vocalist on projects associated with numerous other national gospel artists such as Kirk Franklin, Shirley Caesar, Isaac Carree and Bishop T.D. Jakes. Clearly a veteran in her own right, it was simply a matter of time before she would grace us with this solo offering.

Simply Cheryl is anchored by the hit single “Fighters,” a song inspired by a Mother’s Day card from the singer’s 13 year-old daughter affirming Fortune’s kindness, love, strength and resilience (i.e. fight) during specific challenging moments of the artist’s life. “Fighters” links Fortune, a domestic violence survivor, in affirmation with listeners who have also experienced similar life circumstances:  “We’re fighters never gonna give up… I’ll take your hand and you’ll take mine, we’ll conquer this think they call life…” Couched in a hard-hitting drum line instrumentation created by producer Lucius B. Hoskins, “Fighters” also reflects broader social impact, as an adopted theme song of encouragement for people recovering from the devastation of Hurricane Harvey.  However, in the words of Fortune during a recent interview, this project is not “victim music.”  Rather, the album’s songs are sacred expressions of triumph created and shared by one who has persevered in spite of life-changing obstacles.

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Other notable tracks such as “4 A Night” and “Figure It Out” (both produced by Terence Vaughn), like the entire project, are rooted in ‘80s and ‘90s R&B music traditions. While listeners will surely recognize definitive rhythmic grooves, guitar melodic lines, synth bass lines and horn stabs, harmonic progressions, and talk boxes, among other textures linked with R&B sensations such as Bobby Brown, Keith Sweat and Mint Condition to name a few iconic artists, the gospel message of encouragement, hope and resilience remains at the forefront of the album.

Simply Cheryl is a spectacular album that will leave you eagerly waiting to see what else Cheryl Fortune has in store. For those seeking to experience a powerful inspirational message saturated in timeless grooves, Simply Cheryl is for you!

Reviewed by Jared Griffin and Tyron Cooper

Dee Dee Bridgewater – Memphis, Yes I’m Ready

Dee Dee Bridgewater
Title: Memphis, Yes I’m Ready

Artist: Dee Dee Bridgewater

Label: Okeh

Formats: CD, LP, MP3

Release Date: September 15, 2017

 

 

Dee Dee Bridgewater, a jazz singer in the same vein as Nancy Wilson, Ella Fitzgerald, Sarah Vaughn and Abby Lincoln, has done it all. She has even appeared on Broadway, earning the respect of peers and critics in a career that has spanned decades. It takes confidence and knowledge of self when an artist decides to step out of their comfort zone, which Bridgewater does on her new release, Memphis, Yes I’m Ready. The 13 track album features Bridgewater singing covers of blues, R&B and gospel classics from the ‘60s with backing by the album’s co-producer, Kirk Whalum, and the Stax Academy Choir.

 

 

Bridgewater was born in Memphis, so this project was a homecoming, to say the least—or in the words of the great Sam Cooke, “Bring It On Home.” That she does. Now for the highlights. If you listen very close to “I Can’t Get Next To You,” you’ll hear Bridgewater paying homage to the Al Green version of the song, not the Temptations. Green after all brought the Memphis sound into the ‘70s and Bridgewater is a Memphis gal, so why not. The horns and vocal delivery are downright scary in their precision and intensity.

When Bridgewater says “Yeah, this is for the King,” it’s not the “King” some of you may be thinking of, but rather B.B. King. His signature track, “The Thrill Is Gone,” gets the female perspective from Bridgewater as she sings, “You will be sorry someday.” Clap your hands and tap that foot. Now, speaking of another “King,” Bridgewater covers two of Elvis Presley’s classics. First up is “Don’t Be Cruel.” Who needs the Jordanaires on backing vocals when you can strip this song to its core and make it sound completely new?  “Hound Dog,” as most everyone knows, was originally recorded by Big Mama Thornton, but Elvis had the bigger hit. Bridgewater again steers away from original and makes it a storytelling tune, one that I can now understand.

You can’t go home without taking one for the church, right? Bridgewater closes the album with Thomas Dorsey’s “(Take My Hand) Precious Lord.” This is a song that can bring tears to the eyes, especially since one usually hears it at home-going ceremonies. Testify, Sister Dee Dee!

Memphis, Yes I’m Ready is Bridgewater’s homecoming 101. You better be ready!

Reviewed by Eddie Bowman

 

 

Whitney Houston – I Wish You Love: More From The Bodyguard

Whitney Houston

Title: I Wish You Love: More From The Bodyguard

Artist: Whitney Houston

Label: Legacy Recordings

Formats: CD, LP, MP3

Release Date: November 17, 2017

 

In honor of the 25th anniversary of The Bodyguard, the film starring Whitney Houston and Kevin Costner, Legacy Recordings has released I Wish You Love: More From The Bodyguard. The compilation, released in cooperation with The Estate of Whitney E. Houston, brings together a variety of live and studio recordings, many of which are previously unreleased or unavailable.

Included in this collection are live recordings from Houston’s The Bodyguard World Tour (1993-1995), as well as alternate versions of tracks from The Bodyguard film. Highlights include the never-before-heard a capella version of “Jesus Loves Me” and a live recording of the rarely-performed “Run To You” from The Bodyguard World Tour. The iconic Houston hit song “I Will Always Love You,” one of the best-selling singles of all time, is represented in two versions: one from the original film soundtrack, and an extended rendition performed live on tour.

I Wish You Love: More From The Bodyguard not only celebrates the 25th anniversary of the film, but is also a fitting commemoration of Houston, who recorded the soundtrack at the pinnacle of her career. There’s a good reason The Bodyguard is the top-selling soundtrack album of all-time, and it’s apparent every time Ms. Houston stands in front of the mic. That voice! Though sadly she is no longer with us, this compilation album is a testament to the success of The Bodyguard and Whitney Houston’s lasting legacy, both on screen and on stage.

Reviewed by Chloe McCormick

 

More Box Sets – Wilson Pickett, Dinah Washington, Various Artists

Wilson Pickett
Title: Complete Atlantic Albums Collection

Artist: Wilson Pickett

Label: Rhino

Format: 10-CD Box Set, MP3

Release date: December 1, 2017

 

 

This new box set from Rhino UK appears to be a fairly straightforward reissue of Wilson Pickett’s albums for Atlantic, drawing primarily upon versions remastered in 2007. The albums include: In the Midnight Hour (1965), The Exciting Wilson Pickett (1966), The Wicked Pickett (1967), The Sound of Wilson Pickett (1967), I’m In Love (1968), The Midnight Mover (1968), Hey Jude (1969), Right On (1970), Wilson Pickett in Philadelphia (1970), and Don’t Knock My Love (1971).  A nice set if you don’t already own any of Pickett’s albums, but there is no bonus material to entice fans and collectors.

 

Dinah Washington
Title: Divine Miss Dinah Washington

Artist: Dinah Washington

Label: Verve

Formats: 5-CD Box set, 5-LP Box set

Release date: December 15, 2017

 

Verve is releasing a 5-disc set, available on both CD and vinyl, of classic Dinah Washington albums from the 1950s.  Though Washington could sing in many styles, including blues, R&B, gospel and pop, the focus here is primarily on her vocal jazz repertoire recorded for the EmArcy label. This is another straightforward reissue project, most likely attractive to those who wish to own pristine 180 gm. vinyl copies of these albums. Among the five discs are two arranged by Quincy Jones—For Those In Love (1955) and The Swingin’ Miss D—and two featuring American songbook standards—After Hours With Miss D (1954) and Dinah Jams (1954). The final album, What a Diff’rence a Day Makes (1959) released by Mercury, was arranged by Indiana native Belford Hendricks in a pop-oriented rhythm and blues style.

 

peace_love_and_fishing_cover
Title: Blue Note Review Vol. One – Peace, Love & Fishing

Artist: Various

Label: Blue Note

Formats: 5-CD Box set, 5-LP Box set

Release date: December 15, 2017

 

Curated by Blue Note president Don Was, the limited edition Blue Note Review Peace, Love & Fishing is the inaugural offering of a bi-annual “luxury subscription box set” designed to appeal to jazz collectors with deep pockets.  Volume One includes a double LP containing new and unreleased recordings by the likes of the Wayne Shorter Quartet, Dr. Lonnie Smith, Gregory Porter, Kandace Springs, Terence Blanchard, and Derrick Hodge—plus a vinyl reissue of the previously out-of-print 1963 Step Lightly album by trumpeter Blue Mitchell. Also included are items that can be shared with other members of the family: artist lithographs, a silk scarf, turntable mat, and the self-published Notables jazz zine. Only registered subscription members are eligible to receive the set; each volume of Blue Note Review costs $200, including shipping to the US or Canada.

Reviewed by Brenda Nelson-Strauss

 

 

Florida Soul: From Ray Charles to KC and the Sunshine Band

Florida Soul

Title: Florida Soul: From Ray Charles to KC and the Sunshine Band

Author: John Capouya

Publisher: University Press of Florida

Formats: Hardcover (408 pages), Kindle

Release date: September 26, 2017

 

 

Though the state of Florida doesn’t immediately come to mind as a hotbed of soul music, journalist John Capouya attempts to correct this oversight with his new book Florida Soul: From Ray Charles to KC and the Sunshine Band. Using his “antennae for passionate vocals and funky sounds with Florida origins,” he delves into the period from 1945-1980, when Florida produced “some of the most electric, emotive soul music this country has ever heard.” Capouya attributes this flourishing scene in part to the fact that Florida, along with Texas, was the “densest and richest segment of the chitlin’ circuit,” bringing all of the major African American artists through the state.

Each of the 20 chapters is dedicated to a particular artist or producer, some famous and others lesser known, but all contributing an interesting story: Ray Charles (“the catalyst of the entire soul explosion came from Greenville, FL”); Sam Moore (“from Miami’s Overtown neighborhood”); sax players Ernie Calhoun and Noble “Thin Man” Watts; Lavell Kamma and the 100 Hour Counts (“one of Florida’s longest-running soul groups”), the singing duo James & Bobby Purify (one chapter each); vocalists Helen Smith, Frankie Gearing, Jackie Moore, and Timmy Thomas (his 1972 anthem “Why Can’t We Live Together” is sampled in Drake’s “Hotline Bling); Latimore (who first recorded for Henry Stone), Wayne Cochran (“the white James Brown”); white soul singer Linda Lyndell; producer Papa Don Schroeder, and of course KC and the Sunshine Band. Other chapters are dedicated to the state’s most famous label owners—Henry Stone and T.K. Productions (which rightly receives two chapters) and Willie Clarke and Deep City Records—plus a chapter explaining how “The Twist Came from Tampa.” Along the way many other artists are mentioned, along with other Florida labels such as Jayville, Tener, Marlin, Leo, Alston, D & B, Glades, and Bound Sound.

Florida Soul is an engaging and informative read, placing an emphasis on the stories behind the singers and the songs gleaned from historical research as well as interviews with surviving musicians, singers, producers, deejays, and other industry personnel. The book is an important resource on a music scene that’s never been fully documented within a single volume, adding greatly to our understanding of American music and, in particular, the soul, R&B, disco and funk grooves emanating from the Sunshine State in waves the spread across the nation.

Reviewed by Brenda Nelson-Strauss

 

Trouble in The Streets – Electro Tribe

trouble in the streets
Title: Electro Tribe

Artist: Trouble in The Streets

Label: Orb Recording

Formats: CD, MP3

Release Date: October 6, 2017

 

 

Austin, Texas based Trouble in The Streets’ debut album is like nothing you’ve heard before; in fact, they feel that their music is so unique that they’ve given it its own name—Electro Tribe. This signature sound is a mixture of electronic music, hip-hop, rock, and R&B with an international twist. The band pulls inspiration for their unique sound from acts like Rage Against the Machine, Beats Antique, and Hiatus Kaiyote as well as their own diverse musical backgrounds.

Though it may sound complicated, Trouble in The Streets is able to blend all of these sounds and styles into four cohesive and high-energy tracks on their EP, Electro Tribe. The first track, “Pyramid Scheme,” featuring Grammy Award winning guitarist Beto Martinez, includes retro-synth chord progressions, hard-hitting bass and drum arrangements, and Nnedi Agbaroji’s mesmerizing vocals.

From the passionate “Never Doubt the Worm” to the hopeful and emotional “Sop Me Up Like a Biscuit,” each track on the album is distinct yet still retains the band’s signature electro sound that will leave you wanting more from this up-and-coming trio.

Reviewed by Chloe McCormick

 

Nooky Jones – Nooky Jones

Nooky Jones

 

Title: Nooky Jones

Artist: Nooky Jones

Label: Young and Foolish

Formats: CD, MP3

Release Date: July 28, 2017

 

Minneapolis-based band Nooky Jones have been lighting up their local jazz scene for over three years with a distinctive fusion of soul, jazz and hip hop, but the recent release of their self-titled album allows for dissemination of their unique musical styling to all. Helping to bridge the gap between these diverse vibes is lead singer Cameron Kinghorn, a former Mormonite-turned-student from the University of Minnesota. It was during his schooling, Kinghorn claims, that his eyes were opened to an entirely different world; one where he met and befriended a diverse mix of people from varied ethnic and religious backgrounds. These formative years led to his subsequent dealings with drummer Reid Kennedy and trumpet player Adam Meckler, both U of M alums. Freshly penned songs in hand, the trio quickly teamed with bassist Andrew Foreman, keyboardist Kevin Gastonguay and trombonist Ryan Christianson to begin recording.

Produced over a course of 15 months at RiverRock Studios and The Hideaway in Northeast Minneapolis, Nooky Jones relies on each musician’s unique style as a critical part of the overall sound. Atop airtight yet comfortably loose drum and bass grooves often reminiscent of ‘90s R&B and hip hop, layers of harmonically complex piano, organ, and Fender Rhodes create a lushness associated with jazz that rarely integrates so tastefully into pop music. Each track is a delight to the ears, as the merging of each musician’s talents hits the ultimate apex when combined with Kinghorn’s sultry vocals. “After One” opens the album softly with steady beats and chords, gradually simmering in vocals and brass to a slow boil, while the later “Sweet Wine” gently punches with an immediate release of Kinghorn’s talents. A heartfelt message intermixed with wholehearted instrumentals dominates “The Way I See You,” while “Someone Who” features a silky smooth falsetto on par with the best soul crooners in the business.

Hands down, Nooky Jones delivers, reminding us all exactly what we are looking for in life and in jazz—someone who passionately and steadily offers the very best of all they have to give.

Reviewed by Amy Aiyegbusi

 

 

Angela Bofill – I Try: The Anthology 1978-1993

Angela Bofill

Title: I Try: The Anthology 1978-1993

Artist: Angela Bofill

Label: Soul Music

Format: 2-CD set

Release date: June 16, 2017

 

 

Angela Bofill should have been bigger than she was. The New York born singer of Cuban and Puerto Rican heritage had the voice. She could go from R & B to quiet storm to smooth jazz. Bofill was pre-Sade. She was pre-Anita Baker. In the late ’70s, she was well on her way.  But in recent years, Angela Bofill has been absent from the music scene due to two strokes—one in 2006 and another in 2007—which impaired her abilities as a vocalist. I Try: The Anthology 1978-1993, is a two disc set containing 34 tracks from Bofill’s career culled from her GRP, Arista and Jive releases. Compiled by British soul music historian David Nathan, this iconic singer’s collection comes with liner notes by A. Scott Galloway that are based on interviews with many of Bofill’s contemporaries. Some of these tracks were hits and if you were around, you can easily recall them; others, perhaps, you had no clue.

Disc one opens with the extended version of “Too Tough.” Produced by Narada Michael Walden, Bofill went for the dance crowd on this track, but some of her biggest fans felt that she got out of her lane, and before long—Poof. Bofill’s career started to fade away. I can understand trying new material, but on the other hand, if it ain’t broke, don’t tinker with it. “What I Wouldn’t Do (For The Love Of You)” was one of Bofill’s earliest hits, when eyes and ears were noticing her.  Her “Ain’t Nothing Like the Real Thing” duet with Boz Scaggs is a remake of the Marvin Gaye & Tammi Terrell classic. That’s the good thing about anthologies—you hear songs you never knew the artist recorded. “Angel of the Night” finds Bofill showcasing her Latino roots. When she starts singing in Spanish at the end, just flow with the vibe. Often, she was singing about herself and the smooth flow of the language highlights her fantastic tonal qualities.

Disc two contains more duets, including one with Johnny Mathis, “You’re A Special Part Of Me,” and with Carl Anderson on “A Woman In Love.”  Other collaborators include Stanley Clarke, Carl Anderson, Narada Michael Walden, and Marion Meadows—all unique to this specific compilation. You cannot end an Angela Bofill collection without her signature song, “I Try.”  If you ever happened to see Bofill live, then you know what this song means to her. Turn it up and sing along.

It’s a shame that Bofill never reached the heights that some of her contemporaries eventually achieved. It’s even sadder that her health has affected her career the way it has. However, thanks to this anthology we can appreciate what Bofill was able to offer and enjoy her music forever.

Reviewed by Eddie Bowman

The Isley Brothers and Santana – The Power of Peace

Isley Brothers Sanatana The Power of Peace
Title: The Power of Peace

Artist: The Isley Brothers and Santana

Label: Sony Legacy

Formats: CD, LP, MP3

Release date: July 28, 2017

 

The Power of Peace blends the signature styles of powerhouse performers Carlos Santana and brothers Ron and Ernie Isley into a beautiful tribute to several influential artists whose musical styles range from funk to soul and jazz. Centered on the themes of peace and love, this project is sure to excite listeners as iconic songs are infused with new flavor.

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The album opens with a bang featuring a cover of the Chamber Brothers’ song “Are You Ready.” Layered percussion and drums performed by Santana and his wife Cindy Blackman Santana alongside an intoxicating electric guitar (also by Santana) create a funky and fun soundscape and prepares the listener for a stimulating musical experience. The band maintains this momentum throughout the next two tracks, Swamp Dogg’s “Total Destruction of the Mind” and Stevie Wonder’s “Higher Ground,” on which Santana performs riveting electric guitar accompaniment and solos.

The middle of the album changes pace with a group of softer, slower pieces extolling the beauty of romantic love. Cindy Santana sings her sensual new song “I Remember” with playful background support by Ron Isley. Similarly, Isley and his expert use of falsetto is utterly captivating on the ensemble’s cover of Curtis Mayfield’s “Gypsy Woman.” The male R&B “quartet” sound that shaped the original version is largely absent as the band employs a classic smooth groove, slower tempo and mixed background voices to transform this song into a mesmerizing, seductive ode to unrequited love. Santana and Isley also shine while performing Muddy Waters and Willie Dixon’s frequently covered hit “I Just Want to Make Love to You.” Santana’s energizing guitar riffs and Isley’s vocal dexterity (including growls, moans, etc.) make this a standout track on the album.

The Power of Peace concludes with songs about social justice and harmony such as Marvin Gaye’s “Mercy Mercy Me (the Ecology)” and Dionne Warwick and Jackie DeShannon’s “What the World Need Now is Love Sweet Love.” Isley sensitively delivers these musical messages while supported by Santana’s earnest and beautifully crafted instrumental accompaniment.

While the musical pairing of The Isley Brothers and Carlos Santana would seem unexpected, this project is the realization of a dream. Santana, who has numerous accolades as an artist, now desires to chart new waters and create music with his longtime favorite musicians including the “incomparable” voice of Ron Isley. Listeners will certainly be glad that some dreams do come true as they are inspired, surprised, and entertained by the fresh music of The Power of Peace.

Reviewed by Raynetta Wiggins

 

Billy Ocean – Here You Are: The Music of My Life

Billy Ocean

Album: Here You Are: The Music of My Life

Artist:  Billy Ocean

Label: Legacy Recordings

Formats: CD, MP3

Release date: July 21, 2017

 

 

Riding on the success of the 2016 European 2-disc compilation, Here You Are: The Best of Billy Ocean, Legacy Recordings has just issued a stateside version of Billy Ocean’s self-reflective collection, Here You Are: The Music of My Life. Featuring 10 new performances and 5 long-standing favorites, Ocean provides an audio window through which listeners can view his musical inspirations during his 45+ years as a Grammy award winning R&B artist. Ocean’s current 15-track release coincides with his first set of US tour dates in over 20 years—as one of the featured headliners on the 2017 Replay America Festival.

The title track of the album, “Here You Are,” written by Billy Ocean and Barry Eastmond, is a testament to the various musical influences that have stirred Ocean’s creativity over the decades. The song is captivating—a steady, rhythmical rocking ballad back-dropped against the classic sound of Ocean’s signature croon—and is sure to become a strong staple for his fans. True to the album’s subtitle, Ocean provides covers of the music that has most affected his development as an artist followed by five of his biggest chart-toppers. The iconic “A Change is Gonna Come” by Sam Cooke and Mike Pinder’s “A Simple Game” resonate with, as Ocean states, “everyone waiting for a change…every generation transcending the barriers of colour,” such as himself, who have “lost the concept of life as a spiritual thing, like who we are, what we are, and what we were meant to be.” Bob Marley’s influence is noted as well, through covers of his single “Judge Not” and the well-known “No Woman, No Cry” recorded by Bob Marley and the Wailers.

Ocean’s rendition of “It Was a Very Good Year,” written by Ervin Drake, is easily the most resonant song on the album. As he lulls, “But now the days are short, I’m in the autumn of my years, and I think of my life like vintage wine,” one can’t help but toast Ocean’s own impact upon the music industry through his mega-hits that conclude the disc: “Caribbean Queen 9 (No More Love on the Run),” “Get Outta My Dreams, Get Into My Car,” “When the Going Gets Tough, the Tough Get Going,” “ Suddenly,” and “There Will be Sad Songs (to Make You Cry).”

It was—and is—a very good career for Billy Ocean. Here You Are: The Music of my Life bestows proof of just that.

Reviewed by Amy Aiyegbusi

 

 

 

 

 

 

Phil Perry – Breathless

Phil Perry Breathless
Album: Breathless

Artist:  Phil Perry

Label: Shanachie

Formats: CD, MP3

Release date: February 24, 2017

 

 

Phil Perry is back with his latest album Breathless, a ten-track CD of R&B and smooth jazz. Joined on the album by his producer and pianist Chris Davis, Perry has this to say about the musical partnership: “Chris and I respect the music the same way we respect each other. It’s a unique and rare thing and it’s easy because we speak the same language.”  It’s obvious that Davis and Perry trust one another and have something special going, and the album reflects their successful combination. Phil Perry, you see, is a voice one must listen to—a dynamic singer with the uncanny ability to make you a believer with a single note. I would put Perry in the Will Downing category, flying under the radar to where the solid R&B fans are, but Perry’s true music listeners know the real deal when they hear it.

Perry includes his own covers of three songs previously performed by other artists, which are “Love In Need Of Love” by Stevie Wonder, “Is It You” by Lee Rittenour and “One Less Bell To Answer” by the Fifth Dimension. He takes a different approach on the Stevie Wonder classic by slowing the pace down—way down. On “Is It You,” Perry stays with Rittenhour’s original sound, and on the Fifth Dimension classic he adds a fresh perspective by singing it from a male point of view. “Do Whatcha Gotta Do,” written by Chris Davis, is a cute piece. It showcases the combined talents of both artists, giving fans a true dose of the magic that is Perry’s rich smooth tenor.

Providing the soundtracks for over four generations of fans, Phil Perry has done it once again. In a class by itself, Breathless is smooth, and Phil Perry’s vocals will leave you feeling just that.

Reviewed by Eddie Bowman

SZA – Ctrl

SZA Ctrl
Title: Ctrl

Artist: SZA

Label: Top Dawg Entertainment/RCA

Formats: CD, MP3

Release date: June 9, 2017

 

When RZA, leader of the iconic east coast group Wu-Tang Clan, endorses an upcoming album, rap fans from all directions are bound to take notice. On May 24, SZA found herself in the driver’s seat of anticipation alley when her album announcement date dropped in the form of a voiceover message overlaid onto SZA visuals via Top Dawg #TDE’s Twitter. Fans of the New Jersey singer responded to Ctrl with unbridled respect, resulting in a #3 spot on Billboard 200 Chart a mere 10 days after its June 9th release. Signed to Top Dawg Entertainment in 2013, Ctrl is SZA’s debut studio album featuring fellow Top Dawg artists Kendrick Lamaar and Isaiah Rashad in addition to The Y’s James Fauntleroy. Classed as an R&B and Neo Soul artist, SZA continues to dominate, garnering to date over 49 million album streams and more than 24 thousand CD purchases.

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Bringing her own style of bluesy vocals to the table, SZA both croons and rasps out her heart-felt regret of long-gone-wrong in almost every song on the album. The collection’s opening track, “Supermodel,” models to the letter the back-and-forth emotions of a recent breakup, alternatively threatening revenge—“I’ve been secretly banging your homeboy”—while pleadingly begging for another chance—“I could be your supermodel if you believe, if you see it in me.”

Travis Scott picks up the story with his opening lines on “Love Galore,” seducing with his mellow “I need, I need” that almost has us believing things will work out as SZA answers with “Long as we got, Love, Love, Love.” But as the track unfolds, the relationship portrayed unravels to a thin, forgotten thread. “Doves in the Wind” showcases SZA’s vocal expertise as she melodically jumps from note to note to effortless ease, finding her own voice of self-empowerment and determination within the “sorry about your luck” lyricism.

While the rest of the album features many moments where SZA’s dreamy voice soothes regardless of the song pockets of regret, two solo tracks—“Drew Barrymore” and “20 Something” —provide a deep, introspective look into the mind of someone who’s not only wondering what went wrong, but also what can still go right. The tempos are winding, the poetics are heart-rending, and the reminiscence lingers long after SZA’s voice drifts off with the final notes.

Ctrl does exactly what RZA promises—drama is cut loose and karma is claimed—resulting in the utmost respect for SZA’s control of what promises to be a long career to come.

Reviewed by Amy Aiyegbusi

Anita Wilson – Sunday Song

Sunday Song Anita Wilson
Title: Sunday Song

Artist: Anita Wilson

Label: EONE

Format: CD, MP3

Release Date: July 14, 2017

 

 

Anita Wilson has been a rising star in gospel music since her 2013 debut album, Worship Soul.   Wilson has established herself as an artist who is adept at blending traditional gospel with old school R&B and soul sounds to create new and fresh music for contemporary listeners. Her latest project Sunday Song continues in this vein, featuring newly composed selections as well as several covers. Donald Lawrence’s ensemble The Company, Wilson’s former group, provides the background vocals on the album. While many of these tunes will be great for Sunday church worship, Wilson emphasizes that this album is meant to foster spiritual engagement beyond religious walls. She states, “God is everywhere we are, we can always have a Sunday song in our hearts.”*

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One of the opening songs of the album is the single, “I’ve Seen Him Work.” This inspirational selection channels the sounds of R&B dance tunes (e.g. Luther Vandross**) and gospel choir songs of the 1980s. Rhythmic piano and bass establish a groove, which is joined by punctuating horns and drums showcasing a jaunty back beat, making this a fun and danceable track. The lyrics encourage listeners to maintain faith in God because “He’s in control” and He is “working it out.”

Wilson continues to draw on musical influences from yesteryear with the selection “Don’t Have to Travel Far.” This beautiful ballad is a worship-filled love song to God. It opens with strings, drums, and soft, repeated piano chords under girding the tender melody performed on an electric guitar. Purposefully, the accompaniment is reminiscent of 1970s R&B ballads like the Stylistic’s “You Make Me Feel Brand New.” Wilson celebrates her relationship with God with The Company supporting her sweetly: “Don’t have to travel far/ to be right where you are./You are constantly in my heart./ There’s no place I’d rather be/ than in your company,/ you mean more than life to me.”

Sunday Song’s traditional gospel and gospel covers are also especially noteworthy. “The New Church Medley” is string of both old and newly composed up-tempo call and response congregational songs which all ramp up to the popular church tune, “Great Things/I’ll Say Yes to My Lord.” For this heavy hitting number, Wilson is joined by singer Tommie White and vocal powerhouse Yolanda Adams who passionately improvise during the vamp. In a different light, Wilson has also transformed some gospel favorites like Richard Smallwood’s anthem “Total Praise.” She eschews a conventional, stately performance featuring dark, bold vocal production (with heavy vibrato) and string orchestration for a paired down contemporary praise and worship style. Wilson reworks the melody and softens the accompaniment transforming the chorus of “Total Praise” into a contemplative yet earnest meditation on faith.

Sunday Song is a wonderful summer treat for gospel lovers everywhere. It’s a wonderful blend of older secular styles, traditional gospel music, with timeless lyrics that are sure to inspire listeners to sing, dance, and have faith.

*Quote taken from an on-air interview with Detroit, MI radio personality Randi Myles.

**Wilson suggested the music of Luther Vandross influenced the creation of this song in an on-air interview with radio personality Erica Campbell.

Reviewed by Raynetta Wiggins

Various 60’s R&B artists – More From the Other Side of the Trax: 45rpm Rarities 1960-1968

Other Side of the Trax
Title: More From the Other Side of The Trax: 45rpm Rarities 1960-1968

Artist: Various 60’s R&B artists

Label: Kent Soul/Ace Records

Formats: CD

Release date: April 14, 2017

 

 

More From The Other Side Of The Trax: Stax-Volt 45rpm rarities is the second volume of its kind from the Kent Soul imprint.  This new compilation offers entry points for both the novice and hardcore collector, bringing together selections that have not been together in any capacity on CD up until this time.

For the novice, this is a mix of great tracks from early ‘60s rhythm and blues vein, as beginners may be familiar with artists such as Rufus Thomas and the Mar-Keys, both featured in multiple tracks.  For dedicated fans, the collection offers numerous B-sides from the Stax “Blue” period (so named for the color of the label on the 45s during this period) that surprisingly were not present on the Complete Stax Volt Singles volume released in the 1990s.

Highlights of the arrangement include Rufus Thomas’ cover of Billie Holiday’s “Fine and Mellow,” which illustrates Thomas’ proficiency as a jack of all trades.  This track finds the artist, better known for his funky workouts, clearly in a blues mode but still giving a fantastic performance. The Mar-Keys, best known for their instrumental hit, “Last Night,” appear with a great set of tracks including “Grab This Thing Part 2”, which is as funky as they come.

William Bell, who is currently experiencing a renaissance in popularity, appears with a few tracks, as well. “Whatcha Gonna Do” hints at where Stax would go during its “Yellow” period with a funky soul orientation. Carla Thomas’ “Puppet” shows that contrary to popular belief, Stax was very much interested in pop appeal, as its string arrangement adds drama and “sweetening” to a great vocal performance by Ms. Thomas. Lesser-known early Stax acts such as Barbara and the Browns appear the tracks “I Don’t Want Trouble” and “You Make a Strong Girl Weak,” respectively sounding more like traditional rhythm and blues than the soul sound for which Stax would become known. On “Never Let You Go” by Carla & Rufus Thomas, you can almost hear the fun the father/daugher duo had performing together.

Rounded out with liner notes for each group written by Tony Rounce, More From The Other Side Of The Trax sheds some light on some great singles that have remained unavailable outside of their original vinyl release until now.

Reviewed by Levon Williams

Stokley – Introducing Stokley

Stokley
Title: Introducing Stokley

Artist: Stokley

Label: Concord

Formats: CD, MP3

Release date: June 23, 2017

 

 

Introducing Stokley by Stokley Williams is an interesting record, and I mean that in most complimentary way possible.  Williams, well known to R&B fans for the past twenty plus years as the lead singer of the band Mint Condition, steps out on Introducing Stokley to chart his own course. It would have been very easy for Williams to tread the tried and true path of Mint Condition (who are one of the best bands to come out of the 1990s along with Tony! Toni! Toné!), but instead Williams brings forth an offering which is simultaneously approachable and eclectic.

The album’s opener and lead single “Level” finds Williams embracing a modern R&B feel with hip-hop leanings.  The track is rhythmic and bangs with hard 808 drums that compliment Williams’ always excellent singing surprisingly well.

On “Think of U” Stokley’s voice, which sounds somewhat reminiscent of Stevie Wonder, is on full display. Williams has always been a strong vocalist and he doesn’t hold back on his solo debut. “Art In Motion” serves as kind of a bridge between electronic and acoustic music, with an appearance by Robert Glasper on keyboards.  The song’s breakdown is especially interesting as all the elements mix together.

“Victoria” is probably the most “experimental” track on the album, playing into Williams’ flair for drama as a man pleading for a woman’s presence.  The musical backing for the song includes elements of jazz, R&B and African influences, all held together by Stokley’s vocals which he enjoys playing around with throughout the track. “U&I” is a duet with Estelle which works very well as a modern adaptation of the great male/female duos like Donny Hathaway & Roberta Flack or Jerry Butler & Thelma Houston.  “Forecast” sees Williams’ incorporating an ever so slight hard rock element as he laments the difficult outlook on a not-so-good relationship.  The album’s closer, “Wheels Up,” is an uplifting (pun intended) track about not letting others rain on your parade.  Williams, who is also a talented percussionist, lends some steel drum to this track.

With Introducing Stokley, the artist achieves the difficult task of engaging fans of his work with Mint Condition while making this solo effort truly his own.

Reviewed by Levon Williams

 

Columbia Nights – In All Things

Columbia Nights
Title: In All Things

Artist: Columbia Nights

Label: Record Breakin Music

Formats: CD, LP, MP3

Release Date: March 24, 2017 (CD & LP)

 

Washington, D.C. has always had a vibrant music scene, especially given its “Chocolate City” status. This scene, however, has typically been dominated by go-go music and at times, hardcore punk. Intent on breaking new ground, the D.C. band Columbia Nights is a “soultronic production group” comprised of John E. Daise, Jason Edwards and Hayling Price. The trio combines their numerous soul, funk, and R&B influences with their love of electronic music, and the result is harmonious to say the least. In All Things is their first full length album, following 2012’s EP Dawn | Dusk. There is definitely a sense of growth between the EP and this album.  The production is more lush on In All Things, and takes the listener further inside the sonic worlds that Columbia Nights constructs.

There are a number of interesting collaborators featured on the album—such as Diggs Duke, violinist Vaughan Octavia, and singer B.Jamelle, among others—who seek to highlight some of the group’s musical influences. The band’s collaboration with Aaron Abernathy on “Coming Home” is particularly compelling, and sounds like it could be a track off of D’Angelo’s album Black Messiah (2015).  The instrumentation on songs like “Glide” and “Cerulean” are also particularly impressive.

It is not an overstatement to describe In All Things as cosmic, both in scope and in sound.  The album moves seamlessly from groove to groove and vibe to vibe, offering a wide variety of sounds but never sounding at odds with itself. In All Things is a journey from start to finish, and a well-constructed one at that.  The album is a great first effort from Columbia Nights, who are representing the D.C. soul scene well.

Reviewed by Allie Martin

José James – Love In A Time of Madness

Jose James
Title: Love In A Time of Madness

Artist: José James

Label: Blue Note Records

Formats: CD, LP, MP3

Release date: February 24, 2017

 

José James has always been known for blending jazz together with hip-hop, but on his latest album Love In A Time of Madness, he takes it to a whole new level. Always one to try something new and daring, the album is a modern spin on the classic R&B themes of love, lust, and longing.

Skilled vocal sampling, a slow hip-hop rhythm, and heavy bass lead into James’ smooth voice on the first single for the album, “Always There.” Sensually singing about his devotion to his woman, James’ style is reminiscent of modern R&B stars such as Miguel or Usher, and could easily be heard on the radio:

Originally meant to be an album dealing with both love and “societal madness—a response to the systemic and often physical violence perpetrated on U.S. citizens of color,” James felt that the madness side of the album was spiraling out of control. Overwhelmed by the daily acts of violence, he decided to focus on the love part, creating an album of healing which provides a temporary respite from the madness.

This idea that love can be felt even in a time of despair can be heard on songs such as “Let It Fall,” which features Mali Music. Slow and melancholy, James and Mali Music sing,

“No one really likes when the rain comes because that’s the same time that the pain comes crashing down And that’s the same way that your love comes pouring down.”

This juxtaposition of rain as bringing both the realization of pain and a sign of new growth expertly shifts from soft jazz-infused vocals to a deep hip-hop beat with a drop around the three-minute mark.

Though many songs (“You Know I Know,” “Last Night”) are heavily electronic, the album also features a live band that adds flair to James’ brand of contemporary R&B and showcases his jazz influences. With Takeshi Ohbayashi on keys, Solomon Dorsey on bass and vocals, and Nate Smith on drums, “To Be With You,” a rhythmic jazz ballad, and “I’m Yours,” an intimate, gospel-infused declaration of commitment and love featuring Oleta Adams, particularly benefit from this live instrumentation.

The upbeat “Live Your Fantasy” brings the funk to the album, and certainly fulfills James’ hope to make the listener want to dance through the night. “Ladies Man” continues this vibe, as James tests out his falsetto in a George Clinton-esque psychedelic track. Despite these many styles, the music is all grounded in James’ velvet voice, making In A Time of Madness feel cohesive. It is clear that genre is fluid for José James, and there’s no telling what he will take on next.

Reviewed by Anna Polovick

Nate Smith – KINFOLK: Postcards from Everywhere

Nate Smitjh
Title: KINFOLK: Postcards from Everywhere

Artist: Nate Smith

Label: Ropeadope Records

Formats: CD, MP3

Release date: February 3, 2017

 

Nate Smith’s debut album, KINFOLK: Postcards from Everywhere, is an invigorating collection of both instrumental and lyrical music blending jazz, R&B, and hip-hop into an interpretive showcase of his Black American experience. Smith’s career spans from teaching music to performing and recording with accomplished musicians such as Dave Holland, Chris Potter, and Ravi Coltrane, among others. Both bandleader and drummer, Smith celebrates the collaborative art produced on this album with his “kindred spirits,” the featured KINFOLK musicians.

The album slowly eases in with “Intro: Wish You Were Here,” a 30-second whisper-like pause before he kicks off with the rhythmically syncopated tune, “Skip Step.” “Bounce: Parts I & II” follows, highlighting the tight horn section’s unison melody. At periodic interludes, Smith incorporates partial recordings of his mother and father speaking about their family migratory experiences across the United States. “Retold” is a comforting tune with a sweeping melody, both reminiscent and nostalgic, which Smith describes as sounding “like someone telling a love story from start to finish.”

https://www.youtube.com/watch?v=U8hjco9bKFU

Smith is joined on this album principally by keyboardist Kris Bowers, guitarist Jeremy Most, alto and soprano saxophonist Jaleel Shaw, and electric bassist Fima Ephron. Singer and lyricist Amma Whatt and back-up singer Michael Mayo provide captivating vocals amid the dominating instrumental tunes, rendering the spirit of the Black Lives Matter movement on “Disenchantment: The Weight” and “Morning and Allison.” Several recorded guests are also featured on KINFOLK including saxophonist Chris Potter, bassist Dave Holland, guitarists Lionel Loueke and Adam Rogers, and vocalist Gretchen Parlato singing “Pages.” The final track, “Home Free,” is dedicated to the memory of his paternal grandfather. It opens with a somber yet bright string section as the band gently adds peaceful layers of sound forming a soothing conclusion.

KINFOLK: Postcards from Everywhere is a visual album, in the sense that Smith’s music evokes images of childhood, identity, nostalgia, and family, while each song creatively balances improvisation with steady melodic and rhythmic themes. With this debut, Smith and his collaborators have crafted an excellent work of art.

Reviewed by Jennie Williams

Emeli Sandé – Long Live the Angels

Emeli Sande
Title: Long Live the Angels

Artist: Emeli Sandé

Label: Capitol Records

Formats: CD, LP, MP3

Release date: November 11, 2016

 

Emeli Sandé’s second full length album, Long Live the Angels, comes four years after her 2012 debut, Our Version of Events.  The Scottish singer-songwriter goes further on this album than she did on her first, with a heavier gospel music influence, more penetrating songwriting, and a voice that is equal parts desperation and determination, the voice of someone who has been through something.

“Breathing Underwater” is quite possibly the best song on the album. From the intimacy of the songwriting (“I believe in miracles ‘cause it’s a miracle I’m here”) to the swelling of the choir in the final chorus, the song is an anthem about making it through the impossible.  Other such anthems on the album include “Sweet Architect” and “Every Piece of Me.”  For as many anthems as there are, though, this is a very intimate album with production that allows Sandé’s voice to shine through rather than be overpowered.

There are few features on the album, but they carry a lot of weight: the elusive Jay Electronica offers a verse detailing his journey through love (“Love is like a garden, love is like a death sentence Love is like a pardon, I’m free again and ready”). On “Tenderly,” Sandé is joined by her father, Joel Sandé, and The Serenje Choir.

The album is over an hour long, but doesn’t overstay its welcome. Sandé is a poet, detailing her heartbreak over the last four years, but ultimately emerging triumphant.

Reviewed by Allie Martin

John Lee Hooker – The Modern, Chess & VeeJay Singles Collection, 1949-62

john-lee-hooker
Title: The Modern, Chess & VeeJay Singles Collection, 1949-62

Artist: John Lee Hooker

Label: Acrobat

Format: 4-CD set

Release date: October 7, 2016

 
Though there are countless compilations of the recordings of legendary Delta blues guitarist John Lee Hooker, this 101-track 4-CD collection from Acrobat compiles all of his singles released on the Modern, Chess and VeeJay labels from 1949 to 1962. Sequenced chronologically, disc one begins with “Sally May,” recorded in Detroit with producer Bernard Besman and released in 1949 on Joe Bihari’s Modern label out of Los Angeles. Hooker’s second release produced the indelible classic “”Boogie Chillen,” followed by more hits in his R&B arsenal: “Crawlin’ King Snake,” “Hobo Blues, “Hoogie Boogie,” plus “Rock and Roll” from 1950. The disc concludes with some of his early sides for Chicago’s Chess Records.

Disc two picks up with “High Priced Woman” on Chess and concludes with his 1953 release on the Modern label, “Too Much Boogie.” Most of the Modern releases on this disc were produced by Bihari, who flew to Detroit to work directly with Hooker. Though disc three is still dominated by Hooker’s releases for Bihari, we’re introduced to the VeeJay period, which carries through to the end of disc four. Hooker signed with the Chicago-based VeeJay label in 1955, which produced a number of career highlights including his classic 1962 song “Boom,” with backing provided by session musicians with experience in Motown’s studio. The set concludes with additional songs recorded during that session, coming to an optimistic close with a reworking of his 1952 song “New Leaf.”

Though this set has nothing new to offer, it presents a nice introduction to Hooker’s work, mixing his blues and R&B sides. Liner notes are provided by Paul Watts, and the booklet includes complete discographical and session information.

Reviewed by Brenda Nelson-Strauss

Solange – A Seat At the Table

solange
Title: A Seat at the Table

Artist: Solange

Label: Saint Records/Columbia

Formats: CD, LP, MP3

Release date: November 18, 2016

 

A Seat at the Table is Solange’s third full-length album, and debuted to wide critical acclaim as well as a great deal of commercial success, for good reason. The album is a force of nature, ethereal and almost delicate at times, yet tackles some of the heaviest aspects of black life today.  She sings about the range of the black experience and black womanhood, from depression on “Cranes in the Sky” to the pivotal and still relevant decree, “Don’t Touch My Hair.”  “F.U.B.U.” is a self-determination anthem bearing the name of the ‘90s clothing brand, and “Mad” explores the seemingly perpetual regulation of black anger and frustration.

Several key collaborators help to bring the album’s vision together, including Solange’s parents. Both provide important interludes, with her father discussing school integration in “Dad Was Mad” and Mama Tina outlining the importance of affirming one’s blackness in “Tina Taught Me.”  Most of the other interludes are handled by Master P, who recounts his own stories about self-worth as a young rapper coming up in the music industry.  The album was co-produced by Raphael Saddiq, whose laid back funk grooves provide the perfect setting for Solange’s vocals.

This album is all the hashtags one could hope for: it’s #woke, full of #blackexcellence and #blackgirlmagic. However, A Seat at the Table is more than just part of the Black Twitter news cycle.  It has staying power, it shows how Solange has grown and settled into her artistry, and it sets an example of what political music can (and should) be in these trying times.

Reviewed by Allie Martin

Isley Brothers – Go For Your Guns

isley-brothers
Title: Go For Your Guns

Artist: Isley Brothers

Label: Iconoclassic

Format: CD (expanded ed.)

Release date: July 29, 2016

 

Look let’s be honest, most Isley Brothers fans know the 1977 album Go For Your Guns for its big hits “Footsteps In The Dark” and “Voyage To Atlantis.”  Also, these two particular songs are usually included on most Isley Brothers Greatest Hits compilations, so why might a reissue of Go For Your Guns be worth a spin?  Well, there are a couple of reasons. The first is to reintroduce the record as whole. The entire album.  This is a powerful piece of work that really illustrates that the Isley Brothers are, in a lot of ways, still underrated considering their contribution to modern popular music.  Beyond the hits, also included are tracks such as “The Pride”—which sets the album in righteous fashion with an exploration of one of life’s major motivations—and “Tell Me When You Need It Again” complete with a fat, funky bassline courtesy of Marvin Isley, plus one of my favorites, “Climbing Up the Ladder.”  The latter is as funky and rock-edged a workout as any early Funkadelic side.  Ernie Isley really leans into guitar, demonstrating his prowess with a biting guitar solo which illustrates how powerful the brothers became as a unit with their 3+3 lineup. This lineup had begun a few albums prior, adding brothers Ernie and Marvin on guitar and bass respectively, as well as brother-in-law Chris Jasper on keyboards, to the vocal trio of Ron, Rudolph, and O’Kelly.  Ernie also flexes on the album’s title track, which is essentially an extension of the funk groove from “Livin’ the Life.” This edition, digitally remastered from the master tapes, also includes three bonus tracks including the disco versions of “The Pride” and “Livin’ in the Life/Go for Your Guns.”

The second reason to pick up this re-release, as most lovers of reissues might tell you, is for the stories included in the liner notes. This reissue does not disappoint.  Written by A. Scott Galloway, who is clearly both a funk and Isley Brothers aficionado, the notes are chock full of great stories. I won’t spoil too much here, but for those who are fans of shows like VH1’s Behind The Music and TV One’s Unsung, there are some gems here.  For example, the Isleys were tapped to contribute one of the songs from Go For Your Guns to the soundtrack that became Saturday Night Fever.  Interested in which song it was and why in God’s name they decided not to do it? That question and more are answered in Galloway’s engaging liner notes.

And yes, I’ve purposely circumvented making this review all about the big hits, but I must say, the bridge on “Voyage To Atlantis” is still as ethereal (and lit) as it ever was.  (On a side note, I did a quick cursory search and “Voyage” has been sampled over 40 times and only one producer has flipped the bridge groove as opposed to the main groove.  How is that possible??) Anyway, great record + great notes = great reissue.

Reviewed by Levon Williams

Blind Boys of Alabama – Two Classic Albums Reissued

go-tell-it-on-the-mountain
Title: Go Tell It On the Mountain (expanded ed.)

Artist: The Blind Boys of Alabama

Label: Omnivore Recordings

Formats: CD, MP3

Release date: November 4, 2016

 

The Blind Boys of Alabama’s Go Tell It on the Mountain is a mix of traditional Christmas songs and hymns that earned the group their third Grammy Award in 2003. Just in time for this holiday season, Omnivore Recordings released an expanded edition of the album that includes a new essay by writer Davin Seay (co-author of memoirs by Al Green and Snoop Dogg) and two bonus tracks: live versions of “Go Tell It On the Mountain” and “Amazing Grace,” which can be seen below:

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The album features a multitude of musical stars including Mavis Staples, Michael Franti, and even George Clinton on an arrangement of “Away in A Manger.” Energy-filled tracks such as “Last Month of the Year” are balanced with tranquil tracks such as their a capella version of “Joy to the World” featuring NOLA R&B singer Aaron Neville. With this star-studded cast and a ton of holiday cheer, Go Tell It On the Mountain is sure to brighten your December.

atom-bomb
Title: Atom Bomb (expanded ed.)

Artist: The Blind Boys of Alabama

Label: Omnivore Recordings

Formats: CD, MP3

Release date: November 4, 2016

 

Omnivore has also released an expanded edition of The Blind Boys’ 2005 album Atom Bomb, featuring gospel standards such as “Faith and Grace” along with more contemporary songs like their cover of Norman Greenbaum’s “Spirit in the Sky.”  The expanded edition features instrumental versions of seven songs plus a new essay from Seay.

Any Blind Boys of Alabama fan will enjoy the new insights and commentary offered in Seay’s essays and the additional versions of their classic hits.

Reviewed by Anna Polovick

Timothy Bloom – The Beginning

timothy-bloom
Title: The Beginning

Artist: Timothy Bloom

Label: Beyond the Sky Music

Formats: CD, MP3

Release date: September 23, 2016

 

Timothy Bloom’s latest project, The Beginning, is the first in a trilogy of albums called “The Life.”   Bloom is perhaps best known for his 2011 hit with V. Bozeman, “Til the End of Time,” a stunning ballad that introduced him as a force in R&B.  More than just a gifted singer, though, Bloom is also an accomplished songwriter and producer as well, having written for artists such as Ne-Yo, Chris Brown, and Smokey Robinson.

Musically, the EP doesn’t fit into just one category, with Bloom’s capable voice traversing across genres and decades. The opener, “Work It Out,” sounds like a ’70s R&B hit.  Immediately following is “Adam and Eve,” which hearkens back to the pace and style of Prince.  After that, “Me and Myself” swings into jazz.  Even within this assortment of musical styles, Bloom stays true to his gospel roots, particularly on “Howl at the Moon.” He grew up listening to and singing gospel music in the South, and it shows.  Although the EP clocks in at 23 minutes, Bloom features a lot of collaborators.  Perhaps the best comes not from a vocalist but the French harmonica player, Frederic Yonnet.  They pair up on “Sweet Angel,” with Yonnet featured throughout.

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Overall, The Beginning is a solid EP, and listeners can look forward to not only this project but the two EPs to follow.

Reviewed by Allie Martin

Muddy Magnolias – Broken People

muddy-magnolias
Title: Broken People

Artist: Muddy Magnolias

Label: Third Generation

Formats: CD, LP, MP3

Release date: October 14, 2016

 

Jessy Wilson and Kallie North are the soulful vocal duo behind the Muddy Magnolias. Wilson, the powerful lead vocalist, was raised in Brooklyn singing gospel and R&B music at clubs throughout her young adult years and backing stars such as Alicia Keys and John Legend. Meanwhile, North grew up in Texas singing in church choirs and listening to country and blues music. The couple met while in Nashville when Wilson discovered North’s photography and fell in love with her work. The collection of songs on their debut album, Broken People, showcases their song writing capability as well as their collaborative ability to wield Americana musical genres.

A soft wah wah pedal can be heard kicking into a rock-blues groove on the opening title track, “Broken People,” with a likeness to the music of Jack White. “Brother, What Happened?” follows, a cool and catchy anthem beckoning a socially activist generation to come forward.

Muddy Magnolias capture the attention of their listeners with power vocals and songs that stay in your head long after the album ends. This is best proven in the high energy pop songs, “Devil’s Teeth,” “Shine On!,” and “Got It Goin’ On.” Their music shifts in “I Need a Man,” from a darker blues sound into a Jason Mraz style pop chorus.

Wilson’s voice is often the dominant one on this album as North provides supportive harmonies with a country rasp like that of Susan Tedeschi. Several songs are instrumentally minimal in order to feature the duo’s powerful belting voices including “Train,” “Why Don’t You Stay,” and “Take Me Home.” The concluding track, “Lead Me to the Sky,” is strikingly similar to John Legend’s “All of Me,” which makes sense since Legend is provides piano accompaniment and backing vocals.

Broken People by Muddy Magnolias is an exciting pop album that highlights the duo’s ability to creatively blend musical genres.

Reviewed by Jennie Williams