Soul Understated – Songs in the Key of Grease

Songs in the Key of Grease
Title: Songs in the Key of Grease

Artist: Soul Understated

Label: Shanachie

Formats: CD, MP3

Release date: June 30, 2017

 

 

I want to make it clear, I like EPs. I adore listening to the genesis of what may become a success.  Soul Understated, a group from New York, may well blossom into something and I hope I can say, “Told you so.”  Based on the strength of their new EP, I do believe they have a bright future. Ok, now that I’ve caught your attention, who are Soul Understated?

Mavis “Swan” Poole and Jeremy “Beans” Clemons form the core of the group. Poole has performed background vocals with Prince and Lauryn Hill, among others, while Clemons, a drummer, has played with Gregory Porter, Burning Spear, and Jen Holiday. Other guests include Marc Cary (Betty Carter and Abbey Lincoln’s bands) on piano and keyboards and Mighty Moe Hagans of the Chuck Brown band on percussion.

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Is the title of their EP, Songs in the Key of Grease, a homage to Stevie Wonder’s Songs in the Key of Life? Maybe. After all, Wonder was in full glory when he released that classic album. Songs in the Key of Grease, however, is a contemporary blend of soul and neo soul with jazzy grooves and funk.

Mavis Poole’s vocals sound similar to Erykah Badu, but on the track “1 Monkey,” Poole’s vocals go where Badu’s have never been. That’s not a knock on Badu, but high praise to Poole. Go Girl! “Junkie” tells the compelling story of someone who has a very difficult time getting their life back on track. The line, “We don’t want your kind here,” displays society’s contempt for a person on the path of self-destruction. On “So What,” Clemons’ drumming and the hand claps is straight up jazzy, ‘90s era soul. This is perhaps the best of the six tracks on the EP.

One negative about EPs is that they are just too short. This is certainly the case with Songs in the Key of Grease.  I hope we hear more from Soul Understated, and I’m certain once you hear their album, you will agree.

Reviewed by Eddie Bowman

Wu-Tang Chamber Music


Title: Wu-Tang Chamber Music

Artist: Wu-Tang Clan

Label: E1 Entertainment

Format: CD,  LP, MP3

Catalog No.: KOC-CD-4215

Release date: June 2009

Joke’s on us! Despite the looming “W” on the cover of this album, Wu-Tang Chamber Music, is not technically a Wu-Tang album. Masta Killa, Method Man, and the GZA are sadly absent, replaced by fellow ‘90s East Coast rappers like Masta Ace, Cormega, AZ, and Kool G. Rap. But with RZA as executive producer, the album retains a very strong Wu vibe, featuring terrific rap lyricism and original beats that fill the void 8 Diagrams disappointingly did not. Also produced by Fizzy Womack (Lil Fame of M.O.P.), Andrew Kelly, and Bob Perry, it’s difficult to know exactly who’s doing what on any given track, but the philosophical vociferations that sprinkle the album are clearly the work of ‘the universal Buddha,’ as RZA so names himself.

Here is a clip of RZA speaking about Wu Tang Chamber Music Vol. 1:

Though only 8 of its 17 tracks are actual songs, Chamber Music is impressively sincere, maintaining that loveable stubbornness that Wu-Tang fans adore. Ghostface is still rapping about ripping limbs and sexing women, the RZA is still being eerily strange, and Inspectah Deck is still lord of syncopation. Paired with live musical backing by Brooklyn soul-funk band The Revelations, the songs flow easily into one another in spite of the spoken word tracks.

“Ill Figures” is lyrically the best song on the album—the wordplay, slang, and OG style fit perfectly with the repetitive chorus-free beat, giving each rapper’s verse a unique pulse. “Harbor Masters” is also solid, but the weird echo on Ghostface’s verse distracts the listener from how great it is. On “Radiant Jewels,” non-Wu rappers Cormega and Sean Price rock the mic and, regardless of how overstated a line like “lyrical elevation causes mental stimulation” could be, Cormega switches it up by also referring to his lines as a “lyrical aquaduct,” making it OK. On “I Wish You Were Here,” Ghost delivers raw rap sex to every female, and to no female in particular, as Tre Williams provides perfect soulful accompaniment. Meanwhile, on “Sound the Horns,” U-God informs us that he’s “that superhero with the brand new costume.” Lastly, lest we Wu-Tang Clan fans forget, there is also a brief tribute to ODB in which the RZA talks about the importance of freedom.

All in all, the album was short and sweet with a simplicity that propelled the tracks forward and didn’t disappoint. It would have been great if there could have been more songs, but as this is the first thing any Wu-affiliations have put out in so long, allowances must be made. The live music was refreshing and effective, not in the least impairing the Wu-Tang groove. RZA claimed that, “The goal of this album is definitely paying homage to our early sound.” That it did; job well done.

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Reviewed by Rachel Weidner