....and like Boyz II Men sang, "we've come to the end of the road".....here are my top ten albums of 2011!
Hope you enjoyed this "re-cap", and by all means don't be shy, share your favorites of this year in the comments :) A BIG thank you to all for reading Audio Diva throughout the year, and let's hope for further musical greatness in the new year!
As a perfectionist, I can be hard on myself. As a caring individual (when I wanna be...), I have a 'more the merrier' mentality. So I often wonder why I put myself through hell trying to narrow down each year to 30 songs. It totally goes against my ethics. Still every year there are about 30 songs out the hundreds that I like that I can't get enough of, that get me hyped, or get me thinking when they turn on---and this year is no different. Though 2011 didn't have the most prolific songs to ever grace this world (it really was a weird year), these 30 were my favorites of the bunch.
....#30 through #21 are here for your aural enjoyment...
This year, I found myself a bit tongue-tied, not really sure what to say as a curtain call to the year. That's usually not like me, at all. *feels forehead, nice and cool, no fever* Yet, the pessimistic child inside me believes that blank space is evil so let me be honest....
2011 was the year that took the sour and defeated taste of 2010 out of my mouth. It truly did. 2011 personally as well as musically was a smidge and a half better. I was surprised with the breed of new talent that rose to the occasion, was nodding my head at the innovative rhythms, and championed some artists simply because they had a lot to say---and they said it well. Sure there were disappointments and losses (Amy Winehouse, Nick Ashford, Gil Scott-Heron, Heavy D...), but all n' all, I didn't need to raise the volume up with my middle finger at 2011. It bounced, skated, and rocked just fine.
While this may not be the "tops" for everyone, these were the albums I played the most, digested every word, listened and loved every tempo change, and came back hearing something new each time I pressed play. In short, they were my favorites of 2011.
Yahzarah is someone who never fails to put a smile on my face--even when she's being melancholic. For the lonely hearts out there this holiday season, Yahzarah is keeping them in mind as she re-does The Emotions wonderful 1973 holiday hit, "What Do The Lonely Do For Christmas?", and she does it with the same conviction and soulful warmth to put a little bit of spirit back in the de-spirited. True, the holidays are a less joyous time for some, especially those without a special someone (me!) who find themselves alone under the mistletoe. So if you find yourself going solo this holiday season without someone to share your Snuggie with---don't fret, grab that box of homemade fudge and pour some Bailey's Irish Creme and wrap up with this treat from the talented Yahzarah. Pssst!...and it's free too, so download at Miss Yah's Bandcamp page for instant joy.
It seems to me that the 21st Century will be known for making the EP/mixtape into an artform. In it's 'prehistoric' days EP's were merely "bonuses" (see Songs In The Key Of Life) and rarely made entries into the charts. As for mixtapes, they were either bootlegs that you got from that shifty cousin of yours who had 'connections' and if you were making one it was mostly a series of thrown together songs on a cassette tape for long road trips---not for public consumption.
Mixtapes and EP's roles in music have shifted as they have become the alternative for the burgeoning up-in-comer who need lots of listeners, a dollop of hype, and a little luck. They're also the safest (and possibly cheapest) mechanism for a veteran artist to skirt around the binding ties of their record label and just have a space to create, while also keeping their listening public enthralled till the full album (and possibly finances for it) comes. It seems that freedom of musical speech has taken on a whole new perspective with these "mini-albums" and at times these EP's and mixtapes are so finely crafted that they even best what folks call an 'album'.
In 2011, there were about a zillion mixtapes and EP's that appeared and some stood out from the pack. From the veterans to the up-in-comer's giving an appetizer to what's ahead---these are my ten favorite EP's and mixtapes this year.
No Doubt fans fall in two categories. Either you hate how they became more Pop than Ska in the last decade or you love any and everything they did. I rest in the latter. I also wasn't a grouse about Gwen Stefani going the solo route. Prior to all that fan 'conflict' over their genre shift, No Doubt was just a collective out of Cali's Orange County who had finally brought Ska to the mainstream with their Tragic Kingdom set, as well as cemented their tenure with the signature song, "Don't Speak".
They were still pretty much wild kids on the run when they coveredThe Vandals' beaty n' bouncy Christmas song, "Oi! To The World" for the third volume of the A Very Special Christmas series. The song has often gotten negative backing behind it (okay, it's not the best Christmas song to say the least---then what is?), but I've always been a sucker for the energy of Gwen and her guys gave on this, plus I wouldn't be a 90's kid if I didn't say I heard this a lot growing up, enjoying every rambunctious minute.
What a lovely coincidence...after reminiscing about their holiday jaunt, along comes SWV back with some new tunage. Talk about an ESP moment....
It can be difficult to maneuver the music market when you've been out of the game for a spell---okay, try about twelve years---especially in a timespace where girl groups aren't as prevalent (well, here in the US at least) or as acknowledged as they once were. SWV aren't too worried about this little discrepancy as they are on the climb to a comeback next year. "Co-Sign" is the first step towards what is to come in 2012 for these sisters with voices. On first listen the song is refreshing to hear and has just enough 'oomph' to satisfy the old card carrying R&B heads like myself, as well, as get the youngbloods hooked on a 90's feeling. True, it's not the best thing ever and doesn't really touch the golden moments of their hey-day (their '92 debut, It's About Time is still my jam), but I appreciate the classy stance this song has as well as it sounding like something I could put on repeat and be happy with. Bravo to Taj, Coko and LeeLee for keeping things solid!
Maybe SWV could spark a Renaissance for R&B and encourage newer groups of the same breadth to come out of the woodwork? We can only imagine...
Marques Toliverhad my undivided attention right when he decided to bust out with a violin to blaze away on a wonderful song called, "White Sails". He released his EP, Butterflies Are Not Free back in May to appreciative blog praise and he's not letting the calendar days of 2011 dry up until he squeezes out yet another little stunner.
An abstract cornucopia is what Studying For My Ph.D is. Well, mixtapes in general usually are, yet Studying is a real ram-bam hybrid of classical decadence meeting up with stark modern stylings that further drives home Toliver's forte. The subject matter of Studying focuses on Toliver's adopted home of England as he touches on current events such as the London street riots, plus other forums of fancy. With voices borrowed from the likes of Roberta Flack, Eartha Kitt, Beyonce, and Nicki Minaj, news reports, and some recognizable musical samples, Studying in all of it's jigsaw craft, comes together pretty darn well. At times it can be a bit much with the fast n' furious violin work of Toliver coming at you from all sides. Also the real beautification arrives in the slower jams ("Danger", "Beast" and "Astrology"). Yet, when you hear "The Answer" (which weaves in a nice Jackson 5 sample), you can hear that Toliver has a lot of big ideas in play and you wish for this idea to expand into a bigger project.
Released exclusively over at the UK newsie, TheGuardian, Studying For My Ph.D is Marques' way of further showing how he can incorporate his vibe in various and unique dimensions. Not to mention all this 'studying' that he's doing will one day pay off.
Listen and download it for free here---no regrets you'll have.
Sharing the same smile that John Legend is sporting in the pic above all due to a crispy fresh track from him. Legend has been mostly riding shotgun this year as he popped up on Common's excellent single, "The Believer" (from Common's pending The Dreamer/The Believer---an albumthat I have not forgotten about) and was "sorta there in spirit" on a re-working on Mariah Carey's "When Christmas Comes" (more about that later). Now Legend is back in the driver's seat and we're just supposed to fasten our seat belts and cruise into "Chasing Your Love"---which is quite the sparkler.
Legend wraps his sugar-in-the-raw vocals around the backdrop of Millie Jackson's "Summer (The First Time)" (aka one of my all-time fave Millie joints!) and it's a searing mid-tempo soulful climb. Hmm...sounds like Legend is dipping back into what made 2006's Once Again his most cohesive set (guess the electro-funk of '08's Evovler didn't latch on). "Chasing Your Love" has me seriously catching all kinds of elated feelings for Legend to return in 2012 with another long player. Rumors have been circulating that this cut might be the first inkling at what is to come, but there isn't an official word on if this is a solid contender or a one-shot deal in from a session. Whatever the case, John, don't keep us waiting!
No need to repeat the Dead Sea Scroll-esque list of R&B groups that emerged in the 90's, but it's a known fact, rule, no...music law that SWV should always be in attendance whenever such conversations take place concerning that bygone era. Weirdly, SWV's last official album is their1999 holiday set, A Special Christmas, and while it's not the most expectant send-off, it's still a sweet and fun treat that has the trio focusing on revamping traditional cuts and modern classics, as well as making it a family affair as members of Taj, Coko, and LeeLee's family are present on various numbers.
Particularly like how they revived The O'Jays'"Christmas Ain't Christmas (Without The One You Love)" as well as their takes on "The Christmas Song" and "O Holy Night". A round of applause also goes to "White Christmas"---a song I was never that fond of---that became my favorite cut on here as I adore how they R&B-ed it up in a slick vibe. Donny Hathaway's "This Christmas" is essential---every person who is card carrying Soul music fan knows this. While I worship at the throne of Hathaway, SWV's infectious take is one of the few covers of the track that I give a pass to. It's just so damn happy---and that's the kind of spirit that radiates through the rest of the collection, making A Special Christmas a real gift.
Didn't want the week to slip away without mentioning this little nugget of sound....14th had one of the most delectable EP's this year and it'll be a matter of months (okay, try two months) for the British duo to show us what they can do on a full-length effort. Before it's released in February, 14th is being awfully generous by giving us the jump start of what's to occur on that upcoming release with the single, "Take Me There". Once again the duo revive the UK Garage of yesteryear in such a tailored yet bouncy production, there is really no room for fault. You'll find yourself pressing repeat with this one.
Shoot, if they keep this quality up, who knows what 2012 will bring for these two?
Quite the find this little oddity is. While digging around looking for holiday sound bites, I came across this quirky collection by the infamous 80's No Wave label, ZE Records. My music nerdery sort of went into overdrive when seeing the track list that featured some favorites like Nona Hendryx, August Darnell (of Kid Creole & The Coconuts fame), The Waitresses, Was Not (Was) and Miss 'Disco Clone' herself Cristina. So yeah, I had to scope this one out, not to mention share this find with all my readers out there, as this is the season of 'giving' ya know?
Released in 1981 (and sadly out-of-print), A Christmas Record, is one of those off-shoot holiday collections that strives to not to follow in the traditional fa-la-la of the season. As ZE Records is known for housing the "mutant disco" and "No Wave" music genres, this set succeeds at showing the spectrum of those genres. Mostly the album is known for housing The Waitresses' classic "Christmas Wrapping" (which the Spice Girls would later cover), but there are some other gems buried here. I've always loved the tropical-soul-funk sound of Kid Creole & The Coconuts (not to mention adore their sarcastic humor) thus August Darnell's "Christmas On Riverside Drive" isn't a let down as it's a reckless abandon 'sleigh ride' that is mega fun.
Nona Hendryx with Material give us some icy prog-disco that feels meant for cruising down a lighted street way. If you're already familiar with Hendryx (LaBelle, hello!) then you know what kind of energy and unique flavor she brings and she brings a lot to this dense dance cut that is one of the earliest collaborative efforts between them. If you want to get technical this track sort of pre-dates what Madonna would surface up with "Holiday"...just something to consider...
Cristina (who one day will get the 'wipe off the dust' treatment) is the one who brings sort of the pessimistic 'glass-is-half-empty' approach to the holiday on "Things Fall Apart" which from the title you can guess what it's about. With her usual "You're standing on my neck" bored tone on she sounds wonderful against a backdrop of some real meaty electric guitars.
Take about fifteen minutes out of your oh so busy day turning oxygen into carbon dioxide and take a view at the Amy Winehouse documentary, Hidden Treasures. The doc gives a song-by-song account of the recording process and back-stories on each track off of the recently released posthumous tribute, Lioness: Hidden Treasures. The reminisces about Amy's beginnings up to her zenith height of fame comes straight from the mouths of producers, Saalam Remi and Mark Ronson, two talented guyswho worked close with Winehouse to craft her sound blend of 1960's girl group meets hip-hop beat queen.
Though it was a mixed bag of reviews about Lioness one thing is for certain within this quickie doc is a love for music and it's ultimate craft. Dive into it.
As much of a critic that I am about the R&B of today, there are times where flickers of promise invade into my ears. Here's where CJ Hilton comes in through that foggy forecast known as 21st Century R&B. From snagging a singer-songwriting spot on Raphael Saadiq's The Way I See It ("Never Give You Up" with Stevie Wonder was the tune!) to crafting a buzz-worthy mixtape with DJ Driis (aka one of my husbands, actor Idris Elba), and now penning tracks for Mario, Mr. Hilton has been steadily making the rounds. So how come I'm just now hearing about him?
It's cause I'm slow. Forgive.
"Cold Summer" is the track that sort of won me over even though everybody loooves his Nas assisted, "So Fresh". To be honest, any R&B cat can do "So Fresh", but "Cold Summer" has a vastly different approach and here is where CJ's strong suits of writing and singing come into a real vigorous package. Often this song is being mistaken for, Miguel's number, "All I Want Is You" and that's possibly because Saalam Remi (the man behind Amy Winehouse's stunners) is responsible for both of these productions---and man, is "Cold Summer" sharp.
Okay, R&B, I see you trying to reel me in.....Pop after the cut to view "Cold Summer" the visual, as well.
True, the holidays can be a depressing time for a lot of people, but really for me, the holidays is that special time to get that rod out of your arse and just have a little silly fun (and if that doesn't work---do us all a favor and sip some Bailey's Irish Creme, please). I will always have like for The Killers because, unlike other bands, they don't try to take themselves too seriously and have had fun with Christmas tunes in the past (see "Don't Shoot Me Santa", "¡Happy Birthday Guadalupe!" and last year's "Boots"). Not to mention each Christmas tune of theirs that is purchased, the proceeds goes fight AIDS as the band is apart of the Project (Red) campaign---so hey, hey for goodwill towards man! I gravitate towards that kind of spirit, and well, "The Cowboy's Christmas Ball" in all of it's down-home-country-fried-rock reeks of it. Maybe it's the Texas girl in me that can boot-scoot to this, but this is just real cheeky fun. Even though the video is probably the plotline everyone (but me) wanted from Cowboys & Aliens. Oh welp.
Music knows no race, culture, or language, and Joy Denalane is proof of that. I had known about Maureen(doesn't she look grand on the cover?), Denalane's now third album that came out this year. Yet, hadn't seen many folks talking about it because well....it's mostly all sung in German, just like her 2002 debut album, Mamani. To be honest, I have a hard time plowing through albums where I'm not fluent in the language, yet, I was urged by QH, a blog compadre of mine, to check out the album further, as I've been a fan of Joy's since Born & Raised became one of my all-time favorite albumsback in 2006. Once again I was taken aback by the force that is Joy Denalane as I found myself enjoying the Maureen album in full. A round of applause goes to Joy for once again bridging the cultural gap. For further listening to the album, a couple of video sessions were made to show Joy in her zone and they are well worth the watch.
Sticking to my English guns, I was even more pleasantly surprised at Joy's gorgeous take on Heatwave's "Happiness Togetherness". It's a tune you don't hear too often, but has always left a warm impression on me from years of hearing off of the band's 1978 album, Central Heating, growing up. In my opinion, I've favored this slow jam over their most well-known hit, "Always & Forever". Heatwave has quite an interesting back-story as they were clearly more than the disco floor burners they released or the band where Rod Temperton got his start before being hired as Quincy Jones' in-house songwriter and the man behind Michael Jackson's chart-toppers. TV One's Unsung series had a great episode about Heatwave that opened my eyes to their hustle (and I do mean hustle---seriously, they prevailed over some real bad luck). Joy does Heatwave justice as she sings this with real conviction. Though it may be chill outside at the moment, this is one cut that beckons back sunny summer days.
Pop after the cut to hear Heatwave's original and soak in Joy's version below.
Playing catch-up on all the sounds that have by-passed me throughout this year has proved to be a challenge---but a fun one as it's never a dull moment. I have yet to fully dive head first into Georgia Anne Muldrow's Owed To Mama Rickie(which was released last month if you didn't know), but a provoking in the form of the visual for song, "More & More" is edging me to splash right on in with the quickness. With the great Bilal in tow, Ms. Muldrow waxes her poetics as she gives out some sage advice and a real self-esteem boost on this comforting soul number. I really do adore whatever Georgia Anne Muldrow does as she brings a lot of originality to the table in her prose and execution. She should be more famous.
I must have been a good girl this year as there's some newness coming from RóisÃn Murphy. Thank you Santa Claus. For the last couple of years or so RóisÃn has been popping in and out with new tracks (see "Momma's Place", "Orally Fixated", and "Demon Lover" for starters), but nothing has been seriously confirmed. Now out of nowhere this nine-minute track, "Simulation" just hypnotically pulses in getting the fans all salivating over her return. Yep, nine-minutes---but it's nine-minutes of deep House bliss. Tedious, yes, but with RóisÃn's vocals and the looping motif it's highly contagious and if you're into deep House like I, you won't regret this listen. There is a slight mystery as to who produced the track, the only clue that's been circling around is that it's a producer from northern England. Well, that totally narrows things down....
Though RóisÃn had every right to step out of the spotlight for awhile as she recently became a mother, I'm taking the insensitive approach as I need Ms. Murphy to show herself in 2012 with a full album---especially a full album of this type of House sound. Lush.
If my calculations are correct, Goldfrapp has been in the game for close to eleven or so years (!!!). It seems like it was just yesterday when Black Cherry, (my 'first' Frapp experience), invaded my ears to where I proceeded to get euphoric, embarrassing myself and others around me as I waved my hands around to the 'wonderful electric' sounds I heard. Auto-bio that.
So it is timely that the daring British Electronica duo would unleash a single compilation. Of course with a new compilation comes crisp n' fresh tunes to tack on the tracklist for an surfire purchase (because if you have all of Goldfrapp's albums---then there is no point, right?). Goldfrapp is at least making sure the duo of newness ("Yellow Halo" and "Meloncholy Sky") will do your ear drums good---and they are off to a worthy start with "Yellow Halo". Accompanied with a neat video highlighting Goldfrapp's tour stops in South America, "Yellow Halo" is a creamsicle dream of a song that goes back to the relaxing sounds on Frapp's Seventh Tree set. Satisfying it is.
Pop over the cut to experience the visual and audio wonderment of "Yellow Halo" as well as the tracklisting to The Singles, which will be hitting shelves in February of 2012.
Man, do I love Annie Lennox. She can really do no wrong for me. I'm well aware that Annie released her own Christmas collection last year, but I always come back to time where she was paired with Dave Stewart to spread some holiday cheer on "Winter Wonderland".
A local radio station here has been playing non-stop Christmas music (since like Halloween--womp), and well, they've played Johnny Mathis' "Winter Wonderland" version(s) way more times than I can stomach (no offense to Johnny). Thankfully, I have the Eurythmics' version in my holiday arsenal. "Winter Wonderland" is such a lyrical cheese fest, but in the Eurythmics hands it's transformed into icy brisk synth bliss. Love how it gets a little shaken up in the beginning to where you're not to sure if this is a holiday song or not. I won't go off into gushing about Annie's vocals---cause I will bore you.
Off of the very first A Very Special Christmas compilation (which had many other goodies on it) from 1987, this a Christmas tune that 80's babies like me can really appreciate.
Ladyhawke (birth certificate name: Pip Brown) is on the comeback next year----and she's bringing new tunes with her.
*vogues and dances a jig*
The New Zealand synth n' bass maven is dropping her loooong anticipated sophomore album, entitled Anxiety, come March of 2012. She's keeping fans in their own pot of anticipation by releasing the tease of a brand new album track as well as the artwork for the pending album (which you can see on the left is fantastical) this week. Ladyhawke has been dropping some newness during her recent stage shows as well. Most notably there were some song reveals at her gigs for London's 100 Club---which you can check out here (the sound quality is not the greatest but it's better than nothing). I've heard bits of gossip about Ladyhawke slacking off of the 80's neon Day-Glo that made her 2008 debut album just plain magnificent for this effort. Yet, from the sound of the tease and with Pascal Gabriel back at the producing driver's seat, I'm not too worried about changes here and there. I completely wore out her debut (an all-time favorite album of mine), thus I'm quite anxious to hear what Pip is packing for us next year.
Peep the teaser video after the cut---usually I'm not a big fan of snippets, but this is one of those cases that I broke the rules for, ha!
Okay, I know, I know, it's not the end all of R&B music periods, but it's the nostalgia attached to it that makes me a bit bias towards it. How if you didn't like one girl group---there were about twenty others to choose from. How feverish stanning didn't exist, as Brandy and Monica could be equally liked and lauded. Men...were men, they crooned, swooned, and the begged like nobody's business, and even dedicated music videos that left little to the imagination (D'Angelo and Maxwell---I'm looking at you). While I cringe at the fashion choices I made, the era had a lot going for it musically.
Kevin Michael he understands this. He's near my age, and he grew up with this bevy of soulful grind going around, which is why I have no qualms of him covering SWV's "Use Your Heart"--at all. He's been more than capable of covering a tune as his Covers For You set was released earlier this year and he handled himself on Adele's "Rolling In The Deep" and other tunes nicely. So now he's tackling the keynote track off of SWV's 1996 New Beginning album and well, he nails it. He doesn't change The Neptunes classic production, he just lays down a charming vocal and possess the same coo and yearn Coko and the girls gave originally. It's a homage well worth applauding. Take a listen (and also take a free download) of the track, and pop after the cut to see SWV in all of their 1996 glory singing a live version of one of their best tunes.
[Side Note: Those who were searching milk cartons for Kevin Michael's mug will be pleased to know that he has released his second album, International, for the Japan market. You can pop over to his Bandcamp page for further information and listens. No word on if Kevin (or K as he was going by for a spell) is still working in his side group, They, but wonders never cease as this cat is always working the independent grind and making quality stuff.]
Lioness: Hidden Treasures provokes more than just the looming "what if?" factor like all other posthumous albums tend to emphasize. It further establishes how much Amy Winehouse really was a vocalist of a different breed. How she was yet another who managed to change the climate towards sounds that were deemed gone with the wind, and brought a new generation to have appreciation for it. Not to mention with every warble she had respect for where the sound truly derived from and did it well. Even though she led a less than favorable lifestyle (then again are we all saints?), Winehouse's candor about the realities of love, loss, and life was what brought people in. Toe-to-toe with the British Soul grand dames a la Dusty Springfield is where I like to place Amy Winehouse, because (and this is to my ear) she often had a pinch of overcast in her vocal tone to make it all the real---she had been there, and as I briefly mentioned, she was that voice in my head, and will probably continue to be. Lioness: Hidden Treasures is in a sense a sad affair, for obvious reasons, and it really doesn't lead one to figure out where Winehouse was going as a follow-up to her 2006 opus, Back To Black. Poignant, captivating towards her talents, and no doubt a worthy purchase, is mainly for the fans, as it closes the book to what Winehouse built her house of Soul on.
Some further points....:
The original version of "Tears Dry On Their Own" (just titled "Tears Dry" on here) is oh so sublime and was meant as more of a Stylistics-esque ballad, instead of the ram-bam fingersnapping jovial of the original. A real gem it is when it's taken down a notch. In fact, I actually like it better this way.
Mark Ronson's all over "Valerie" and it's here again---like it is on every B-Side bootleg and extended edition of Back To Black. Some part of me wishes something else had been put in it's place. B-Sides like "Fool's Gold" and even another cover (particularly "Someone To Watch Over Me") would have been a better, much more surprising addition---unless it's just me being grouchy.
Highlights like "Between The Cheats" swishes in a Grease "Beauty School Dropout" woo while "Halftime" (my favorite of the 'rares') is subtlety charming in a soothing flute riddled swirl that Minnie Riperton would have been proud of. These two Saalam Remi produced numbers easily could have been singles.
Amy was a fan of Donnie Hathaway, yet another artist taken from the music world before his time, and she does a real number on his signature hit, "A Song For You". She evokes the same raw Blues undertone this song has and rears up the attention to vocal detail that Donnie had on his original---scary good.
Many try to do Astrud Gilberto on "The Girl From Impanema" and so few catch the spirit. Amy is lively, with a bit too many sprawling scats for my taste. Yet, she was eighteen on this track and was just trying to find her voice and it's nice we got a peek into the beginnings of Amy here, even though this album, sadly, marks the end.
Delilah has a lot going for her. She's yet another artist who hails from the UK and has a soulful strut of a different repertoire (what is in that water over there??). She's been noted for background vocal work (see Chase & Status' "Time"). She also successfully managed to interpolate Rufus & Chaka Khan's "Ain't Nobody" into her debut single, "Go" without sounding the least bit hackneyed. Oh, and she even got Miss Khan's approval to boot.
Delilah is doing all the right things in order to loftily set her up as a 'next big thang' in 2012, and once you listen to her Go EP, which was released earlier this year, you'll be impressed at the subtle crawl of her voice and the density of her tunes. Listening to tracks like "Breathe" and "I Can Feel You" (the best of the bunch) follow in the same camp of atmospheric soul, a laid-back genre that seems to be picking up R&B's broken pieces.
The obligatory music journalist comparison towards Delilah will make you have Esthero and Emily King on the brain (maybe even a smidge of Bjork), yet, it's merely a guideline to get a feel for where Delilah roosts. Currently her brand new jawn, "Love You So" is what's really grooving and has a stylish video as an accompaniment that sure to attract---and has no doubt impressed me further. Not to bog you down with more words to further explain the what and why you should check Delilah out, just take a listen to the Go EP below and then after the cut, make time to peek at her video for "Love You So". Regrets you won't have.
This is one of those moments where I feel that I'm committing "Post Deja Vu", but eh, nothing beats Boyz II Men and hearing them harmonize on their Christmas Interpretations album from 1993 and I bet some of you guys feel the same---so repeat myself I shall. My holidays wouldn't be complete if Interpretations didn't get a spin as I live for their gorgeous acapella version of "Silent Night". Yes, I even remember when they popped up on Fresh Prince of Bel-Air to sing itduring an episode where Will Smith practiced his art of lying again...(love that show). Plus I appreciate their thinly disguised croons like "Cold December Nights" and "Who Would Have Thought", which can be played long after the season is over.
I'd like to think every R&B head has heard of their version of "Let It Snow" which features the voice and pen of Brian McKnight. It's a tried and true staple that I sometimes find myself playing it even in the sweltering heat of summer just so I can form mental pictures of crisp stillness, snowball fights, and school closings---it's just that cool. For someone who rarely sees snow and has spent Christmases in shorts and tees (the plight of a Southern Belle like me *pumps a Scarlett O'Hara fist*), this song always gets me in the mood for white fluff and of course just plain good holiday cheer.
Pop after the cut to view the Boyz (well the now trio of them) back in '08 with a performance of "Let It Snow" on Japanese TV with a killer pianist (who is tearin' it up on those keys), as well as the video version of "Silent Night" from way back when.
R&B music has been in the last few years well---excuse my French---rhythm n' bullshit. Hollow, lazy, and soulless to points where even the veterans of the genre have sort of fallen into Kidz Bop Hell. The excuse is to say, "it's experimental!!" or it's the "genre evolving for the 21st Century!!"---naw, it's just that pure raw honesty and love has been drained for the all-mighty "let's see what we can sell" jag and the latter is winning. Sure there's a digestible beat in the R&B tunes of today and not all of it is horrid, but the lovey-dovey-making-whoopie type of abandon is something that gets lost in all those strident club beats. It's a sugar rush, gone within minutes of hyper-activity, and maybe I'm just a Shady Pines Retirement Home ready-resident-of-R&B who needs to let go of the 90's, but it was disheartening to see the genre, a genre I love, take a real weak turn in these last years. Not to discount the artists who have consistently kept the soul, rhythm, and the affection in mind and kept it going in the mainstream (see Adele, Cee-Lo, Jill Scott), it's just that few have achieved to keep it "sexy and simple".
Then there is Robin Thicke. He's always been consistent, well--erm-- except for that little speed bump of Sex Therapy from 2009, but for the most part he has always been in-tune with reviving Marvin Gaye, Stevie Wonder, Donnie Hathaway and all 'em, without just literally covering every single track they treaded or sounded like he's doing Karaoke over Motown backing music. He has always had his own flavor, his own approach and when you sound as deliciously seducing as he does, you can't really find fault. Flying easy and knee-deep in love, Thicke is right back where he started from on Love After War, so breathe sighs of relief because the lover man is here with the chilled champagne, neck kisses, and whispering sweet nothings to boot.
In all of her bee-stung pout to Instagram-ness, Lana Del Rey is one to watch by the time 2012 comes barreling around the corner. In the time that her melancholy melody, "Video Games" enchanted with it's taunt brutal weep, there were those who were quick to pass judgement. I've seen an array of jeers towards her authenticity as an artist to those focused mainly on her lip "injections" and really, it's a bit premeditated, especially for someone who doesn't have a stack of albums and awards to stand on.
Lana Del Rey might be a pretentious indie party that many feel that their not invited to, but there is something about her grainy voice that shines through all the artsy-fartsy stitch and it warrants some attention. Take for instant the title track of her official solo debut, Born To Die, which got a leak over the weekend. It's yet another vintage spread of orchestral lush-a-boom noir that doesn't steal "Video Games" thunder, but compliments it. Then there is Lana's voice in all of it's drolling boredom and it's very appealing to the ear. Four out of the six songs from her, I've instantly liked, and this one is one of them, therefore Lana is on my radar, as a singer---not as a lip injection impresario.
If you feel as I do, you're anxious to see what Born To Die has to offer, and we'll be able to see if Lana Del Rey can live up to the hype when the album hits the shelves when January of 2012 is on it's last legs.
I don't know what I was doing during Christmas of 1997, but obviously something was more important than seeing Aaliyah charming the trimmings off the tree during the annual Christmas In Washington TV special. Even President Bill Clinton (dang, you know this is old) was awe-struck as Aaliyah gave "The Christmas Song" and "What Child Is This" some tender loving care.
She was not the most powerful singer ever, but Aaliyah was always effective and she gives a real rich and heartfelt performance with these traditional holiday tunes. Yes, there is a slight undertone of melancholy to be had when hearing these renditions, especially when you realize that this concert was recorded during the time where she was on the expressway towards big success. In order not to think about what (tragically) became of Aaliyah and all the coulda/shoulda/woulda beens, these long-lost and somewhat forgotten performances are the good times that I'd like to remember about her. Take a peek after the cut to get that warm n' fuzzy holiday feeling inside ya from a true angelic voice.
1. Chasing Bio-Pics: Just when I've been listening to nothing but TLC all week, along comes a curious news item that concerns them. Ironic, isn't it? VH1 is prepping to launch a music bio-pic series because it finally dawned on them that *shock! awe!*---they are an actual music channel. The Hollywood Reporter relayed that the first project VH1 is cooking up is a tele-film about the R&B trio. This tele-film will be penned by Kate Lanier who was responsible for the scripts of Tina Turner's bio-pic, 1993's What's Love Got To Do With It and---no judgey judge--- Mariah Carey's 2001 flick flop, Glitter. You can breathe easy again because T-Boz and Chilli have signed on as consultants and executive producers for the project. The flick is said to chronicle the band's formation, their impact on the music scene throughout the 90's, and the tragic passing of it's member, the spitfire spunktress herself, Lisa "Left Eye" Lopes. Yes, the group's issues with bankruptcy and the infamous house burning incident will also be brought to light---because that's the meaty soap operatic stuff that makes a bio-pic. As TLC are some of my she-ro's and one of my all-time favorite groups, this flick is right up my alley. Not to mention it sounds like it's going to be a delicious blend of Behind The Music and a over-the-top Lifetime movie. Can't wait. *rubs hands together*
2. El Camino: I have been meaning to say some words about Bluesiest duo from Ohio, The Black Keys after coming oh-so-late to listening to last year's Brothers---and now is the time to say some thangs. As there are a few albums left for me to digest before I start compiling my 'Adventures In 2011' year-end wrap-up, The Black Keys' El Camino is one of those last albums in the barrel that I'm looking forward to getting immersed in. Produced by Danger Mouse, and already in high anticipation after the quirky promo video for single, "Lonely Boy" went viral, the duo is keeping the momentum going by teasing fans to five songs on the album before it drops next Tuesday---how generous of them! Listen to five out of six tracks from El Camino (you have to hear "Little Black Submarines" and "Sister" before the day closes---juicy stuff) on the Black Keys' official page to whet the whistle for what's to come soon.
Now that it's the first of Deceimbre and that there's (finally) a somewhat cold snap down here in the Lone Star State, it's time to properly get into the holiday spirit and who better to 'shake' and wake things up than Natasha Bedingfield? She's kicking off this series, a series where I'll be posting some holiday cheer every once in awhile on this blog until day 25.
Always the Queen of Positiveness, Nastahsa has a Christmas treat that is about as saccharine and teeth rotting of the treats you'll be scarfing down this season---and you'll listen and you'll love it because you can't really hate Natasha for walking on sunshine every day (even though, to me, it sounds like she recycled the beat of her 2009 single, "Strip Me" to back this---womp). Natasha bounces along on this Train cover track that is the official song for Coca-Cola's holiday campaign, so you'll be hearing a lot of this joyful track in the coming weeks. Natasha also sang the song in several other languages in order to appeal to all walks of life this holiday season.
With the big bad recession still laying folks off and keeping spirits down, it's nice to hear someone having some sort of cheer.
On a day to day basis, I find out that I'm surprisingly not that subdued enough for dub-step wonder kid James Blake. I wish I was, but alas I'm corny and bouncy and will rather listen to Debbie Gibson instead because hell, melancholy melodies don't always cure the mopes--cheesy pop does. Sorry if you're one who can find musical rapture with his self-titled debut album. I envy you, because I wish that there weren't moments on it that reminded me of when out of boredom I'll do Google Translate Beatbox (loads of pointless fun at link). Still when Blake puts his vocals to good use like on Feist's "The Limit To Your Love" and original track, "The Wilhem's Scream"---that's when I perked my ears up and care---because he sounded great on those and had this spaced out Hall & Oates thing going on.
I also care when Rahsaan Patterson sings, like really really care. Such the case when he tries James Blake's "The Wilhem's Scream" on for size and well---wins. He pulled out this cover and smothered it over really nicely during a live stint in the UK back in September during promotion for his excellent Bluephoria project. Someone had the good sense to record this on their celly and upload it, and here it is for your enjoyment if you missed out on it the first time this swirled around like I. After the cut is James Blake's original, just so you can compare and contrast.
