Category Archives: Kelis

Albums Matter: Andre’s List Of The Top Funky Full Length Albums Of From The Past Five Years

Prince At the grammys

The 57th annual Grammy Award ceremony’s this past Sunday seemed to have surprised everyone. Many performances had a far more serious, even evangelical tone with references to domestic violence and the revived understanding of racism bought on by the police violence of 2014. Maturity and growth were very heavily emphasized on every level-performance and presentation wise. It was Prince,who just released two albums at the end of the last year,who got everyone’s attention-with the words printed above spoken as he presented the Grammy for the best album of 2014.

Prince’s words are what moved me to pick this particular topic for this weeks blog. One very important musical factor shared with my blogging partner Rique is our appreciation and advocacy for the full length album as an important artistic format in terms of how the music we love and are socially moved by is presented. To have someone with as rich a musical history as Prince bring this up at a major award ceremony confirmed the 2010’s have been all about the revival of the album as a driving force in the funk/soul/jazz/R&B spectrum in particular. So here’s my list,year by year of the music on that particular playing field that’s deeply effected my listening.

2010

Erykah Badu Return Of The Ankh

Erykah Badu is always one to throw the unexpected into her grooves. Here her thick,burbling jams blend into songs that are not only a cohesive statement but when sampling is used? They are of things like Paul McCartney album tracks of AOR oriented fusion artists such as David Sancious or Roy Ayers’ Sylvia Striplin. A wondrously sexy celebration of the funk album.

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Janelle Monae here was a key figure in the focus of both my music related blogs with her multi-genre embrace of the Afro Futurist ethic. This album was and is a true game changer in that regard.

John Legend Wake Up!

With both artists always edging just on the border of funk with their own respective releases? The groove burst out completely and with a total fluidity for John Legend and his backing band The Roots-including drummer/producer ?ueslove, for this (so far) one time musical collaboration.

2011

Beyonce 4

Known more for being innovative in terms of single songs,Beyonce’s fourth solo album gained a complete full length flow with a much more mature sound. Including the very polished Quincy Jones/Westlake style production of “Love On Top”.

Lenny Kravitz

Lenny Kravitz always had loads of funk in him. Here and there. Took him a long time before he fully identified with that funkier instrumental groove. And did so on one of his most thorough musical statements to date.

2012

Chris Brown Fortune

With contemporary electronic pop/hip-hop/dance music usually having enough energy to stretch only across a few songs? Chris Brown,during a less than satisfactory period for him personally no less,managed to take the contemporary musical end of his genre and stretch it out successfully longer than I’ve heard most do such a thing in some time.

Antibalas

This explosively percussion Afro-Funk group recording for Daptone were so connected to the original Afrocentric  pulse that spawned the original funk process groups such as Santana,Mandrill and War that following this album they became the backing band for the Broadway musical Fela! A rebirth of full length poly-rhythm at it’s finest!

Kaleidoscope Dream

Psychedelic,meditative and non traditionally structured sophomore release from new comer Miguel.

Victor Wooten

Bassist Victor Wooten saw such depth in this material that he released it both as a vocal and instrumental piece. Very original musical presentation at this time.

Macy Gray Talking Book

Macy Gray bought out her inner Sly Stone for this literal celebration of the album-re-making every song in original order from Stevie Wonder’s 1972 breakthrough album Talking Book on it’s 40th anniversary.

Talented bassist/singer Esperanza Spalding brings out the sprawling mid 70’s jazz/funk vibe for what is probably her most defining album as of yet.

Radio Music Society

Electronica meets boogie funk from a very interesting source blending a hard grooving as well as an ethereal quality.

2013

Toro Y Moi

Potent mix of electronica and boogie/synth funk.

Jyoti

Very bold sound from Georgia Anne Muldrow that embraces dramatic jazz/funk with a boom rap approach to production.

Trombone Shorty

Crescent City native Trombone Shorty presents the instrumental style of horn funk as a genre of sorts all it’s own,with many different tributaries,on this one album.

Apocalypse

Flying Lotus bassist Thundercat brings a huge,cinematic approach to psychedelic jazz-funk.

20 20 Experience

The first of two Justin Timberlake comeback’s this year. Probably a huge re-awakening for the album length music format,complete with 7-8 minute jams,that bough extended soul/funk to the broader contemporary pop audience.

2014

Pharrell

Long time producer emerges as a fully complete solo artist-full of funkified rhythmic energy and shook the world up in a way no funky music has in over three decades with “Happy”.

Kelis-Food

Kelis returns with an album that takes a very JB like organic instrumental soul/funk turn.

Paula

Robin Thicke’s emotionally charged break up album is a full on raw, muscular funk/soul extravaganza

Plectrumelectrum

Prince and the female instrumental trio 3rdEyeGirl become part of the double edged album sword in his studio comeback. It showcases a multi hued psychedelic funk/rock sound where the whole is definitely more important than the sum of it’s parts.

Goapele-Strong-As-Glass

Oaklands own Goapele lends the funk of Pharrell Williams and flowing,piano based jazzy soul/pop on an album that celebrates the flow of musical depth,dignity and elegance.

Black Messiah

D’Angelo shakes the world up with an extremely funkified statement that is still,at the time of this writing,showing people that black lives (and black music) matter a great deal.

2015 (So Far)

Uptown Special

With the month of January often being a driftwood month for new music? Mark Ronson brings Bruno Mars,Mystikal and Stevie Wonder together for some serious,churning “uptown funk? of many colors!


There were honestly more albums than I could’ve seriously listed in this blog that also fit right into it. But these ones made the most important statements on their own terms perhaps. A single song will always say a great deal. But if one impulse or a series of musical/lyrical impulse can be expanded out in a way that expands the mind naturally through a powerfully grooving auditory experience? Than I saw so much the better. So let’s all have it for the musical impact of the album! It’s a key organ in the anatomy of the groove!

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Filed under Beyonce', D'Angelo, Erykah Badu, Esperanza Spalding, Goapele, Janelle Monae, John Legend, Justin Timerlake, Kelis, Lenny Kravitz, Macy Gray, Mark Ronson, Miguel, Pharrell Willaims, Prince, Robin Thicke, The Roots, Trombone Shorty

Rique & Andre Proudly Present 2014: A Year In Funkativity For Andresmusictalk!

Andresmusictalk Year In Review 2014

 

Have to totally agree with my blog partner here Rique and fellow WordPress blogger The International Review Of Music that 2014 has been a tremendous all around year for funky music. And funky is Rique and my favorite kind of music from my understanding. And this year we’ve had that become popular on a massive level thanks to starting the year out grooving with Pharrell William’s “Happy”. This was a global phenomenon-with people all across the world doing their dance to the song on YouTube. For the first time in history,a number one funk song connected billions of people in the internet age. And that alone is no small feat. And one Pharrell should be proud of  for his entire life.

If “Happy” was standing by itself this year? That would have been wonderful. But it did so much more. Kelis and even 90’s quiet storm soul singer Joe released tremendously funky music this year! And massively welcomed comebacks from Prince,Funkadelic,War,D’Angelo and posthumously from the late Michael Jackson were also enormously successful events. In fact D’Angelo’s Black Messiah ended off the year with a major surprise release in the wake of the tragic and highly topical police shooting of Michael Brown in Ferguson Missouri. That album may have had to wait until 2015 to see the light if that dark day hadn’t have shinned the light on the need to talk,sing and play about it.

Since funk was the key to providing not only great music but positive and enriching messages this year? I wanted to conduct our first interactive blog here on Andresmusictalk. There have been many wonderful releases this year in the funky spectrum of sound. Hoping all of you have been enjoying them. So presented below is a list of key funk,jazz and soul related albums from 2014.  Inviting all of you to select which ones interested you most! Wishing everyone a new dance and new vitality of life for the year to come and enjoy the polling everyone! Thank you!

 

Hear Some Of The Best Music In The Soulful Spectrum Of 2014

2014 Remembered: A Year Of Funk-Written By The International Music Review

HAPPY FUNKING NEW YEAR TO ALL!!!!!

 

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Filed under 2014, Chromeo, D'Angelo, Disco, Funk, Funkadelic, Fusion, Harvey Mason, Jazz-Funk, Joe, Kelis, Late 70's Funk, Lenny Kravitz, Lisa Stansfield, Michael Jackson, Pharrell Willaims, Prince, Robin Thicke, Sharon Jones & The Dap Kings

Andre’s Amazon Archive for April 26th,2014: Kelis ‘Food’

Kelis-Food

 

On her previous release Flesh Tone five years ago,Kelis embraced an captivating balance of the modern day EDM sound with the 80’s new wave dance music and Eurodisco music that originally inspired it. While proving herself as a dance oriented artist,she began recording an album with producer Calvin Harris that was to embrace the 90’s trip-hop sound. I hadn’t personally heard about this until now because,from my own viewpoint,Kelis has always tended to lay rather low between her album releases. Though it was clear a new album by her was of course an inevitability, it again came as something of a surprise. Earlier this year,my friend (and current blogging partner) Henrique let me in on the fact that a new Kelis song was circulating online. And that it represented an album that was going to showcase a major change of musical direction. Of course,that has been Kelis’s MO from the moment she first came out. And even for that,so far? Most of what she’s released has been variations on a certain theme. So there really hasn’t been a major artistic leap for her since she first debuted at the end of the 1990’s. This album promised to change all that. And it actually delivered on that too.

“Breakfast” begins the album with the live band playing on this entire album showcasing a mid 90’s style hip-hop/soul/pop/dance type song with an ode to a very fulfilling type of love. “Jerk Kiss” is the song that bought me to this album-a shuffling,lilting song based in rining percussion and a wonderfully complex jazzy bass line and African Boogaloo style horn punctuation for an album ideal post modern funk stew and really still my favorite number here-especially with its triumphantly melodic choral refrain. “Forever Be” blends an a post punk pop/rock sound with psychedelic string orchestration with a rather Egyptian style chorus. On the spare ballads”Floyd”,”Rumble” and the uptempo soulful stomper of “Friday Fish Fry” Kelis and the band embrace the blues very heavily-with her smokey voice providing the honest atmosphere needed. If its serious funk your looking for? “Hooch” delivers the perfect storm groove with the drumming,bass/guitar bottom accents,bell-like percussion and strong,building horn lines. “Cobbler” mixes a strong Afro-Latin percussion flavor into the groove-again with the bass and horns leading the way. “Bless The Telephone” is a quietly melodic South African sounding acoustic guitar based folk melody. Following the Eastern oriented melody of the epic production in “Change”,the album ends with two complexly jazzy and melodic numbers “Biscuits And Gravy” and “Dreamer”-on which Kelis declares her creative manifesto in the most eloquently poetic terms lyrically.

Upon listening to this album initially? I didn’t really like it all that much. There is a certain type of under produced live instrumental sound that seemed to derive out of Time Out of Mind era Bob Dylan that…well I don’t think fits very well with every creatively minded artist that happens to come around. Actually heard it most recently on Elvis Costello and The Roots Wise Up Ghost,which I am still not exactly fond of for that same reason. On the other hand,once I listened to this album as a whole it became clear that it is actually very in keeping with Kelis’s musical evolution. Recorded with Dave Sitek as producer,Kelis has recently stated that the album was not intended to follow along a particular line of musical credibility. But was rather a means by which to capture the feeling of the classic soul and funk albums of her parents record collection. Utilizing a full live instrumental sound for the very first time,this album has some of the strongest funk grooves Kelis has ever recorded. Not only that, but in terms of melody and instrumental style Kelis not only embraces American soul music but African soul as well. The voiceings of the horns,bass lines and of course percussion effects spring right from the same source that originally inspired James Brown’s funk innovations. So what Kelis does here-mixing American soul/R&B,blues rock and Afro-Pop type grooves in a live equivalent of the contemporary idiom? She is reviving the idea of what some refer to as the “funk process” album for the modern age: building from post hip-hop styles to recreate a new funk. In the first listen,it may not be apparent. Yet digging a little deeper? Kelis is delivering here the type of album that has the power to revitalize live instrumental soul/funk on an enormous level if properly followed through. An album surely worth hearing!

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Filed under Blues, Disco, Funk, Funk Bass, Kelis, Music Reviewing, Pharrell Willaims, Soul

Anatomy of THE Groove 4/25/14 Andre’s Pick: “Jerk Ribs” by Kelis

Harlem native Kelis Rogers comes from the area of New York known for its black cultural renaissance of the 1920’s. She comes from a background of both fashion and music-her father Kenneth being a jazz pianist. Over time she developed a flamboyant personality that,while stereotypically getting her in some trouble at different points in her life,has also given her a somewhat rare understanding about the vitality,soul and groove of the music she’s done. Making a name for herself in the millennial transition produced by Pharrell Williams/The Neptunes on songs such as the hugely successful and influential “Milkshake”,Kelis has continued to move forward towards a musical sound that would successfully fuse the music she listened to and loved growing up with contemporary production elements. Realizing perhaps the frustration in trying to achieve that musical fusion, Kelis has opted this time around for the full on live band for her newest album Food and its lead off song release “Jerk Ribs”

It all starts out with this slow,shuffling percussive groove with a bass line that’s lifted directly of the influence of James Brown’s early 70’s musical innovations. In a chocked,dreamy tone of voice,Kelis paints an autobiographic picture of a life growing up where-even during the more difficult late 20th century in Harlem,  the very streets seemed to be wrapped up in musical rhythms. She spoke with great veneration for her father-singing the moving line of “He played the notes and keys/he said to look for melody in everything”. Before each chorus, her horn section plays a melodic fanfare that seems to be calling out to the listener to physically participate before scaling strings introduce the chorus illustrating “it feels just like it should”. As the song goes on, Kelis sings of the bass (note she mentions that first),the brass and strings vibrate through her-stating of it all that “I love everything”. By the end of the song,her happily nostalgic state elevates even to her present day as the fanfare of the horns keeps up steadily until the groove finishes off.

One of the most important things about this song is that it strongly emphasizes the influence on James Brown’s funk music style from Ghanaian “highlife” music from that era. The joyous sounding fanfare of the horns that instrumentally help define this song drip alternately with precision and a strong appreciation for the Afro-Pop interpretation of the blues. The bass line is,as is a signature of funk in general mixed up very high. Its clear Kelis wants it to be known strongly that the electric bass is a key factor to keep a fat bottomed groove strong and vital. In a way this song more eloquently extends on themes her former producer Pharrell has recently coined on his enormously successful “Happy”-the idea that being in a state of joy is a source of strength. In the case of Kelis,the source of her joyful strength comes from the joy of music that was always with her from childhood. Her picturesque imagery of music itself in these lyrics make musical sounds seem like a tangible thing one can wrap themselves around like a blanket. It is the funk/soul groove as a source of love,joy and inner peace. And the more I hear it? The more I realize this song just has to resonnate with many other people on that level-the way it does with me. Truly Kelis’s most powerful musical visitations upon humanity this far.

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Filed under 1970's, Africa, Blues, Funk, Funk Bass, Kelis, Pharrell Willaims, Rhythm, Soul