Tag Archives: Alicia Keys

Anatomy of THE Groove: “The Gospel” by Alicia Keys

Alicia Keys is an artist whom myself and Henrique both have similar thoughts on. Both of us agree that she possesses the musical talent and understanding to be a major soul/funk/ jazz force for the new millennium. That being said,her albums have generally focused on instrumentally dressed up pop piano ballads-with simplistic notes that (quite frankly) do disservice to Keys’ musical abilities. Since this is such a common approach now with artists such as Sam Smith,Adele and John Legend,it even came as a surprise to me that on her November 2016 album release HERE,Alicia Keys musical vision has begun to change.

One of the first steps towards this change was Alicia Keys decision to not wear makeup for the time being. She saw the focus on the affectations of her appearance as getting in the way of her musical talent. As a natural beauty both without and (most importantly) within, Keys’ choice is a very admirable one. This year,with the Knowles sisters Beyonce and Solange both making powerful pro black album statements,Keys made a comeback with a very similar vibe to it overall. Generally a rather stripped down jazzy album, HERE  is also home to a very powerful opening song called “The Gospel”.

Keys starts singing to a piano riff that,while playing in the European classical meter,is deep in the blues pentatonic scale. She adds some honky tonk style reverb when the drums kick in. These drums are mixed somewhat higher than the piano-playing a very strident march. Keys sings the song in a fast,modern rap type rhythmic style. On the refrains,she chants “yeah yeah yeah” in the gospel soul style similar to the vocal harmonies on Funkadelic’s 1971 groove “You And Your Folks,Me And My Folks”. This is the pattern within the song that repeats until fade out.

“The Gospel” is a tense,brittle song. And its about tense times. Musically,its very much like a modern early 70’s funky soul inspired hip-hop record-especially with it being based around a pounding,extended vamp. Lyrically,its very much of a revisit of similar themes to Stevie Wonder’s “Living For The City”. Since this is not an instrumental opus with many complex parts,it focuses on a lyrical setup that doesn’t so much offer hope. But rather it paints a picture of lower class black life and a call to protest-asking “if you ain’t in the battle,how you gon’ win the fight?”. This makes it a very different type of Alicia Keys song.

 

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Anatomy Of THE Groove For The Brothers And Sisters Who Aren’t Here: : “Million Dollar Bill” by Whitney Houston

As strange as it may seem, Whitney Houston has been gone for five years as of yesterday. The tragedy of her and Bobby Brown’s only daughter Bobbi Kristina last year kept me away from writing about any of Whitney’s music on this blog. Of course with a good amount of time away from the negativity surrounding both of their passing bought Whitney’s positive musical triumphs back into perspective for me. Known primarily as a balladeer during the bulk of her career,the huge voiced singer continued to make quality comeback albums during the 90’s and early 2000’s whenever her personal situation allowed. By roughly 2004,even I had to admit she seemed to just disappear from the music scene.

In the late summer of 2009,Whitney burst back onto the scene with what turned out to be the final album she released in her lifetime. This album I Look To You was a very happy surprise for me having been recovering from the then recent passing of another 80’s era musical icon Michael Jackson. It was one of neo soul’s shinning stars in Alicia Keys and her then relatively new husband Swizz Beatz who really came through for Whitney on this album in terms of writing. And right at the beginning too because while the couple only appeared once here,it was a very memorable one at that. The result was “Million Dollar Bill”,a song that for me is one of Whitney’s musical triumphs of her latter days.

A fanfaring drum role starts off the songs 4/4 beat and accompanying chordal bass thumps. The refrain of the song features an elaborate drum solo that keeps putting itself in and out on the one with it’s brushing/cymbal work. It goes from subtle to right in your face right along with Whitney’s scaling,climactic vocals. The rhythm is kept going by a phase filtered Fender Rhodes electric piano right out of the Gamble & Huff school of mid 70’s uptempo Philly dance records. That keyboard solo occasionally takes on a higher,chiming tone on those more subtle moments.  The instrumentation takes a total break for Whitney’s final chorus before closing out with a final burst of music and vocal power.

Actually this is one of my very favorite Whitney Houston songs ever. With her huge gospel/soul pipes, I always wondered why she didn’t tend to make uptempo songs a huge priority. Especially since she had so many excellent ones anyway.  This song gave a modern production flavor to a classic disco era Philly uptempo dance groove. Especially with how Whitney’s go from nuanced to soul shouting right along with the drums-which themselves go from a light brushing sound to being heavier and higher up in the mix. It also shares a similar juxtaposition in tempo as Diana Ross’s “Love Hangover” as well. Take n on it’s own,it’s one of Whitney’s finest uptempo numbers.

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Filed under 2009, Alicia Keys, disco funk, drums, Fender Rhodes, Funk Bass, Philly Soul, Swizz Beatz, Uncategorized, Whitney Houston

Funky Firsts: Andre’s Look Back On Key Moments Of Putting The Grooves On His Record Racks

Reading the autobiography of Amir Questlove Thompson entitled Mo Meta Blues has been very inspirational to the way in which I present my blog. Especially in the fact the book presents interstitial chapters between the main ones. These shorter chapters illustrate classic funk and soul albums Questlove heard growing up. As well as how they intertwined with different events in his personal life. This has long had me brainstorming about a similar concept as to how this music has been involved with my own life story.

There’s no particular rhythm or reason here. This isn’t a list of all of my first exposures to specific artists. Nor is it just musical events that personally impacted me. It includes both,yet what I’m focusing on here is all about the synergy of life and this particular art form and how it effected my outlook on music. All the way up to this blog here. There’s going to be a mixture of different stories and emotions here. And of course some important things might not get covered-possibly to be done as they come back to mind on another,similar post. But for now? Enjoy these stories!

First Album I Purchased On Cassette Tape

Music Of My Mind

I’d been listening to Stevie Wonder for many years before this. But I was deep into a literary research through the All Music Guide and read a description of this album as being Wonder’s first artistic breakthrough but that compared to what came after quote on quote “it paled just slightly”. Often times writing can cloud a music’s listener’s judgement on the auditory musical experience. At the time however? That’s exactly how I felt about this album. Musically my tastes and understanding had to grow into this album,rather than the album accommodate me.

First Album I Purchased On CD

The Jacksons

Actually this is by no means the first CD I ever owned. But it was the first one I purchased with my own money. 1994-1995 was ‘the year of the Jackson’s’ as it were for my life. The story of how the brothers signed to Epic Records to gain creative control was really fascinating me,something I was feeling inwardly as an artistic adolescent. So one day I was browsing the old Strawberries Records with my friend Joseph Stone and came across this album for $9.99. That’s just what I had in my wallet. For the next few weeks? Felt like “Think Happy”,”Show You The Way To Go”,”Enjoy Yourself”,”Living Together” and “Style Of Life” were the only songs I wanted to hear. And all were (and still are) very positively effecting on my day to day life.

First New Music I Purchased Through A Record Club

Isley Brothers Mission To Please

Turns out in writing this? I discovered several important musical firsts for me in the year 1996. While an active member of the BMG Record Club? They offered a featured selection that,if purchased at full price,would allow you to get a number of free CD’s.  This was one of them. I was reading a lot about the Isley Brother’s in Rickey Vincent’s book Funk at the time. And his description of the Isley’s as “the epitome of funky manhood” made this an easy choice. At the time? I was not keen on contemporary R&B at all. But something about the vibe R.Kelly created for this album is still appealing to me.

First Album Recommended To Me

Travelling Without Moving

Technically it was my mother who ended up purchasing this album. But I remember she and I had taken a rather long bike ride to Strawberries. And ran into a friendly young sales associate named Jeb. We got into a conversation about P-Funk and George Clinton. He mentioned in the conversation that a new band who were in a similar funk vein were Jamiroquai. And this was their newest album out. At the time I didn’t see how this had any resemblance to P-Funk at all. Of course I had yet to hear The Electric Spanking Of War Babies. Still as a channeling of psychedelia with the live instrumental boogie funk sound began a continuing interest in newly recorded funk music.

First Multi Album Set I Ever Had

Emancipation

1996-1997 was when I was seeking out any and all things Prince related. From his own music to his famous (and infamous) protegee’s. Seeing Prince and than wife Mayte on Oprah performing songs from this album,talking about his art and life,went right along with the appeal of this album. It is such a sprawling 3 CD set that,to this very day,I have yet to have heard the entire album. Something that I intend to change in the very near future.

First Piece Of Used Vinyl I Remember Purchasing

Earth, Wind & Fire - Faces

When Dr. Records was still in it’s original basement location in the college town of Orono,Maine? I remember having $5 dollars in my pocket and seeing this album on vinyl-yet again at just the right price. Had been collecting EWF’s 70’s classic on cassette tape already and was at this point upgrading to CD’s. This one was a bit expensive for me at the time. But the vinyl of this album was a different story. On the way home from the store? I remember feeling the raised gold letters of the bands name on the cover,and staring at the random photographs of people on the inner sleeve-not to mention the members of the band members and the Phenix Horns,which were proudly stated on the vinyl sleeves. The happiest surprise was to get home to find the album also contained the original poster of the band in full EWF regalia. Still have the poster,later picked up the CD but none of it eclipses the excitement of that 15 minute car ride home from picking this up as a vinyl album. Almost a brief history in how a classic funk band presents itself.

First CD I Purchased After The New Millennia

Alicia Keys

After the arrival of the year 2000,in those 500 or so days between then and 9/11? I kept feeling like the world of futurism was just about ready to happen. Flying electric cars,sustainable ergonomic homes,all of it. Another exciting event during the winter and spring of 2001 was seeing the face of this 19 year old singer/songwriter/musician from NYC who was about to break out almost exactly the same manner as Whitney Houston had, with Clive Davis and the whole deal. In all honesty? The albums contents were so far removed from my musical journey at that time,it didn’t quite live up it’s hype for me. In a lot of ways it still doesn’t.  But it succeeded in whetting my musical appetite for a promising new and popular musician. Something that was extremely rare in an era saturated with performers.

First CD I Purchased Online

Imagination Body Talk

Even at the time,the years 2002-2003 were weary and sad times with the dashed hopes of the immediate post 9/11 era. Interestingly enough,this was a time when I began exploring psychedelic 60’s classic rock and fusion more as well. The roots of this discovery was when I heard the song “Flashback” on a compilation belonging to my families late friend Janie Galvin called Pure Disco. It was by a British trio called Imagination. Loved the songs stripped down electronic groove. But it was when I’d just gotten online for the first time at the local public library computer.  Discovered that this album was kind of famous in post disco circles. My quest to order a CD copy led me to sign up for my first checking account so I could get a used copy off of Amazon. Body Talk turned out to be an excellent album. And was also the beginning of the end of my days as a member of the already fading mail order record clubs.

Biggest Surprise I Discovered In A Used Vinyl Record Store

Ghetto Blaster

It was on a ride home with my father after purchasing our first Toyota that I first heard the Crusaders. It was actually my first exposure to a complete jazz-funk band. One day I was crate digging at a now defunct record shop in Camden Maine called Wild Rufus. And there was this album for a dollar. On the back,it had a photo of Leon Ndugu Chancler with the band rather than Stix Hooper. Was deep into Ndugu at the time with my involvement with DJ/musician Nigel Hall,and our mutual interest in 70’s George Duke. So that actually peaked my interest as well. I had no idea the Crusaders were making records in the mid 80’s. So hearing them with a more synthesizer driven electro funk style was a very happy surprise for me,and probably my turntable as well.

First CD I Reviewed Online

Parliament (1978) - Motor Booty Affair (A)

For reasons that I don’t fully understand? Amazon.com forced me to create a totally new account with them when I couldn’t remember the password to my first one. So the reviews on that first profile are still floating around out there. So this is only my first Amazon review on this new account,the one I continue to use up to this very day. I remember posting the review on December 3rd,2004. That was also around the same time my family got it’s first PC,a Toshiba laptop to be specific. So this was also my first time dealing with that computers joint Windows account system

Link to original Motor Booty Affair review here*

First Time Hearing Questlove As A Producer

Al Green Lay It Down

Now the main reason I’m talking about this is because Questlove’s writing directly inspired this blog post. Prior to 2008? I knew of Amir not by name,or nickname. Only as the guy with the pick in his fro who drummed for The Roots. And I felt a lot of their music was rather bland for my personal tastes at the time. When my friend Henrique told me this man,named Questlove,was producing a comeback album for Al Green? I was skeptical. What I didn’t know was that Questlove was a session drummer at heart. And rather then make his own record here? He produced a total Al Green record-directly in the Willie Mitchell mold.  This significantly broadened my admiration and respect for Questlove. And for that matter other hip-hop live instrumentalists/producers who could tailor make records for iconic artists they respected and admired.

First Funny Music Buying Twist Of Fate

Rufus Stompin At The Savvoy

This could be a very long story. But it still makes me laugh at the absurdity of it all so will endeavor to condense it. 18 or so years ago when I was first getting into Rufus & Chaka Khan? I kept noticing this double CD on sale at Borders Books & Music in Bangor. With it’s $30 dollar price tag? I never gave it any thought,knowing only it was essentially a live album from the early 80’s. While that store always shuffled stock? This CD remained there at this same price into the new millennium. Finally in 2011 Borders closed down shop nationally. And all their stock,including CD’s,went on drastic mark down. I went there and bought a lot. Even saw other double CD sets marked down to $15 or less. Sure enough? Still this particular album seemed like the only one that never went on sale even at the bitter end.

Flash forward to about five years later. I’d noticed that this album was commanding prices well upwards in the double digits on Amazon and ebay.  And used no less. So one day a month or so ago while checking the website of my local record store Bullmoose? I noticed one of the stores had a used copy of this CD for under $10. So I picked it up. And as of today it’s one of my very favorite Rufus albums-with powerful live performances and great funk and jazz based studio tracks. So for an album that for almost two decades an album whose pretense in my life seemed to engender either reluctance or regret? A very happy musical experience came out of it in the end.

 


You might notice that the firsts indicated in this blog come primarily out of one spectrum of music. This wasn’t deliberate exactly. During my time online? I noticed many nostalgia based Top 10,20,50 music lists. With all kinds of subtexts. Still most people’s important experiences with music came from awkward moments with their peer group in terms of context. And the music that tends to be part of their journey is invariably punk or alternative rock of some variety. Occasionally even soul,jazz and blues too. And there’s absolutely nothing to be condemned about that. Any way that brings one to the joy of music has great meaning.

This blog actually extends into the very root of this blog. One can browse for info on the funk genre  and it’s offshoot musical children (such as disco and fusion) online. And they will album reviews,songs posted,downloads and a good deal of nostalgic comedy. But both Henrique and myself observed a void. One where there was litttle to no serious,well rounded online journalism on funk to the degree writers such as Rickey Vincent had done in the literary world. My aim with posts such as this is to help give the funk music spectrum the level of analyzation  and respect rock and jazz have received on the internet. And hopefully these personal stories will do so in an enlightening and amusing manner!

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Filed under 1980's, 1990s, 2008, 2015, Al Green, Alicia Keys, Amazon.com, Chaka Khan, classic funk, crate digging, Crusaders, Disco, Earth Wind & Fire, Funk, Fusion, George Clinton, George Duke, Imagination, Isley Brothers, Jamiroquai, Joe Sample, Late 70's Funk, Music Reviewing, Neo Soul, Nigel Hall, Prince, Psychedelia, psychedelic soul, Questlove, R.Kelly, The Roots

Andre’s Amazon Archive Special Presentation: ‘The Diary Of Alicia Keys’

Diary of Alicia Keys

Alicia Keys created quite a stir the entire summer before her debut album Songs in a Minor hit the record racks with one of the most intense promotional campaigns to have come around since Bruce Springsteen in the early 70’s. That album,which looked to blend Alicia’s mixture of European classical music and American jazz-funk with hip-hop beats wound up being a bit hyped and it’s hit “Fallin” became a bit overplayed and it would’ve been almost easy for Keys to wind up less hip and more hype,if readers here will forgive that lousy slogan. A couple years later Alicia came back with her second album which would make her or break her as the serious musician/singer/songwriter that she always was. This time the promotion was more genuine and she wasn’t as caught up in the “I’m going to save R&B music” kind of manifesto that accompanied her first album. She was therefore more free to be herself and the result is an album that in basic terms cut back on some of the heavier hip-hop beats and concentrating on her ability to craft music like a fine knit sweater.

The tapestry she comes up with here is built a lot more around her piano based chord progressions and her flexible vocal styling’s. Overall it’s a very musicianly album that doesn’t have the immediate commercial appeal you might expect but even on one of it’s most powerful and popular songs “You Don’t Know My Name”,her second big hit actually the music has a finely arranged retro soul flavor with some some beautiful,avant garde jazz styled high piano chordings that give the song it’s hook. I liked the fact she reached outside the pop idiom for the hook on this song-it also matches her high pitched,passionate coos on the refrains. The same flavor crosses over into the spirited medley of “If I Were Your Woman/Walk On By”,”If I Ain’t Got You” and the title song.

The final song “Nobody Not Really” has one of the most intricately chorded piano part since Stevie Wonder’s “I Gotta Have A Song” so basically this consists of immaculately produced and arranged,mid-tempo jazzy soul/funk tunes with some expressive vocal changes and personalized lyrical themes. On the songs that do feature something more of a hip-hop flavor such as “Karma” you have a great song with a very stiff rhythm and that kind of keeps it from being a complete masterpiece. But overall it’s actually one of the closest places Alicia has come to a consistently fully realized album and expresses her artistry for what it was rather than as something that has too much of a deliberate intention behind it.

Originally Posted On August 16th,2010

Link to original review here*

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Filed under Alicia Keys, Hip-Hop, Jazz-Funk, Neo Soul, Soul, Stevie Wonder

Andre’s Amazon Archive for June 14th,2014: ‘The Miseducation Of Lauryn Hill’

lauryn_hill-the_miseducation_of_lauryn_hill

During the time this was released,as another review pointed out,this kind of music was being thrown in everyone’s face whether they wanted to hear it or not.I must admit in the late 90’s I was far more energized by the music of Prince,Stevie Wonder,P-Funk and they like and not the various hip-hop music’s they were inspiring at the time. I wanted the “real thing”. To my way of thinking the whole hip-hop/R&B genre in general seemed to be exploiting R&B’s past just to promote cut-and-paste music based on samples and such. It was hard to not that in the midst of all that original new hybrids like this were being created.Yes it was heavily hyped,yes it was deemed a classic before by the time it was a year old or so. But all the saturation aside I wanted to listen to this after it’d had some time to influence people. Well it turned out,as I said to be just over a decade. And after listening to this project as a whole at this point I get it.This is THE album that inspired the thoughtful,conscious solo female neo soul genre out of which has come Macy Gray,Angie Stone,India.Arie,Alicia Keys and more recently Solange Knowles.But it all started here.

The music on this album still has close links to hip-hop.Songs such as “Lost Ones”,”Forgive Them Father” and even the hugely popular “Doo Wop (That Thing)” have Lauryn rapping quite a bit along with singing.It’s to her credit she has such broad talent in both.Lauryn’s rapping style has always been assertive,direct and too the point and her deep,gritty and rangy voice-with it’s strong pathos and emotion is quite the spectacle to behold. The emotional and spiritual breadth of songs such as “To Zion” and “Forgive Them Father” is unbelievable. Through her spiritual quests Lauryn revolves her own issues with femaninity and the male players in her life in a surprisingly broad scope.”Superstar” actually finds Lauryn illustrating a pointed sense of humor to address what she saw as a serious issues;the hype many mediocre or plain “wack” rappers were receiving at that time,and in every way the message behind the tune resonates all the more today.

The first five songs actually containing interwoven interludes (tastefully done and integrated into the actual songs unlike usual) that illustrate how the album title is part of a certain concept;a group of women,one voiced by Mary J Blige in a classroom discussing different,mature points of view on love from songs,actual relationships,etc.In the midst of all this is “Ex-Factor”,possibly one of the greatest songs Lauryn ever did-very much in the Aretha/Etta James spirit with it’s scarred outlook on love and strong gospel overtones,from organ swirls to the horn blasts. The tone of that song is repeated on the title song which extends on the same theme of rediscovering self truths at reaching physical and emotional maturity. Along the way there is even time for warm nostalgic reflection on “Every Ghetto,Every City”,a wah-wah drenched 70’s style funk fest which is right up my alley and the lyrics are right on time too.

There are two tracks,which are listed here but not on the album jacket.One is a beautifully soulful rendition of Frankie Valli’s “Can’t Take My Eyes Off Of You” that utterly transforms the song from teen romance into intense passion.A live version of the song “Tell Me” is also included.Taken together this quirky artist with her uniquely self reliant outlook and terrific lyrical ability only seems to have released one full length studio album so far.And if this is her first and only release it would sure be a good thing to stand on because,given a full decade to gestate it really has had an influence on an entire sub genre that has grown to mammoth proportions ever since.And all the while this done now indeed stand alone as a modern classic.

Originally Written On March 5th,2009

*Link To My Original Amazon Review:

http://www.amazon.com/review/R36P7MAW2I5UGW/ref=cm_cr_rdp_perm?ie=UTF8&ASIN=B00000ADG2

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Filed under Aretha Franklin, Lauryn Hill, Prince, Sharon Jones & The Dap Kings, Solange', Stevie Wonder, Street Musicians

Andre’s Amazon Archives for March 22nd,2014-Pharrell Williams ‘GIRL’

Pharrell  Pharrell Williams is one of a scant few who’ve emerged,both on his own and as one half of the Neptunes,that has been striving for musical eloquence in his approach to soul/funk. And as much as I admire the uniquely vital musicality of the artists I’m about to mention,for Pharrell finding that sound for himself has been largely dipping into the often under explored well of the post James Brown/pre-Prince funk era-which would encompass approximately 1977-1980. When I first heard his music with NERD,it deep seem that one challenge Pharrell might be facing in the long run was a tendency to be too self consciously eclectic in terms of his musical approach. If rhythmic and instrumental diversity flow through you organically,that’s fine. However if one is just doing it to fit in or be critically credible,it can eat up ones creativity from within. I am still not sure in Pharrell’s case here where he came from in that regard. What I do know is that last year his productions for Justin Timberlake’s The 20/20 Experience,Robin Thicke’s Blurred Lines and of course the Grammy winning Daft Punk album Random Access Memories demonstrated that Pharrell was strongly re-introducing pre hip-hop era funk aesthetics back into the modern soul/R&B framework. So when I learned just under a week ago he was releasing his first solo album in many years,I was very excited to hear how this funky revelation as a producer would effect his own music.

“Marilyn Monroe” begins the album with a very insistent bass/guitar oriented dance funk groove that’s bought further to life by some sumptuously soulful string arrangements. “Brand New”,featuring Justin Timberlake’s showcases the similarity in Timberlake’s and Pharrell’s approach to a groove: again in this case a very thick African inspired percussion part with a lot of breaks and slippery,catchy melodies,and of course some wonderfully bright and fan-faring horns. “Hunter” is one of my very favorite pieces on this album. It has a very thick and metallic bass line and a very steady percussive flavor which recalls some of the deepest and most authentically funk oriented songs one could ever imagine. “Gush” and “Gust Of Wind”,featuring Daft Punk on vocorder, showcase how perfectly comfortable Pharrell is in the milieu of that late 70’s disco era funk sound-when the genre’s uptempo music was retreating from the “4 on the floor” stereotype into the more streamlined and sleeker productions and instrumentation. The sounds of Chic and even the somewhat lesser known funk band Slave are all over these songs from top to bottom-along with Pharrell’s strong adhesion to staying eternally on the one. “Happy”,the big soundtrack hit from this album is a lively uptempo soul number strongly recalling the mid 60’s uptempo soul vibe of Arthur Conley and such-especially with it’s clever outlook on human emotion with it’s chorus of “Clap your hands if you feel like happiness is the truth”. “Lost Queen” goes for melding a modern hip-hop arrangement with a South African folk styled focus and percussion arrangement. Personally? I don’t really feel the meld takes on this particular musical fusion.

“Know Who You Are” is a strongly crafted and instrumentally thick soul/funk/pop number featuring a duet with Alicia Keys. Keys,not known much these days for doing live instrumental uptempo tunes,shines like a glistening crystal on this song. The last number “It Girl” features a somewhat cooler approach to the same sound,and a jazzier one at that with an instrumental electric piano section closing out the final minute or so from the song. This album completely succeeds on almost every level instrumentally. By focusing on studio production of live instrumentation,Pharrell has actually broadened his musical horizons as a solo artist quite significantly. And his non stop focus on funk,percussive rhythms and new ways of re inventing melody on this album fully explores his true musical heart. As wonderfully colorful as the funk on this album is? It is by no means a near perfect masterpiece. Sometimes,if you can imagine it Pharrell stays on the one a bit too much on some songs. This gives the effect of being more like a digitized skipping record than a fluid live band (even though that is present here quite a bit) now and then. And though he does approach the subject eloquently on many occasions,Pharrell’s constant skirt chasing here also drags on which,in the case of me being a very commitment minded homosexual is sometimes downright lyrically un-relatable. But even if one is emphasizing this albums flaws,its definitely a step in the right direction if we’re talking about funk functioning in the contemporary musical idiom. And definitely another feather in Pharrell’s musical cap and for a second time in his career,doing it with himself as the star of the show.

Originally Posted On March 4th,2014

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Filed under 1970's, Africa, Amazon.com, Funk, Music Reviewing, Neo Soul, Soul