Nov 4, , 3: The radio landscape in is painfully narrow landscape, but this album feels delicate and painstakingly crafted. All these years later, it is impressive that he has really reinvented himself within the worlds of country and bluegrass.
It's fitting that he has found such a match in Brickell. Producer Peter Asher also helps them capture the right tone. This, too finds them removed from their typical bluegrass framework, although Martin does deliver a tender banjo solo. This record tries really hard, mostly by packing in high-profile guests.
And one wonders still if G. Love real name Garrett Dutton is still an appropriate voice to carry on the old-school blues tradition. Some may accuse him of cultural misappropriation. It has always been a concern with his music. The worst part is G. Keep in mind, that accent that G.
Love sings in is a completely put-on pose. Aside from his vocal delivery, there are some good, funky turns on this record. The thing is, the band is really tight. This band is capable. They understand the merits of a good groove. But that put-on vocal affectation is no longer appropriate. Love actually sing in his own voice and not cling to tired blues stereotypes. This is a borderline record with potential from a band and guests who should know better. As much as G.
Love wants to combine blues, classic rock and a hip-hop swagger, they still after all these years feel like awkward poses. A reinvention is long overdue and considering this band has significant chops. It really can be done. But still there is an element missing. After all, classic soul music with a vintage flare has always gone well with the spirit of the holiday season. Just ask Darlene Love.
And like Love, Jones has a one-of-a-kind voice that is filled with enough charisma to really bring forth the cheer. And the band is as tight as ever. Truth be told, however, some of these songs work better with funked-up arrangements than others. In the end, though, this album is meant to be a playful and fun side-step for the group and it succeeds in that intention. But at the same time, this is not a formulaic Christmas collection, either. It is packed with surprise left turns and funky detours.
Would the band be better served by another straight-forward, proper record? This is an eye-opening reinvention of a timeless classic. Adams is better than that at his best, but even when he stumbles, Lynne is there to help him back up. Considering Lynne is about to drop a new E.
Perhaps those two records will make for interesting companion pieces. This song is a really sweeping, sad meditation on the past. Again, Adams fits well in this framework and he obviously had these influences in the back of his mind, as well. His work on his own rivals the work of great jazz masters had those great jazz masters worked with samplers.
He understood the groove better than just about everyone else. So when he died in , it was a big loss and it is a loss still felt every bit as much, nine years later. J Dilla, as Yancey was called after dropping his original Jay Dee moniker left behind a great deal of unreleased work. This collection has a hushed, almost somber quality. They are meant for intense study and yet at the same time, it seems obvious considering his previous releases why these tracks were presented together.
Some of these grooves have an almost meditative focus, but occasionally raw, analog scratchiness sneaks into the mix as grooves fade in and out of each other. Sadly, there will never be another J Dilla and these grooves, which predominantly maintain an electro-sheen prove that he was somewhat of a fearless sonic explorer.
Hip-hop today is often lacking that kind of outside-of-the-box ethos. Dilla was an artist who knew what he was doing was going to ruffle some feathers, but he definitely followed his own muse. Dilla always worked well with skeletal grooves.
If you listen closely to the mix, there are other elements seeping in as well. These tracks deserve close attention because Dilla often put subtle details just below the surface. His debut comedy album has lofty goals. It wants to recall the greatness of the comedy records from the seventies. The sad part is, this record is just really short on actual laughs. A few bits work. First of all, with Bill Hader, he created Stefan. Especially when it lampoons such ripe targets as radio shock-jocks and beer commercials.
But truth be told, these targets while fitting for satire have been done to death in better and more effective ways. For as much time as it takes to work through its cycle, it is hit and miss with mostly misses. They are absolutely right! She should be in more movies. What is striking is even during these musically upbeat moments, he maintains a smooth vocal hush for the most part.
This is heavily literate, often jazzy work. It may not sink in right away. It deserves repeat listens to that all its textural elements can be effectively savored.
Every bit of echo and every instrumental clang feels authentic. This album may be a momentary step away from his regular band, but it feels very much like it is cut from the same cloth. At least in the States, he deserves much more attention than he receives. Garvey really has an almost classical sense of melody that really grasps his listeners. This is even true before Garvey starts to sing. As his words wrap around a subtly jazz-driven groove, it is clear that this track is meant for repeat listens at full-blast in a big room.
Again, this is another supremely sweeping number. The stately piano playing also adds a sense of elegance. New albums from Ellie Goulding, Seal and more. Get the latest from Carrie Underwood, Elvis Costello and more.