Brown Eyed Soul Vol. 1 by Cherri V – Classic yet Contemporary

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There are not many who have quite the rep that Cherri V has. A notable mainstay in Black British music, she has spent time honing her craft, recording alongside the likes of Jessie J, Dawn Richard, Wiley and Lethal Bizzle in the process. Having also been one half of the renowned underground R&B duo Dora Martin, she recently settled down to work on her debut solo full length.

A true artist, the London performer’s sense of soul is evident and her vocal ability is not only undeniable but unrivalled by many however it has taken her a fair amount of time to put together an individual body of work that we can enjoy. And now, after years of hard work in the industry, we finally have Brown Eyed Soul Vol. 1.

The name is a spin on the classic phrase ‘Blued Eyed Soul’ – the idea of the classic genre performed by white artists, from your Justin Timberlake to your Joss Stone. While there’s no shade on her end – she made this apparently clear in an interview – she emphasises through the title and throughout the project the importance of highlighting great soul from ‘brown eyed’ folk, telling the stories as we do best.

The first EP in the supposed beginning trilogy is an eight track wonder made up of a few previous single releases as well as a couple new cuts with a select number of features added to the mix. Classic R&B signatures with a contemporary flavour seems to be theme concurrently running through Brown Eyed Soul Vol. 1.

So the EP starts strong with opener “Leave Me Be”. Delivering velvety smooth vocalsCherri V sings Cherri V fuses this with an instrumental dipped in a jazz influenced sound. The enchanting synths that lay low in the back add to the atmosphere and the rhythmic production give it an ultimately contemporary R&B feel. The intro, as it seems, is a song born from a personal place.

Da Beatfreaks-produced “Runaway” has a synonymous bounce that you associate with the production duo. In life and love, it’s human to be torn in, it’s human to be sometimes indecisive. And sometimes as humans we just want to get away from it all to find some sort clarity. This is Cherri’s anthem speaking her truth and I, for one, can definitely relate.

What is love without a little pain? Cheating has definitely gotten less sophisticated these days and the age of tech means the millennial struggle has another battlefield to try and manoeuvre. “Snapchat Mistress” is the age of story of infidelity but from a social media perspective. Emojis, explicit images and finding their location is only some of the topics on the agenda as Cherri presents relatable woes in crude from a male and female perspective over a trap-esque audio canvas.

And what could be worse than cheating? Feeling undervalued and worthless…while actually in a relationship. “Lockdown/Prisoner” is just that story. And with something as deep as this, you need the right production to match it. You definitely can’t have Soul without some soulful sounding keys, right? But throw in some of that extra urban UK production sensibilities and the result is another track that will have your head nodding.

Things You Do” possesses a carefree sensibility, allowing the joys of love and attraction to spark up the track while the light-hearted instrumentals are great fun and make you want to shuffle. The very infectious piano and drums-led offering, with its R&B/Pop sensibilities, showcases Cherri V’s amazing vocal talent, and her carefree and relatable song-writing.

Cherri-V-Leave-Me-BeI am personally a sucker for a piano ballad and “Situationship” definitely ticks all the boxes for me. A beautifully orchestrated piano melody at the core, poignant lyrics and the sweet vocals of Cherri and Sincerely Wilson. Quite the millennial phrase, they detail that inconvenient position of not being officially being someone’s significant other despite desperately desiring to be.

It was a nice touch calling on the vocals of R&B veteran Terri Walker for the penultimate offering “Brown Eyed Soul (Interlude)”. Think of it as a passing of the baton, from the scholar to the student. But more so than that, it’s a brief but special vocal masterclass from such a revered talent.

And then we are left to “Swimming”, our grand finale, which sees Cherri sticking to the overarching ‘classic yet contemporary’ feel pushing the envelope musically with this experimental R&B musical backdrop, backed by synth piano arrangements and underpinned by Cherri’s amazing vocal performance and delivery, with RoxXxan providing the perfect guest rap verse to complement the record. The strength of this record propels the project as a whole and is a strong way to end it all.

In eight short tracks (excluding Situationship) Brown Eyed Soul Vol. 1 manages to explore the breadths of R&B in its own sort of sophistication, not only in terms of sounds but also with content. Cherri’s pen explores love, lust and relationships in a relatable and palatable manner which is commendable. As if there are enough superlatives to describe the vocal display by Cherri V. This EP is well produced and above all there are no ‘fillers’ which is satisfying for personally. It is a great position to springboard off – no how many volumes of Brown Eyed Soul we will be ultimately treated to.

The Coldest Winter Ever by Ms Banks – Strength in Versatility

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Women in Hip-Hop has always been seen to be such a taboo topic and one has never really understood why, it’s not as if they don’t exist. Not only has rap been made to be a competitive sport but also a male sport. Within the UK sphere, the more successful female artists create songs that at most merely graze the ‘urban’ surface.

But now we’re experiencing a resurgence and one of the front runners leading the movement is none other than Ms Banks. From humble beginnings and near obscurity, Ms Banks has propelled herself into the Rap spotlight. Not keeping us waiting for too long, she finally releases a full length project to sink our teeth into The Coldest Winter Ever.

Taking the name from the famous 1999 novel by the American rapper and author Sister Souljah, both projects share similarities. Like the book, Banks’ latest release centres on the trials and tribulations of the female protagonist. A nuanced body of work, it’s a story of love, friendships, career highs and lows and ultimately making it on top.

So it all kicks off with the “Intro” which is more like a riveting monologue backed to the sounds of hushed lullaby pianos and orchestral violins. In true poetic fashion, she gives us a foretaste of what is to come.

Judging from the singles that came before it, The Coldest Winter Ever was always going to be about showing off her versatility. We start proceedings by having two of the finest 5691ab6db1fc657a3592dffee21a6c9fupcoming artists from South London join forces for a heater. Ms Banks enlists the help of Drill ‘Cool Kid’ Loski from the Harlem Spartans for “R.I.P“, stepping into his world as she embodies the drill sound. As Loski comes through, both artists lay down their bars as they address all of the talk from the haters. She definitely doesn’t disappoint on the Drill vibe, as she also goes straight dark hood mode with the slow creeper that is third track “Bangs”.

One of my standouts has to be “Over (Your Shit)” for the very fact that it’s a side of Ms Banks we’re generally less accustomed to. It’s a smooth R&B cut which sees her trade bars and flow for vocals and intonation and changes the vibe completely. Ms Banks evokes a softer side as she looks back over a past relationship and professes it all as a form of release to get over the heartbreak.

We know she can be tough and gritty, we see that she can be soft and vulnerable. But with the Toddla T-produced riddim “Chat 2 Mi Gyal”, Ms Banks gets the space to be incredibly playful and free with her bars, upon bars. Another one of my standouts, it has the bounce of dancehall but the freestyle nature of real Hip-Hop with such an infectious rhythm that you just can’t help but bounce with.

The mixtape doesn’t harbour many features, which gives a listening experience that is quintessentially Ms Banks. For the most part, the lack of features doesn’t fare a big issue as she provides enough style diversity to suffice. Besides Loski, there are some other notable mentions.

Mulla” is about ‘exactly what it says on the tin’ in layman’s terms and is a hustler’s anthem for all the go-getters listening. Somewhere between singing and rapping Ms Banks finds the pockets within the Trap-esque beat where she seamlessly rides and she is contrasted by the raw grit of UK’s under-the-radar rappers Dutch. Two different vibes but the context is still the same captured sweetly by the catchy chorus.

Made It” is another retrospective cut featuring singer Montana who plays a bit part role on the hook and it’s straight up alternative R&B. While she reflects on the anguish that a past relationship caused from feeling undervalued, she shares her story in poetic form not for you to show sympathy but empathy as she lets go and overcomes.

msbanksfeaturedThe mixtape wouldn’t be complete without two of her biggest singles to date. “Come Thru” is simply another banger that should be on your UK Rap list, male or female. It holds a hard Hip-Hop sound encapsulated by the heavy bassline as oozes Black Girl Magic in such a boastful way. Now if you compare that with the upbeat urban pop sounds of “Day Ones” where she dedicates the track to the ones who have been supporting her from early yet she still manages to keep her authentic street self; it just goes to show that Ms Banks has a lot in her repertoire.

Ms Banks signs out paying homage with “Pen Game 2”.  After the viral success of Margs’ #PenGameChallenge on Twitter, it only made sense to have him feature on the track. It’s bold, boastful from the pair as they freestyle over one of the most hype beats you’ll hear in a while. It’s a real South London to East London connection.

As stated much earlier, The Coldest Winter Ever is a clear demonstration of the scope of artist that Ms Banks. While there were no major pleasant surprises to shout about, she did what many know and expect from her, just better. Her mixtape summarises the period of life she is in now; A young woman who acknowledges and appreciates the lessons of her past but is over it all and is ready to take off career-wise. Her proven ability to make a plethora of radio-ready cuts is just the first step on the road to being considered one of the best that the UK has.

Geography by Tom Misch – A whole lotta Soul

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What were you doing at 21? While some are graduating from university or starting their own career, seasoned producer, singer/songwriter and DJ Tom Misch was gearing up to release his debut studio album. A seasoned multi-instrumentalist, it took only one year at a conservatoire of music to realise that bedroom producing would be the avenue he would take in order to achieve his dreams. Now, after working with some amazing talent in front and behind the scenes, we have the culmination of efforts of his several self-released mixtapes and EPs – Geography.

Geography is an album that takes on many of Misch’s different influences. Main elements of Funk and Jazz are staple to his brand but also Soul and Disco in smaller parts cover the breadth of this album. Fans of his, especially long term, will appreciate even the most Tom Mischminute of details.

The intro “Before Paris” is a spoken-word like opener, with an unnamed man speaking on the importance of the art form – a relevant sentiment for an artist like Tom – and serves as of a prelude to set the tone for what essentially is the first track, “Lost in Paris” with a slick contribution from talented Grammy nominated US rapper GoldLink.

Bringing a clever fusion of two differing musical instincts and results in something pretty tasteful. It’s bright and upbeat, driven by eccentric electric guitar chords and groove bass finished with a jazzy brass section that is too die for. For a song that was inspired by losing a hard drive full of music, its surprisingly cheerful.

South of the River” ‘brings out the boogie’ with a real disco feel, packed with deep lying basslines and accentuated with violins that serve as the icing on the cake – something that in theory shouldn’t work but in reality it does. While there’s nothing disco about South London, Misch does a great job of saluting his hometown.

For how upbeat the album is from the offset and seems to be holistically, it isn’t without it’s slower jams. Take “Movie” for example. It’s eased into from the previous track with a little love story monologue and it then captivates with those trademark guitar inflections set against the soulful vocals from Misch. It also happens to be a family affair with Tom’s own sister, Polly Misch, adding to the blissful atmosphere it creates. Of all the downtempo tracks, probably one of the most powerful.

Another slow song that is worth notable mention is “You’re On My Mind” which for me evokes a warm fuzzy feeling in my core. Acoustic guitars are the perfect accompaniment for Misch’s take on a sweet serenade this time and gives off the perfect summer evenings kind of vibe.

As talented as Tom is and as eccentric the sounds laden on the album may be, it is the features on Geography that really elevate it and make it worth the listen. One being an unlikely pairing of Tom and legendary US Hip-Hop super group De La Soul on “It Runs Through Me”.

A heavily jazz inspired cut, driven by the electric and bass guitars and topped off with bright piano chords. Simple yet soulful and uplifting, the mood transports you to the late night jazz lounges. Props also to De La Soul who definitely make the song extra special, riding the beat bar for bar, making for a poised rap verse.TomMisch2

A couple tracks later, we are treated to hip-thruster that is “Disco Yes” with Poppy Ajuda. It’s undeniable by now that Tom loves his guitars & basslines. With some funky riffs and increased tempo from the previous tracks added to the mix, Poppy Ajudha’s guest vocals merged with Tom’s, it makes for one of the most impressive on the entire record.

For what it’s worth, “Water Baby” I believe is the best track on the album. Tom Misch enlists his fellow South Londoner Loyle Carner in this melting pot of groovy jazz, soul and hip-hop mixture. It’s signature Tom Misch’s style, blending hip-hop beats and soulful melodies, producing an eargasm that finds its place somewhere between passionate head-nodding and casual, easy listening.

Cos I Love You” serves as the penultimate track and rounds off the Disco bug that Tom evidently caught when making this album as he merges old styles with the new. It’s a mashup, of sorts, with samples and a borrowed chorus tightly wound together to form the most beautifully orchestrated dancing track I’ve heard in a while.

For an album that expertly executes a plethora of different vibes, it does suffer from what I deem as occasional ‘fillers’. While I can acknowledge that “Isn’t She Lovely” – Misch’s take on the Stevie Wonder classic – & “Tick Tock” serve more in the capacity of interlude, they don’t really add much to the flavour and texture of the album.

Having said that,” We’ve Come So Far” is a reasonable way to conclude proceedings as the experimental sounds of Tom’s repertoire progressively build on the track, each layer contributing to the eventual crescendo before fizzling out.
Despite critique, fans can be happy that we now have a full length project from the young singer/beat-maker that they can really stick their teeth into. It covers multiple bases; spanning different vibes and genres means there is something in there for most people. While there isn’t a flowing storyline or explicit theme per say, this can double up also as a portfolio, showing off Tom’s capabilities and emphasising his credibility as a top producer. He can only go from strength to strength from here.

On The Come Up – SiR (aka inglewood SiR)

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Unfamiliar to some but rated by many, SiR is the perfect artist to add to the On The Come Up and it would be my pleasure to introduce you to him.

The west coast native, as the name suggests, has been making a quiet storm prior to and post signing to TDE and with collaborations with the likes of Little Simz, Big K.R.I.T. and Anderson. Paak, there is a certain level of credibility in his atmosphere. His brand of new school R&B comes matched with his sensual vocals, a whole lot of groove and sprinkles of Hip-Hop.

Sir Darryl Farris (that’s actually his real name) is an established Singer-songwriter. Before actually pursuing artistry, he was penning songs for the likes of Anita Baker, Ginuwine and Jill Scott.

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The son of a well seasoned backing vocalist, the nephew of Prince bassist Andrew Gouche and the brother of hit songwriters Daniel and Davion Farris. His childhood was a blur of church choir rehearsals and studio sessions. And that’s why he almost ended up not taking a hand to music at all. After a crazy ride in Hollywood, the prodigal son returned back.

Seeing the success of his brothers’ songwriting team, The WoodWorks, changed SiR’s perspective.

He landed a job engineering for Tyrese in 2012 while quietly developing his craft as a songwriter and putting out two mixtapes in the process; Wooden Voodoo and Long Live Dilla. But what caught everyone’s attention, including my own was his first full length album Seven Sundays.

Seven Sundays displays simple craftsmanship. What captivated me was in ways much similar to the likes of H.E.R., and the vast works of Musiq Soulchild, the artistry was at the centre. A unique contrast to the thuggish singing-trap rap hybrid that has engulfed a lot of contemporary R&B. It is one of the very few albums which I can sit and listen to it in its entirety . “In The Sky“, “Falling” “Jay Z” are some of the standouts.

It seems a rather timely affair that I write this with the release of his debut album a few short months ago under the TDE imprint November, which sadly did not come out in November. It plays to Farris’ strengths. It takes on his musical mainstays, a rich mix of Neo-Soul silkiness, Hip-Hop attitude and R&B songwriting, encapsulated in a thematic audible experience of dystopian space odyssey…about love. Something he, being married for years, would know quite a bit about.

As he longs for his mystery woman’s affections on “War”, dismisses her perceived clinginess on “Never Home” and wants her back on “Better”, SiR easily captures what it’s like being in an intense relationship. November sum up the emotional confusion that sometimes swallows up an intimate connection.

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Signing to one of the most well known rosters in music would, for some, be daunting. Kendrick Lamar, SZA, Ab-Soul, Schoolboy Q to name but a few. It’s a bit of a shame he wasn’t on the Black Panther soundtrack BUT that doesn’t rule out a collab with ‘Kung Fu Kenny’ or the likes sometime soon; especially knowing how excellent “Something Foreign” with Schoolboy Q was. Having cultivated his own fanbase prior, this is only the next step on the ladder for this super talented cat.

“I think the one thing that pushes me the hardest is that I know I have the opportunity to change lives…and really make a difference” – SiR.

Favourite Albums of 2017 part 2

I present to you Part 2 of my Favourite Albums of 2017 series.

Laila’s Wisdom – Rapsody

In the truest act of respect and dedication to her grandmother Laila, Rapsody gives us the most brilliantly underrated Hip-Hop album of the whole year. It’s the sort of album that transcends whatever entrenched gender biases that may still trouble the genre and puts her in the same category as the current greats. Not only is she your favourite female rapper, she’s one of your favourite rappers, period. It showcases Rapsody’s indisputable excellence as a lyricist. The opener and title track “Laila’s Wisdom” finds Rapsody regurgitating the guidance and wisdom passed on from her grandmother; self worth and empowerment – themes paired beautifully with Aretha Franklin’s “Young, Gifted And Black” as the sample.
61c8c7d4dd777c786a13e47c6a959fdd.1000x1000x1.jpgWith jazz and funk running through the core, Laila’s Wisdom, produced in large part by 9th Wonder, bares comparisons to To Pimp a Butterfly. The beats ALONE tell a story which you can easily get lost in. Kendrick just so happens to feature on this album too, on one of my standout tracks “Power” which explores exactly that. The power in the culture, the powers that be in society and power within themselves.
Ridin’” featuring GQ is also one of my standouts. The duality between loyalty and freedom is played out over a beat as smooth as butter. Such a joint you could play while you’re Ridin’ out too.
There are so many songs which I enjoyed listening to as a real Hip-Hop fan so it would be remiss of me to not include this. As a whole, it’s a smooth blend of self-assurance and vulnerability and has themes of quintessential Blackness as Rapsody makes Black womanhood sound untouchable one moment and  mortal the next.

 

4:44 – JAY-Z

“But i’m tryin’ to give you a million dollars worth of game for 9.99”

That line right there in my opinion perfectly summarises the essence of JAY-Z thirteenth studio album.
Not only is a ‘Blueprint’ (see what I did there) for business, but also relationships and life as a whole. In order to achieve this, 4:44 was tailored to be more personal than his previous efforts. which was to be expected from the infidelity scandal.
4-44_album_coverBut this is not necessarily a response to Lemonade but rather a statement of acknowledging where he is now and where he aims to be. By the end of the project, you feel what he has been aiming to do the entire album – leave his mark, his “Legacy” Acting as the concluding track, it also is one of my favourites. His poetic and reflective approach; if he was to pass away today, this could double up as a will and a eulogy. “Bam” with Damian Marley is also another favourite, not only for his flex of bravado but also because it’s a straight head banger.
Like for real. “Caught Their Eyes” is pretty dope too.
Almost all decisions made on this album were smart. 10 tracks on the standard edition make for a complete album with no ‘excess’ spilling out the sides. Minimal features allow for his messages to not be overshadowed. There is an excellent use of samples on every track which gives it an authentic JAY-Z feel. He and No I.D. have truly created something special here. Testament to this is its numerous Grammy nominations and No I.D. being nominated for Producer of the Year. Despite the whole Tidal/Sprint story, 4:44 is artistically sound. JAY-Z is Hip-Hop.

 

FR32 – Wretch 32

An album with minimal promotion, Wretch’s 2017 effort serves almost as a B Sides to his critically acclaimed album of the previous year, Growing Over Life. While the previous  was more solemn wholistically, this album acts as a celebration of his life – aptly named and released for his 32nd birthday. 12 songs, 44 minutes and full of Wretch’s lyrical genius.IMG_9743_0.jpg
He carries the same level of sincerity and honesty as last year… With Songs like “Time“, for example. An honest account. A full unleashing of culminated emotions and you feel every last one wrapped in his words. He vents on his shortcomings as a man and his desire for more time to accomplish the things most dear to him. Performed over simple but beautiful piano chords,  I herald this as the tear-jerker of the album.
But Wretch is in a better place, that’s for sure. He brings his soft side out for the lullaby-esque “Happy“, a song dedicated to love. If you’ve found something special, appreciate it and cherish it forever. J Warner features for your listening pleasure; his soft and dreamy vocals transport you into a place of bliss.
Don’t think he has completely gone soft on us though. He still gives us straight vibes on the leading single “Tell Me” with Jalani and Kojo Funds, a street symphony with a calypso twist and if you haven’t by now, I’m going to have to ask you to listen to “Gracious” one time and understand despite it being a straight banger that pounds through the speakers, the ‘come up’ and becoming a great is definitely not easy.  Wretch and Kojey Radical tag-team on “Colour Purple” which is a different take on pro-black sentiments, less assertive than last year but both artists deliver artistically articulated testimonies on being ‘blacker than black’.
For an album that doesn’t have as such an evident and overarching theme as others in 2017, there is a real emphasis on production; you can really appreciate the layers on certain songs. While possibly unintentional, both projects side by side are symbolic. Growing Over Life was Wretch detailing his pains and struggles. On FR32, he retrospectively looks back; he’s finally free and you the listener can be ‘free too’.

 

These albums were some of my personal favourites that I really enjoyed listening to over the past year. However, some albums which just missed out but should get a mention and should not be slept on include:

DAMN. – Kendrick Lamar (NARROWLY missed out on my comprehensive list, still an INCREDIBLE album)
CTRL – SZA (Also narrowly missed out on my  list)
Fin – Syd
and the Anonymous Nobody… – De La Soul
The Ascension LP – Brik.Liam
Freudian – Daniel Caesar
Kites – Anik Khan

That concludes 2017. Here’s to a more musically bliss year and more amazing work in 2018.

Favourite Albums of 2017 part 1

This is nothing new here, and an evolution rather of something I did previously. This year, I’ve just been immersing myself in what I feel is quality music. Rather that just writing a review on every single project, why not see the year off in style and do a top album compilation. Divided into two parts, this is my “Favourite Albums of 2017”. Enjoy.

At What Cost – GoldLink

The DC rapper’s stock has been rising since he dropped The God Complex in 2014. A Complex feature, Rick Rubin collabs and a spot on the XXL Freshman Class in 2015 later and he finally dropped his debut album since his RCA record deal.
At What Cost is a salute to GoldLink’s hometown, the birthplace of go-go music, Washington D.C. There are groovy go-go feels running through majority of the tracks and generally in the theme of the album from the skits to the artwork which are married 1200x630bbwith his ‘future bounce’ vibe (Hip-Hop/House). He further salutes with having prominent D.C. legends Mýa and Wale as guest features. Couple trap-like songs towards the end of the album as granted with the times do make the album fizzle out so track listing could be better but it doesn’t take away majorly from the strength of this album. “Meditation” with Jazmine Sullivan has its groovy baseline and party-like beat and synths; “Roll Call”  with Mya is disco sweetly mixed with base guitars and violins. Definitely my favourite songs on the album along with “Summatime” with Wale. Seeing him perform live last month definitely brought the album to life and reaffirmed what I believed all along, he is undoubtedly a showman. “Crew” almost serves as the patriarch of the album. It has performed very well chart-wise and garnered GoldLink his first Grammy nomination so I wish him good luck on that front. If you need funk and groove in your life, I present to you the album to do that.

 

ALL-AMERIKKKAN BADA$$ – Joey Bada$$

Joey Bada$$ is another guy on the come-up. A young man who is navigating the Hip-Hop journey in some style. He has grafted considerably to the place that he stands at now and all his experiences have birthed an album that far exceeded my expectations. Suggestive from the name, an overt reference to Ice Cube’s first solo album AmeriKKKa’s Most Alll Amerikkkan Badass.pngWanted, his latest project ALL-AMERIKKKAN BADA$$ is a very politically fuelled body of work, addressing issues like social mobility, racial tensions and the whole political sphere in general through Joey’s storytelling rhymes. It is an album that encapsulates the ideas and feelings of being a young black man in America and I feel like he captured that especially sublimely with the visuals for “TEMPTATION” and “LAND OF THE FREE” Sonically, it leans towards Hip-Hop in a classic sort of way; “RING THE ALARM has a sort of dark feel to it, with raw, gritty rap style synonymous with the likes of Wu-Tang Clan or Ruff Ryders. He also does so on my favourite of the album “LEGENDARY” featuring Rap phenom J. Cole. The re-work of Andile Yenana’s “Thembisa (The People)” had me from the drop. Shout out the GOAT Statik Selektah. Not only does Joey tell his narrative but also the narrative of others and that’s why the album is so powerful. There is a clear vision and message being sent here. An expert job in bringing a new lease of life into ‘Conscious Rap’.

 

Everybody – Logic

Who knew an album so simply titled could be so complex. On one front, a lot of it did come across as apologetic. He’s ‘sad and sorry’ to ‘be white’ and is resentful of his MIXED heritage, especially when taking into consideration the current state of racial politics in America.  One may feel like he over-compensates with his approach to Black empowerment at times even though his intentions are pure with it.1a2c364a06d2844fd9e294ee0ea798ff.1000x1000x1
But in spite of all that, it a nod to the Human Condition, which runs parallel with the most intimate parts of his biography. It is an album of consciousness and edification.  There are some real gems on this album like the beautifully orchestrated, Grammy nominated “1-800-273-8255” featuring Alessia Cara and Khalid which touches on the sensitive matter of suicide, “Killing Spree” featuring Ansel Elgort which touches on the negative aspects of social media & new age technology, and the soul-uplifting & quirky “Black SpiderMan” with Damian Lemar Hudson which is a celebration of diversity and acceptance. The skits/storyline running through the album weaves in with the overarching theme and all ties together by the end of the final track; reminding the listeners to live, love and enjoy, because no matter who you are – everybody is born equal – eloquently put across by the incomparable Neil Degrasse Tyson and symbolised once again by the title to the album, Everybody.

 

Common Sense – J Hus

J Hus Is The Sound Of Diaspora’s Boomerang.

His debut serves as a unique coming-of-age story, one that should resonate with young people domestically and beyond. The nuances in this project, whether small or large, play key parts. The title track “Common Sense” doubles as the intro track. The way the song fades in like a crescendo is such a brilliant way to start the album. The live J_HUS_COMMON_SENSE_HUE_1_1__ja9y9i.pnginstrumentation also adds to making this a powerful into – The Compozers are to thank for that. The drums, the keys, the bass, the keytar, the trumpet… with every instrument you can feel the passion oozing through.
He pays his homage in this album as he blends the different sounds of his vibrant London hometown and upbringing – UK Rap, Afro-Bashment, Garage etc. There may not be skits or a inherent and obvious storyline running through the album but the theme of the project is still obvious to me. J Hus is back and this is his ego-filled statement of intent to let you know and feel that he is THE MAN. Lyrics matched with bold production; understand his level of bravado. The elastic bounce of “Bouff Daddy”, the grime menacing “Clartin” or maybe you’d prefer the reflective yet unmatched party vibe “Spirit“.
Take your pick, J Hus makes GOOD music. With him and his trusted producer and brother JAE5, there is a bond that is deeper than rap. The understanding they have is real and has cultivated one of the best urban offerings of the year. It’s not by chance. If a Mercury Prize nomination doesn’t turn your head and make you pay attention then I honestly don’t know what will.

 

The Other Side – The Walls Group

I am a stickler for good singing (which you’d be surprised doesn’t exist too much these days and The Walls Group truly personify that to the nth degree.
The greatest thing take away from the Gospel quartet’s junior album is that it is mature yet youthful. While that seems to be a juxtaposition, the essence is that this latest project is a much more mature take from their 2014 effort Fast Forward where they were younger, less experimental and took heed more to the wisdom and musical direction of mentor Kirk Franklin yet still has their signature ‘Walls Sauce‘. They have come a long way since then and the album is a now reflection of who they are as artists and as lovers of music.The-Walls-Group-The-Other-Side-album-cover_sized-1024x1024
What I love about this album is that it has genuinely has something for everyone. It navigates through classic and modern without it feeling like a ‘mash up’. It goes from Country, Pop Rock to Contemporary Worship and others but as varied as it is, they make it work. My favourites are the New Jack Swing anthem “Don’t Cha Know” and R&B/Rap vibe “Mercy” which I had on repeat for the longest time. Plus their upbeat leading single “My Life” has been a staple in my Gym Playlist and carries the age old message that people seem to forget – just let me be me, let me be great. Thanks be primarily to Eric Dawkins and Warryn Campbell who were key to the project. It is a tight body of work that allows the group to fully flex their God given vocal talent while be unique, faith-filled and expressive.

 

Part 2 to follow….

#BlackExcellence – What’s all the fuss about?

My contribution article to The Move Hub speaking on the idea of #BlackExcellence.

In the age of information abundance and millennial satisfaction, social media plays a massive role in dictating the trends of culture. Right now, amongst all the hashtags, one that seems to be doing the regular rounds on ‘Black Twitter’ and other affiliates is #BlackExcellence. The idea is that we, our community, are celebrating individuals who are excelling or generally doing well and good. We are changing the already imposed narrative that most of us of the darker hue may not amount to much.

Thing is… I would like to say it’s that simple but nothing in this life ever is. I’ve seen a lot of criticism on social media in reference to the hashtag but they primarily boil down to two arguments:

1) We’re always praising academic achievements, white-collar success, subscribing to the capitalism ideals and benchmarks of success etc. etc. etc.
2) Why isn’t there a #WhiteExcellence?

(sigh)

Let…

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