AP Funk: Anderson.Paak Shows Consistency with Lastest Album, Oxnard (2018)

Oxnard by Anderson.Paak, released 11/16/2018

I've been a fan of Anderson.Paak, since NPR turned me onto Malibu (2016).  My affinity for his music, which I call "AP Funk" was further solidified by his Tiny Desk Concert.  I have had expectations from the brother, from the jump.  This new album, Oxnard, doesn't disappoint.

I'm not going to speak about each song, because I don't want to taint your experience.

As a whole, the album reminds me of how the 8-year old me imagined sex with the 22-year old Lisa Bonet (Denise Huxtable) would be.  #Eargasm

Favorite Tracks (so far): "Anywhere" and "Sweet Chick"

Jay's Magna Carta...Holy Grail is Lukewarm

Jay Z’s Magna Carta…Holy Grail is Just A'ight

1.      Holy Grail ft. Justin Timberlake –

The instrumental intro is a little drawn out for a palate expecting a hip hop record and will almost make you skip the song. Fortunately, the high-hat and bass came in.  The music is nothing spectacular but has a little bounce to it.  Jay’s first verse was a little weak but that first bridge set shit off as it not only infused some rock with the nod toward Nirvana’s “Smells like Teen Spirit” but also takes us closer to a more Jay Z -esque flow.  The lyrics remain simplistic but the delivery makes the difference. Jay Z’s contribution culminates in a last verse that maintains the unique flow that compliments the track but the complexity of the word play and rhyme schemes are significantly more appreciable.

Originality: 1.5

Production: 2

Lyrics: 1.5

Overall Score: 1.66

2.      Picasso Baby –

The base line is sick throughout the entire song; however the other elements of the first half of the track are a bit chaotic with what sounds like the music from Pac Man chopped and laced with an obnoxious whistle.  The lyrics in the first half of the song are only exciting if you recognize the visual artists that are mentioned throughout the song.  The first half of the lyrics actually sound like they were written with a prompt given in a class focusing on cubism, or the art of the French Diaspora, with a little Italian seasoning.  Then there’s the second half of the song, reminiscent of “99 Problems” and focusing more on the usual flexing and references to violence.

Originality: 3

Production: 1.5

Lyrics: 1

Overall Score: 1.83

3.      Tom Ford –

This is the first real banger on the album.  The track has more of those video game samples (possibly from the Mario Bros., in the castle…lol) but it’s pulled together neatly with the other elements of the track – all different types of percussion.  Content-wise, I think this is the sweet-spot that Jay should stay in.  You’re a grown; stay on your grown man shit and reminds us of your age by continuously and subliminally paralleling yourself with wealthy, middle-aged white men.  In addition to artist-appropriate content, he handles with track, masterfully. Good shit!

Originality: 2

Production: 2.5

Lyrics: 3

Overall: 2.5

4.      FUCKwithmeyouknowigotit ft Rick Ross –

Track-wise, another banger.  The track has a hard, H-town sound; not to be mistaken, hence the Pimp C intro (Port Arthur is close enough to be called Houston). I feel like the song is a gift to Ross, though.  You don’t hear a word from Jay, until the song is over half-way through and then Ross closes the song.

Originality: 3

Production: 3

Lyrics: 1

Overall: 2.33

5.      Oceans –

I don’t see this being played in the club.  The symphonic track is a little too ominous for that, unless you’re trying to get people to wind down or leave.  However, it’s appropriate for the pseudo- Black Nationalist rhetoric that weaved in and out of capitalistic references.  The content, as a whole is a bit confusing.  It jumps from the previously mentioned Black Nationalism to typical hip hop capitalism, and dabbles in references to “Strange Fruit,” and Billie.

Originality: 2

Production: 2

Lyrics: 2

Overall: 2

6.      F.U.T.W. –

This track is another one of those “End of the Party” songs, or a conversational piece, that talks about civil unrest and references a few revolutionary, or Black Nationalist, figures.  The track is quite boring, though.

Originality: 1

Production: 1

Lyrics: 1

Overall: 1

7.      Somewhereinamerica –

This is a hot song, short and sweet, but with some weight on it.  First of all, the track is Cab Calloway-esque, which is appropriate for a song that is really a blurb about how far America has come.  Throughout the entire thing Jay touches on dichotomies and the paradoxical state of the nation, driven home by the outro’s reference to a twerkin’ Miley Cyrus. This may be one of the most intentionally artistic and critical things I’ve heard from Jay in while.

Originality: 2.5

Production: 3

Lyrics: 3

Overall: 2.83

8.      Crown –

This entire thing is like blah.  I’m not even going to waste time talking about it in depth.  The track is okay.  There aren’t any recognizable samples, so you can’t take away from the originality, but everything else is a waste.  This could’ve been left off of the album.

Originality: 3

Production: 1

Lyrics: 1

Overall: 1.6

9.      Heaven –

Considering the caliber of producers that collaborated on the track, it’s a let-down.  And is that a Dido sample in there? Fortunately, the lyrical composition is strong, full of witty word play and allusions.  I appreciate the dedication to addressing questions about his religion, as well has the nods to REM and Chief Keef – whose head is probably “on swoll” from this shout out.

Originality: 2

Production: 1.5

Lyrics: 3

Overall: 2.16

10.  Versus –

It’s an interlude.

11.  Part II (On the Run) ft. Beyoncé –

The duet has a real 80s feel to it.  It’s alright but nothing to write home about. Real sentimental and sweet.

Originality: 2

Production: 2

Lyrics: 2

Overall: 2

12.  Beach is Better –

Another interlude.

13.  BBC ft. Beyoncé, Justin Timberlake, Nas, & Swiss Beatz –

The music is chaotic, like Pharrell and Timbaland locked themselves in a studio with an elementary school’s music equipment (12-inch keyboard, cowbell, etc.) and a case of Jay’s Dusse.  The lyrics are more of what the album is already inundated with…references to clothes, world wonders, liquor advertisements, etc.  It’s nice to see Jay and Nas on a joint together but this may be the worst thing on the album.

Originality: 1

Production: 1

Lyrics: 1

Overall: 1

14.  JAY Z Blue –

I’m not going to touch this man’s dedication to his daughter.  The intrusions with clips from “Mommie Dearest” are note-worthy though.

15.  La Familia –

Boring.  A waste of a good track…

Originality: 2.5

Production: 3

Lyrics: 1

Overall: 2.16

16.  Nickels and Dimes –

We’ve got everything in these lyrics, word problems included.  The track is drowsy, like a weak high that you’d get from "nickels and dimes" of reggie.  However, the lyrics are real personal and introspective.  Even with that being said, I wouldn’t go out of my way to listen to this song.

Originality: 2

Production: 1

Lyrics: 2.5

Overall: 1.83

Magna Carta…Holy Grail's overall Score is 1.91, Neutral on the Hit-Miss scale.  It’s not nearly as significant as the name suggests and is probably 3 or 4 at best if you ranked it with all of Jay Z’s other studio albums.  It starts off fairly strong but quickly tapers off, light it was running on cheap batteries.  It’s nothing to write home about and not the best record on the shelves, right now.

Elle Varner’s Perfectly Imperfect

If you have had a Pandora account and have utilized it for any extended period of time, you are probably aware of how you can create stations that are based on completely different artists or genres.  If you have listened to these stations for a while and shaped them with thumbs up and thumbs down, you have probably also experienced a point when some of the songs appear in multiple stations.  This point, at which your taste draws completely different musical bases to a common sound, is what I call a musical sweet spot.  The concept is epitomized by Elle Varner’s debut album, Perfectly Imperfect.  In this project, Elle sews together various sounds – including soft rock, folk, hip-hop, and traditional rhythm and blues flavors – holding them together with the consistency of the sweetest vocals. Here’s the skinny:

1)      Only Wanna Give It To You – This, for many, was the joint that introduced Ms. Varner.  It has an old school hip-hop sound, complete with a smooth bass line, scratching, and a simple break beat.  The sound, coupled with her “Like that y’all” near the end, makes you want to pop and lock a little.

2)      Refill – Track two is another banger.  The track opens with a country-esque fiddle that is quickly joined by what sounds like a three-piece drum set, and subtle bass line.  A xylophonic sound enters during the hook and hangs around for the remainder of the track.  This coupled with the adorable “conversational lush,” who is portrayed in the lyrics, is slightly addictive.

3)      Sound Proof Room – Sound Proof Room is just sexy.  I can’t think of a better word to describe this one.  It hearkens back to an era of rock before it became too metallic.  On top of that, lyrics about an overwhelming desire that requires the edifice of a sound proof room to be quenched make this song.

4)      I Don’t Care – This song isn’t bad.  It just has a Corrine Bailey Rae feel to it that I don’t feel is the best sound for Elle.  After hearing it once, I would skip it if the remote was in reach.

5)      Not Tonight – This was another track like #4.  It just sounds like something that I’d heard from someone else before.  Skip it.

6)      Leaf – Track #6 breaks the brief “skip it” streak.  The lyrics are a little sappy but the composition’s marriage of a light lead and bass with snaps, bells, etc. is kind of funky and makes it worth a listen.

7)      Oh What a Night – Oh What a Night is just a fun song with verses that march along until they burst loose with a reserved but lively hook. We even get a taste of Elle’s skills as an emcee.

8)      Stop the Clock – We get more strings in this track, but they are of the spooky variety that you expect to hear in select scenes of horror flicks (lol…). However, they are more than appropriate for a song about a woman who has reached her breaking point within a relationship.  It’s an interesting song, as not only the lyrics but the accompaniment sound crazy, literally.

9)      Welcome – Boring. Skip it.

10)  Damn Good Friends – A love repressed and unrequited that spills out over an acoustic guitar and strings.  This track is one of my favorites on the album and has me ready for an unplugged album or concert, already.

11)   So Fly – This is another fun one.  To some this may sound sexist; however, I found these lyrics about a woman, who alternates between picking apart her physique and consideration of alterations, funny.  At the end of the song, the artist reveals that she is more content with herself than the song may have initially led the listener to believe.

Overall, this is a good buy and well worth the wait.  Elle Varner is an awesome vocalist and the majority of the album showcases her talent.  There is something for almost every type of music fan.  Don’t bootleg it. Buy it!

Sugar and Spice: Dondria's "Dondria vs. Phatfffat"

I am thrilled to be able to say that my worst nightmare has not come to fruition. Dondria is not doomed to a marginal identity of being a hook singer or contributing writer who just happens to be able to sing. After a moderate hype built by her debut single, "You're the One," and a fairly decent mixtape, "Dondria Duets," SoSoDef has released her debut album "Dondria vs. Phatfffat." "You're the One" broke into the Top 25 on both the R&B and Christian charts. The album is a hot throwback to 90s R&B (the good parts).

Beyond the single, the following songs are also some of my favorites:

• Making Love; it soothed that part of my musical heart that's still mourning Teddy P with the Kanye-esque sample of Harold Melvin and the Bluenotes' "Miss You."
• Can You Help Me; I can't find my CD book at this moment but I'd be surprised if Johnta Austin played no part in this piece.
• Where Did We Go Wrong; this song is packed with that flavor that reminds me of the SWV, Xscape, and Faith Evans music from when they were really getting it in.
• No More; Dondria has given me appreciation of the instrumental that 50 Cent couldn't even if he'd gotten smart and only recorded a hook on it.
• You're the One (JD's Jeep Remix); JD you still got it. This joint may be my overall favorite on the ablum and has me looking for my SoSoDef Bass All-stars.

The songs sprinkled in between are not bad (not at all), just a little sweet and girly for my taste. However, they are a good contrast and give the album a nice balanced palatability. If you don't have this album, it's better late than never. Click the link and buy it now, hit iTunes, or visit your local store.

Jaheim's Another Round

Jaheim has dropped another one. Here’s the skinny.

Ain’t Leaving Without You – First of all, the instrumental is as hot today as it was originally on George Benson’s “Give Me the Night.” The accompaniment excited me as I expected to hear Benson enter with scatting. While the song is not a remake, I believe it captures the essence of “Give Me the Night.” Attraction is natural, but not how some people act on the feeling. This is a classier reaction to the stimuli converted into a classy club banger.

Finding My Way Back – The second track on the album is a thoughtful and soulful reflection on a relationship. We’ve all been there. The bass and lead guitars carry the song nicely. There’s also a flute in there that helps to further illustrate a nostalgic quality.

Whoa – Skip it.

Till It Happens To You – The keyboard in the song will remind some people of Donnie Hathaway or older Stevie material. Unfortunately, beyond that the song is kind of boring. Skip it, unless you need the equivalent of an Ambien.

Bed Is Listening – Skip it.

Impossible – Jaheim! You did the damn thing with this one. The track takes the instrumental from “When a Man Loves a Woman” and re-laces it with classic Jaheim flavor. While Mr. Sledge’s ’66 hit was more about the kind of love that was as settled as a 100 year old foundation, “Impossible” is about a fresher, but no more escapable connection. I’m feeling it!

Another Round – I felt less of an alcoholic when my assumption of what this song was about was validated. The song is worth listening to, if for no other reason than the storyline.

Her – This for all of you that are fans of John Legend and Dre’s “Green Light.” I don’t think the lyrical content is anything spectacular, but you can get your aerobics on to it.

II Pink Lines – Whatever, Homie! Skip it.

Otha Half – Skip it.

Closer – This sounds like an R. Kelly and Public Announcement song from the 90s. I don’t have the credits with me, but it even sounds like R on the background vocals. I’m kind of feeling it.

In My Hands – Another sappy love song…

Ain’t Leaving Without You (Remix) – It’s nice that somebody gave Jadakiss something to do…lol

Soldier of Love

I almost threw my iPod away and burned all of my radios during the inaugural weeks of 2010. Corinne Bailey Rae abandoned her venture into R&B and turned to that British rock sound that puts me in the mindset of Alanis Morrisette covering Beatles’ hits. I still purchased her album, but it was like craving Shrimp Alfredo from Maggiano’s and being fed ramen noodles. Then Usher released yet another single and announced yet another change in his album release date. You’re playing games, Homie! My ears were depressed. I had to venture into the stacks of underexposed artist to find some real Soul and R&B music. The venture led me to Toni Hill and Alexis Nicole. Ladies, thank you for giving me a reason not to “Van Gogh” myself. People cop their albums. They’re the truth. They held me over until Sade’s “Soldier of Love” dropped.

There aren’t many consistencies in music; however, you can count on taste of Sade’s music to satisfy your ears’ taste buds. The lineup is as follows:

Moon and the Sky – Sade recorded this recent album in the mountains of Spain. If those mountains had a sound, I imagine they’d sound like the guitar, string, and tambourine ensemble of this track. It’s not the happiest of songs, but it’s still hot. It is similar to “Cherish the Day.”

Soldier of Love – This is a hard song. It has that militaristic cadence. “Soldier of Love” is the typical Sade song, nothing extraordinary. It was a good choice for a single because it reminded us of what we’d been missing since 2000.

Morning Bird – The cello in the song is sick, but the song as a whole sounds like the theme of a soap opera. Skip it.

Babyfather – This is the hottest song on the album and will definitely be on the next edition of a Sade’s Greatest Hits album. The music is a nice and sweet mixture that rides along with an endearing tale of babyfather. It’s like that moment in Forrest Gump, when he got on the school bus for the first time and Jenny offered a seat next to her, after everyone else had turned him away…real sweet.

Long Hard Road – This song sounds like the title. Skip it!

Be That Easy – This is a good look for the band. It’s basically a country song, without the twang. I can dig it.

Bring Me Home – The only reason that I listened to this song two consecutive times is because it reminded me of one of my mom’s favorite Sade songs, “Maureen.” I may never listen to it again, though. Skip it.

In Another Time – The song is wonderful. With the light piano, upright bass, and the smooth tenor sax, it’s like jazzy country song. When the strings are tied in, it’s like riding a cloud. Between this and “Be That Easy,” I think that Sade may have the ability to pull off a nice country album.

Skin – Skip it!

The Safest Place – As an independent entity, I could do without this track; however, thematically, I can appreciate the image of a warrior trudging home, after a long battle. If you just have to include it, the last slot on the album is appropriate.

MJB's Stronger with Each Tear

Honestly, when I heard the title, “Stronger with Every Tear,” I thought that we’d all been condemned to another album weigh down with moaning and wailing. I was hesitant, but it’s MJB so I had to at least listen. 5 of the 12 are worth buying as singles. If you bought each of those 5 at $1.99 you would’ve paid $9.95, so it’s more cost-effective to just buy the album (the only math lesson I’ll ever try to give). Here’s the rundown…

Tonight: The throwback hip hop beat is hot. It’ll make you nod, if you can ignore the rest of the instrumental. The composition, as a whole, takes my mind to an underground vampire club, like the one in Blade. It’s like one of the slower cuts that I’d expect to hear there. Try sleeping peacefully, after coupling that image with her singing, “Wait until tonight.” Can you say, “Scary.” Skip it!

The One: Mediocre. Skip it.

Said and Done: I wish Ryan Leslie had recorded it, instead of Mary. Skip it.

Good Love: I agonizingly listened to the first 3 tracks of this album and was ready to give up on it, until this began to play. I’m really digging the horns, piano, and bass combo, even with that little video game sound mixed in there. It’s hard to go wrong with an upbeat tempo and lyrics about love for Mary. Shout out to Tip, too.

I Feel Good: If this is how she sounds when she feels good, I hate to hear what she feels like when she’s down. Skip it.

I Am: The song is okay, but nothing spectacular.

Each Tear: The encouraging lyrical content mixed with strings and a smooth stepper’s groove that’ll remind you of instrumental from Maze and Frankie Beverly’s “Silky Soul” set it off for me.

I Love U (Yes I Du): No comment. Skip it!

We Got Hood Love: With Johntá Austin and B. Cox collaborating on the production, I would expect nothing less than possibly the best song on the album. Mary and Trey Songz sound good together, too. Furthermore, the content is some real talk. Real love isn’t always that fluffy crap that you read about. It involves one or more occasionally acting an ass, but every always finding their way back to the middle and common ground… if that’s a Hood Love, then that’s the right kind to strive for.

Kitchen: It sounds like an Elton John song, in the beginning, but don’t skip it because it’s hilarious. I’ve heard of a lot of advice exchanged between different women, but never have a heard of the dangers of letting “another woman cook in your kitchen.” Should I not let another man cut my grass? I’ll have to marinate on that for a few…lol. I’m just playing Mary. Basically, she’s saying don’t have another woman staying at your place and around your man, ladies. Does that mean that she thinks that all men lack self-control? That’s something to really think about.

In the Morning: This song has all the good stuff in it. The track rides the piano and bass, like a ‘Lac doing 70 and the injections of brass take the song to another level. What really amazes me is that women are still questioning about how their men will feel in the morning. If all of the questions sounded like this, I wouldn’t mind listening.

Color: This is a hard song. It has the rhythm of day laborers dragging themselves home at the end of a long day. I don’t know if you’ve ever seen Spike Lee’s X, but there’s a scene when Malcolm was traveling to the Audubon for his final speech and “Change is Gonna’ Come” is playing. To some it may sounds sad but I think it’s the sound of relief and freedom. I put this on repeat and just drove down Memorial Drive for a little while. I wouldn’t mind if “Color” is playing in the background during my final scene.