I haven't done an in a while, so here we go. You may or may not have heard of either of these artists, but what both have in common is that they're both very well-crafted albums that show that people are still making quality music. Buy them.
Now.
Robin Thicke, The Evolution of Robin Thicke
For those not acquainted with Robin Thicke, here it is: his father is Alan Thicke (of Growing Pains fame), he cut his teeth as a Grammy-winning producer and writer for the likes of Usher, Mya, and Christina Aguilera, among others, and his debut album, A Beautiful World, was one of the true overlooked gems of 2003. It's easy to throw him into the category of "blue-eyed soul"---his malleable falsetto has a tendency to recall Justin Timberlake at times.
However, what his music has that Timberlake's does not is a sense of authenticity (nor does he have that annoying nasal quality that occasionally taints Timberlakes cocals). While JT's music, as experimental as it is on his latest offering, is clearly pandering to pop crowds, Thicke isn't afraid of doing music that radio would typically shy away from. Having cowritten, coproduced, and handled much of the instrumentation (guitar, piano) on the album, the album clearly reflects his own artistry rather than simply hopping on current musical trends for the sake of popular exposure.
Unlike his previous album, this one is heavily groove-oriented, with a number of midtempo cuts that recall the likes of Marvin Gaye and Al Green with a sense of artistic reinterpretation rather than blatant mimicry of vocal stylings. "I Need Love" simmers with a piano loop and opens with a simple guitar line and a wail that is reminiscent of Al Green's "Simply Beautiful." While it is clear that Thicke has the vocal prowess to take on a track, he is a master of laying down simple, sex-dipped vocals that allow for a distinct groove to emerge.
His voice is undeniably smooth---it's velvet wrapped in cashmere. His duet with Faith Evans, "Got 2 Be Down" shows that he's not just balladeer; he bounds over a thumping baseline and keeps up with Evan's powerhouse voice. Even his collaboration with Pharrell Williams, a very typical Neptunes track, shows Thicke's apt yet entertaining lyrical skills, as he croons, "And now my life is sweeter than berries/I guess if we had sex our love would turn to wine.
" He's not subtle by any means, but his willingness to be forthright comes off as endearing rather that unpolished.
The album is not without its missteps. "Everything I Want" features such a generic salsa sound that it's almost parody of latin music.
Thicke is much more successful when he strips down the latin groove to its more base form, with a guitar and his voice, as is the case with the beautifully simple "Lost Without You." It's a song that, from the tingling instrumentation and guitar plucks, should be enjoyed with a mai tai (if you listen to it, you'll see what I mean). Lil' Wayne's two appearances ("All Night Long" and "Shooter;" the latter appeared on A Beautiful World sans Wayne) seem gratuitous at best.
They don't add much to either track, and in the case of "Shooter," he turns what was previously an offbeat 70s-inspired funk song into a rather generic rap song.
It is "2 The Sky" that serves as the true centerpiece of the album. Thicke's voice darts back and forth between a mellow growl and his usual falsetto, creating an eerie sense of melancholy over a piano and guitar that build into a pseudo-rock climax.
The dynamics of his vocal are gorgeous---he sweeps from a full-voice belt to his falsetto smoothly, deftly altering the tone of the song. He is both vulnerable and commanding, assertive and meek. The track succeeds at fully abolishing the genre boundaries that have kept Thicke off of the radio and in the hearts of critics everywhere.
Listen and love it. This is one to watch.
Corrine Bailey Rae, Corrine Bailey Rae
It's a well-known fact that the UK pop public is much more willing to listen to more experimental sounds, so it's no surprise that Corrine Bailey Rae, with her idiosyncratic voice (think Macy Gray mixed with Erykah Badu) has achieved much success abroad.
The songs that comprise her debut album nearly all focus on mystery, enchantment, and wonder---not surprising, since her voice inspires the same sort of feelings. It wraps around each lyric, delivering a depth that isn't typically found in pop music without the need for Mariah-style melismas.
The haunting "Like a Star" opens the album, complete with a squeaky guitar and breathy vocals.
It is the perfect introduction to Rae's style---bereft of the bells and whistles, it's just her voice and a few live instruments, drawing attention to her simple yet intriguing lyrics. Her sound is vaguely neo-soul (is that term even valid anymore?), but songs like "Choux Pastry Heart" are muscially more experimental with a Cold Play-esque sound.
Rae's voice is inherently melancholy with its old-soul-scratch and whiskey-warm sound; therefore, songs like "Enchantment," where Rae coos about her unexplicable submission to a beguiling man, are brought to life in a way that a more "traditional" voice could not do. Funked-up tracks like "Breathless" and "Call Me When You Get This" add a more dynamic element to the album, with live horns and vamped-up snares.
The album as a whole sounds like a too-hot summer day, the sticky-skin kind that you miss when they're gone.
Rae's breezy voice inspires this sort of nostalgia effortlessly, proving that one need not wail all over a track to make it memorable.
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