'Vibes' Promo

Vibes Commercial Promo from Justin Jones on Vimeo.

This week's 'Vibes' celebrates the release of Babyface's new album 'Return Of The Tender Lover', plus a ton of more music on that R&B tip.

'Vibes' Ep. 9 by Theessentialvision on Mixcloud

This episode of 'Vibes' pays tribute to music legend Stevie Wonder on the heels of his 'Songs In The Key Of Life' tour.

Vibes (Stevie Wonder Tribute) by Theessentialvision on Mixcloud

Hear the latest fusion of Soul, Hip-Hop, and Jazz w/ the 7th episode of 'Vibes'. Catch it on rub.org on Thursdays 2pm-4pm online. Let's Rock!!!!!!!!!!!!!!

Vibes Ep.#7 by Theessentialvision on Mixcloud

Vibes Ep #6

Hear a dash of new music by Miguel ('Waves') and Kali Uchis ('Ridin 'Round), and a ton of old school throwbacks (Patrice Rushen, Kool & The Gang) all rolled into one in the 6th episode of 'Vibes'. Rock Out!!!!!!!!!!!!!!!!!!!1

Vibes, Ep #6 by Theessentialvision on Mixcloud

Vibes, Ep.5

The music doesn't stop. Listen to Kali Uchis, Belly, & The Weeknd among others, plus your favorite legendary artists on this 5th episode of 'Vibes'. 'Vibes' is live on wrub.org every Thursday from 2pm-4pm! Listen!!!!!!!!!!!!!!!!

'Vibes' Ep.5 by Theessentialvision on Mixcloud

Here's another treat! Last Thursday's episode is here if u missed it. Listen to Wale, Nas, Anderson p.aak, & more! Let's gooooooooo!

Vibes, Ep.4 by Theessentialvision on Mixcloud

Vibes, Ep.3

Sit back, relax, and enjoy! Also check out the interview and discussion w/ visual artist Ivan Da Nomad, Hitchhiker from the 4th Dimension.

Vibes, Ep.2

Vibes, Ep.1

Newcomer Andra Day gives a toast to music with 'Cheers To The Fall'

Album Review

          
                Andra Day has been buzzing within the industry for a few years now, from being a YouTube standout with covers of songs like Eminem’s “Lose Yourself” to being called upon to work with Stevie Wonder before even having a record deal (It is in fact Wonder who would help her secure a recording contract with Warner Bros later) to being a standout at this years Essence Fest that has led to her first of many albums with ‘Cheers To The Fall’.

Hearing Andra Day’s voice alone is a nod to music’s past. Her voice echoes those of Billie Holiday, Nina Simone, and Amy Winehouse all in one sound bed.  The San Diego native’s Warner Bros. debut ‘Cheers To The Fall’ is a sonic dose of love, heartbreak, consciousness, redemption, and celebration, all in the span of 50 minutes. Vocally she is reminiscent of Amy Winehouse on “Only Love”, carrying the accompanying production that is similar to Winehouse’s work with producer Salaam Remi in the past. Giving melodic vocals to brush against classical sounding horns and percussions. The same can be said of “Gold”. On this particular song, Day eases her singing style into a massive chorus that turns her pain of letting a love interest slip away, into straight up anger. It’s this same pain that is mixed with beautiful songwriting, giving ode to Nina Simone on “Honey or Fire”. On this song, Day knows not to rely solely on her singing to bring power to song, as she uses minimal piano keys and heavy drums to match powerful backup singing.

There are shadows of 60’s soul on records such as “Gin & Juice (Let Go My Hand)” and “Goodbye Goodnight”. This same sound is mastered on the albums first cut (and single) “Forever Mine”, where Day sings with maturity and innocence at the same time. The song is a slow build to a fast rhythmic paced bridge at the end that has her sing-rapping, and even giving a shout out to the legendary group Mobb Deep in the process, singing “The way that you move, never seen it before/Looking for my head, can’t find it no more/You ransom my heart, and I get the reward/Winning the crown like a Trojan Horse/I come back, back, back every time, you got me shook like the Mobb when they rhyme” Day sings. For further enjoyment, check out the song on YouTube for the Spike Lee directed visual. Yes That Spike Lee.

The standout on this record is in fact “Mistakes”. Pulling herself together to be forgiven in a relationship, and realizing that she needs her other half, you actually believe that she is sorry (for whatever she did). This track brings power to her voice, and is also the most up-tempo on the album. Andra Day has good songs on this record. The only thing missing is her cover of Nina Simone’s “Mississippi Goddam”, where she makes the classic song into her own. That alone is an accomplishment.

Mastering the Pen: Jazmine Sullivan's 'Reality Show' Co-Stars Songwriting

          There is a lot of soul that comes out of Philadelphia, Pa. It kinda starts with Gamble & Huff, the production duo behind 70’s sound of Teddy Pendergrass, The Jackson’s, and the O’Jay’s among others. Then you have DJ Jazzy Jeff, all the way to ?uestlove and The Roots, Eve, Jill Scott, Musiq Soulchild, and Meek Mill. One important piece to this list is Jazmine Sullivan, who just released her third studio album Reality Show via RCA. Singing since her childhood, and studying under legends like Salaam Remi and Missy Elliott, Sullivan’s talents stretch beyond her powerhouse voice, as she has an ability to paint a picture with her songwriting skills more effectively than most singer-songwriters of her generation. Reality Show proves that while she can sing her way through stormy situations, it’s her captivating use of a pen that keeps listeners entertained and inspired through each song.

            One would think that the album would detail breakups and heartbreak, after all she did strike big with 2008’s “Bust Your Windows”, however there is a range in topics within the album. Starting off with the Key Wayne produced “Dumb”, Sullivan covers a familiar topic in her catalogue: cheating. The song should have been more of a hit in the summer when it was released as the albums first single, but all is fair. Calling out her other half for being dumb to think that she isn’t aware of his actions, Sullivan gets assist from MMG lyricist, and fellow Philly kid Meek Mill. Other records that get into the pitfalls of a relationship are the DJ Dahi backed “Brand New”. This track fits the ‘Reality Show’ concept, coming off as a Love & Hip hop storyline. Lyrics like “They don’t know you like I do/I swear when n***as start making money/They start actin’ funny/It’s no love when they come up/They get brand new”. While the lyrics are angry, the vocals and production are mellow. Same can be said for “Silver Lining” and “Mascara” The former deals with a woman trying to survive financially between jobs, and having to raise and take care of family. While a relatable story, far too many vocalists are this candid let alone sing about it in song.

            One of the highlights of Reality Show is “#HoodLove.  Produced by industry vet Chuck Harmony, the record deals with the volatile side of being with someone, and doing everything that you can to keep things afloat in hard times, even when you know he/she has “two strikes”. The song’s vibe gives a haunting feeling. One that let’s you know that the relationship is “Bonnie & Clyde” inspired, with a heavy bass to match. Another highlight is “Stupid Girl” where Sullivan showcases a Motown inspired range, with production that brings to mind old sound of The Marvelettes. Sullivan’s pitch is altered again on the album closer “If You Dare”. Using an upbeat track, the song is base and percussion heavy, with the theme of living your life as a focal point. The song is one of the most positive and upbeat records on the album.

            On a few listens to the album it is rather easy to see that Sullivan has an old soul. She uses production and vocal arrangements that sounds like a tribute to Prince and Anita Baker on the tracks “Stanley” and “Masterpiece (Mona Lisa) respectively. She does it effectively without it sounding forced.  In fact her influencers would be proud if they heard the tracks themselves. “Forever Don’t Last” is signature Jazmine Sullivan, and interestingly is the most autobiographical record on the album. The acoustic riff and drum snap in the background compliments her vocals and the pain in the lyrics well.

            Not everyone can sing and be an effective songwriter. Jazmine Sullivan can. There is a song on here for anyone over the age of 25 to relate to. More importantly the album is entertaining, and should be in most playlists this year. There is a reason Sullivan was nominated for ‘Best New Artist” years back at the Grammys. She has a range that few can emulate.

Time Stood Still: D'Angelo and The Vanguard gives us 'Black Messiah'

           

          Scrolling through Instagram on December 12, 2014, I came across an a photo by North Carolina producer 9^th Wonder (follow him!), the photo showed a copy of a new album by D’Angelo titled Black Messiah. Judging by the comments underneath the picture and my own reaction, it seemed like another Internet troll. Later on when a 15 second YouTube video teased the album, along with a confirming tweet from none other than Soulquarian patriarch ?uestlove, it became official: D’Angelo was about to resurface to the public with an album 14 years after Voodoo. Within the next few days the album would be released on ITunes to the shock of many and less than 24 hours after it’s NYC listening party. By midnight on December 15^th I had bought and downloaded an album, and upon listening to the project, realized that an artist that had been in seclusion had arrived back on the scene at the right time with the right music.

            Black Messiah returns D’Angelo to the spotlight that he had left after the critical and commercial high of 2000’s Voodoo, an album that took five years to make after his debut Brown Sugar birthed the Neo-Soul genre. In a recent interview with D’Angelo, he dismisses the genre itself, not because of the music and its offspring associated with it, but because of the box that it puts his music in. After Brown Sugar, artists such as Maxwell, Erykah Badu, and Lauryn Hill were pushed to the forefront of soul, but D’Angelo was right; it placed all of them in a box. By the release of Voodoo in 2000, the music was so far removed from the sound of his debut, that it became a hard pill to swallow for even the most loyal of fans. Voodoo was great album however, and in today’s climate a classic, but it was different in the boundaries that it pushed. Even “Co-Pilot” to Voodoo, ?uestlove admitted to having to play to “gutter bucket” levels to play a more raw sound to D’Angelos liking. That raw sound added to D’Angelos cohesive sophomore effort, but the album didn’t receive its massive praise until the music video for “Untitled (How Does It Feel)”. Depicting himself unclothed with a one-shot camera zooming out just past the waist, D’Angelo was now a sex symbol. While this was standard for the likes of Usher and Ginuwine at the time, D’Angelo wanted to be known for his art and the video came to haunt him as the tour for Voodoo went on. Women only wanted him for his body as opposed to the music, and this often led to the “Neo-Soul Pioneer” to scold at his audience.

            After the Voodoo tour, D’Angelo went into seclusion, and days turned into months, months to years, until a 2005 mug shot showed a heavy set D’Angelo arrested for drugs and picking up a prostitute. By this time music in general was at a standstill. Not only from a commercial standpoint, but also more importantly from an artistic one. Contemporaries such as Lauryn Hill and Maxwell were also on hiatus; hip-hop was way past its creative peak into the 90’s, and R&B was chasing creative less Hip-Hop for inspiration. With artists such as James Brown, Prince, and Sly Stone past their prime, no one was there now to pick up where they left off.

The few artists that were out during the 00’s didn’t quite have much to say (or at least didn’t say much). During the presidency of George W. Bush, as people complained about the state of the world, people be it artists or consumers alike got comfortable.  Upon the presidential election of Barack Obama in 2008, there was a feeling of change in the air, but it wasn’t fully grasped by our fellow artists. Sure there were records such as the underrated 2010 album by John Legend & The Roots Wake Up, But nothing brought upon the true feelings of the time into sound. Maybe perhaps our people in general were living in illusions, and it wasn’t until the recent murders of Trayvon Martin, Michael Brown, and Eric Garner that the public finally accepted that there were some serious problems that were being glossed over in the black community. Sure, artists such as Talib Kweli, Dead Prez, and even recent Public Enemy music still were addressing these issues, but Black Messiah is bringing back the feeling that made the protests of the ‘60s urgent.

Now on to this album …

            Black Messiah was originally titles James River, but if you listen to the music, the new title fits appropriatlly. The backup band this time around is called The Vanguard, featuring fellow Soulquarian ?uestlove, as well as Pino Palladino, Jon Blackwell, Jesse Jackson, and the albums primary co-writer Kendra Foster. Instead of talking directly about Ferguson, Missouri, D’Angelo states “All we wanted was a chance to talk/’Stead we only got outlined in chalk” on “The Charade” a song that gives you a Phillies sound reminiscent of the Gamble & Huff days. This could be due to the drums of ?uestlove, whom also shows up for a majority of the album. It’s on “Charade” that the bass drives the track to another dimension. This is the to the talents of Pino Palladino Another politically charged record is “1000 Deaths”, where D’Angelo handles much of the instrumentation with drums by ?uestlove and vocals by himself. The best part of the song is the distorted lyrics aligning with the heavy percussion work. According to sound BM sound engineer Ben Kane, the track was conceived when D’Angelo saw a Fishbone concert a few years back. The song’s highlight is at the very beginning with the VHS sample of Dr. Khalid Muhammad and a documentary film about Fred Hampton joined together. The sample sets you up for anger and rebellion.

            At other times D’Angelo does self-reflection with ?uestlove’s drums and guitar riffs on “Back To The Future (Part 1), reminiscing on his hometown, and the physical shape that depicted him in his 2005 mug shot. On this track D’Angelo sings that he “Used to get real high, now I, now I’m just getting a buzz”. “Till It’s Done (Tutu)” brings D’Angelo to sing about questions of where we as a people come from and  even then what we become as a result. Topics, such as war and pollution come about as it is asked as a whole society of flesh, what are we fighting for? 

           Much credit to the album has to be given to Kendra Foster who helped write a majority of the songs with the artist. Foster along with Paladino, ?uestlove, and Q-Tip help bring D'Angelo's vision to light and makes this project an extraordinary collaborative effort. The sound of the album is even nostalgic to the days of vinyl recordings due to BM being made using only analog tape for recording,making the listener hear small details to shape your listening experience. Credit goes to engineer Russell Elevado for this aspect, bringing to light a sound that music no longer has but is in need of

            Love is another central theme within the album. Interestingly, the messages within the love that D’Angelo sings goes deeper than a person, but of loving oneself. Songs such as the whistling melody of “The Door” have a nice groove. The guitar synth riding to the drums in “Ain’t That Easy” is a good opening to the album, in fact it was co-written by Q-Tip, who also lends his pen game to the raunchy and funky “Sugah Daddy”. The two biggest highlights on the album however are “Really Love” and “Another Life”, the latter being D’Angelo’s best vocal performance on record since 1995’s “Cruisin”.  “Really Love” starts with dark strings courtesy of Brent Fisher and a Spanish dialogue, before going into the slow drums and guitar, as D’Angelo longs for his other half.

            While Black Messiah seems as if it’s christening D with a revolutionary title, it’s not; The album’s linear notes (which can be downloaded along with the booklet on D’Angelo’s website) clarifies that we are all black messiahs. If music such as this can get us on the right path, the 14-year wait by D’Angelo was worth it. It’s like time stood still and D’Angelo never left.