about contributors submissions book series advertising contests Media Center PopMatters Picks
|
|
John Legend
Best R&B of 2006PopMatters Picks: The Best Music of 2006[14 December 2006] by Mike JosephPopMatters Picks: The Best Music of 2006
Most R&B fans would have called 2005 crappy. I—being the optimist that I am—call it transitional. John Legend carried us through most of the year, with a beacon of light showing up at the end of the year in the form of albums by Mary J. Blige and Anthony Hamilton. The Queen of Hip-Hop Soul blessed us with an album that contained very little in the way of overt hip-hop, as her songwriting and vocals have matured to the point where her legendary status is justified. Hamilton, meanwhile, dropped a second straight heater. It bode well for 2006, and, all things considered, the year in R&B wasn’t too bad.
1 John Legend’s debut, Get Lifted, positioned him as the male Alicia Keys. Blending traditional hip-hop/R&B with a sense of musicality that only someone who plays a piano can have, Legend won three Grammys at the top of ‘o6, including Best New Artist. His sophomore set, Once Again, blows Keys to bits and eliminates any possibility of either the sophomore or “Best New Artist” curse. He removes the hip-hop influence to create a timeless album of classic tunes that is pure soul. With influences ranging from Stevie Wonder to Jeff Buckley, this mainly down-tempo set is the year’s best treasure.
2 I was one of the few people that heard Hunt’s 2004 debut and didn’t particularly care for it. Something possessed me to pick up a copy of Jungle Floor, Hunt’s second album, anyway. Boy, what a good move that was. Not many folks are able to pull off a big blues-pop duet with Nikka Costa ("Mean Sleep"), then turn around and out-do the Killers at their own game ("At the End of a Slow Dance"), THEN create a thumping midterm jam that would fit right into any R&B radio station’s format ("Being a Girl"). Musically adventurous and superbly written, produced and sung, Hunt’s latest proves that eclecticism is indeed a virtue. Related articles:3 This album was released with less than two weeks left in 2005, so let’s consider it a 2006 release. Let’s also consider it Blige’s best album since 1994’s My Life. Despite a different producer on damn near every track, this album holds together musically because of one constant: Mary’s voice, which is powerful whether she’s expressing pain, sentimentality, anger, or sensuality. Thankfully, the record doesn’t go over the top with cameos (unlike previous efforts) and the songwriting is top-notch. Not to mention the fact that she takes one of the best songs of the past 20 years (U2’s “One") and makes you forget who originally sung it.
 Robin ThickeThe Evolution of Robin Thicke(Star Track/Interscope; US: 3 Oct 2006; UK: 31 Jan 2006) 4 There have been many reviews of this album comparing Thicke to fellow blue-eyed soulster Justin Timberlake. Those who make that comparison need to listen again. Not only is Thicke’s creamy voice superior to Timberlake’s, but he’s an infinitely better lyricist (something which, admittedly, isn’t difficult to be). The hip-hop-oriented tracks here (featuring the likes of Pharrell and Lil’ Wayne) seem to be shoehorned in to guarantee Thicke chart success, but as the lilting ballad “Lost Without You” has proven, Thicke needs to ride on no one’s coattails to be successful.
Related articles:
 Anthony HamiltonAin't Nobody Worryin'(So So Def/Zomba/Arista; US: 13 Dec 2005; UK: 30 Jan 2006) 5 Yet another December 2005 release, Anthony Hamilton’s effort harkens back to the days of the manly soul man—there are echoes of everyone from Bill Withers to Teddy Pendergrass in his work. However, Hamilton also has the sacred/profane dichotomy working in full force, as evidence by the thunderous gospel song “Pass Me Over”, which is followed several tracks later by the playfully ribald “Sista Big Bones”. Of course, it also helps that the man is in possession by the greatest voice of his generation.
Related articles:6 The wispy former lead singer of Groove Theory released the third album of an impressive and unappreciated solo career with this effort. Representing the best of indie soul, it pits Larrieux’s cooing voice against arrangements that were airy and rock solid simultaneously. Recorded in tandem with Larrieux’s producer/husband Laru, songs like the playful, lighthearted “Trouble” and the thumping “Earn My Affections” make me wonder why this lady isn’t selling millions of records. Related articles:7 Don’t look now, but Prince is pushing 50, he’s a Jehovah’s Witness, and he still makes the sexiest music of anyone breathing. Religious conversion doesn’t mean that the man has lost his freak flag; he just hides it better. 3121 is a lean, mean collection that proves that the man hasn’t lost a step since 1978. A spare, minimalist groove turned “Black Sweat” into his greatest single in at least a decade, and the rest of the album is no slouch either. Related articles:8 While Jamie Fox’s Unpredictable opened up the market for early-’90s R&B nostalgia, Ne-Yo took it to the next level. Any of the songs from In My Own Words could’ve popped up on a Guy, Silk, or Shai album circa 1992, with their tinkly keyboard arrangements and the sex-you-up lyrics. Believe it or not, this is not a bad thing. While he has a decidedly average singing voice, Ne-Yo’s got an ear for great lyrics and hooks, as evidenced by the huge hits “So Sick” and “Sexy Love”, as well as DeBarge-swiping album tracks like “Stay” and “It Just Ain’t Right”.
Related articles: India.ArieTestimony: Vol. 1, Life & Relationship(Universal Motown; US: 27 Jun 2006; UK: 27 Jun 2006) 9 Yeah, she can be self-righteous to the point that you can’t help but roll your eyes. But India’s gifted enough that even if you roll your eyes, you feel bad immediately afterwards. R&B’s queen of positive stays true to the album title concept, with lyrical pats on the back that are almost reminiscent of an Oprah episode. However, her rich, creamy voice puts these occasionally corny platitudes over. Besides, who else can do a record with Akon, then turn around and do a record with Rascal Flatts, and have both of them sound completely natural? Related articles:
10 While plenty of folks will carp that this is a pop or even an alternative rock album, no one can create a sound like Cee-Lo’s heavenly wail and NOT be called soul. Besides, let’s face it: this is no less soulful than your average Parliament/Funkadelic album. What St. Elsewhere IS, however, is strange. Danger Mouse’s way with a sample and a beat is retro and futurist at the same time, and Cee-Lo just might tie Lauryn Hill as the best MC who is also a singer (or is that singer who is also an MC?) ever. Even without the world-beating single “Crazy”, St. Elsewhere is an adventurous, experimental thrill ride.
Related articles:PopMatters Picks: The Best Music of 2006
|
|
