MUSIC FOR TODAY, MUSIC FOREVER.

One of those days comes where I discover an artist that I have somehow missed, and I thus experience a revelation.

The artist is Janelle Monae, and even on paper, her inspired fusion of science fiction and old school soul would be enough to pique my attention.

‘Tightrope’ opens with her proclamation that she will “take your pain away”, and indeed she did, and does, and will undoubtedly do from herein. The lyrics and message of this track, combined with the most sublime ‘afrofuturist’ jive and funkiest horn section in Metropolis – “we call that Classy Brass!” – inject a truly wonderful feel-good factor. The accompanying video only intensifies the whole self-empowering party bliss of it all. I intend to keep tipping the tightrope, as best I can.

http://www.youtube.com/watch?v=pwnefUaKCbc

Her new album The ArchAndroid was promptly ordered, and I awaited the arrival of it with considerable glee in my anticipation. In the interim, I relished in various offerings on youtube, including her beautiful rendition of the classic ‘Smile’.

Following on from her first solo ep, entitled Metropolis: The Chase Suite, she now brings us The ArchAndroid, which comprises of Suites II and III in her concept album quartet, all placed in the year 2719 in the megacity Metropolis.

This is the setting for Monae's alter ego, Cindi Mayweather, an android with “a rock-star proficiency package and a working soul” , who goes on the run after illegally falling in love with a human; and elevated to messiah status by her fellow kind.

“Accessibility is clearly a concern and Monae achieves it by firmly straddling her sci-fi evangelism with a supernova like display of talent and a giddy round of genre hopping.”

Charles Ubaghs, www.thequietus.com

Music artists can often bring us excitingly fresh creations when they draw passionately from the past, and here lies no exception. It is familiar and new in equal measure, like being wrapped up in your favourite blanket whilst doing high kicks on an underwater rollercoaster, in that it is a warming delight and hypnotic dream.

In a recent interview she said: “I'm busy on focusing on what I need to be doing; creating transformative music because I think that we're dying to be transformed. We're dying to hear an album that evokes emotions that we have not been in touch with for a long time, and that's why the ArchAndroid is an emotion picture. It promotes the individual and if you allow it to transform you, it will.”

Aiming to transcend, to become all that I am and more than I am is something I strive for, and I thank Janelle Monae for now becoming another arsenal in my army towards an ambitious further-accomplished self. Nietzsche once put it that “Without music life would be a mistake.” Well this enthralling creation of rhythm and poetry in the air ensures life is anything but.

I know for sure that what we dwell on is who we become.

Become the change you want to see - those are words I live by.

Oprah Winfrey

BEING REBORN

Most of us love the good comeback of a diva, and I have to say I stand tall on that with this chanteuse very much indeed. There isn’t a dramatically dark story of drink and drugs standing as a precursor to this particular return to music (though her story is not without its own tragedy), but it is a most welcome return to form nonetheless.

My awareness of it came a few months ago when I heard a track on the radio, a delicious upbeat retro sounding ‘Baby Come Back Now’ and instantly hooked as I was, I thought with eagerness “who is that delivering those soaring vocals?”, only to discover at the end of play that it was none other than Mica Paris.

To the uninitiated, Mica was undoubtedly one of the leading lights on the UK soul scene, launching in 1988 at the age of 17 with her accomplished debut, giving us hits like ‘My One Temptation’ and a cover of the classic ‘Where Is The Love’. Several more successful albums followed, providing part of many people’s soundtrack to life.

Then she seemed to disappear off the radar, at least musically, only to resurface as a television presenter, which is perhaps all that a younger generation will know her for. Of course, they may also remember her as the motivating public voice of the anti-gun crime initiative ‘Operation Trident’, which she took up after the devastating murder of her brother in 2001.

Well I’m hoping now they will discover more, namely that which is her first love, not only with this accomplished new album aptly named ‘Born Again’, her first in seven years, but also by reaching back further into her back catalogue, as I myself am doing once again.

But to the now, and ‘Born Again’. Produced by the legendary Brian Rawling (who most recently gave us the number-one worldwide smash ‘Broken Strings’with Nelly Furtado and James Morrison, who also wrote the album’s first release, the aforementioned ‘Baby Come Back Now’ ), what stands here is a mature and wonderfully soulful collection.

It is difficult to find out a stand-out track here, simply because there are too many. I’m totally hooked on ‘The Hardest Thing’ (and there are some fantastic remixes out there too), probably because it is very personal to my own journey of late and which I’ve been playing daily. This is matched with the up-tempo Rhianna penned ‘Breathless’, which with promise of dance-floor stomp further sets this album out as one of great diversity.

Ballad first comes to the fore in the title track, where she delivers a hauntingly beautiful vocal lifted by sweeping strings, and on hearing this I’d defy anyone with a broken heart not to hope that love can one day return, or in the cover of Keyshia Cole’s ‘I Remember’ and hearing the spiritual cry of ‘Stay’ not find a fall of tears.

Isn’t it great when you just discover a song that speaks your heart: as someone once said put it “music is what feelings sound like”. These are accompanied further with a great acoustic revival of ‘My One Temptation’, and a live rendition of ‘Summertime’, in which she is more than able to hold up against all those legends who have delivered it before. Oh, can this woman sing!

Also worth a mention is ‘Hold On’ where, with a full return to her gospel roots, she gives us inspiration to ride on through and rise on up. As is my wont, I’m shouting a big ‘Hallelujah’ to that.

Growing in appreciation with each consecutive listen, I have little doubt this album is going to keep gaining much air-play within my own circle, and I urge you to do the same. It has been said this is the album of her career, and I can’t argue that. I love many artists, but it is great to discover (or rather, rediscover) a home-grown talent like this lady. This is a real accomplishment.

Welcome back Mica – you’ve been missed.

(first published September 8th 2009)

JOEY NEGRO & THE SUNBURST BAND

Let me start by saying that, though well aware and indeed wanting full albums of material of the thus above titled for quite some considerable length of time, I’d never got around to doing so. Finally, upon the release of the Hed Kandi ‘Disco Heaven’ compilation 2009 in early October, I did. That album gave me‘Sitting On Top Of The World’, all the prompt I needed.

I went for the newest, the ‘REMIX’ album. First, it gave me twenty-plus tracks; but I also knew if a remix hit well I’d go back to the original, so this would serve as a generous taster. Furthermore, these were previously only available on vinyl, which to me said ‘gift to aficionado’. If you only know disc and mp3, you are missing something – vinyl lives on like pen to paper. Like a photocopy of some great writer’s own hand, if you cannot play vinyl, it is still worth sourcing from those who can. I digress.

I waited longer than I normally have to for a cd in the UK to arrive through the post, even giving me doubt I had actually placed the order, but arrive it eventually did. The wait had, I suppose, only increased my interest, so in through the door and straight on it went.

Positive, indifferent or negative were my thoughts? Well, if you’ve read me before you’ll know I really only like one ballpark in the world of art. I’ll kill any remaining suspense by saying: when was the last time I devoured twenty-six new tracks in full upon the first listen? I’m not sure if I ever have.

So, ‘Joey Negro & The Sunburst Band: The Remixes’. This collection kicks right in with the finest pedigree, giving the perfection of ‘Sitting On Top Of The World’. Lush, rich orchestration leads with lifting strings into a harmonised soaring vocal; rightfully the signature tune to all that is to come, establishing outright where what you now have is fully expecting to take you.

Next up, straight into a rocking spiritual, unabashed with its bold faith, as ‘He Is’ brings us right to today in a gospel cacophony of childhood purity, twirling organ, pulsing drum and original Star Trek travel. So good that to one who follows no religion, here I do: that is music for you. And so the case is put forth, proved, closed and won; and just two tracks in.

I shall continue with my evaluation in a moment, but first, a bit of background. ‘Joey Negro’ is a moniker of one Dave Lee, who has long established his career as dj and producer; the latter under various guises for a decade or more, the former only he could tell. To the best of my knowledge, like many djs, he is not a man who plays instruments. This by no means makes him or others less of a musician: indeed, I believe it often gives a highly tuned ear that surpasses most, allowing instant recognition of the best in each individual strand and how to place it as a whole. It certainly led him to this, amongst others; a place which on listening speaks for itself.

In the last few years Joey Negro & The Sunburst Band have been at the very forefront of creating new the sound of decades gone, whilst combining it with what has come since, and thus proving it is as current and lasting as ever. With three albums under their belt, this release is a remixed selection taken from those. And what a choice of choice it is.

Here I go. I will now throw my gauntlet down, blazing and brazen, in saying that I challenge any great disco, soul, acid-jazz, funk, house lover of the last three decades not to find at least one treasured stallion piece in the rich variety of this noble stable. For me, there are simply too many to choose from to name such a one.

However, we have to start somewhere, so out of those one too many to mention, let me pick up where I left off and on to track three; ‘Everyday’ (COOL MILLION RETR-O-MATIC MIX). Though ageless, at least one generation will find this a total gift. This is the purest slice of a certain genius vibe in the eighties as any great tune of that ilk could be, and in doing so not only stands as is, but alone shows that here is a musical creator who was there when the wave originally hit, knows what coursed through his veins then can course through all now, and so carries on surfing upon that crest, like only the best can.

Onto then ‘Our Lives Are Shaped’ (GRANT NELSON MIX), which carries this signature of the 80’s straight on, though undoubtedly brings it to that which is equally on point to the now. Musically and rhythmically superb, it also serves to give a simple and pure truth in the vocal. Trust me when I say you’ll know, if you’ve learnt anything along your life journey, exactly what I mean on that last point when you listen.

The fifth track, ‘Journey To The Sun’ (DENNIS FERRER MIX) steps up and over into a different gear. Here now we step into a new realm, deeper and more orienteered to a club/dance setting. This is the first I’d skip; not because I don’t like it, far from, simply because that this takes me to a place that though I’d enjoy, I’m not ready for yet. This for me is later. Though one must remember that this is not a mix, it is a selection, so one need not follow what has been set in succession as if delivered by a high priest of the decks. In reflection, I do believe it could be that nonetheless. That in itself smacks of genius in chosen art to me.

I’m not going to go on and list and describe each track, a further twenty one in fact: this would probably both bore you and tire me. Though Pete Simpson, Taka Boom et al – can you sing! Yes, when the sax drifts in as if asked to top what has already come on ‘Everything’s Gonna Be Ok’… when the delicious funk of ‘Free Bass’ kicks boldly straight to the fore, allowing for stomp or lie-back in equal measure… as I hear the comforting confirmation of Maiya James in ‘I Know You Care’… the on the button brilliance of ‘Moving With The Shakers’ (and I’ve not even touched on to CD 2, which I SO could)… Suffice to say, a golden journey of beat, instrument, lyric, vocal and re-touched mix awaits you.

You will have most probably got by now that I think this nothing short of a new classic within my library of musicality. I can not praise it enough, that is given. Upon my very first listen (which is when I wrote this) I began building up a list of those I have to get it to, knowing it will strike with them too.

Trying, though no doubt failing, to remain even a little detached for at least one fleeting moment, I add this. For me, in my mind, what grabs the most (as much as individual tracks do) is the whole; here is a cannon of work that to every seasoned clubber, be they a member of the congregation participator or a true guru dj, holds at least one gem that is gleaming and perfectly polished for a particular point within their own musical odyssey. This is dance now, but equally and boldly holding all that led to it being here. When getting up, the best music to move you hits in the very core, almost offering uncountable ways to follow it; I believe that lives here. As said, this is boogie, disco, soul, funk, house – blended to a level that were it food no Michelen star could justify. Please feel free to come back if you think me wrong, though with assurance I don’t think you will. Of course, I know well that musical taste and the particular within that is wholly personal; though I’d be hard-pressed to think of an unmixed selection that possesses such consistency in feeding head and heart and feet in unison, I know that couldn’t be the same for all. Just buy it. Then play it. Now, maybe you can defy it. Maybe. It’s possible.

Me? I’m saying you’ll get up and dance.

(first published in 2009)

MAN IN THE MIRROR

(I wrote the following just under a year ago for a publication that never happened under a guise of friendship that was sadly too ephemeral. I thought it apt to put it here today.)

It is August. We still have days of warm sunshine left to bathe ourselves in, but the equinox has already past and soon the seasons will change. For millions across the world, the summer of 2009 will be indelibly marked by one day, and those that followed, full of initial shock and subsequent sorrow.

I refer to late June, and the death of a superstar. Michael Jackson.

Undoubtedly, no more has ever been written and talked about in regards to a cultural icon, and I am not about to embark on discussing his career in-depth, nor trawl through the muck-raking, conspiracies and gossip. The former is best left to those with more knowledge to make observation, and the latter holds no interest for me whatsoever. What are truths and what are lies will probably always remain blurred anyway. Society would perhaps be better looking to itself regarding why it allowed a psychologically disturbed individual to be pushed to the brink.

For yes, Michael Jackson was a deeply frail individual, and even if you knew nothing else one only needed to take a look at his face-altering over the years to see the glaring truth of that. Yes he was flawed, but true heroes always are. Personally, I’d long held a sense of pity for how he had turned out, at how troubled and tortured his existence must have often been. He was a star at six, a global celebrity just a few years later. Child stars, robbed of that most of us take for granted, invariably suffer, and he was the biggest prodigy of them all. To paraphrase the eloquence of Lemn Sissay, he died as he lived, with a thousand arrows in his chest.

However, is it not perhaps best to reflect on what a miracle it was that someone so unhappy was nonetheless able to lift and inspire across the world as he did? Certainly, one of the kinder aspects to arise from his passing is the way that, after years where scandal and ridicule were what came up in his name, there is celebration once more of the artist. Those who had not forgotten, those who had, and those that had never really known have come together and resurrected all that has come to stand as what truly gives him status as a legend of our age.

From those timeless halcyon days of The Jackson Five, and on to the birth of solo success, first with ‘Off The Wall’ and then the subsequent ground-breaking ‘Thriller’. No album changed the music business as powerfully, and the combination of Quincey Jones’s stunning production and Michael’s extraordinary talent saw him moonwalk into the stratosphere. And from there on in the music, the moves, the awe he created just grew. As the journalist and broadcaster Dan Cairns put it: “We must remember how he began and the magic he made, rather than what he became and the manner in which he departed”.

As an entertainer he cannot be denied as being truly unique and unrepeatable, a genius in his art of almost unworldly quality. There are those that burn so brightly they seem not of this Earth, and burn too fast because of it. Michael was one of those.

Despite the debate of his ever-changing personal image, and what some saw as a betrayal of his roots, it is without question that he also culturally ascended in a way that broke through barriers long after many would have said no barriers were left. And he was not unaware of this, as ‘Black & White’, and his 2002 speech in Harlem against industry racism would testify.

But, aside from the great gift of his creativity he leaves as his legacy, there is one more thing I feel is important to mention. Something all too often ignored. His philanthropy, his role as humanitarian.

“I wanted to change the world, so I got up one morning and looked in the mirror. That one looking back said: There is not much time left. The earth is wracked with pain. Children are starving. Nations remain divided by mistrust and hatred. Everywhere the air and water have been fouled almost beyond help. Do something!”

Much is written of his wild spending, the financial woes that followed, and of the millions of debt he has left behind. Equal to this is prediction of how much wealth will now be made following his death. Much less is spent discussing what he gave during his lifetime. In 1985 he co-wrote ‘We Are The World’ with Lionel Ritchie, which went on to raise $60 million going directly to the famine relief in Africa. It was in 1992, with the release of ‘Heal The World’ that Jackson started the charity organization of the same name, funding it further with all profit from The Dangerous World Tour. The ‘Heal The World Foundation’, which only added to the millions he had already personally donated, went on to airlift supplies into war-torn Sarejevo, as well as fund, wholly or substantially, over thirty other individual charities in both the US and around the world. The list of what he directly did is too long to put here, but as Ralph Waldo Emmerson put: “If just one life has breathed easier because you have lived, you have succeeded”. Many breathed easier because of Michael Jackson.

All this should be remembered. For perhaps it truly was the action of the ‘Man In The Mirror’. Perhaps in looking at his life in wake of his death we can be inspired to look beyond cynicism and see something greater, further reaching. As we listen to the music, as we try to fathom one man so unfathomable, maybe we can also take a moment to face up to our own reflection and ask what changes we ourselves can make that could make this world a better place. I would say this is an ‘Essentially Major’ question for us all.