January Music Reviews

January Music Reviews
Pride News Magazine
(January 18, 2006)

Goapele
Change It All
SonyBMG

It’s hard to knock an artist such as the talented and lovely Goapele (pronounced Gwa-pele). Hailing from the San Francisco Bay area, Goapele (the child of a Jewish mother and a South African father) is part of a new wave of neo-soul artists producing original music that is firmly distanced from the mainstream’s notion of what R&B should be. This is her second album (a follow up to 2004’s Even Closer), and it shows, in the improved production and vocal ability. “‘Change it all’, the concept, can be a little intimidating sometimes,” Goapele says on her website, “but we’re really just thinking about how to make steps, even if it’s little things, in our personal lives, or in our communities, that are, at some point, going to affect change for the positive.” Indeed the title track speaks to poverty, injustice and social crisis. Despite that inspiring sentiment — alas — this album isn’t perfect. Despite the fact she wrote/co-wrote most of the tracks, Goapele often comes across as too mellow and earnest for her own good. She’s at her best with funky numbers like, “Love Me Right”, “Find A Way”, and the snazzy duet, “You”, featuring fellow neo-soul star Dwele.

Anthony Hamilton
Ain’t Nobody Worrying
SonyBMG

Every time I’m ready to give up on today’s R&B/soul music and dust off some Stevie Wonder and Donny Hathaway, along comes someone like Anthony Hamilton to fully reaffirm my faith in the genre. Hamilton could’ve gone the easy route and created some bubblegum soul, complete with guest appearances from the rappers du jour. To his credit, Hamilton doesn’t. What he does do, however, is create a solid soul (sans the “neo” tag) that wouldn’t look the least bit out of place next to Marvin Gaye or Bobby Womack. Drawing heavily from southern soul and gospel influences, Hamilton’s unique and easygoing drawl takes us back to a time where old school soul reached the mainstream consciousness. The title track, “Ain’t Nobody Worrying”, a “What’s Going On”-type joint, perfectly details the ills of today’s society. Lead single, “Can’t Let Go”, is hot-buttered soul, “Change Your World” is classic Motown, and “Pass Me Over” is contemporary gospel. He even skillfully throws in some reggae vibes, with “Everybody”. Even though this album was released late December, this could be an early candidate for best of 2006.

The Notorious B.I.G.
Duets: The Final Chapter
Bad Boy/Warner

Try as I might, it is difficult to see this posthumous project, by the legendary hip hop star, as anything more than a blatant cash grab. Despite using “long lost” material from the Brooklyn-born rapper Biggie Smalls, with new beats and rhymes by Slim Thug, Obie Trice, Nas and Mary J. Blige, Duets: The Final Chapter is perhaps a project that didn’t need to be done. Considering the sub-par production, the uninspired verses and the (obviously) dated and stale rhymes, by Smalls himself, I don’t see any merit in this album. Bad Boy’s Puff Daddy (or Diddy, or whatever he calls himself these days) even goes so far as to tactlessly downplay Biggie’s success, saying: “I took him from coal to diamond/I molded his mind into the most phenomenal artist of any and all time”. But knowing Diddy’s marketing sense, Biggie’s unyielding popularity, and pop culture’s love of deceased icons, I suspect this Final Chapter will likely be anything but.

Hustle & Flow (DVD)
Paramount Home Video

There was a lot of hype when Hustle & Flow opened in theatres last year. The thing is, the film actually lived up to it. It is more than a “hood” movie. Backed by a brilliant script, excellent cinematography and a superlative performance by one Terrence Dashon Howard, the gritty film is easily one of the best of 2005. Howard gives a complex and nuanced performance as DJay, a Memphis hustler/pimp not satisfied with his current lot in life and dreams of something more. Learning that hometown-rapper-turned-big-time-star Skinny Black (played by Ludacris) is coming back to Memphis for a visit, DJay sees the opportunity to make something of his life by putting together a demo tape and presenting it to Skinny. The widescreen DVD version of the film is an excellent transfer (especially considering the low budget film’s intentional gritty look), and boasts over two hours of bonus materials, including promo trailers, commentary by up-and-coming writer/director Craig Brewer, and the ubiquitous “making of” feature. With excellent performances by Anthony Anderson, Taraji P. Henson and Elise Neal, Hustle & Flow is definitely an interesting glimpse of human struggle, amidst economic uncertainty.

John Legend
Live at the House of Blues (DVD)
Sony

Uber-talented neo-soul singer/songwriter John Legend burst on the scene with last year’s underrated solo debut, Get Lifted. But prior to hooking up with producer Kanye West, and blowing up, he was a mainstay of the concert circuit, playing in small venues and jazz clubs, slowly building up his reputation for old-school soul. This DVD shows Legend in concert at Hollywood’s legendary House of Blues this past August. It catches the accomplished pianist at the peak of his game, featuring live versions of “Let’s Get Lifted”, Ordinary People” and “She Don’t Have To Know” – along with guest spots by Snoop Dogg and the aforementioned West. The DVD successfully captures Legend’s amazing stage energy and presence, and showcases why he’s someone to watch for in 2006.

Damian Marley Music Review

Damian Marley Music Review
Exclaim Magazine
(www.exclaim.ca)
Ryan B. Patrick
December 14, 2005

Damian "Jr. Gong" Marley builds off his Grammy win (for 2001's Halfway Tree) with an even more solid album that leaves no doubt that he is truly the progeny of the immortal Bob and brother of Ziggy, Julian, Stephen and Ky-mani. The first single — the ubiquitous "Welcome to Jamrock" — was released earlier this year and it's amazing to see how it's slowly built up momentum to become a mainstream sensation.
Produced by Damian and Stephen Marley, the overall album is a curious mix of edgy reggae grooves and charitable doses of R&B and hip-hop. The guest stars are truly a motley crew: Buju Banton, Bounty Killer, Bobby Brown (!?!), Black Thought (from the Roots) and Nas. It's a mix that features tracks like the acoustically driven cautionary tale
"Pimpa's Paradise" coexisting with the rootsy ballad "There for You" and the sensually charged "All Night." It's interesting to note that Welcome to Jamrock (which deals with the growing disconnect between the "haves" and the "have-nots" in Jamaica) has stirred up a bit of controversy, mainly from those who prefer that Jamaica only be depicted as a tourist paradise. It appears that "Jr. Gong" has, alongwith the musical talent, picked up his father's socio-political consciousness as well.

Sizzla: Burn to Shine

Sizzla: Burn to Shine
By Ryan B. Patrick
Pride Entertainment Writer
January 11, 2006
pridenewsmagazine.ca

“Sizzla yesterday, Sizzla today and Sizzla tomorrow,” says reggae wunderkind Sizzla Kalonji, when asked if his recent signing to American major record label Def Jam would change him as an artist.
“I’m just here to promote the works of the Most High, the Jah, the truth,” he adds.
I’m speaking with Sizzla in a downtown Toronto hotel, where he has been doing a full day of media interviews.
It’s the day before he headlines a December 11 concert, on a bill that also features local artists Dylan Murray and recent Canadian Urban Music Award (CUMA) winner Blessed.
His publicist tells me this is likely the most press Sizzla has done ever in his eventful career. Even the humble, soft-spoken and normally publicity-shunning artist is savvy enough to recognize that it’s part of the process of building international stardom.
“It feels good. It’s a next level of achievement,” Sizzla says.
He is very personable, respectful, and speaks in quiet, measured tones. “It’s another door open, but it’s the same mission – to keep the people joyful, to keep the people focused, and deal with Most High works.”
The December 11 concert goes on as scheduled – something that almost didn’t happen the last time Sizzla played Toronto.
The last time, he was under a firestorm of controversy, as fellow reggae artist Beenie Man had his Canadian concerts cancelled due to a public uproar over “homophobic” content within certain popular dancehall reggae songs.
Although Beenie Man’s shows were cancelled, Sizzla, a lesser known artist at the time, got to play.
As his profile has risen, though, Sizzla has faced his own problems. In 2004, the artist’s five-date UK tour was cancelled following complaints about his homophobic lyrics.
“I just laugh with them,” Sizzla says of people that may take issue with his music and past remarks on sexuality. Indeed, the interview is peppered with phrases such as “getting rid of deplorable activities”, “love for a woman always” and “replenish the earth” – one can easily read between the lines and grasp his staunch spiritual beliefs, political correctness be damned.
There is no refuting that the talented Sizzla has always had the courage to stand by his convictions, even at the risk of international success.
Sizzla’s message – simply put – is powerful. Sizzla, aka Miguel Collins, was born of devout Rastafarian parents and raised in the close-knit community of August Town, one of Jamaica’s uptown ghettos.
He formally accepted the Rastafarian faith – with its unshakeable advocacy of pro-change, anti-establishment, repatriation, slavery reparations and the use of ganja – when he entered the ranks of the Bobo Ashanti movement in the 1990s.
Then, heavily influenced by the works of Buju Banton, Shabba Ranks and the iconic Bob Marley, Sizzla decided to forego his dreams of becoming an auto mechanic and embarked on a music career.
With his uncanny knack for crafting pleasing melodies and his unconventional vocal approach – along with his trademark half-chatting, half-singing – the soulful artist has crafted socially conscious hits like “Praise Ye Jah”, “Dem a Wonder” and “Black Woman & Child”. His extensive discography already runs 30 albums deep.
Other than a very brief phase in his career where he experimented with some of the baser elements of dancehall reggae – “slackness” or lewd love lyrics – Sizzla is unquestionably the leading light of a new breed of reggae deejay, and is attuned to the “burn fire”, afrocentric and apocalyptic themes of Rasta. Sizzla’s lyrics have traditionally encompassed themes which speak to poverty, homelessness, police brutality, cultural pride and political and religious oppression.
And this message will continue, even now that he is signed to a major deal, Sizzla says. He will remain steadfast and unwavering in his Rastafarian beliefs, despite issue some have taken with his stance on certain hot-button issues.
“Ah, so it stay,” the deejay says matter-of-factly, of those that don’t identify with his devout Rastafari message.
The artist is very laid back considering the recent trials he’s faced. In 2005, he was among 33 people arrested during a police raid on August Town, when nine AK-47 rifles and other guns were seized. After being questioned, and declaring he knew nothing about the firearms, Sizzla was released.
Two years ago, his house was firebombed.
But we aren’t here to talk about the past. We’re here to discuss Sizzla’s future as he becomes poised to attain (reggae artist and international superstar) Sean Paul-level superstardom. Sizzla is actually signed to record imprint Damon Dash Music Group (DDMG) under Def Jam (by hip hop impresario Damon Dash, of rapper Jay-Z and Rocafella fame).
Dash told media recently: “I have always liked Bob Marley’s music, and the reggae stuff I heard on the radio, but I didn’t really know much about reggae-dancehall, but right now, I am learning the music and the roots of it, and the spirituality.
“Sizzla is introducing me to it all, and I love the message of peace and love in the music.” “I tell you this: hip hop people, they love the reggae music,” Sizzla says. “It’s nice, because [Dash] is a free artist, to tell you the truth. He appreciates reggae music; loves reggae music. Damon Dash’s a good youth and [it’s] good vibes he’s dealing with.”
Sizzla’s major label album, tentatively titled, Overstanding, is slated for a February 2006 release. It’s a next stage in his career.
The reggae artist has already inserted himself into the mainstream psyche with a guest appearance on Foxy Brown’s “Come Fly with Me”, and he experienced a recent crossover hit with “Just One Of Those Days (Dry Cry).”
“Basically, it’s the same stage,” Sizzla notes, “but it’s just that we are going to promote it more. It’s the same work to keep the people united, but it’s just that it’s more people [now].”
The tracks for the new album have already been recorded, Sizzla says, adding that the reggae LP will have a bit of a hip hop feel to it, but the positive spiritual message remains the same, he adds.
“It’s a lot of positive messages,” Sizzla says.
“Once people see that it’s always for them, they will always remain.”
He speaks of being able to give back to his community, as a result of his impending mainstream success – of building new facilities such as a school, a theatre and a recording studio back in Jamaica.
It’s about uplifting the culture and building a strong Black nation, he says.
“It’s my duty and responsibility. I do this for me and my children…so the King can inspire them like the King has inspired me.”

DECEMBER MUSIC REVIEWS

Pride News Magazine
Dec 21, 2005

By Ryan Patrick
Pride Entertainment Writer


Chris Brown
Chris Brown
Jive/SonyBMG

While I refuse to believe that newcomer Chris Brown is actually the 16 years old he claims to be, even I can’t deny that the hot first single, “Run It”, by the young R&B singer is pretty catchy. Hailing from Tappahannock, Virginia, the young vocalist is obviously styled after a young Usher or Mario. But he pulls it off well. This straight R&B album is an impressive introduction to Brown: he has very strong vocals and his bubblegum appearance has already led to a growing fan base. While the topics are your standard “young love”-type stories, tracks like, “Ya Man Ain’t Me”, “Winner” and “Is This Love?” reveal an artist that seemingly has a bright future ahead of him.

Angie Stone
Stone Hits: The Very Best of Angie Stone
J-Records

In a perfect world, R&B/soul singer Angie Stone would be a megastar. In reality, she remains a solid, if somewhat unheralded, performer in the world of R&B. Her career has seen its share of hit songs, however, warranting this release of “greatest hits”. Culled from her three-album deep discography, one could argue that perhaps it is far too premature for a trip down Stone’s memory lane. But it’s still a voyage worth taking, if only to revisit impressive tracks like “Brotha”, “Wish I Didn’t Miss You”, “No More Rain” and “Everyday”.

Ginuwine
Back II Basics
SonyBMG

His first studio release since 2003’s mildly received, The Senior, Ginuwine finds himself struggling to remain relevant in an urban music world that was probably on the verge of forgetting all about him. His strengths have always been in his ballads, so tracks like that lead single, “When We Make Love”, along with “She’s Like” and “Take A Chance” are where he gets his chance to shine. But pointless party joints like, “The Club”, illustrate just how much longtime collaborator/producer Timbaland (who is glaringly absent on this album) had been propping up Ginuwine all these years. Ginuwine fans will, no doubt, find something to love here, but I don’t see the sweet-voiced (and aging) singer making any inroads with Omarion/Mario/Chris Brown fans.

JD Vishus
Alleycat Sensibilities
Independent (www.jdvishus.com)

Toronto-based spoken word artist JD Vishus (aka Joseph Daly) is a well-known commodity in local artist circles. JD Vishus, who started performing in 1986 as a rapper with the SC Roc crew, has been featured on CBC Radio, and was a regular performer at Ron Nelson’s Monster Jam hip hop shows in the 1980s, where he built a strong following. His album, Alleycat Sensibilities, is a raw debut with a style he terms “spoken word poetry, marinated in hip hop, with jazz and funk seasoning”. Vishus spins his unique poetic flow over satisfactory beats, on the nine-track independent project. The standout track is definitely “Role Reversal”, where Vishus cleverly provides insight on the long-term ramifications of a slavery mentality, flipping racial observations and “accepted” norms on its ear.

Isley Brothers
The: Summer Breeze - Greatest Hits Live (DVD)
Eagle Rock Entertainment

Considering his recent court troubles over unpaid taxes, Ronald “Mr. Biggs” Isley probably longs for a simpler time, when he was just a frontman for the legendary Isley Brothers funk/soul group. With Ron’s smooth-as-silk vocals, and Ernie’s lethal electronic guitar licks, the group has churned out classic after classic in their over five-decade (!!!) career. Alas, this concert DVD catches Mr. Biggs at not quite his best, as his vocals aren’t at full strength. As a result, classic joints like, “Between the Sheets/Footsteps”, “Who’s That Lady”, “For the Love of You”, and my personal favorite, “Summer Breeze”, aren’t given their respect due. Still, it’s good to see the brothers rocking out live.