You hear so much jazz sampled or influencing current music that it's nice to dive into a Coltrane album for a half hour of instrumentals. I particularly enjoyed some of the slower and more measured parts of the album, like the beginning keys/brass in Pt 1 and the darker strings at the end of Pt 3.
The first 3 tracks can drag a bit for me in the middle (I'm not always the biggest fan of extended freeform brass), but the sax work throughout Pt 4 is absolutely beautiful.
Opening with one of the most (deservedly) famous soul singles ever released, this album keeps the energy high even when the tempo drops. While tracks like Old Time Lovin' and How Can You Mend a Broken Heart are what my grandpa would refer to as "belly rubbing music" (slow dancing with your partner so close your bellies are touching, scandalous!); there's an infectious, optimistic spirit that pervades the album and makes me want to dance/jam along with this lovebird on every single track.
Listening to this album while single feels borderline blasphemous, considering every track is downright limerent. I feel like I need a cigarette and beautiful woman to break my heart. If it means I'll feel half as expressive as Al Green is across this album, it'd probably be worth it.
My typical complaint with lots of indie projects is that they seem to be carried by strong vocal performances, with pretty innocuous and safe instrumentals seemingly relegated to a support role for their front man/woman to perform over. Fiona Apple certainly delivers on the strong vocals, but I was pleasantly surprised by the variety of production I found across the album. To be sure, there's more traditional keys and strings in half these tracks than I care for personally. But, for example the stretch of Criminal, Slow Like Honey, and The First Taste are absolutely loaded with more unique layers like fairly aggressive electric guitars or eccentric drums.
What a welcome surprise this was with a genre I typically don't enjoy that much. I was fairly disinterested through the first 3 tracks, resigned to another indie experience where all the songs blend together for me in hindsight. By the time the bluesy notes of The Child Is Gone started hitting, I was looking forward to a re-listen.
It's certainly an ambitious album. I doubt very many R&B artists would open their debut studio album with an overture fit for a Nutcracker performance or producing something like Come Alive (War of the Roses). But I guess I shouldn't be surprised that the future Emmy winning creative was perhaps more interested in exploring the art form than releasing a highly focused project.
I found myself looking for, and finding, pieces throughout the album that I really enjoyed, such as Dance or Die and the orchestral moments. Unfortunately, some of the more jarring pieces such as Oh, Maker and Make the Bus really detract from the experience.
Overall I'm very appreciative of the variety presented, and the quality of technical execution across that variety is truly impressive.
It's certainly an ambitious album. I doubt very many R&B artists would open their debut studio album with an overture fit for a Nutcracker performance or producing something like Come Alive (War of the Roses). But I guess I shouldn't be surprised that the future Emmy winning creative was perhaps more interested in exploring the art form than releasing a highly focused project.
I found myself looking for, and finding, pieces throughout the album that I really enjoyed, such as Dance or Die and the orchestral moments. Unfortunately, some of the more jarring pieces such as Oh, Maker and Make the Bus really detract from the experience.
Overall I'm very appreciative of the variety presented, and the quality of technical execution across that variety is truly impressive.
God, what an album. I mean, Aretha has pipes that would make seemingly anything shine, but this old bluesy soul production is similarly so timeless. It's fun, absurdly funky dance music (in the best way possible) supremely elevated by one of the greatest vocalists of my lifetime.
It starts out so hot with Chain of Fools and really doesn't let up. Even slower tracks like People Get Ready manage to take you to church, they hit heavy with bold brass sections and saucy guitar play. I also find myself absolutely enthralled by bass play in almost every track.
Really just a no-skips album of beautifully executed soul from it's golden age, paired with an all-time vocal talent. I think Niki Hoeky is my sneaky favorite track, but the floor on this album is just so damn high.
I am... not a Springsteen fan, to be frank. Wailing on the harmonica and talk-singing (reductive) gets old for me very fast. That being said, I'm not sure I've ever sat down and tried to listen to an album straight through, so this was a good experience.
I will start with my first positive takeaway being that some the harmonica play was more nuanced and enjoyable than I initially gave credit. It absolutely shreds on Atlantic City and....Johnny 99?
I think my issue is his harmonica style pairs better with his more heavy hitting guitar performances to my ear (Atlantic City). But going from his super low tempo ballad-like acoustics and lyrics so soft they blend into the melody, to that piercing pitch of often simple and repetitive pieces is just not enjoyable for me.
I also just cannot get on board with basically narrative stories on top of a melody. It feels so boring in comparison to the more poetic, verse heavy interpretations of the artform. Not to mention how generally samey that consistent structure makes most of his work feel indistinct from each other to me.
Last complaint, the weird ad libs are so not it. State Trooper is probably the worst offender but the hoots n hollers can be so ick.
