Conya Doss has a voice that sounds like it’s both from the past and the future. She is classical-influenced, blues-influenced, R&B-influenced and rock-influenced, which herein lies the brilliance of how she collectively and seamlessly creates great music. Doss has built a solid reputation over the years as the modern benchmark for any young female artist and her forthcoming studio project Pocket Full of Purpose highlights that. With beauty, grace and confidence, the poised songstress has composed an 11-song compilation of warm and personal tracks that are full of soul with huge melodies. The skillful arrangement of horns, strings and piano riffs suit her finely crafted lyrics about love, life and pursuing your dreams.

Older and wiser, you can hear that Doss finds joy in doing music. On the first single “Don’t Change” a smooth, mid-tempo flow that syndicated radio host Michael Baisden has already deemed a “classic,” demonstrates the songbird’s emotional smarts and directness. The simple yet highly effective “Just Me” finds the songbird’s breezy voice twisting through candid sentiments of a young woman who is comfortable in her own skin, while “Where Do We Go From Here” provides imaginative songwriting with an engagingly conversational feel over a Conga-influenced beat. Frank McComb, Myron Davis and Rodney Jones serve as the main producers on Pocket Full of Purpose with the exception of newcomer Dre King.

Perhaps it was the birth of her son Landon Blu in 2010 that helped to provide inspiration for her fresh material, which is filled with bolts of newfound creativity. Since the release of Blu Transition, Doss has been juggling her responsibilities as teacher, mother and artist. “It’s been a challenge trying to effectively balance all of these things, but I’ve been patient with myself and this project,” explains the songbird. All of Doss’ album titles are authentically steeped in the spirit of growth and change and Pocketful of Purpose is no different. “Every aspect of this personal body of work has a purpose that I hope people will embrace and gain something meaningful from.”

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Evolution is “key” in any journey through life. Singer/ Songwriter Kameron Corvet moves through a progression of evolutionary experiences by simply allowing life to chart its course. From first experiences with adulthood at Morehouse College, to linguistic and cultural disparities as a French speaking world traveller the depths of his heart have been both visited and tested. These experiences led him to release F_ck, Love an EP which documents the conversation between a Man and his Love as he figures “It” all out. His music tells us as he put it, “I don’t have all of the answers [when it comes to love] but my music reflects where I am at the time that I write it.” Sung through the ups and downs that hallmark an intimate relationship, the listener is taken on a voyage that includes many memorable stops along the way to the hope for a final destination. Sensual mid-tempo tracks, like the playful “Going Under” and gripping ballads, like “Good Habits” allow the listener to embrace Corvet’s emotion. Kameron’s music reflects the vulnerability a man must be willing to experience if he is willing to love. The intimacy of these songs tell a familiar story that we can all relate to while weaving their way through sounds that leave his listeners wanting more.

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When brothers Eric and Anson Dawkins left the band of the iconic gospel group Commissioned in 1992, they took more than experience from their time with such singers as Fred Hammond and Marvin Sapp. The Dawkins brothers took their elders’ vocal style and inflections; only the lighter-voiced youngins made the sound underneath even hipper and fresher than their titans, men known for keeping with their musical times. In 1992, the vocal doppelgangers were newly minted as Dawkins & Dawkins and hit the contemporary gospel scene as rivals to the then young peers Men of Standard for the mantle of the hip hop generation’s answer to Commissioned and the Winans. Three albums later, culminating in a near perfect project in 1998 with their Billboard Top 10 Gospel album, Focus, Dawkins & Dawkins were gone. Lovers of hits like “Wrapped Up” and “Need to Know” were left on a high note, breathless for more of a different sound the brothers’ coined “Rhythm & Praise.” For those left in waiting, the return of Dawkins & Dawkins after a thirteen-year absence from recording is a prayer answered. But, is it?

Leaving a scene for more than a decade and planning a comeback can be tricky for maturing artists, even in gospel. Luckily (or is it “Blessedly”?), at least one half of Dawkins & Dawkins, Eric, has been firmly entrenched in the ever-changing music scene as a much sought-after producer and songwriter for such talents as  Tank, Tyrese, Chris Brown, Christina Aguilera, among others. Anson Dawkins has taken a less secular path, becoming a pastor and family man in Tacoma, Washington. Accordingly, the inspirational messages of From Now On are still very God-centered while the overall sound is current without trying too hard to fully mimic the kinds of radio ready productions Eric Dawkins might conjure for a Chris Brown. For good and “meh,” with blazers like the Billboard Gospel Top 20 lead single, “Get Down,” and lukewarmers like “This Praise is For You,” the dynamic duo pick right back up where they left off with their trademark Rhythm & Praise sound as if it were just a few years since Focus, instead of an industry age.

Together their voices in harmony are identical to what they always were: fluid, melisma-rich instruments whose dexterity inspired awe in a generation of men for whom Dawkins & Dawkins signature approach can be traced, including peers like J. Moss. Similar to Moss, what the brothers’ lack in range, they make up for in skill, distinctive phrasing, emotive tones, and eternally moving vocal production intricacies. Consummate harmonists, Dawkins & Dawkins also demonstrate a knack for melody as demonstrated by such sinewy rides as “Ordinary,” “I’m Just Sayin’” and the hooky “Best Man,” produced by Warren “Baby-Dub” Campbell (Mary Mary). Throughout, the urgency and passion in their voices make everything feel immediate and fully present, especially on the pop rock “Can You Hear Me,” the album’s most organic, live music recording.

Generally speaking, most of what Dawkins & Dawkins manages to do on all their albums – and From Now On is no exception – is make listeners feel good with bright, melodic, highly arranged compositions that are long on hook and hip hop production tracks, but simple in inspirational, sometimes rebuking, messages.

Even on an album as feel-good as this one, there are issues that are not easily side-stepped. Lyrically, as songwriters, they are inconsistent, particularly for mature artists at this stage in their career. For every brilliant celebration of the devout meek like “Ordinary” or timely chastisement of Christendom judgment (“Pray for Me”), there is a trite “Like Him.” They are not further aided on cuts like “He Said” by a long-running diction issue and a run-heavy vocal approach that does not always allow for easy listener discernment of their message, a problem for a gospel album meant to educate as well as inspire. Because the Dawkins brothers are performers who can actually sing these songs, bewildered listeners may be all the more distracted by the slight presence of auto-tune overlays coating their favourite brothers’ otherwise warm tone. This all too frequent modern production choice is meant to give the brothers’ stellar pipes an added sheen, and it does admittedly help their voices pop out against these often ‘80s inspired, synth-heavy hip hop tracks. Thankfully, the largely self-produced album doesn’t allow the vocal effect to take on the robotic sound that too often chills contemporary R&B and gospel productions into sounding inhuman.

It’s difficult not to compare Dawkins & Dawkins to their elders, Fred Hammond and Marvin Sapp, when songs like “Back” could be viewed as a pleasing, equally resonating update on the nostalgic message of Commissioned’s “Running Back to You.” But, make no mistake about it, after taking a gander at the last solo albums for their former Commission brethren, a listen to From Now On proves Dawkins & Dawkins are definitely their own men with a freshly modern, uniquely pleasing take on the “good news.” Here’s to hoping they spread it on more albums for eager saints and sinners alike for many years to come. By L. Michael Gipson

Official Website: Light Records

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]]> 1 http://musiqave.com/2011/10/10/mary-j-blige/ http://musiqave.com/2011/10/10/mary-j-blige/#comments Mon, 10 Oct 2011 07:15:06 +0000 Mujay http://musiqave.com/?p=2892

Mary J. Blige has unveiled 14 new songs from her latest album My Life II…The Journey Continues. The official tracklist includes songs with Beyonce, Nas, Rick Ross and more. My Life II…The Journey Continues will be in stores in November, 2011.

We wonder what happened to the Nicki Minaj collabo on “Feel Inside”?

1. Next Level

2. 25/8

3. Feel Inside feat. Nas

4. Midnight Drive feat. Brook Lynn

5. Don’t Mind

6. No Condition

7. Loving A Woman feat. Beyonce’

8. Mr. Wrong

9. Empty Prayers

10. Why feat. Rick Ross

11. Masterpiece

12. Living Proof

13. Describe

14. You Know U Want This

Deluxe:

15. Journey Continues

16. Miss Me With That

17. Someone to Love Me (Naked) feat. Lil Wayne & Diddy

Mary J. Blige Official Website

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Lalah Hathaway, one of contemporary R&B’s most prized artists and in-demand vocalists will release her sixth solo album and second for Stax Records, Where It All Begins on October 18th, 2011. The versatile, critically acclaimed musician, songwriter, vocalist and producer found creative regeneration and newfound energy making this record, an artistic re-birth she’s eager to share with anyone willing to listen. “Everybody is an artist in some way,” Hathaway enthuses, “I wanted to explore what that really means.  For me it meant walking into being the artist I’ve always wanted to be. It was an opportunity for me to embrace my independence as an artist through my music and connection to my fans.”

Hathaway brings that message home splendidly on the gorgeous title track, penned by her and Ernest Green. “If you say what you mean/And mean what you say,” she croons at the beginning of “Where It All Begins”, showcasing her sensual alto over a languid, hypnotic groove.

In addition to Green, Hathaway recruited other esteemed kindred spirits to either co-write or contribute tailor-made tunes. The list includes Lewis Williams, Lee Hutson, Jr., Errol Cooney, James Day, James Fauntleroy, Rahsaan Patterson, Terrence Lilly, Jonathan Richmond, Mike City, Dave Young, Bryan Sledge, Eddie Serrano, Rich King, André Harris and Vidal Davis. Recruiting such top-tier songwriters – some of who have penned hits for Alicia Keys, Jill Scott, Bilal, Babyface, Musiq Soulchild, and host of others, demonstrates Hathaway’s long-held status in contemporary R&B.

This album contains several up-tempo gems that are sure to heat up urban radio stations and nightclubs. For example, check out “If You Want To,” the album’s thumping, synth-driven first single, penned with Patterson, Richmond, and Lilly and the effervescent “My Everything,” which she co-wrote with Jonathan Richmond.  The slinky groove of Hutson, Jr.’s “Small of My Back” is also undeniable.

 Where It All Begins comes on the heels of Hathaway’s most successful album to date, 2008’s Self Portrait, her first record for legendary soul label Stax Records. The album reached the top ten on the Top R&B Albums chart and included the Grammy®nominated (Best Female R&B Vocal) song “That Was Then.”

Indeed, Hathaway intoxicates as a storyteller. Even though her voice brims with magnetism, she never overpowers it to point of drowning out the lyrics. As with previous albums, Where It All Begins comes loaded with enduring songs that sound personal yet easily relatable, touching upon affairs of the heart as well as the everyday joys of life.

 The disc comes on strong from the get-go.  Andre Harris and Vidal Davis’ gutsy “Strong Woman,” is a sassy cautionary tale, urging lotharios to step up to the plate and stop taking their devoted female lovers for granted.

 Naturally, the singer hasn’t abandoned her R&B roots. Where It All Begins includes luxurious slow jams such as “This Could Be Love” (co-written with Green and Lewis), on which she sings of joys and fears of truly falling in love with that someone special, and City’s bittersweet “Always Love You,” which hints of the sadness leaving an unfulfilling romantic relationship.

 Hard-core fans will certainly be delighted with the newly arranged and recorded “I’m Coming Back,” a Quiet-Storm jewel, written by Gary Taylor, which appeared on her 1990 eponymous debut. It’s a song that’s remained a highlight of her live shows for two decades. “No matter, where I go – churches, festivals, Japan, South Africa – people love that song,” Hathaway says, “This version has a different arrangement, because it’s morphed over the years. I decided to rerecord it. We added vocalist Rachelle Ferrell at the end, which is really sublime.”

 When it comes to honouring her predecessors, perhaps there’s no other greater example on Where It All Begins than with her spellbinding take on “You Were Meant For Me,” a chestnut that her late father – the incomparable Donny Hathaway recorded.

In view of Donny Hathaway’s landmark albums and indisputable influence on generations of singers worldwide, she speaks of him as a guiding light, especially when it comes to interpreting other people’s music. “I really listened to my dad’s own songs,” Hathaway says fondly, “ ‘Jealous Guy’ by John Lennon – I always thought my father owned that,” she laughs, “I just grew up with the approach of opening yourself up to create something beautiful, that’s a love letter to what came before.”

On Where It All Begins, Lalah Hathaway unquestionably succeeds at opening herself up in new and profound ways, striving for artistic higher ground and to ‘create something beautiful.’  “I feel like I’m at the top of my game, like I’m at the beginning again,” she says, excitedly. “There aren’t many artists, particularly female singers, who after 20 years, are kind of still on the come up. I feel like I’m on the come up.”

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I recently read an article that touched on the fact that in the past when black folk were struggling, that the music we made reflected that struggle. During the late 60’s you had James Brown telling the world “I’m Black and I’m Proud.” Aretha Franklin was telling us we were “Young Gifted and Black” while Donny told us “Someday We’ll All Be Free.” Marvin asked the important question “What’s Going On” while Sam promised “A Change Was Gonna Come.” I even remember when it was all of this hoopla surrounding Arizona rejecting the federal holiday for Dr. Martin Luther King Jr. and Public Enemy weighed in with “By The Time I Get to Arizona.” But that was back in the day. I was just telling my man it bugs me out that not one MC has touched on the war in Iraq. And I’m not talking about a line here and there but if we can make a song about “Money, Cash, Hoes” I figured we could make a song talking about something, I don’t know…important. Well, leave it up to my Philly fam Kindred and the Family Soul to step up to the plate with their new release “Love Has No Recession” to fill that void.

“The Sheddington” which is a dope instrumental track that sets off “Recession” and Philly’s own Ursula Rucker comes through on “Above the Water Part 1” and drops jewels with “these times will have you second guessing yourself, your faith, your dreams/got children to clothe and shelter and feed.” “We All Will Know” featuring the only other artist who’s touching on world’s issues, D.C.’s own R&B hippie neo soul rock star Raheem DeVaughn and has the team asking the question “It’s spiraling out of control, what’s gonna happen when the cops ain’t been paid and they’re forced to patrol, and every man for himself gotta gun, so God bless our soul/and when that day comes, we all will know” and the South Street Philly reunion continues with Bilal coming through on “Take A Look Around” with Faatin telling us “we’re trying to blame Mr. president, but it ain’ the fault of the government/when times were good, probably overspent, it came to bite us in the ass.” The first single “You Got Love” with Snoop Dogg could easily be the BBQ anthem for the summer of 2011 and “Magic Happens” is the blueprint on how to make love last, “It doesn’t matter what we drive, the neighborhood that we live, don’t matter what kind of gift or what kinda ring you give/just don’t take me for granted, let me know everyday, that love unconditional is coming my way.” “Authentically You” featuring Lady Alma Horton has the retro 60’s vibe going on and “Sticking With You” is a beautiful ode to the commitment of marriage. But the jewel of the album “S.O.S. (Sense of Security).” ANYONE who is married will instantly adopt this song as the soundtrack to their marriage. “I know you love me and you want to be here/but do I still make you laugh, are we walking along the same path/are you interested in things that I say, do you still feel the passion, no tension in the bed where we lay/I’m not trying to create an issue, seeing a problem where, there ain’t no problem there/so many folks are calling it quits around you, so I’m just checking in, baby are we still good?” ‘Nuff said.

With “Love Has No Recession”, Kindred finds a way to create an album that touches on real life issues of what folk are going through across the country, without depressing us, while still making feel good music, while also serving court as our marriage counselors. Come on ya’ll, that’s no easy task by any means. So many artists can take pride in making “baby making music” but how many artist can take pride in making “saving marriage music”? Nobody…except Kindred. And that’s just one of the many thing that they can boast about having the upper hand on over these other artist in the game. Most folk talk about if Will and Jada break up, that’s it for black love. Screw Will and Jada, if Aja and Fatin break up, THAT’S it for black love!

The inclusion of with Brian Jr. and Niko (fledgling artists who perform under the moniker BRKN RBTZ) is a professional switch for Mr. McKnight that yields both hits and misses, as the two have joined their father at the control board and are, apparently, still fine-tuning their skills as co-producers and co-writers. Whether he intended to or not, Mr. McKnight has ultimately pared down his artistic sensibilities (read, his ‘swag’) to not overwhelm their amateur musicianship: it’s a generous gesture on his part, mind you, but even his most devoted listeners will struggle to embrace the uneven efforts created by this fumbling family affair.  

Luckily, some of the numbers do work:  mellow mid-tempos and Quiet Storm balladry convey the heart’s yearnings (the nimble “Gimme Yo Love”), proclamations (“End And The Beginning”) and even apprehension, explored as a member of a love triangle in the thoughtful “Just Lemme Know” (“Things you tell me, I do believe/that you love me, but right now, you can’t leave. Lately I’ve been feeling like the one you’ve been deceiving/what do you want from me?”). “Fall,” the collection’s first single, is a confession that he both dreads, and anticipates, falling in love: “Got my back against the wall, it’s like I’m standing ten feet tall/on the ledge, too close to call, if you push, I just might fall.” “Temptation,” a duet between the older and younger Brians, has an airy, exotic twist and describes, in tenors that blend almost too well, an irresistible femme fatale ready to pounce. 

The moments that fall short are because of aimlessness or execution: “Husband,” raucous and guitar-driven, rails against his ‘other man’ status, but loses impact thanks to its stilted and self-conscious delivery;  a cover of Wham!’s signature smash, “Careless Whisper,” is so lethargic that it’s downright infuriating, and other songs, such as “One Mo’ Time” and “Without You,” hover between sappy and sweet.  The height of irony is that the bonus disc, a sprawling full-length live recording of a recent concert performance, plays like a mini “greatest hits” (“Should Woulda Coulda,” “Love of My Life,” “Find Myself In You,” “Never Felt This Way,” etc.) and may end up being preferred over his latest, since the bulk of his catalog makes the ten new tracks pale in comparison. It’s a good thing that Brian McKnight is willing, as a parent and mentor, to pass the torch, but the potential of his offspring simply isn’t developed enough to  validate co-writing and co-producing an entire CD. After another tour or two, perhaps….?

The way the CD ends is also the way it should’ve been crafted throughout, with the Lauded Love Man combining his two strongest assets—- instrumentation and vocalizing— into song. “I may not be all, that you hoped I would be/ but I am…. just me.” Hopefully, Brian McKnight will remember that creed when he enters the studio again, realizing that his sound is his hard-earned brand and not to be tinkered with, not even by his well-meaning flesh and blood. Brian Jr. and Niko, as they carve their own niches in the field, will do better to blossom apart from the overwhelming legacy of Dad. Following the same musical paths as a family can be ideal, but not when the players are stumbling over one another in the process. Cautiously Recommended. By Melody Charles

Buy CD Here: Amazon

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2011 finds the acclaimed Jilly from Philly in new territory, signed to a different label (Warner Bros.), divorced and raising a two-year-old with former fiancé and band member, “Lil’” John Roberts. An NAACP Image Award, three Grammys and a blossoming film/television career has entrenched her star power, so it’s only natural that Ms. Scott would channel all of that swag into her fourth studio release, The Light of the Sun, an intimate tour of emboldened attitudes and emotions that may be her most awe-inspiring and audacious CD yet [note: this review doesn’t include the bonus tracks available in the deluxe edition].

It’s obvious from jump that Ms. Scott is, for lack of a better term, “feeling herself.” She’s the co-producer of the project along with the increasingly in-demand JR Hutson (who put his creative stamp on a couple of songs in 2007’s The Real Thing: Words and Sounds Vol. 3), Dre & Vidal and Warryn Campbell, who all guide her rich lyrical content and soulful sensibilities into exciting and unexpected directions. She tells the world her state of mind in the exuberant,  off-beat opener, “Blessed,” counting off life’s positives in a joyful hybrid of singing and spoken word: “My grandma almost lived to see 92, I’m so blessed, yes yes yes yes/my son was born healthy and beautiful, I’m so blessed, yes yes yes/ my momma’s on my right side, daddy’s on my left, my son’s father doing his absolute/I’m so blessed, blessed, blessed, blessed.” Its flipside, “Hear My Call,” is a delicately delivered, piano-laced plea to her Creator after wounding heartbreak: “Lost here in the dark, I can’t see my foot to take a step/what is happening? Oh this hurts so bad, I can hardly breathe/I just want to leave so God/ please hear my call, I am afraid, for me/love has burned me raw, I need your healing…..please.”

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As a woman who’s lived, loved and lost, Jill comfortably swings from one end of the relationship pendulum to the next, withholding lustful surrender in the percussive “Making You Wait” and taunting a reluctant prospect in the Special Ed-channeling hip-shaker,  “Shame,” flush with 1970s-styled tambourines, high-hats, irresistible funk and the ‘tell-em-girl’ backing of a harmony-rich trio, The A Group (as well as a long-overdue collabo with another Philly native, Eve): “You’re standing against the wall, Baby why you frontin’/when you can take my hand and we can get into somethin’/ it’s a shame….you’re missing out on me.” “Le BOOM Vent Suite,” its inevitable sequel, proclaims to a man that his snail’s pace has taken him out of the running as she explores other, ahem, options: “I can’t wait no more, somebody else is sniffing at my dress, heeeey/somebody is checking for a sistah, and I’m sorry, you’re about to get left.”

Melodic, masterful and mesmerizing throughout, Ms. Scott stretches her enviable range beyond the expected R&B joints, indulging her hip-hop side (Houston’s Paul Wall drops salacious rhymes in an ethereal and achingly vulnerable ballad, “So Gone [What My Mind Says],” while Doug E. Fresh’s beat box is the foundation for her sassy kiss-off, “All Cried Out [Redux]”) before trading giddy verses with Anthony Hamilton ( “So In Love”) and offering up a hand-clapping, neck-rocking mantra for ladies who haven’t yet realized their feminine powers on “Rolling Hills:” “Shines like the moon and strong like the sea, more expensive than money, more valuable than anything/Juicy mango summer peach, make a lame man walk, and a full man hungry…..you’re a prized possession, not everybody’s worthy.”

Professional conflicts, relationship woes, unavoidable trials and transitions—life can make the winds blow chilly and hasten rain to fall, but for those who stay resilient, golden days are coming, and that’s what Miss Jilly from Philly conveys with aplomb as she basks, most deservedly, in The Light of the Sun. Enthusiastically Recommended.

By Melody Charles

Read more: Jill Scott – The Light of the Sun (Advance Review) | SoulTracks – Soul Music Biographies, News and Reviews

Since the release in 1997 of her self-titled debut Adriana Evans has resolutely steered her own course in making music, continuing to work largely with producer Jonathan `Dred’ Scott, and producing music quite separate and distinct from that usually awarded the apellation `R&B’ or `Urban’, or even `Neo-Soul’(a long jettisoned name). If your idea of soul music (to use an often forgotten and abused term) is ear crushing beats and simplistic melodies accompanied by nihilistic rap this album isn’t for you. But if you are looking for something less contrived and simpler, where the purity and tone of voice matters, read on.

The tone of the album is set by the gentle opener `Waiting’, where Evans’ voice clearly moves over a simple, grooving track featuring trumpet, guitar and flugal horn. Fans of her first album will instantly recognise the familiarity of the production sound: simple, spare and incredibly seductive. This continues with `Suddenly’, where the voice effortlessly glides over a simple, aching lyric of regret. Other highlights include `Love Me On The One’, where the chorus features a beautiful backing counter melody, and the slightly up-tempo `Surrender’, which offers a number of interesting possibilities as a future single.

`Astral Projection’ is a short and very pretty instrumental, very much in keeping with the album, and `Sooner Or Later’ is an old fashioned love song. `Weatherman’ (featuring in a 12″ mix too) will appeal particularly to fans of Raphael Saadiq’s `The Way I See It’ project. Indeed listening through the album one is clearly struck by the range of musical references , and all `worn lightly’ with little apparent self-regard and stylistic bombast.

So do you buy?

Having emerged with a stunning debut album Evans officially released two further albums (`El Camino’ and `Nomadic’) which, whilst interesting, did not attain the same quality as her first release. This album returns to the soundscape of the first album, and the uncluttered production values allow Evans’ voice the space to `breathe’ in an effortless fashion that remains her hallmark, delivered with a beautiful purity of tone. It might not quite reach the heights of `Looking For Your Love’, `Say You Won’t’ or `Love Is All Around’ but it gets closer, being more coherent as a body of work than any previous release. Fans will warmly welcome this release, whilst for those jaded by the barrage of `music by numbers’ production systems and misguided `urban’ stylings, this will offer authentic relief.

Strongly Recommended.

Buy Album Here: Amazon

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