Chances Are

Heard this gem via the new Miles Davis documentary. Frances Taylor, who knew little about jazz before her relationship with Miles, mentions liking Johnny Mathis. With songs like "Chances Are," one can understand why she enjoyed Mathis's music.

Don't Let Me Down

Though I am not a huge fan of The Beatles, songs such as "Don't Let Me Down" are timeless. Beautiful song, with melancholy coming out the wazoo. Check this out, too.

Solange's Sandcastle Disco

My jam. "I'm just a sandcastle, baby don't blow me away."

 Who would've known, the wind and the sunshine
Would oh baby, baby
Build up these walls of mine
And I can't see you or breathe you
Cause there's trouble right beneath you
It's all in the night
But oh baby, baby
Come pick me up in your ride

I'm a cool low Jane
with the skip on my feet
I play tough as nails
With my heart on my sleeve
I'm nothing but a sand castle
Baby don't blow me away, away

Baby I know, you do that to all the girls
You know that I'm fragile, Ooh
Bay ba ba ba baby, don't blow me away
Baby I know, you do that to all the girls
You know that I'm fragile, Ooh
Bay ba ba ba baby, dont blow me away

Who would've known, the storm of my past time
Would oh baby, make me
Losing the song of the eye
And I can't believe you or read you
Cause there's pleasure in your preview
It's all in your eyes
But oh Mr. Dj, baby
Can you meet me outside

You're an old school dude
With the kick on ya shoes
You've got groove in ya hands
The way you spend those tunes
I'm nothing but a sandcastle
Baby don't blow me away, away

Baby I know, you do that to all the girls
Baby I'm fragile, Ooh
Bay ba ba ba baby, don't blow me away
Baby I know, you do that to all the girls
You know that I'm fragile, Ooh
Bay ba ba ba baby, don't blow me away

Ooh, and just like the ocean
Lays right there behind me
Look over my sandcastle
And there's a sight to see
Don't blow me away
Don't blow me baby

Ooh baby I know, you do that to all the girls
You know that I'm fragile, Ooh
Bay ba ba ba baby, don't blow me away
Baby I know, you do that to all the girls
You know that I'm fragile, Ooh
Bay ba ba ba baby, please don't blow me away

Away, away
Away, away
Away, away

Estelle's American Boy

For some reason, I actually like this song, though without Kanye's annoying rap verses it would likely be better. Oh well, everyone in pop and R&B likes to think they need a guest rapper for some reason, even when the rap lyrics are poorly penned and rapped and detract from a song's otherwise positive aspects. Anthony Hamilton's "Cool" is a good example, with the rap lyrics being largely unnecessary and taking away from Hamilton's vocals.

Take me on a trip, I'd like to go some day.
Take me to New York, I'd love to see LA.
I really want to come kick it with you.
You'll be my American Boy.

Res's How I Do

1. Golden Boys
2. They-Say Vision
3. 700 Mile Situation
4. Ice King
5. Sittin' Back
6. How I Do
7. If There Ain't Nothing
8. The Hustler
9. I've Known the Garden
10. Let Love
11. Tsunami

Res's 2001 album, How I Do, was largely slept on. I recall listening to it perhaps 3 or 4 years ago and mostly liking what I heard. Perhaps due to her taste for multiple genres, it was difficult to force her into the R&B box. Moreover, despite Santigold (unknown at this time except as a songwriter and producer) writing and producing much of How I Do, perhaps 2001 audiences weren't ready for a genre crossover album lacking typical R&B hooks, overdramatic singing, and, though Res is very good-looking, more sex appeal to sell her as a black woman R&B artist. From what I have read, some songs got airplay but her career never really took off as a mainstream artist, while today Santigold has achieved mainstream attention and appreciation. It's quite disappointing and revealing of a certain degree of racism in the music industry regarding categorizing and selling black women as products. Naturally, all women (and likely all artists with contracts with large labels) have to "sell-out" to a certain degree for enough investment and support, but Res maintained her integrity and unique music as a black woman who likes rock, as well as other genres instead of allowing herself to be pigeonholed into R&B and soul. Santigold was able to achieve that on a larger-scale in 2007 and 2008, despite earlier attempts to categorize her music as R&B solely due to her race. Perhaps Res just came too early, if this album were released in 2008 or 2009, perhaps she would've created shock waves. Think about it, we have Erykah Badu, Janelle Monae, and Santigold as black women artists who are not limiting themselves into solely pop or R&B categories, pursuing, to a certain degree, their artistic inclinations.

But I digress, as for the album itself, it's quite a unique listening experience. Perhaps my favorite track, "Golden Boys" features some hip-hop-styled drums, an interesting keyboard line and Res's unique, balanced voice engaged in a mix between casual talking and singing. Santigold's production comes out full-blown in the chorus, with strings, and layers of sound upon each other. The chorus is quite catchy and the quirky sound effects and beat likely made this quite unique back in 2001, but the lyrical content is particularly interesting: But then there're girls like me who sit appalled by what we've seen, We know the truth about you, Now you're the prince of all the magazines, That is a dangerous thing." Res keeps it real about "golden boys" who are not what they seem and offers an important warning. What I would like to know, however, is if Santigold or whoever wrote the song was thinking of a particular rapper or male artist who was the "golden boy"? Some have thrown out crazy suggestions that it was Mos Def, but I found no evidence of a relationship between Mos Def and Res or Mos Def and Santi. Again, it is hard to categorize or classify this song as R&B or perhaps a fusion of multiple styles, who knows? Like Santigold's later work, it is beyond simple classificatory schemes.

"They Say Vision" is another one of those hard-to-classify tracks, with some rockish guitar, bass, and an enigmatic keyboard riff. Undoubtedly, it leans more toward rock, which must have confused a lot of folks! Though not evincing signs of the punk music Santigold would record with Stiffed (here is an example of that era in her musical career), it's quite catchy and Res sings a poppy chorus. I believe this song got some radio, VH1, or MTV rotation, but was not R&B enough for many listeners. The drums and bass are on point, too. As for "700 Mile Situation," we see signs of Santi's interest in dub and reggae. Lacking the faster tempos and ska and punk elements in Santigold's future forays into dub on her Santogold, this slow-tempo piece with funk guitar riffs and an ethereal, un-R&B and non-rock sound. I don't know how one would classify it, but it's quite fascinating in its production while Res sings in her usual calm, restrained style. The guitars and "reggae-tinge" really keep this track interesting though, as do the interesting drums nearly 4 minutes into the song, right before it ends, almost like nyabinghi drums used by Rastarfarians.

Moving on, "Ice King" has a rocky hook and was apparently sampled by Nas. Res sings more in an R&B style with rock or perhaps funk-oriented guitar, particularly evident as a funkier track than I thought with R&B crooning in the chorus. The hip-hop drum production and very sparse atmosphere with strings outside of the repetitive guitar hook inevitably centers the piece on Res's voice. "How can we grow when we've only begun," indeed. An enjoyable piece with Santi's expert songwriting and/or production. "Sittin Back" on the other hand is full-out funk, with funky guitar, synthesizers, hip-hop drumming, and heavy bass. She also adopts a hip-hop-styled rapping-esque quality in the chorus, while still sounding very dark, minor, or otherworldly. Similarly dark funky hip-hop and R&B with what may be wah-wah guitars appeared elsewhere in the first decade of 21st century hip-hop and R&B, and Res even drops in a few niggas, too! This is perhaps the more conventional material from the album, though still a little 'out there' compared to most 2001 R&B releases. Likewise, "How I Do" is gloriously funky, grand, beautiful, and danceable. Res's voice soars and there is, though I forget the term, the use of her own voice recorded at different times and thrown together in the song, reminiscent of Marvin Gaye's similar technique. That bass! It's irresistibly funky! Santi, Res, whoever wrote this and produced it, well-done. To describe it succinctly, "How I Do" is glorious, beautiful, and funky."That's just how we do."

"If There Ain't Nothing" returns to mellow ground, with an interesting piano sample (presumably a sample, who knows). It's a little quirky and I am unsure what's going on in the production, though an electric guitar added to the mix recalls Res's interest in rock. It seems more indebted to rock, as the wailing electric guitar indicates, but I actually like it. The mellow, alternative sound surprisingly won me over, though I am biased in favor of Res's more conventional R&B and funk-oriented tracks on the album. The drums are deceptively simple in their arrangement, too, with some compelling rhythms thrown down. "The Hustler" is likewise a quirkier piece, but with some nice allusions to Wilson Pickett's "Engine Number 9," a funk classic recorded in Philadelphia, Res's hometown (or perhaps an allusion to Black Sheep's "The Choice Is Yours"). Her almost child-like rhyme in the chorus is quite moving, as well as the experimental touch of her voice reverberating in and out in the track. "Engine engine #9, you get your way or I'll get mine sure as the sun will shine each day." Quite interesting to hear, and perhaps the result of Santi's production and writing? It features all sorts of interesting sounds, fuzz, reverb, and, unfortunately, the youtube link messes up the audio, check this.

"I've Known the Garden" features a funky rockish beat, bluesy guitar licks and Res's unique vocals, accompanying herself through the production. "Bye-bye roses," indeed, this is quite funky, individualistic and the guitar is scratchy and interesting for incorporating that into the sample, adding a, once again, earthy and bizarre element. "Let Love" is also a little strange in the production style, using synthesizers for the introduction that sound ghastly yet attractive, while the funky hip-hop quality of drumming remains. The odd, catchy synthesizer returns for the chorus, creating a heavy atmospheric sound while Res's vocals attain an almost science-fictiony quality with such music in the background. However, the song still shows some R&B or neo-soul influences, in the keyboard, for instance, showing that Res and Santi were aware of developments or trends in R&B. Check this live version from a show in Brooklyn. I love Rastafari references in the lyrics as well as the chorus:

And when the sun runs out
No doubts left standing
(who knows if it'll go our way)
And when the sun runs out
No doubts left standing
(Insha Allah it'll be okay) 

"Tsunami" is "interesting" rhythmically and what sounds like a banjo is incorporated. Res sings more in a conventionally R&B smooth style here despite the strange, unexpected musical accompaniment. I am unable to describe what exactly is going on, but it's an interesting endeavor to sing in this style with this complex interplay of various sounds that may seem incongruent at times. As the title may suggest, there is something of a wave of sounds replicated in the production, concluding an otherworldly but compelling journey into alternative sounds of R&B in 2001. There is some signs of the style of Santigold here and though Res rarely engages in the "diva" female R&B vocalist, their collaboration led to nice hooks, interesting lyrical content, and a fascinating assortment of instruments and sounds for the production of the album. I shall purchase a physical copy of her How I Do just to endeavor to discover some of the sources for the samples. My favorite tracks of the album are "Let Love," "Golden Boy," "I Know the Garden," "The Hustler," "How I Do" for its unbelievable funkiness, and "If There Ain't Nothing." It would be interesting to hear her material with Talib Kweli and future projects, since her live performances on youtube incite interest. In addition, a Santigold track from the album was apparently removed before release, which may explain a non-existent or negative relationship between Res and Santi today, according to this article, which refers to Res as her "then friend."

Freda Payne's "Band of Gold"

Featuring songwriting credits from some of Motown's best, Holland and Dozier, this hit carries the Motown sound into 1970 with a strong, pronounced beat, funky bass, string sections, an unexpected sitar solo, and typical romantic lyrical fare for a lover. That this is from 1970 and not, perhaps, 1965, would seem to suggest that by 1970 the Motown sound was dated, but far from it, the Motown formula for commercially successful hip-hop also incorporated stylistic innovations within R&B and soul music. Indeed, this track represents R&B at a changing period, when funk arose as the most popular form of music for Black youth and the soundtrack of the Black Power era. A similar track marking the 'end' of the Motown sound and the rise of funk, "I Want You Back," forever associated with a youthful Michael Jackson, also features strong, funky bass, propulsive, funky percussion, strings, and a conga. It was released in 1969, just one year before "Band of Gold," showing the flexibility of Motown and Motown-influenced soul to survive a rather smooth transition to funk. What I find perhaps more amazing about this soul-pop gem is the versatility of the artist, who previously excelled as a jazz vocalist, too. She even tackled more progressive, freer elements of jazz, brilliantly converting Ornette Coleman's "Lonely Woman" to a ballad with introspective lyrics. This simply shows Payne's talent in both idioms, soul and jazz, as well as the versatility many soul singers retained for both their more commercially successful genre and jazz. Below are the lyrics, enjoy!

Now that you're gone

All that's left is a band of gold

All that's left of the dream I hold

Is a band of gold

And the memories of what love could be

If you are still here with me

You took me from the shelter of a mother I had never known

Who loved any other

We kissed after taking vows

But that night on our honeymoon

We stayed in separate rooms

I wait in the darkness of my lonely room

Filled with sadness, filled with gloom

Hoping soon that you'll walk

Back through that door

And love me like you tried before

Since you've been gone

All that's left is a band of gold

All that's left of the dream I hold

Is a band of gold

And the dream of what love could be

If you are still here with me

Ooh, don't you know that I wait in the darkness of my lonely room

Filled with sadness, filled with gloom

Hoping soon that you'll walk

Back through that door

And love me like you tried before

Since you've been gone

All that's left is a band of gold

All that's left of the dream I hold

Is a band of gold

And the dream of what love could be

If you are still here with me

Best of Michael Jackson

I've always loved Michael Jackson. Great singer, dancer, entertainer, and worked with some of the music industry's best, like Quincy Jones. I'm a little ashamed of myself for not compiling a list of my favorite Michael Jackson songs a long time ago, given my extreme love for the man. Well, the good news is here is a list of my current favorites featuring our hero, Michael Jackson! This is where it began, however, a performance by the Jackson Five of James Brown's "I Got the Feelin."

1. Who's Lovin' You

2. Rockin' Robin

3. ABC

4. I'll Be There

5. Ben

6. I Want You Back

7. Dancing Machine

8. Enjoy Yourself

9. Shake Your Body Down to the Ground

10. Blame It On the Boogie

11. The Love You Save

12. Ain't No Sunshine

13. Don't Stop Til You Get Enough

14. Rock With You

15. Workin' Day and Night

16. Off the Wall

17. Wanna Be Startin' Something

18. Baby Be Mine

19. Thriller

20. Beat It

21. Billie Jean and here

22. Human Nature

23. P.Y.T.

24. Bad

25. The Way You Make Me Feel

26. Speed Demon

27. Liberian Girl

28. Man in the Mirror

29. Another Part of Me

30. Smooth Criminal

31. Jam

32. Dangerous

33. In the Closet

34. She Drives Me Wild

35. Remember the Time

36. Black or White

37. Will You Be There?

38. Can't Let Her Get Away

39. Blood on the Dance Floor

40. You Rock My World

41. Smile

42. Ease on Down the Road

43. The Girl Is Mine

44. Somebody's Watching Me

45. Just Good Friends

46. Leave Me Alone