FROM CDS PAGE 24 Jill Scott continues to do her extremely soulful thing
By DANIEL ARCHULETA ONTHESHELVES
Photo courtesy Rock-A-Fella Records BREAKING NEW GROUND: Kanye West takes a new direction in ‘Graduation.’ Kanye West, ‘Graduation’ Kanye West has set a pretty high bar for himself and it was interesting to see if he could even match, let alone top, his previous works. It doesn’t help that he talks such a big game and rankles more than a few music fans and critics. But, of course, Mr. West comes out of the box with not only his best work to date, but an entirely different direction for his music.
From the first track, “Good Morning,” it’s obvious West is tinkering with new samples and drum loops. He says he’s trying to reach “stadium status” with “Graduation” and he appears to have done exactly that.
“Stronger,” the Daft Punk-sampled hit single, really sets the tone for this collection of decidedly progressive tracks. The lyrics on the single leave a little to be desired, but the innovative use of electronic music by such an urban-centric artist is both bold and risky. He did the same thing on 2005’s “Blood Diamonds,” which did-n’t receive the same warm welcome that “Stronger” has enjoyed, but helped set the tone for this new direction for this backpack rapper.
As we’ve come to expect from West, he does drift toward sentimental content matter on this album. In the past, he’s given props to his mom and grandmother with odes so emotionally charged that they seem to offset West’s overt brashness. On “Big Brother,” he delves into an apparent rift he had with one of his primary mentors and benefactors, Jay-Z. Even on this telling track, the synth sound he leans toward is distinctly different than most of his urban contemporaries.
Collaborations with Lil’ Wayne and T-Pain help to maintain his street cred and mesh well with this innovative release. For good measure, West even brings Chris Martin from Coldplay along for the ride. (Roc-A-Fella Records) From the jump, “The Real Thing: Words And Sounds, Vol. 3” could have only been pulled off by the effervescent Jill Scott. “Let It Be,” the album’s first track, is a bassline-driven quickie featuring some of the varying styles that make up this complex performer. While, it borrows its name from a Beatles track, the similarities end there. This is vintage Scott at her best, harmonizing over a hip hop-inspired track. While short, it sets the stage for this excellent collection of songs.
She could easily have stayed in the so-called neo soul genre, but apparently Scott is far more ambitious than that description allows. She has driving guitars, subtle phrasing and those ever present heavy beats on just about every track. Scott seems to be moving in a more orchestral direction than on past recordings. On “Come See Me,” a laid back horn section leads into an almost ‘70s inspired sound that compliments her sweet, sexy style. At times, she can be as forceful as a young Tina Turner, at others, she evokes a Diana Ross easiness that not many of her contemporaries could even dream of matching.
Unlike some of her previous releases, she seems more than happy to go it alone. She has often recruited some of the hottest stars in urban music in the past, but this time, she shares the spotlight with no one. Every track is all about Jill.
She even borrows from the world of spoken word on this Hidden Beach release. “Epiphany,” a seductive narrative about some of her favorite things, features her nearly rapping over a rich track that any rapper would be happy to flow on. (Hidden Beach ecordings)
Originally published in the Santa Monica Daily Press print edition on October 27, 2007. Read the original PDF.