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Corinne Bailey Rae - The Sea |
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On February 1st, 2010, Good Groove/Virgin will release Corinne Bailey Rae’s new album, The Sea. The record was co-produced by Bailey Rae with Steve Brown, and Steve Chrisanthou, who produced many of the songs on her debut album, which has sold four million copies worldwide.
Bringing together a new band of musicians, Bailey Rae recorded the album mainly in Leeds and Manchester, England. Her voice, always an expressive and soulful instrument, resonates with a poignant and newfound depth on The Sea. Loss and grief are recurring themes yet a sense of beauty and wonder ultimately radiates from the album’s dark corners.
“There is something miraculous that pushes you along, makes you keep going, makes you carry on. It’s really about the mystery of that. In fact, the whole album is about that in a way; it’s about loss but it’s also about hope, about keeping going and trying to find that beauty,” Bailey Rae told the U.K.’s Observer Music Monthly, which hailed The Sea as “an extraordinarily intimate and impassioned album” in its recent cover story on her, which can be found at: http://www.guardian.co.uk/music/2009/oct/04/corinne-bailey-rae-interview
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R&B singer Teddy Pendergrass dead in Pa. at 59 |
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NEW YORK — R&B singer Teddy Pendergrass, who was one of the most electric and successful figures in music until a car crash 28 years ago left him in a wheelchair, has died of colon cancer. He was 59.
Pendergrass died Wednesday in suburban Philadelphia, where he had been hospitalized for months.
The singer's son, Teddy Pendergrass II, said his father underwent colon cancer surgery eight months ago and had "a difficult recovery."
Before the crash, Pendergrass established a new era of R&B with an explosive, raw voice that symbolized masculinity, passion and the joys and sorrow of romance in songs such as "Close the Door," "It Don't Hurt Now," "Love T.K.O." and other hits that have since become classics.
He was an international superstar and sex symbol. His career was at its apex — and still climbing.
Friend and longtime collaborator Kenny Gamble, of the renowned production duo Gamble & Huff, teamed with Pendergrass on his biggest hits and recalled how the singer was even working on a movie.
"He had about 10 platinum albums in a row, so he was a very, very successful recording artist and as a performing artist," Gamble said Thursday. "He had a tremendous career ahead of him, and the accident sort of got in the way of many of those plans."
Pendergrass, who was born in Philadelphia in 1950, suffered a spinal cord injury in a 1982 car accident that left him paralyzed from the waist down — still able to sing but without his signature power. The image of the strong, virile lover was replaced with one that drew sympathy.
But instead of becoming bitter or depressed, Pendergrass created a new identity — that as a role model, Gamble said.
"He never showed me that he was angry at all about his accident," Gamble said in a telephone interview with The Associated Press. "In fact, he was very courageous."
Pendergrass left a remarkable imprint on the music world as he ushered in a new era in R&B with his fiery, sensual and forceful brand of soul and his ladies' man image, burnished by his strikingly handsome looks.
Gamble said Pendergrass was one of a kind as an artist and boasted a powerful voice and "a great magnetism."
"He was a great baritone singer, and he had a real smooth sound, but he had a real rough sound, too, when he wanted to exert power in his voice," Gamble said.
But it wasn't Pendergrass' voice that got him his break in the music business — it was his drum playing abilities. He met Harold Melvin, who was looking for replacement members for his group, the Blue Notes, and signed on to be the drummer. Later, he became the lead singer of the group, which became known as Harold Melvin and the Blue Notes.
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Mary J. Blige - Stronger withEach Tear |
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Stronger with Each Tear's first four songs are decorated like NASCAR vehicles, with IDs from the Runners and Akon, Rodney Jerkins, Ryan Leslie, Stereotypes, and T.I. all heard before the voice of Mary J. Blige. Sound logos and gratuitous self-serving plugs from producers and guest MCs are nothing new in mainstream R&B, but when an album by Mary J. Blige is dominated by them, in such an extended succession, a longtime follower’s minor irritation has the potential to turn to low-level rage. And while it is also understandable that the appearance of 2009 breakout star Drake on “The One” will help boost sales, the disparity is glaring; the MC was five years old when What’s the 411? was released. Trey Songz, featured on another track, wasn’t much older. Even when factoring these matters, Stronger with Each Tear is a very good Blige album, if not a classic. One of her briefest sets, it is tremendously (almost studiously) balanced between all the ground she has covered so well before. That’s no criticism, though, since most of the songs are easily memorable and display so much range. Those who detest “The One” on principle, for its use of Auto-Tune, need only to forward to the album’s final song, a quiet and sparse throwback (to 40-plus years ago) production from Raphael Saadiq in which Blige professes new love to chilling effect.
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Alicia Keys - The Element of Freedom |
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Don’t mistake the presence of Jay-Z and Beyoncé on Alicia Keys' fourth album as evidence that the singer/songwriter is burrowing into modern R&B — take it instead as evidence of the rarefied company Keys keeps, her status as a superstar so solidified that the only cameos possible are R&B/hip-hop elite. Superstars are often given leeway to do anything they want, and so it is on The Element of Freedom, where Keys dials back the outward expansion of As I Am and turns inward, creating a clean, small-scale collection of ballads and Prince-inspired pop. Always apparent on Alicia’s albums, that Prince influence is underscored by how she’s swapped the retro-soul instrumentation of her earliest music for electronics, but she’s retained the warmth, the throwback sensibility and, especially, a sense of reserve, never getting too heated or gauche. This does mean the Prince elements feel more NPG than Revolution, but Keys trademark always has been an easy elegance. On The Element of Freedom, that elegance is so easy it borders on the sleepy, with Keys’ understatement undercutting livelier numbers — chief among them the bubbly Beyoncé duet “Put It in a Love Song” — so they play as ballads. This isn’t a complaint so much as a characteristic: her voice may crack on “Love Is My Disease,” but Keys never gets gritty, she remains reserved, never letting her singing or arrangements obscure the melodies or the classy veneer of the entire proceedings. All this determined detachment keeps The Element of Freedom from packing a primal, passionate punch, but there is charm in Alicia’s enveloping, quiet cool: she may never break a sweat, but she knows how to sustain a sultry, not necessarily sexy, mood, and she does so here quite fetchingly.
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