Category: R&B (Page 11 of 11)

Seen Your Video: Natalia, “Perfect Day”

I’m going to be honest, and the publicist will hate me for this, but I have to do it: “Perfect Day,” the debut singer by UK pop/R&B starlet Natalia, does nothing for me. It’s a nice sentiment, but a bit moon-eyed in its optimism for my tastes (which of course makes it ideal for its intended teen audience, but that’s another discussion). The video is even sillier. Having said that, and at the risk of being labeled the perviest perv in all of Pervville, look at her. She’s flat-out gorgeous, and rocks that mock turtleneck like no other. Most of today’s popsters come with the powerful voice and the over-produced music, but are completely lacking a unique look or personality. Natalia may not have the tunes yet – one of the songs on her MySpace page uses a huge chunk of Adam and the Ants’ “Prince Charming,” which sounds cooler on paper than in execution – but hot damn, does she have the voice, and she’s got the look. What in the world can make a brown-eyed girl turn blue, etc.

Natalia was gracious enough to shoot a personalized intro for Bullz-Eye’s readers, and lets rip with a little singing to show that she’s not some auto-tune charity case. Good news indeed, but we’re curious to see what she would do if she had Mark Ronson in her corner. Just a thought when it comes time to make album number two, my dear.

Solange Knowles: Sol-Angel and the Hadley St. Dreams

Released during the same year as her big sister’s smash solo bow, Solange Knowles’ debut album, 2003’s Solo Star, had the misfortune of arriving during the full flush of Beyoncé mania – and also, it pretty much sucked. Since that album tanked, Solange has acquired a reputation as the more willfully independent Knowles sister – she’s a divorced single mother whose own Wikipedia entry describes her as “a total bitch” – while doing little to move herself musically out of Beyoncé’s shadow. Call her the Jan Brady of the Knowles family – and call it surprising, then, that her terribly named sophomore release is actually very much worth listening to. Solange’s voice is thin, but in a charming Diana Ross-type way, which works to her extreme advantage here, as she’s blanketed these songs with a heavy Motown vibe. Don’t call it a throwback, per se – there’s still plenty of the hard-edged modern production you’d fear from any young R&B artist – but there’s also plenty of live instrumentation (yes, even drums!) and an overall earthiness that’s as appealing as it is unexpected. The majority of the record-buying public will probably sleep on Sol-Angel and the Hadley St. Dreams, but they shouldn’t – this record’s better than its title. (Geffen 2008)

Solange Knowles MySpace page

The Crash: Pony Ride

Pony Ride, the latest outing by Finnish band the Crash, offers an unapologetic approach that melds perky rhythms, gushing sentiment and giddy attitudes to catchy, cushy melodies and a penchant for ‘70s-style soul (think the Jacksons, Average White Band, Culture Club or Simply Red). Singer Teemu Brunila mimics an androgynous style that recalls Michael Jackson, Boy George and Mick Hucknall’s smooth croon for good measure. Oftentimes, the Crash sound kinky – the soaring strings and stately piano ballad “Lauren” seems to be about a stalker, a precursor to a later number actually called “Stalker.” Its follow-up, “Filthy Flower” (“You’re a filthy flower/I could be your lover/But I want to be your man”), shows a certain pride in their prurient desires. “I hope we’ll make it to the radio/I hope we’ll make it to the stadiums,” they coo on the soulful closer “Backstage.” Given their effusive sound, it’s safe to say the Crash can. (Ryko Music)

The Crash MySpace page

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