Tag: John Legend

Bullz-Eye’s Best of 2010: Staff Writer Scott Malchus’ picks

December 6, 2010 /

Each year, when I sort through my favorite songs, I have trouble ranking them because each one has a different meaning to me. I always wind up creating a mixtape (or a playlist, for you younger readers) of those songs and arrange them so that the music flows like a great album or concert set. Without further ado, here’s my mix of the twenty songs I returned to for repeated listens throughout 2010.

“Fade Like a Shadow,” KT Tunstall
Tunstall continues to produce pop gems that are spirited, bright and full of life. This single from her latest, Tiger Suit, has everything you want in a single: a passionate delivery, a great melodic hook, and a unique rhythm that helps it stand out from other songs. A great way to kick off a mix tape.

“I Should Have Known It,” Tom Petty & The Heartbreakers
The lead single from Mojo has that vintage Petty snarl and bite. The rest of the album may be a mixed bag, but this great rocker builds to kick-ass guitar jam and stands up with some of their best.

“Baby,” Justin Bieber featuring Ludacris
I make no excuses for liking this guilty pleasure. When a song reminds you of your kids, it becomes a favorite whether it’s cool or not. Plus, come on, Luda’s rap is pretty choice.

“The Weary Kind,” Ryan Bingham
“Crazy Heart” was a great movie and Jeff Bridges was definitely worthy of his Academy Award, but the film wouldn’t have succeeded if the song Bridges’ character, Bad Blake, wrote in the film, wasn’t perfect. Ryan Bingham and T-Bone Burnett wrote that perfect song in the form of “The Weary Kind” and Bingham captures everything about Bad Blake and delivers it in his performance of the Oscar winning composition.

“Cuckoo,” Lissie
My big discovery this year was Lissie’s, Catching a Tiger, a collection of lovely melodies combined with the singer’s remarkable voice. “Cuckoo” is the song I played most from the album. It’s one of the finest expressions of being a teenager and feeling like an outcast that I’ve heard in years.

“Can I Change My Mind,” Stone River Boys
Guitarist Dave Gonzalez and singer Mike Barfield, aka the Stone River Boys, blend Memphis soul, Austin blues and old time country for music they like to call country funk. Their cover of Roy Buchanan’s  “Can I Change My Mind,” conjures images of warm summer evenings with my family and friends, the grill cookin’ steaks, the kids playing corn hole, and the cooler stocked with ice cold beer.

“Fuck You,” Cee Lo Green
Besides being one of the catchiest songs of the year, and also one of the slickest, there’s an emotional side to “Fuck You,” that taps into the wounded heart of every young guy who’s been jilted or turned down by the girl of his dreams. Show the dejected face of that kid, and I guarantee he’s thinking everything that Cee-Lo is singing on this damn fine song.

“Crash Years,” The New Pornographers
Neko Case and her band mates reconvene for another great jangly rock song. My favorite whistle solo of the year.

“The Power of the Heart,” Peter Gabriel
Gabriel does a cover of Lou Reed and creates magic.

“My Brand New Day,” Michael Stanley
Stanley is a musical icon in Cleveland whose height of popularity was  the ’70s and early ’80s. These days he’s a well-loved DJ for Cleveland’s classic rock station, but he continues to write and record music.  This unabashedly romantic up-tempo rocker somehow found its way to my favorite L.A. station and made my spring much brighter.

“Bring It On,” The Gaslight Anthem
These Jersey boys shed the Springsteen label with an intense album, American Slang. Although lead singer Brian Fallon received the lion’s share of the press, the album is truly a band effort, best exemplified on this phenomenal track. Drummer Benny Horowitz lays down a tight, solid foundation, bassist Alex Levine holds the song together like glue, and lead guitarist Alex Rosamilia uses his instrument like a second voice, as it sings a counter melody to Fallon’s vocals.

“January Wedding,” The Avett Brothers
The Avetts certainly know how to rock out with their acoustic guitars, bass and banjos, but they also have the ability to pull back, as they do on this lovely ballad from their album, I and Love and You.

“He’s Not a Boy,” The Like
Capturing the joy and harmonies of ’60s girls groups and blending it with the edginess and short precision of the British Invasion, the Like, had one of the most biting and danceable records of the year. Listening to “He’s Not a Boy” makes my head bounce, my foot tap, and makes me happy that I’m not the subject of lead singer Z Berg’s biting words.

“Wake Up Everybody,” John Legend & the Roots, featuring Common and Melanie Fiona
Teaming up with the Roots, the most important band in popular music right now, John Legend takes a brief respite from being the utmost authority on love to record Wake Up!, a collection of socially conscious songs. On this track from that superb album, Legend duets with Melanie Fiona, then steps aside for Common, who delivers a classic rap that carries this cover of a cover of a 1975 song by Harold Melvin & The Blue Notes into the 21st Century.

“Anchor,” Alejandro Escovedo
This meaty rocker wears its heart on the rolled up sleeves of the sea-faring protagonist. With songs like this, it’s no wonder that cult figure Escovedo has fans like Springsteen.

“Women of the Ages,” Laura Cortese
I was riding the train to work one October morning, as I read the tragic account of Seth Walsh, a 13-year-old teen who chose to take his own life instead of enduring another day of abuse from his “peers.” This gorgeous song by Laura Cortese was playing while tears rolled down my cheeks.

“Silver Rider,” Robert Plant
On his new album, Band of Joy, Robert Plant found kindred spirits in Buddy Miller and Patty Griffin. The way Plant and Griffin complement each other on “Silver Rider” is uncanny, while Miller goes all Spyboy on us with a chilling guitar solo. Before the new album, Plant and Daniel Lanois did some sessions together.  This song may give us an idea of what they would have sounded like.

“Love the Way You Lie,” Eminem, featuring Rihanna
It’s impossible to listen to this explosive number and not think about the tumultuous histories of both Eminem and Rihanna. Em spits out his lyrics like a machine gun and Rihanna makes your heart hurt in one of the best rap collaborations of all time.

“Bloodbuzz Ohio,” The National
I hear this song and I can’t help but think of the gray winter skies of my home state of Ohio. Not sure if that was the intention of the National when they recorded this song, but the song makes me homesick as the end of the year approaches.

“Looking Out,” Brandi Carlile
Another strong, emotional song by the underrated Carlile. The singer-songwriter seems incapable of singing a false note, plus she kicks some serious ass when it comes to rocking out. “When you feel like giving in… like your heart could break in two / Someone loves you!” What better message to end the year on.

Adult Contemporary, Americana, Artists, CD Reviews, Country, Hip Hop, Pop, Rock, Songs, Soul

Bullz-Eye’s Favorite Albums of 2010: Staff Writer Mike Heyliger’s picks

December 6, 2010 /

I seriously can’t remember the last time I’ve had to struggle with a list of my favorite music in a particular year. Actually, I can, so I should clarify: I seriously can’t remember the last time I’ve had so much good music to choose from when paring down my list of favorites for the year. Upon looking at my CD collection (yes, I’m one of those guys), I still see another 10 or 20 albums that could make the list if I listen more carefully. But without the benefit of the free time it would take to check those CDs out, here’s a list of the 20 best albums I’ve heard in 2010.

1. Kanye West: My Beautiful Dark Twisted Fantasy
As much as Kanye’s childish tirades infuriate me, I’ll be damned if his music doesn’t always win me over. Fantasy is amazing from just about every facet: musically, lyrically, thematically. I’ll forgive ‘Ye for a million idiotic public statements if he keeps making music like this.

2. Gil Scott-Heron: I’m New Here
One of two albums in my Top 20 recorded by artists re-emerging after a 14-year absence, I’m New Here is a haunting listen. The ravages of time have wreaked havoc on Scott-Heron’s voice, but much like Bob Dylan’s most recent work, age has given the artist’s voice additional resonance.

3. The Black Keys: Brothers
Sometimes the album that breaks a band through to a mainstream audience is indeed their best work. That’s definitely the case with the Black Keys’ Brothers. Bluesy garage-rock with enough hooks to keep guys like me interested, I feel like this is the album Dan Auerbach and Patrick Carney were aiming for with their Danger Mouse-helmed Attack & Release album. As it turned out, they didn’t (really) need Danger Mouse, anyway, just their bad selves and the ghosts of Muscle Schoals, Alabama.

4. The Roots: How I Got Over
Can someone give these guys a medal for the most consistently awesome act not only in hip-hop, but in music period? I feel like the Roots are incapable of making a bad album even if they tried to. Although I suppose if they replaced Black Thought with Jimmy Fallon…

5. Cee Lo Green: The Lady Killer
“Fuck You” (or “Forget You,” if you’re easily offended) was a gimmick single, sure. However, even gimmick singles can be genius, and what’s more is that the Goodie Mob/Gnarls Barkley frontman was able to back the promise of that song up with an incredible album. I wish he rapped more, but when you can outsing just about every artist in contemporary pop and R&B, I guess you can be excused.

6. Nas & Damian “Jr. Gong” Marley: Distant Relatives
Needless to say, this was a good year for hip-hop. Political and passionate, but still sweet and melodic, Nas is on point lyrically and Marley provides the album with organic, sympathetic production. He should produce every Nas album from here on in.

7. Band of Horses: Infinite Arms
You will never hear sweeter harmonies than on this record. You might not hear better country-flavored rock and roll, either. Give the Byrds or CSNY a little modern flair, and you’ve got Band of Horses in a nutshell.  I also doubt you’ll see cooler facial hair.

8. Vampire Weekend: Contra
Despite being released in the dead of winter, Vampire Weekend captured the sound of summer for the second consecutive album. It’s easy to overlook lead singer Ezra Koenig (as well as keyboardist Rostam Batmanglij)’s perpetually tongue-in-cheek lyrics when the music is this fun, but that’s not to say you should.

9. Steven Page: Page One
His former Barenaked Ladies soldiered on admirably without him (All in Good Time was a pretty okay album), but after hearing Page’s solo debut, it becomes obvious that he took a great deal of songwriting and singing magic with him when he left.

10. John Legend & the Roots: Wake Up!
It was a great idea for John Legend to team up with the Roots for this collection of mostly obscure soul covers. As great as the idea was, though, I can’t help but wish Legend, ?uestlove and Co. would have put all the passion and soul they put into Wake Up into a collection of equally passionate and soulful originals.

11. Robyn: Body Talk
She may not sell as much as contemporaries like Britney and Christina, but there’s no doubt who makes the most interesting music. Even if “Body Talk” consisted of “Dancing on My Own” ten times in a row, it would have been worthy of inclusion on this list. Thankfully, there’s other material on here that further qualifies Body Talk as the dance-pop album of 2010.

12. El DeBarge: Second Chance–
One of R&B’s greatest should’ve-been stories returns after a decade and a half in the wilderness, and he hasn’t lost a step. Talented enough to write beautifully about his personal struggles and smooth enough to create masterful collaborations with the normally insufferable likes of 50 Cent, this is a must-have for contemporary R&B fans.

13. B.o.B.: The Adventures of Bobby Ray
This Atlanta newcomer made a definite case for the eclecticism of modern-day hip-hop. Capable of recording playa anthems with T.I. as well as rockin’ pop jams with Dr. Luke and Rivers Cuomo, rapper/singer/multi-instrumentalist B.o.B made the year’s most fun record.

14. Big Boi: Sir Luscious Leftfoot: The Son of Chico Dusty
The less-heralded member of OutKast more than made up for his partner Andre 3000’s absence with an album funkier than those drawers you’ve worn all week. Mixing socio-political commentary with a fair amount of shit-talking, Leftfoot almost made me stop wanting an OutKast reunion. Almost.

15. Crowded House: Intriguer
One of the best songwriters of his generation, Neil Finn never disappoints. The second album by Crowded House Mach 2 (well, 3, actually) finds the band regaining their footing with aplomb following the somewhat tentative Time on Earth album.

16. Method Man, Ghostface Killah & Raekwon: Wu-Massacre
Wu-Tang Clan certainly has the capability to be scattered and messy. Even a cursory listen to much of their recent output (together and solo) bears that truth out. However, this album finds group MVP Ghostface re-teaming with a newly energized Raekwon as well as Method Man, who obviously had a fire lit under his lazy ass by the other two men. Result? The best Wu product in a decade, easily. So good I won’t even harp on the paltry 30-minute run time.

17. Bilal: Airtight’s Revenge
It sucks that all left-of-center R&B vocalists seem to fall under the radar at one point or another. Nine years after his solid debut, 1st Born Second, Bilal Oliver returned from space (or wherever he was hiding) to deliver his deliciously bizarre sophomore effort. Who needs D’angelo when you’ve got this dude?

18. RJD2: The Colossus
Is it hip-hop? Is it indie rock (what the hell is indie rock, anyway)? Is it R&B? Who the hell cares? It’s good! One of the more underappreciated underground (damn, I was gonna say hip-hop) artists out there, RJ capably straddles boundaries and genre lines with his excellent fourth solo album.

19. Scissor Sisters: Night Work
The sophomore slump killed the Scissor Sisters’ Ta-Dah critically, while some unfortunate comments made at a retail convention killed the group’s career commercially. After taking a few years off, Jake Shears and company returned with the year’s most decadent, hilarious dance record. Shears sings like Barry Gibb’s long lost son and he’s got a capable foil in the band’s female member Ana Matronic.

20. Drake: Thank Me Later
I hate Lil Wayne. So the fact that his protege ranks on my list of the year’s top albums says much about Drake’s level of talent. The amiable Canadian might be an unlikely hip-hop star, and the buzz that surrounded him prior to his album’s release was way over-inflated, but good music always wins out over buzz, and Drake’s rapping and singing skills are capable (if not amazing) enough to have won me over. Maybe Weezy should concentrate on being a talent scout or something.

Alternative, Artists, CD Reviews, Dance, Electronica, Funk, Hip Hop, Indie, Pop, R&B, Rock, Soul

Quincy Jones: Q – Soul Bossa Nostra

November 11, 2010 /


RIYL: unexpected collaborations, the R&B Top 40, hitting “shuffle”

He’s more of an elder statesman than a hitmaker these days – his last album came out 15 years ago, and his influence has been on the wane since the ’80s – but the term “living legend” may as well have been coined to describe Quincy Jones, and he proves it all over again with the ridiculous number of superstar guests assembled for Q: Soul Bossa Nostra.

Like anyone who’s ever been successful in the music business, Jones isn’t shy about his own accomplishments, and Bossa Nostra functions essentially as an album-length tribute to himself, with modern hip-hop and R&B artists making cameo appearances on a rundown of Q-affiliated classics like “Strawberry Letter 23” (featuring Akon), “You Put a Move on My Heart” (a show-stopping Jennifer Hudson), the “Sanford and Son” theme (walking acronym factory T.I. and B.O.B.), and the title track (Ludacris). Generally speaking, it’s all a lot better than it has any right to be; for one thing, Jones has to have a marvelous sense of humor to invite, say, Talib Kweli to turn “Ironside” into a hip-hop showcase, or ask Snoop Dogg to add his verses to “Get the Funk Out of My Face.” More importantly, most of the artists sound like they have genuine affection for the material, and they produce some genuine highlights, including John Legend’s lovely “Tomorrow,” Mary J. Blige and Q-Tip’s “Betcha Wouldn’t Hurt Me,” and the Wyclef-led “Many Rains Ago (Oluwa).”

Like most compilations, Bossa Nostra has the occasional bald spot; for instance, it’s easy to assume that Jones tucked Amy Winehouse’s disastrous take on “It’s My Party” late in the album because he listened to the tapes long enough to wonder why it sounds like Winehouse lost her teeth on the way to the studio, and not a few listeners will blanch at the notion of T-Pain lending his Auto-Tune croon to a new version of “P.Y.T.” But these are minor complaints, given the overall strength of the rest of the record – and how much quibbling is really necessary when you’re talking about an album that concludes with a rap-a-riffic version of the “Sanford and Son” theme song? It won’t light up the charts the way Quincy did with The Dude in 1981 – or even 1989’s Back on the Block – but it’s a helluva lot of fun, and proof that the living legend hasn’t lost his touch. (Interscope/Qwest 2010)

Quincy Jones MySpace page

CD QuickTakes, CD Reviews, R&B

John Legend and the Roots: Wake Up!

September 22, 2010 /


RIYL: Bill Withers, The Roots, Raphael Saadiq

john-legend-roots-wake-up-cover-e1279246652953[1] Before he reached the presidency – and thus subjected himself to at least four years of being picked apart, second-guessed, and portrayed as a letdown by pollsters and pundits – Barack Obama was a signal of meaningful social change, and a source of profound inspiration, to millions of Americans. His roots as an urban community organizer served as a reminder of a time when community really meant something – particularly in the black community – and raised hopes for a return to outreach, investing in urban infrastructure, and a renewed focus on the common good.

People were hoping for a paradigm shift, in other words, and those never happen as quickly, simply, or clear-cut as we feel like they should (as a passing glance at any newspaper will tell you). But that’s the thing about major change: As slowly as things might seem to be moving on the surface, moments of inspiration have a way of paying unexpected dividends. Case in point: John Legend and the Roots’ Wake Up!

Conceived during the 2008 election, Wake Up! combines Legend’s political awakening with the Roots’ peerless soul scholarship to produce an album that functions on two levels: One, as a call to greater personal responsibility and communal awareness, and two, as a sort of gateway into the classic records Legend and the Roots chose to cover. As chief Roots ambassador ?uestlove points out in the liner notes, these songs will be appreciated by two generations – the folks who still remember Baby Huey, Bill Withers, Harold Melvin, and Donny Hathaway, and the younger listeners who have grown up hearing bits and pieces of the music repurposed for hip-hop beats. (In a nifty, knowing twist, Wake Up! includes a cover of Ernie Hines’ “Our Generation” that features a guest verse from CL Smooth, who sampled the song 18 years ago.)

There’s something a little off-putting about the fact that a call to attention this powerful has to rely so heavily on songs that have been around for decades, and listening to Wake Up! – as with the Dirty Dozen Brass Band’s similarly themed 2006 cover of Marvin Gaye’s What’s Going On album, conceived in the wake of Hurricane Katrina – you may find yourself alternating between feelings of joy and disappointment. It’s hard not to wonder why today’s young soul artists aren’t making new music this marvelously aware – or why, if Legend was going to end the album with an original cut, he couldn’t have come up with something more deserving than the mawkish “Shine.”

On the other hand, great music is timeless, and there’s no denying that every one of these classic songs is every bit as resonant today as the day it was originally released – or that Legend and the Roots prove capable, empathic interpreters of the material. Wake Up! isn’t a new soul classic, but it reaffirms the undimmed relevance of the artists who helped shape the genre’s golden era. Here’s hoping the album expands the spirit of inspiration that brought it to life – and that other artists heed its title’s call. (Columbia/G.O.O.D.)

John Legend MySpace page

CD QuickTakes, CD Reviews, Soul

Herbie Hancock: The Imagine Project

July 12, 2010 /


RIYL: Santana’s Shaman and Supernatural, Anoushka  Shankar’s Breathing Underwater,  WOMAD label artists

On the surface, one might conclude that Herbie Hancock’s current release, The Imaging Project, is a Johnny-come-lately effort that builds on the model Carlos Santana rode to great success on Supernatural and Shaman.  That is to say, call in a diverse group of popular artists and have them record songs that infuse their styles with the dominant musical character of bandleader. Hancock and company certainly attempt that, but Mr. Hancock has grander designs other than just creating a hit record.  The Imagine Project is, according to Hancock, part of a global outreach strategy featuring musicians from various corners of the world to foster a kind of globalization that emphasizes mutual respect rather than a top-down cultural dominance emanating from U.S. to the rest of the world.  Does Hancock succeed in his ambitions?  At times he does, but at other times the record sounds like bland smooth jazz that never rises above level of innocuous background music for worker bees in office buildings.

The most interesting tracks (and ones that reach Hancock’s ambitions on this album) are tucked in the middle and end of the CD.  “The Song Goes On” featuring Chaka Khan and Wayne Shorter – and some blistering sitar playing by Anoushka Shankar – demonstrates what I think Hancock had in mind for this album (the same goes for “Tempo De Amor,” “La Tierra,” and “Tamatant Tilay/Exodus”). Alas, there are some real duds that take away from the potential grandness of the project.  “Tomorrow Never Knows” featuring Dave Matthews is as pointless of a cover as it is boring. “Imagine” gets bogged down in pomposity and relegates Jeff Beck to playing a solo that could have been done by any good musician with about a year’s worth of guitar lessons.  And only Pink saves “Don’t Give Up” from becoming a milquetoast cover of the Peter Gabriel/Kate Bush original.

The Imagine Project is not a horrible record by any stretch, but it continually falls short on both fusing various musical styles and finding new wine from the old wineskins of classic songs. However, when it shines (as it does at times), the music does transcend geographic boarders to create a fusion that lives up to Hancock’s stated goal for this record.  (Hancock Records 2010)

Herbie Hancock’s website
Click to buy The Imagine Project from Amazon

CD Reviews, Jazz

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