Macy Gray tackles Wonder‘s ’Talking Book‘
Macy Gray
“Talking Book”
(SLG)
A mere seven months after the release of her “Covered” album, which included songs by Radiohead, My Chemical Romance and others, Macy Gray has taken on what some may consider an unthinkable task: revisiting one of Stevie Wonder’s most iconic records, 1972’s¡¡“Talking Book.” It’s a gutsy decision, and one that may raise a few eyebrows (as it should).
But Gray mostly delivers the collection with a twist, making over hits such as “Superstition” and “You Are the Sunshine of My Life” in her own quirky fashion.
One of the most noticeable tracks is “You and I (We Can Conquer the World,” which highlights Gray’s sweeter side, thanks to the song’s harmonies. “You Got It Bad Girl” suits Gray’s distinctive bass tone, but doesn’t show off her vocal flexibility as much as “Big Brother.” The arrangement on “Blame it on the Sun” is different from the original. Wonder‘s silky vocal tone is now Gray’s raspy soulfulness, but nevertheless it maintains its nostalgia.
However, the gaps in between suggest no one does Stevie better than the man himself, though Gray delivers a fresh alternative.
Whether it’s been writer’s block or a simple timeout from songwriting, perhaps after two cover albums Gray will return with her own material.
(AP)
Calvin Harris shines on upbeat ‘18 Months’
Calvin Harris
“18 Months”
(Columbia Records)
Calvin Harris’ third album, “18 Months,” plays like a greatest-hits record, and it is hard to shake the feeling that the electronic singer-DJ-producer is trying to sell us something that we already have.
A lot of the tracks have been released by their collaborator, and listening to them again on his CD is more nostalgic than anything else. However, the record reminds us just how good Harris is.
Working alongside female vocalists such as Kelis, Rihanna and Florence Welch, Harris seems to instinctively know which song suits which performer: There’s monster hit “We Found Love,” the perfect pop song with Rihanna; Kelis is the star of “Bounce,” with its funky repetition; and “I Need Your Love” with Ellie Goulding couples her twinkling dreamy voice with the electronic direction that Goulding herself uses on her new album.
But highlights aren’t just with female acts. Rapper Tinie Tempah, who experiments with pitch, is on one of the best tracks, the playful “Drinking From the Bottle.”
“18 Months,” with its big, thumping European beats, shows that Harris’ future is bright, whether lending his vocals -- like on the hit “Feels So Close” -- or producing in the background.
(AP)
Meek Mill doesn’t tap into talents enough
Meek Mill
“Dreams & Nightmares”
(Warner Bros. Records/Maybach Music Group)
The hype machine around Meek Mill has been humming since the rapper signed with Rick Ross’ Maybach Music Group imprint last year. Mill has produced two respectable mixtapes and a few singles, including “Ima Boss.”
On his debut, “Dreams & Nightmares,” Mill shows great potential as a storyteller, but his lyrical flow is not consistent, ultimately setting back the 14-track album.
His wordplay is subpar on songs like “Believe It,” featuring Ross, “Young & Gettin’ It” with Kirko Bangz and “Lay Up,” with Ross, Wale and Trey Songz. On those tracks, the diction of Mill’s lyrics is too weak for his standards, and his voice is too loud, making the words difficult to digest.
Another example is on the album’s title track. The song starts off like a dream with Mill reflecting on his rise in hip-hop and former street life in a calm demeanor, but then it turns into a nightmarish struggle to listen when he switches gears into his intensely unbearable high-pitched voice.
The Philadelphia-bred rapper thrives more when he takes it down a notch and delves into his backstory, venturing into his dubious past as someone who sold drugs for special recognition and to support his family.
Mill does that well on “Polo & Shell Tops” and “Maybach Curtains,” with Ross, Nas and John Legend. On “Traumatized,” he goes on a verbal rampage, seeking revenge for his father, who was murdered when he was a child, and rhymes about how he was almost killed near the area of his dad’s funeral. These are special songs that showcase Mill at his best, though half the album lacks that flare.
(AP)
