Kelly Rowland ”Rose Colored Glasses”You gotta root for Kelly Rowland, having grown up almost literally in Beyonce’s shadow, as the perennial #2 of Destiny’s Child. Though she’s already put out two solo albums, and scored a couple of minor hits, she hasn’t put out that definitive record yet, and you have to wonder just how much her career has been helped or hindered by her association with longtime manager (and Beyonce’s dad) Mathew Knowles – an association that finally ended in 2009.
While Rowland, who turns 30 in February, is still readying her third album – her first for UniversalMotown – for release later this year, she put out a cluster of great singles in 2010, including “Commander”, with frequent collaborator David Guetta, and the sassy, Ne-Yo co-penned “Grown Woman”.
But my favorite of the bunch so far is “Rose Colored Glasses”, a grand, heart-wounded ballad about a relationship that looks good on the outside, but is rotting from within. Co-written by Ester Dean and Swedish pop mastermind Dr. Luke – the man who gave us Taio Cruz’s “Dynamite” and virtually the entire Ke$ha oeuvre – it’s an uncharacteristically emotionally raw song that, both in terms of sound and subject matter, seems like it might have been intended for Rihanna. But, let there be no doubt, Rowland owns this song, delivering it with enviable strength, stunning elegance, and an honesty devoid of self-pity that she projects both outward and inward, telling herself as much as she’s telling the listener: Everything seems amazing when you’re looking through rose colored glasses – Take ’em off.
The Vaselines’ ”Sex With an X”Scottish indie-popsters The Vaselines got their biggest break a couple years after they broke up, when Nirvana featured a cover of the group’s song “Jesus Doesn’t Want Me for a Sunbeam” in their classic MTV Unplugged set. Formed around singing-songwriting duo Eugene Kelly and Frances McKee, the Vaselines’ entire recorded output, summarized neatly in a 1992 compilation called The Way of the Vaselines, amounted to little more than a couple of EPs and a single full-length album called Dum Dum. Their songs – which boasted titles like “Oliver Twisted” and “Monsterpussy” – were as adorable as the Japanese ceramic figurines you might find in any given antique shop, and just as cracked as their glazes. (Sample lyric: “I’m gonna skin it and wear it as a hat, every day.”)
Like the earliest episodes of South Park or Pee Wee Herman’s original stage act, The Vaselines’ music is delivered with rudimentary technical skill, a formal vocabulary geared towards kids (South Park’s goofy animation, Pee Wee Herman’s goofy costume and voice, The Vaselines repetitive, elementary singalong melodies), but with content deeply inappropriate for that audience. That’s absolutely the case with the group’s 2010 reunion single, even if the title track from their 20-years-after-the-fact sophomore album Sex With an X isn’t half as lyrically as naughty as its title would suggest. The first time I heard this – Feels so good, it must be bad for me – I thought, “Wow, these guys could be writing for Barney or The Wiggles.” Thankfully, Kelly & McKee use their powers for good and not evil, and they also deliver a great little video playing an indie rock duo who left indie rock to become sunbeams for Jesus (err – a nun and a priest), but ultimately return to their musical and spiritual roots. Amen to that.
On my personal Tolerability Index, the radio format (I dare not call it a “musical genre”) known as “smooth jazz” generally falls somewhere between Sarah Palin’s Alaska and gnawing my own arm off. But last year, I discovered that Billboard actually compiles a weekly Jazz songs chart and every now and then, I give it a look. And it’s not just the curiosity of someone expecting to be repulsed: As it turns out, Sade landed three tracks from her latest album in the year-end Jazz chart, and Wake Up!, the great collaboration between John Legend and The Roots (and friends) has also landed a few hits on the chart.
But my curiosity isn’t entirely pure either. As Sunset Boulevard‘s Joe Gillis might have said, sometimes it’s fun to see how bad bad music can be. And so, every now and then, when I have nothing better to do than watch the Chiefs lose the last game of the regular season, I arm myself with a few titles from the Jazz chart’s upper reaches and head on over to YouTube. The results are predictable. Lots of alto and soprano saxophones and wooshy textures. Lots of clips from The Weather Channel where the songs are used as soundtracks for seven-day forecasts and temperatures for cities around the country.
Mindi Abair’s ”In Hi-Fi Stereo”Recently, I noticed that saxophonist Mindi Abair had a new album out. Now, Mindi Abair’s a name I actually know, although I can’t honestly count myself as a fan. Here’s the deal: for several years, I shared office space and a boombox with a crusty old man who kept a copy of the 1966 edition of the company’s employee handbook in his desk. For a while, there was only one radio station he could tolerate – a Wisconsin Public Radio station that played classical music until it was time from Terry Gross. I didn’t mind that. But then, a smooth jazz station was launched in Madison, and we started listening to that a lot. It wasn’t all bad. They played Steely Dan. But they were also really hot for a hottie sax-blower named Mindi Abair and they played her songs all the time. Despite that fact, there’s not a single Mindi Abair melody I could hum for you. Her music was entirely forgettable, and as a result, I’d forgotten it – entirely.
So when I saw Mindi Abair’s name on the charts, I thought, y’know, why not give it a try, and see what it does for me? The song I checked out was called “Be Beautiful”, and I actually found myself – well – sort of – gulp – liking it. It had a nice, understated groove that felt organic and live even if it wasn’t terribly distinctive. The sax solo was fine and tasteful – though, admittedly, still a sax solo – and it was tempered by a soulful vocal chorus that felt made-up-on-the-spot which made the whole song feel a lot more intimate and real than (I suspected) it deserves to feel. More recently, another song from the same album – it’s called In Hi-Fi Stereoand the cover art shows Abair spending some quality time with her vintage vinyl collection and portable turntable – has started showing up on the charts, and this one’s even better.
The new one’s called “Get Right” and it features vocalist Ryan Collins, who bears more than a passing vocal resemblance to John Legend. The song, too, sounds like something John Legend would record. It’s got an immediate retro soul groove, driven by electric piano, a stylin’ horn section, and a great singalong chorus. Abair’s sax doesn’t even show up in the spotlight until halfway through, and even then, she cedes the floor to Collins after a brief solo, choosing, in essence, to be featured artist on a song where she’s credited as the lead – an act of both confidence and restraint that demands applause. Give the song a listen here:
