#MusicMonday - #LostInMusic Spotlight Review: Jagged Edge - JEHeartbreakII

As I sit in front of my favourite window in the new abode, this is not the type of return piece that I want to be bringing you. It's been awhile since we've spent any special time together, so what I had hoped to do, was reflect something appropriate to the joy of returning to times of old. Oh and well…

Let me lay the background for those new to music talks in this little space of mine. Long-time readers will be aware that I am a HUGE +Mariah Carey  fan. I love that lady like family. In fact, I love her more than some family members – hey, if you met them, you'd understand… The point of that little verbal venture, was to explain that whilst Mariah is my favourite female vocalist, and even more avid readers will know that Michael Jackson is, and will forever be my favourite male. Barring the Jackson 5, one area that I do not believe I have covered, is my favourite group. Well here they are. Brandon and Brian Casey, Richard Wingo, and Kyle Norman are Jagged Edge; the Atlanta-based foursome, who have been romancing my ears and imagination since a soppy ex used 'Promise' as a way to score…ill-placed points, and um, all the spoils that came with the win, back in 1998…Damn my R&B weakness.

JEHeartbreak II is available from all major outlets now

Well anywhoo, here we are, on the release of their eighth album, supposedly a sequel to their second (and arguably best) and me with words I never thought I would express in connection with a JE release. Thirteen ballads, all well written, when it comes to demonstrating devotion to their love. With their out of this world harmonies, and manly, forceful delivery, they are nothing short of four vocal prince charmings, come to rescue their maidens from the woes of lost love and broken hearts. The last group to take musical composition as a whole, seriously. That's why it was so shocking to me that on the very first listen, I did not get the familiar goosies (or Goosebumps –the barometer by which I judge solid winners) that has always followed one of their tracks.

I thought this may just be down to opening track Future. Nice as it is, to hear of the longing for one who holds their future in her eyes, with crystal clear visuals, thanks to the most dramatic of metaphors, I just couldn't put my finger on what was missing. The simplistic, but memorable hook, courtesy of Executive Producer Mr Jermaine Dupri, with a little help from a man who has music flowing through his veins – Mr Bryan Michael Cox did nothing to help either.

I attributed the lack of connection to teething troubles, which I assumed would be resolved by second track Familiar. After all, picking up a female in a bar, taking her somewhere so they can 'get more familiar', whilst turning it into the hottest romance of the century, is something this group has down pat – almost like a scientific formula. Or so I thought. For the first time in sixteen years, I did not want to be the girl in the bar. For the first time, even if the words came straight from Brian Casey himself, they would elicit a knockback – that has never happened before! What is going ON, here?

Fourth track Hope brought it's namesake back; as the old magic peeked out for a moment. A pre-cursor to the album, this single had absolutely no-one worried as to the forthcomer's strength, because it was classic Jagged Edge material. With a new freshness that we know they have the power to bring to what is, essentially, a worn out topic – girl meets boy / boy makes girl fall in love / boy gets bored with the chase, then stops making any form of effort / boy gets bump on head (usually from girl's suitcase as she walks over him after kicking him to the curb), and miraculously, boy realises girl is a keeper – The End. R&B Gold, you could stake an album on…couldn't you?

Things I Do for You roused my pulse slightly and almost spurred ONE goosie – I watched carefully for the rise on my skin. In this one, everybody has something to say about the apple of the group’s individual eyes. Faith, hope, trust, honesty, love and attraction are all present, and as such, there is no limit to the things that they would do for their ladylove. One of the album's stronger songs undoubtedly, but despite those flawless Casey harmonies, it doesn't stand up to any of their own classics. Gimme an I Don't Wanna would you?

Love Come Down raised a goosebump on life support with an intro that smacked of hope, promise, and sexual promiscuity. Whilst the latter flowed in abundance, that was about the full size of it (no pun intended). There was no love coming anywhere over here (honestly – no puns, I swear).

The most noticeable thing about It's Been You is the vocal prowess of the group. This is the one that proves they still have it. No originality in terms of the concept – after endlessly wasting some poor girl's time, they've just realised that it's her love they craved the whole time. But in this instance, it doesn't need to be, because if we're truly honest, then we'll admit that this is their wheelhouse, and boy do they work it well. Another female would be along to fall for their charms, faster than the 254 bus, provided they just keep singing. Still no goosies, but for the overall production and delivery 10/10.

Another of the strong tracks on the set, Wanna Be (Romeo) sets you up to think something game changing is on the way. It packs a punch, but it's no Remedy-like knockout. And therein lies the shame.

And then something happened…The intro to Getting over You began, and a seductive lick of harmonies came in pleading, about not wanting to spend the rest of their lives getting over their true love. It wasn't a body full, but there was one - one single, solitary Goosebump – YES! This album was not a complete failure! Nine tracks in, but this album has itself a Saving Grace! I let out the biggest sigh of relief I had since the first time that I heard the opening strains of Faded on Me. I AM Mariah – the worry was over! It was not a flop! I was SO scared! Now that the boys had started the show, one could only hope that they would not drop the ball – so overexcited was I, in my little mixed metaphor world…So?

Ready was next and…I must say that my hope was not there from the intro BUT, then the direction changed as you listened to the helpless pleas about not being "the one who's 50 and alone"…The momentum stayed just enough to make you believe as they sang of their readiness to be in love. The desperation was palpable in the faux timekeeping metronome of the backbeat.

Make It Clear is the point in a JE album where things tend to wane a little, but not this time. In case there is any confusion, they've picked their prey, she is in their sights, and there is to be no dillydallying – when she decides that she wants a man, there is a choice of four standing right there, awaiting her choosing, like cake on the dessert tray.

No Half Steppin' is another strong contender for good album status. Strong R&B, but it is not one that would stop me in my tracks. It's no In the Morning; but it is a nice place to be, late in an album where attention may be straying. It took six listens for me to start to hear what this album really has to offer, and this is one that I did not need explained.

Unfortunately, in typical fashion, the boys close with something questionable (we all remember that entirely unnecessary Promise remix, for which Jermaine Dupri still has not been held accountable over to this day). Posters (We Stay on One) is supposedly a reminder to all, that Jagged Edge never have, nor ever will, lose their strength, pull, or position in this here music game. Skin firmly flat, there is not a goosie to be felt, as this would be my contender for the wackest…I mean Weakest track on the album. I'm sorry, but they're better than this. Leave these antics to groups who need to remind their audiences that they still exist. This track should've been sold to 112…

And so. I reiterate my earlier statement; this is not a piece that I ever expected to write about this group. I never thought the day would come, when I would have to say that my beloved Jagged Edge released a below par album. I never imagined that I would have to be telling you, that at best, a Jagged Edge album, could only ever earn a seriously generous, fan-fuelled rating of 6/10, and never, in a million aeons, warrant an equal footing with the first part in the instalment, but…alas, the times, they are a'changing.

Am I wrong? Do you feel I've been too harsh? Or have I been too overfriendly, purely based on my love for my favourite male singing group? Let me know in your house below. For now though, I'm off before the die-hards get me!

Until the next…

ES ;)

#LIM SPECIAL: Memoirs of an Imperfect Angel (#MariahWeek Review)

One of the many things to love about this lady is that as much as she likes to write loosely, to leave meaning open to interpretation, if you really analyse her lyrics, you will find some of the wittiest, most intelligent phrasing. If you don't pay attention, you'll miss the punchline. This is why it always makes me so sad to hear her referred to as airheaded; because her intelligence way surpasses that of many revered in the public eye today (and several of those writing about her - if you think that her extensive vocab became a gimmick for this album, then clearly, you've never listened to any of her previous ones)! All of that aside, let's talk what the world called a Turkey, shall we? Because I do not think that you can fully appreciate, or even understand Me. I Am…, without looking back at its predecessor.

Betcha Gon Know (The Prologue)

A gamechanger in many ways, Betcha marked a complete about face from a 12-album career formula that had so far proven successful. Mariah opened with a dark ballad. She was angry, she was vengeful, she was broken; but above all, she was exceedingly calm, which turned our light, happy-go-lucky Honey into a borderline scary, scorned woman. Previously, these types of lyrics were masked with an up-tempo, less threatening beat. One that matched the lyrics made this Mariah unnerving in a less Chica, more Chucky, kind of way. I personally read several reviews shunning it, because critics simply couldn't expand their minds to accept this Mariah Carey – without their perceived bouncy fluff, they simply did not know what to do with her! The first time we have a connected storyline almost from start to finish; this song acts as the equivalent of a scene-setting, curtains up.

Obsessed

This album's only misstep, quite possibly contributed to its overall reception. Despite her protestations to the contrary (which also harmed the album's credibility, in my humble opinion), it's quite obviously aimed at a desperate, pill-popping, confused entity of a person, who at the time, switched from over a decade of taking pointless shots at a woman, to a newfound obsession with a newly-married, non-ex. Though the track is a great one ('I'm the press conference, you're a conversation' – C'monnn!), almost on par with Clown (Charmbracelet, 2002), and right on the money in fact; it has absolutely no place on this album, unless it were to come much later in the story. Since it did not, Obsessed should have been a standalone single, as trying to strengthen the innocent claims, by burying it in an album, really did not bear either case any weight.

H.A.T.E.U. (Having A Typically Emotional Upset)

Back to the story however, and this is the balladic morning aftermath, of the explosive night before. An anagram, more than an emotional threat, it's the Mariah Carey equivalent to an 80s Cyndi Lauper track, only with crazy high, heartbreak notes salving the soul. The rose-tinted spectacles have been shattered, she sees the cheating chump in the cold light of day, and all of the overwhelming emotions start flooding in, as the shock begins to wear off. Although she no longer wants him, that shock has not stopped the love that had previously taken deep root. Reality seeps in as the smoke clears, and she is left to survey the messy ruins. A great closing line acts almost as an invitation to an excellent So So Def remix by Jermaine 'JD' Dupri. Featuring OJ 'Da' Juiceman, Big Boi, and Gucci Mane – even though the latter is as superfluous to the track, as he is to music in general. The last line of the album version acts as the hook for the remix, and thus binds the two together neatly.

Candy Bling

The nostalgic throwback to a childhood romance that seemed like everything, in the days before real heartbreak came her way. It's sweet, reminiscent, and one of those 'do you remember when' songs that everybody can relate to. What I initially thought to be a stupid song title inviting ridicule actually makes perfect sense a few lines in, and the floaty production even offers wistful transport back to those sunny days of puppy love. 

Ribbon

With the exception of a very annoying backing by Terius Nash (aka The-Dream), this is one of the album favourites. What is clearly the first of a few love songs dedicated to her then-new husband, actually works as a steamy part of the storyline, as the throwback to when everything was hot, with a capital H.O.T. The return to adulthood talks of their heyday as a couple, when the couple were at their seemingly unbreakable best, and moments apart felt like hours, instead of 20 good minutes.

Inseparable

Moving into the next phase of the breakup, she’s missing him, struggling to cut him out of her life. Trying to figure out that elusive 'where did we go wrong' moment, she is on that wavering verge of forgetting what he did wrong, as her vulnerability takes control. Sounding like beautiful, straight 90s RnB, Inseparable hearkens back to everything that music had been missing up to that 2009-point.

Artwork courtesy of Brave Graphics - click to visit 

Standing O

The Angry Phase is upon us. Finding her inner strength momentarily, she remembers his crimes with self-deprecating clarity. Now that she does, she lauds her former beau for his acting abilities on their stage of a relationship. From the 'I'm a fool for giving him everything' school of thought, she attacks herself, and him in equal measure, before exiting stage left.

It's A Wrap

Is her first attempt at closing the door for good. It's not just an epic moment in the story, but also in Carey's abilities as a songwriter, and level of song composition. It’s a highlight in her own personal story as an artist. Comedic sass, stellar vocal arrangement and production. Carey finds her musical home, and evolves into that Chanteuse we are later introduced to. This is the real Mariah that any supporter knows and loves. It is the class of the music, met by her larger than life personality in this Jazz lounge epic, that is just screaming to be delivered from Marilyn’s piano.

In terms of the story at hand however, it is the moment when she regains her power and control of the situation. The lyrics have you wondering if in the earlier vulnerable moment of Inseparable, she did, in fact, take him back for a split second, only for him to mess up in an even shorter amount of time; because by this point, she's officially done – there's no coming back. Out all night, and ignoring her calls, the comedy takes the form of the drunken meltdown of a 40s screen siren, in kitten heels, satin and pre-Technicolor monochrome. Sarcastic insults flow freely, as do the (understandable) threats of violence, and warnings of worsening humiliation – by the time anyone's reduced to mentioning Maury Povich, it's safe to say that whatever you had is gone, it's gone, it's gone, it's gone…

Up Out My Face

Is where the tempo picks up, and so do the comedic insults. She finally cuts those ties, as she comes good on her promise in Betcha, that he will feel her pain, if it is the last thing that she ever does. The marching band reprise is just genius (I do love a good marching band, me), as it not only adds stature and attitude to the  track, but is also a nod to her dashing hunk of a prince, riding in on his white horse(powered Bugatti), to save the day – Drumline, anyone?!

More Than Just Friends

By now, we've met the replacement, and the connection is intense. The wordplay is like a fraught, Wimbledon Final, setting the scene for the next man on it. Mariah aces some great one-liners, just for the heck of it, and you get a peek into just how easy this songwriting thing can sometimes be for her. However, she is begging you to read between the lines again – the quiet intro and hook asks, "Am I okay?" In quiet need for affirmation beneath all of the bravado. 

The Impossible

After the shocking heartache at the start, it is no surprise that Mariah would have closed off her heart. So when this new person opens it back up, and teaches her that it IS ok to love again, it's no wonder that she considers it The Impossible. Another written for her new husband, the chorus lyrics say everything that needs to be said: 'You did the impossible, you rescued my love…I had almost given up'. With Jodeci's 'Forever My Lady' sample running as a pulsating undercurrent, it's no surprise that the song is breathy, and sexual; so when it gets a reprise that takes things one step further, Mariah officially raises the temperature, until you want to engage in partnered activities – will somebody kindly pass me some ice and a fan…

Angel (The Prelude) / Angels Cry

The mood turns sombre as we move into the Angel Prelude. Thankfully unlike real-life, things have not worked out with Mr Rebound, and she is facing the agony of wanting her true love back, even though she’s still on the ground from his last blow. Devoid of every remaining scrap of self-protection, she lays her heart on the line one last time, and offers to put the work in to salvage what’s left of their relationship, before the heartbreaking final acceptance that their relationship cannot be saved.

Languishing (The Interlude)

A beautiful interlude that could absolutely have survived as a full track. Its sadness talks of judgement, desperation, and a lack of consideration and compassion for the pain in our fellow human beings. The sadness behind the rhetorical questions takes us into the massive powerhouse finale.

I Want To Know What Love Is

Mariah’s Foreigner cover fits perfectly into the story, and is a fitting close, as she begins to accept that the real love in her relationship came from her alone. In an ideal world, her cheating ex would never let he go (likely wouldn't have cheated in the first place, to be fair); but in the real world, even though she accepts that they are done, she is lamenting over what could have been, if it were a two-way street, and realising that she never had that at all. In belting acceptance, it’s the moment of closure.

Now. If you go back and listen to this album again with a new ear, you might just discover that not only is this pattern a precursor to Me. I Am…, but you might also now discover, why Memoirs of an Imperfect Angel is quite possibly one of Mariah Carey’s best albums yet.

Until the next...

ES ;)

#ESPspotlight REVIEW: MARIAH CAREY LIGHTS UP BET EMPIRE WITH 'YOU'RE MINE' VALENTINE

Third single from the world's best selling female artist's unreleased fourteenth studio album celebrates love and loss.

Perfectly timed to coincide with Hallmark's first big pay day of the New Year; 'You're Mine (Eternal)' hits almost all the right notes with this love offering, that saw Mrs Cannon lighting up the Empire State Building on the big day in tribute.

Naysayers are harping on about the similarity to her (most recent) career-defining hit 'We Belong Together'. Whilst the likeness is immediately notable, I'm sure you've heard the song enough now to recognise, it has strong enough legs to stand apart, even if they won't quite walk her into the history books with her 19th number one crown.

I purposely held back publishing my thoughts on this one, purely because the first live performance had a noticeable impact on my initial impression, and it's entirely possible that I'm not the only one. On my first listen, the definitive 'goosies' did not appear. The much-maligned, raw BET Honors live audio told a truth that those who don't have a clue have once again failed to understand. If you think that performance was lipped then 1. You are intellectually and audibly challenged and 2. You once again make me give serious thought to teaching a class in what Mariah Carey lipsynching actually sounds like, since that is the only real means of sure-fire detection. There was an uncomfortable tinge to her vocals, which I would come to learn by the end of the day, was obviously due to the wardrobe malfunction better known as that dress (I love the woman to the end of days, but it was designed to hold big lungs or boobs, not both). Without her always gorgeous visuals to distract, I was left feeling that sense of confusion that comes, when you can't quite put your finger on what exactly is missing, from a concoction that has the potential to be explosive. You walk away to do something else, and that's when it hits you...The trojan horse that is her hypnotic hook is in your system, and in the words of the lady herself, you can't seem to give the mental repetition up.

As always Mimi asks you, the listener, to interpret the lyrics in the way that best suits your personal situation, but for the most part - it's that 'Break Up Song' that she made a mastery of, from the moment she first set fire to the billboard charts. Her vocal arrangement is simple, breathy, and dreamy. Almost lullaby-like, it made perfect sense when she announced that she chose the style in order that her two-year-old twins would be able to sing the song back to her. Rodney Jerkins' production is a step away from his typical norm; to a place that has surprised most listeners, based on online comments. Most were expecting that typical Darkchild touch, that gives an artist that one 'banger' in their catalogue that stands out from the others. Instead, his quiet, rhythmic piano-tinkling is the killer arrow in the sensual composition's bow.

Two days after the official single's release, came the first in a slew of alternates from The Remix Queen. Whilst the original was released to the masses on the 12th, the dual moment for lovers came with the 'gift' of Trey Songz, visually, and audibly. In a subsequent interview, Mariah explained that a model had originally been brought in to shoot the video treatment however, on re-evaluating, she decided that she would be doing her fans a disservice not to make Songz the star of the show. I personally would've preferred to see the ousted video honey, but hey - to each his own, many seem to have supported her meaty selection...

Now here, as far as Yours Truly is concerned, marks the point where things turn dire. Whilst MC may have gone on record declaring this her favourite version, the most polite thing that I can say about it (and all of the remixes), is "If it ain't broke..." - well you know the rest. His autotuned offering really did nothing for the recording that, as she stated in the same interview, she couldn't have done herself (only better, in my humble opinion). Mariah's painful, yearning pleas are not matched by Songz' layering. In fact, the only sentiments evoked by him, are confusion, utter disbelief, and the repeated question: 'That's what you're crying over?' At which point, all sympathies come to an abrupt end...

By the time we reach the Dance remixes, I'm afraid things only continue downhill. In the spirit of fairness, I shall give you the chance to form your own opinions before I share my thoughts. At the very least, I'll try. Let's begin with the JD x Kurd Maverick Germany to Southside Remix:

From the moment I clicked Play, it took all of 0:15 seconds for me to form what I like to call, 'The Stinkface'. I reduced the volume twice before 1:19, when a sudden headache began mimicking the base pattern, when I was forced to check the track length for how much more there was to endure.

Assuming the wind had changed; I gave up waiting for my facial muscles to relax without pharmaceutical assistance, and moved on to the Jump Smokers Remix:

Marginally better than the last; unlike the legions of fans who flocked to the video page, I still found the radio edit INTENSELY annoying. And that was before the hardened coconut skin popping noise. I mean really - what is that even about? Think back to your nursery school music class, when your instruments came in whatever form your teacher's imagination (and school budget) would allow. Now tell me that you're not hearkening back to those early days, and looking for the nearest implement that could pass for a triangle. There's a box below - I dare you.

As quickly as my joy rose at the track's end, and a reflexive 'Thank **** for that' escaped my cognitive pathways, an intense brain pain followed, as the realisation of an extended mix dawned upon me. My chin sunk to my chest, and my head shook slowly, as I mentally prepared myself for what was to follow. Swigging my beverage, wishing with all my might for alcoholic infusion at 10:40AM, I clicked the Play button on YOUR behalf.

Like it says on the tin, the only difference? It's LONGER. Much, MUCH LONGER...


As always, I'm keen to hear your favourite version (if you have one); what do you like about the song, what don't you (constructive comments only please)? Does Mariah Carey's 'You're Mine (Eternal)' make you more excited, or more anxious for May 6th, when that long-awaited album is set for release? Share your thoughts in your own spotlight - better known as the Comment Box below.

Get your preferred version of the cracking (original) single from all Independent Retailers now:

Amazon mp3 / Google Play / iTunes / 

Jump Smokers (DJs only) 

The JD x Kurd Maverick Germany to Southside Remix is unfortunately unavailable for download.

Until the next...

ES ;)

#ESPspotlight REVIEW: 'THE ART OF LETTING GO' - MARIAH CAREY (SINGLE)

Well now, if ever there was a better set up to a big week at ESP HQ, than a new +Mariah Carey single, Yours Truly has most definitely yet to discover it!

'The Art Of Letting Go' - the second single from Mariah Carey's forthcoming 14th studio album, was released via an unorthodox Listening Party on Mariah's Facebook Page earlier this afternoon; where a brave, simultaneous fan Q & A also accompanied the big launch. Hailed by other music critics as the next 'Vision of Love', I'm afraid this here music blogger and longtime fan must disagree - in fact, I fail to see, or hear any comparison to the modern day classic at all. What I do hear, is a typical 'Mariah Moment'; similar to the Christian forgiveness of letting Bygones be gone, better known as 'I Wish You Well' from 2008's E=MC2 - in thematic content at least (minus the actual Scriptures). Being that I have been listening to this woman, and studying every form of her style since I was in single figures, I anoint myself with the qualification to dispel that myth, and instead provide this correction - amongst a few other things...

On the first listen, whilst I do love the authentic throwback of the 'needle on vinyl' opening, I would be outright lying if I said it had the initial 'Instaspark' that used to come as standard with new Mariah music - the OG Lambs know to what I refer. It was there in the ORIGINAL, unfussed with version of 'Triumphant', it reappeared for the Young Jeezy remix of '#Beautiful'; but it did not appear here, because sadly, TAOLG is not Single material. Doubly disappointing (and concerning), is the missing certified stamp that normally comes with a Rodney Jerkins Production. Don't get me wrong; clearly the usual "Darkchild" intro that every artist and his Mother announces at the top of their collaborative efforts would be grossly out of place, on the groundbreaking moment where this Classically-trained music maker goes back to his roots. But if anyone can truly state that they hear one of his Surefire Hits on their first listen, then they are either unfamiliar with his previous work, or competing with Pinocchio.

All of that being said, what I did notice the more I listened, was that retro, 40s Femme Fatale that we were introduced to (and LOVED), in 'It's A Wrap' (Memoirs Of An Imperfect Angel, 2009). It has the feel of a revered Legend, deigning to respond to an impudent child, just desperate for a momentary shine of glittery attention, and from her, it is effortless. Essentially Ladies and Gents - Mariah done testified in a 'Sunday Mornin Moment', she's shedding the shackles of the bad relationship weighing her star down, and now she's back on the rise; no Baby, Letting Go ain't easy...but it doesn't mean that she won't!

Post by Mariah Carey.

Raw vocals, and lyrics that quite clearly tell you and your hateful intentions to 'Have A Seat' - 'The Art Of Letting Go' from her as yet untitled forthcoming album* is unfortunately, exactly that - a brilliant album track. It's just not Single material. I personally feel, that because she released two Radio-friendly singles, which were (unfairly) rejected by the masses, it comes across as a release forced into the confined pigeonholes of what so-called 'fans' want - and that is a real shame.

Reading through posted comments on her Facebook page, most seem jubilant in the fact that the song is "All Mariah - No Rappers!", as one fan claimed; a straight 'Tell It Like It Is' ballad. Rather than the first husband issues as many strangely suggest, I would say, this seems more directed at sending jumped up little upstarts, with a 5-minute limelight back to the sidelines - or at least several rows behind the judging panel - where they belong...

Do I LIKE it? Yes. Is it a commercial huge hit? I highly doubt it. Is it worth YOUR £0.79p? Well, of course it is, it's Mariah at her cathartic finest!

The 'Art Of Letting Go' is out now via iTunes. Visit Mariah's Facebook Page for your local direct link. I know many of you will disagree - tell me why politely below, and let's discuss!

Enjoy, Folks!
ES ;)

*do your homework before you attack fellow Lambs - Jermaine Dupri and Rodney Jerkins tweeted TAOLG as the upcoming album name back in June, which Ms. Carey-Cannon herself swiftly refuted - at no point has she ever referred to the album with that title.