THE BIG REVIEW in the #ESPspotlight: 'Awaken, My Love!' by Childish Gambino

Oh, how good it is to be back! Have you missed me? Because I've missed you darlings, and after not having the use of my arms or hands for the last 9 days, I can honestly tell you, to be able to deliver this to you is a beautiful miracle within itself. Now then, to business. I have been in love with Donald Glover aka Childish Gambino, ever since I saw his skinny frame do a turn as 'Andre' in my personal favourite flick of 2015 (I'm not going to mention the title of it, but just know that it was XXL for good no, great measure, my ponies...); I realise this makes me late to the party, but hey - how else does one make an entrance?!

Childish Gambino's Awaken, My Love! wins the award for creepiest album cover...

Having listened to John Legend's new album Darkness and Light earlier, it struck me that in comparison to Childish Gambino's opening track , Legend's was so...well, for want of a better term - blah! Most people would substitute that with vanilla, but here's the thing, vanilla is one of my favourite flavours, I think it's deeelish; so here's what I'm going to do. I'm going to substitute vanilla with a lesser loved, bland flavour, in my humble opinion, like...Chocolate. I'm going to compare the opening of John Legend's album flavour to chocolate. Not the good, Ferrero Rocher kind of chocolate, obviously; I'm talking the 26p, supermarket own brand stuff, that only tastes of bicarbonate of soda and butter.

Gambino's opener, Me and Your Mama on the other hand; aside from the disturbing, never to be considered connotations evoked by that title, delivered a boot to your face opener that you feel way deep in your spleen - Bluesy, soulful, and dripping with Prince-esque, melodic screams of pain; this, is vanilla music, my friends, and it's sumptuously, finger lickin' good.

Have Some Love begins with a thick drum beat, followed by a choir intro straight out of the deep South. Gambino begins with a quiet vocal growing from the background, delivered in a staccato beat against the backdrop of the 70's funk beat. By the time he reaches the forefront, the choir returns, and you realise that they are delivering the chorus, singing deep and true about spreading love amongst your fellow man, and in your community.

By the intro of Boogieman you're fairly sure that Glover was high when he recorded this album. Yes, I know, all the signs were there, but I missed them - what can I say, I'm sober. The Hendrix meets Mayfield-like production treatment of 70's Soul+Funk+Rock is psychedelic love pouring through your speakers; all you're missing is a lava lamp and an afro.

If ever there was proof of the loftiness of Gambino's state of mind, Zombies is it. Whilst there is an argument to be made that there is a deeper, existential level on which the true meaning of this song lies, ie. some reference to the corporate suits sucking an artist's creativity dry for profit, For the most part, you just think he's lost in a purple haze.

Riot sounds like a Black Panther cry in 2016. A musically political statement, it's a black leather glove-clad fist in the air to socialism and the socioeconomic state of people, as a whole, around the world.

Redbone has a great, catchy melody to back the metaphorical lyrics, which I must admit, did take a second listen for me to really grasp. Talking to a lady who won't give him any sweet good loving; Gambino waits for the duration of the first verse, but by the second, he's over it, and it's her turn to persuade him to stick around. I guess you could say that he comes full circle, if you know what I'm saying...

California exudes the State's sunshine through the production, which samples Charles Wright's 'Express Yourself' for it's effective sound. The characterisation that Gambino employs for this, and every song thus far are part of what make this album as prolific as it is in terms of good fantasy-filled songs. It's odd, but captivating, and you cannot wait to see where he is going to take it all next.

In this case, it's to track number eight, entitled Terrified. Led by an eerie bass, Gambino sings as smoothly as MJ on Thriller, only way more frightening when he suddenly talks about eating you,,,the production is stellar, the backing track a beautifully mellow composition filled with muted Soulful instruments, that contribute to make a ridiculously hot track. The anonymous female vocal adds a slick touch that turns this into a masterpiece.

Baby Boy is an ode to a newborn on the brink of losing his father to the law, completely throwing you from where you thought the track was going to go lyrically. The direction takes you completely by surprise, and as you listen to the track being played on the harpsichord, you can't help but think that if this album doesn't walk away with a serious award collection, then someone clearly isn't listening. The bass-led track screams the pain of loss through the instruments, and makes you feel every single ounce of it - Exemplary.

The Night Me and Your Mama Met is a soft, funk-based, soul-filled track that makes you think of being on the beach at night, with the waves lapping all around you; and by the time the harmonies start, it's as if the very sea is singing to you itself. The electric guitar is haunting and spellbinding, telling a 'when our eyes first met across a crowded room' story that plays out in your own mind.

Album closer, Stand Tall is the only track where Gambino dispenses with the persona, and is himself. His voice is beautiful, rich, roughly textured, and raspy. Andre is back in the building Ladies and Gentlemen, and even though the topic is of the message passed down first from Father to Son, then from Mother, it is seductive beyond belief. The reverb adds legendary finesse to the depth of his tone, and the range he displays is smooth and reminiscent of Mr Marvin Gaye himself. Truly beautiful work.

___________________________________

When musicians talk of creating art, this is the type of work to which they aspire. Childish Gambino's album completely surpasses most of the albums that have come out this year. It sounds like nothing else we have heard, with the exception of Solange's A Seat At the Table (look for a little something special coming on that before the end of the year) and is in a league completely of it's own. This is an artist to watch people - and not just because he's a genius with a serenade about women named Caroline...

Until the next...

ES

#ESPnews on #MOBOAWARDS 2016

My sincerest apologies for my quiet over the last few weeks all - if you follow me on Social Media (which of course you should), then you will be aware that I have just spent a horrific period of time in a Bath hospital that I could not wait to get out of. That being said, let's get on with this. 

Well...another day, another awful awards show - this is becoming more consistent than Andy Murray losing tennis matches to Novak Djokovic.

Friday, November 4th saw the 21st annual Music Of Black Origin Awards, take place at Glasgow's The SSE Hydro, which was also broadcast live on ITV2. In times gone by, I would have chewed off a limb, doused my open wound in hot sauce, and offered it up to a starving rabid dog for a ticket; back in the early days, going back as far as the very first show - which I remember - when it was on Channel 4, the lineups were phenomenal and the MOBOs were England's equivalent to any BET awards show - if not all of them - rolled into one. Black culture had a pinnacle.

In previous years, we could look forward to stellar performances by British names and, once Kanya King's baby started to attract US artists, you knew that it had really started to make its name. So successful did the show become, that it earned Ms King recognition as a Member of the Order of the British Empire (or an MBE to you and I) in 1999, and from then on, the show started to slip, slowly but surely, into crapness. Case and point: this year's show.

In place of the usual one British, one American artist matchup, this year's show was presented by Ricky and Melvin - whom I only know as CBBC presenters - in kilts, the show was already off to a bad start, as I failed to find the recycled joke funny. Introducing Laura Mvula who, I'm sorry, seems like a lovely lady, but has thee weirdest enunciation I think I've ever heard (and this year's show that I've just spent 10 days in hospital near the Welsh border). I'd be lying if I didn't say that it creeped me out in places - much like her makeup in the video they used for her respective category nominations, which creeped me out all-over.

Ricky and Melvin then returned to introduce the first presenter for the Best Male category, but not before giving out the wrong hashtag address for viewers to leave their show comments. We probably should have taken this as a sign of things to come, but alas we were clueless. Handing over to beautiful songstress Katy B to do the honours; she greeted Craig David warmly, who returned the favour by having the audience agree with his compliment on her appearance, before giving a heartfelt thank you speech, that you could feel were seventeen years in the making.

Next followed one of my personal low points of the show, a mashup from Laura Mvula's fellow Brum, 'Lady' Leshurr. I use the term loosely because as a firm anti-bullying advocate, I don't support anybody who has to make somebody else feel bad to get ahead in the name of music or anything else for that matter. Not when you could be using your platform to inspire with kindness and lead by example. Performing a mashup of Queen's Speech and Where Are You Now? Leshurr gave what otherwise would have been considered a good performance, had her lyrics not been aimed at putting people down. For that reason, I won't be including the video in this rundown.

Lovely singer Ella Eyre presented Rapper Nadia Rose with the Best Video award for Skwod alongside the nicely cleancut Ore Oduba. Rose's acceptance speech came from a genuinely stunned and emotional young lady who, unlike many who would follow, sounded intelligent and educated in front of a live audience. The Craig David medley came next. Starting with the classics, Re-wind was followed by Fill Me In, which of course, led into the 2016 update, 16 reviewed by Yours Truly when his #1 album Following My Intuition came out last month. When The Bassline Drops then fed into Ain't Giving Up to close.

The Best Hip Hop category was introduced by Rapper Professor Green, and model Maya Jama. Presented to the Section Boyz, they embodied everything that is wrong with today's youth, by not showing their own group mates the courtesy of speaking uninterrupted, one at a time, in succession; being one of many who brought hordes of people up onto the stage to collect their awards, and just carrying themselves in an altogether common manner that made you embarrassed to be black. 

A Chase and Status medley, entitled 'It's Funny / When It All Goes Wrong' followed, featuring Frisco as part of the former, and Tom Grennan with the latter. Although not a fan of the Drum'n'Bass collective; their performance was an interesting one, and momentarily, I wasn't bored senseless - but that didn't last long, because next up was Best Grime Act (as if such a thing could exist) and, listening to Chip deliver his acceptance speech was the first time that I was offended by the statement "Big Up God!" I feel like I should be struck down just for writing it...If ever there was a more disrespectful term - I mean, really? Since when was God one of the road man that you link on da corner? Do people not teach their children respect anymore? Piety (I realise I may have been looking in the wrong place for that last one, but still)? It just made my blood curdle to hear, and made me think back to the days when my Grandma used to take me to Church with her, and the Pastor would have me read from the Scriptures in front of the congregation. Never did I envision that these were words that I would ever be hearing in my future!

As I sat catching flies with my open mouth, Wstrn took the stage to deliver a 'performance' of In2 that was completely devoid of any sense of stage presence, whatsoever; for me, it seemed like a prime reason to get In2 hard drugs. Particularly when they were followed by actress Sharon Rooney and comedian Dane Baptiste, presenting them with the accolade for Best Song - but my redeeming moment would come later...for now, I was just stuck trying to figure out who the one with dreadlocks reminded me of; although it did eventually come to me: Mo George - better known as Gus from Eastenders. Come to think on it...he's not on the show anymore - is that him? Someone be kind enough to clarify for me, would you?

Clean Bandit performed next led by singer Anne Marie, and I have to say that the nod for best song and performance of the Music Of Black Origin Awards should have gone to a white girl and band, because honestly, they were the only ones who treated the stage with any respect. I had never heard of either before if I'm honest, but I will certainly be looking out for both in the future - they were my high point of the night! Rockabye was delivered with intense, gritty vocals to a beautifully laid back, soft core bashment beat. My only problem stemmed from the musicians' offensive dancing, but I just had to close my eyes to take care of that. In fact, I'm now sorely tempted to buy the single! PS. LOVED Anne-Marie's trousers, but that's part of a whole other segment...

Sequencing shined through for a minute, as the nominations for Best Reggae Act followed; presented by the culturally ethnic duo, Viscountess Emma Weymouth, and her presenting partner whose name I did not catch, but will henceforth be referred to as Lord Twattington for the awful joke that he delivered during his introduction to Best Reggae Act - won by Popcaan, who cleaned up his appearance at least for the night. Singer Izzy Bizu took to the stage next to perform an emotional acoustic version of her song Mad Behaviour. Unfortunately not my cup of tea; she won numerous brownie points for her eye-catching ensemble.

'Mother MOBO', better known to one and all as Kanya King MBE then took the stage to introduce veteran comedian Sir Lenny Henry who, between them, explained the concept of the Pave The Way Award to British Olympian Nicola Adams, who gave a very nervous, but inspiring speech.

Pro Green returned for a medley starting with a ditty about upsetting the wife. Eye On The Door was soon followed by Old Skool favourite, Jungle. Next, presenter and model AJ Odudu and Olympic athlete Dina Asher-Smith were accompanied onstage by actor Arnold Oceng to present the Best Newcomer award to RnB/Reggae trio Wstrn. It all got very uncomfortable as a wining, bank manager-ish, middle-aged white man got onstage for the now drunk group's acceptance speech - which took quite some time to get to on account of 1) so many people filling the stage (can they not ban that in the future?) And 2) the drunken group members' inability to stop singing their song - once they could find a microphone. Bank Manager's hip movements were highly disturbing, as were his awkward attempts to simply 'rock with' the musical beat. I really don't ever want to see that again. And I do mean EVER.

Leave it to good old singer-songwriter Tallia Storm to turn things around, when she graced the stage in what I thought was a fabulous gown, to present the Best Album award with veteran newsreader, Charlene White. Firstly addressing her co-presenter as 'Chantal', she then went on to refer to winner Kano as a 'they', instead of a 'he'; sending ripples of laughter at her drunken state throughout the auditorium. After Kano's pre-recorded airport speech, Popcaan took to the stage with a twin to deliver his 'Reggae Masterclass'; consisting of tracks Only Man She Wants featuring the gladly long forgotten Sneakbo, and Too Cool.

Singer Shakka and Radio 1Xtra DJ Yasmin Evans were the duo to prove true the theory that the gong goes to whomever shows up, when 'Lady' Leshurr sauntered away with the Best Female award, giving an almost humble recipient's speech. The big scandal of the night however, was about to come. Presenters Ricky and Melvin, who had long since given up the pretence of virile ventilation, took the stage with sombre faces, to deliver the cringeworthy news that the Best Song award - earlier given to Wstrn for In2 - was in fact, the wrong song! The actual winner was Rapper Abra Cadabra featuring Krept and Konan for the track Robbery (Remix). Having explained that someone picked up the wrong envelope, the presenters were quick to exit the stage, leaving room for the melee that followed the stunned Rapper, who ironically, couldn't find enough words to form a tangible sentence!

After a glance at the pre-awards show, where RnB crooner Maxwell - in the UK for his King and Queen of Hearts tour with the one and only Mary J. Blige - was seen announcing Shakka as winner of Best RnB/Soul Act, and Guvna B was lauded for Best Gospel Act. Glad to escape by that point; Ricky and Melvin turned the stage over to Fekky (yes, that's really his name) and the Section Boyz to close the show only ITV2, like myself, couldn't wait for the noise to end, and so cut the 'performance' short.

And that, was thankfully the end of all that nonsense for another year - by which time, the shame of announcing the wrong winner for an award might hopefully have died down.

I was driven to talk about this in my nightly Facebook broadcast, because I was SO incensed at being made to watch such a pile of parp. Now, I'm not going to pretend that I didn't know that it was going to be bad - after all, I did see the line up in advance, but I was committed to bringing you a round up, and so that is what I have tried to do, with a teensy dash of honesty(!) But come now, I must reiterate Friday night's sentiments. When you grow up with the likes of Michael Jackson gracing a stage at award shows, where the appearance would be an event in itself, that you would pencil into your calendar months in advance; when you wouldn't be missing anything on a night out, because everybody who was anybody was going to be indoors, watching the same show as you, this major event in music history - then what do award shows of the current day have to offer me, when there is no-one even remotely close to that calibre around to take a stage anymore? I ask you?

I think I need to take a moratorium on awards shows for awhile - at least until I can see one with a decent lineup which, if we're honest, then by today's standards, when any and everyone can call themselves a performer, is not going to be anytime soon. *Sigh* I guess I'm just going to have to keep suffering for my art - don't ever say that I don't make sacrifices...

Until the next...
ES

Image courtesy of SBTV.

'Joanne' by Lady Gaga - THE BIG REVIEW in the ESPspotlight on MusicMonday

So here's something I never thought that I'd be doing...

Up there with dying my hair green and professing love for Elvis Presley; I never thought that I would be reviewing a Lady Gaga album...the things we do to grow, eh? Joanne is apparently the singer's fifth studio album (huh, thought there would've been more - kudos on the success). I checked out the deluxe version (natch), and found...well, pretty much what I expected from a Lady Gaga album.

Don't get me wrong, no disrespect to the Lady, I thought that she was pants until I saw her perform live once at the piano, and she blew my mind with her performance. And let's not forget her recent defence of alleged sexually abused star Kesha - for that, she will always have my respect; but if I suddenly professed to be her greatest fan, I think we all know that I would be lying through my pearly whites. That said - let's get into this thing...

The set opens with Diamond Heart, a rock song about a young, gogo dancing female who appears to use her body to survive after being raped. The story isn't pretty, juxtaposingly, it's quite gritty in fact, as she talks of no longer being a good girl, after finding out that they get nowhere. A fast-paced opener it is, and if you played it loud - which I did not - I'm sure that it would make you sit up and pay attention. The grit in Gaga's voice matches the sentiment of the song perfectly. A-YO - definitely a future single - is a funky rock track that talks about not being able to contain the desire to get a lucky guy going, before testing out the mirror on his ceiling. It's actually quite catchy, and you can hear the potential hit in the making.

The title track Joanne is a folksy guitar plea to choose life at the brink of death. A somewhat strange song for an album lead, it's a letter to a loved one to let them know how much they are needed and will be missed. Now John Wayne, hmmm, what can I say about this...It took me several listens, and I must say, that I'm still not sure that I really got the essence of this Pop-Rock song? I'm going to try to grab it before it floats over my head one more time...

So essentially, a couple are on the road and he's her 'John', but he's not really what she's looking for, she craves a strong man that she just hasn't come across yet, so she ditches him and tries some other literal 'Johns' ie. customers, on for size; but none match up to the ideal that she's looking for in her mind, and so she carries on her search, into the sunset? Have a listen someone please, and do tell me - does that about sum it up? Who knows; the one thing that I can tell you, is that this is another potential single, and I see a pretty decent video following to boot. The production is also pretty good, with a strong guitar hook taking the lead throughout.

Dancin' In Circles is the Pop equivalent of RnB singer Tweet's massive hit Ooops (Oh My), in my humble opinion. Singing about 'touching herself', pretending she is her object of  interest, this isn't something that we haven't heard before, but because of the mainstream name, I can see it becoming a lot bigger than its predecessor. To give the track its dues, it does have a catchy beat, and the production on it is nice and tidy - on a good day, it would almost be my cup of tea (but not today). Lead single Perfect Illusion caused intense chart heat when it was released in early September. The 'little monsters' went cray for the Pop song lamenting over being fooled into thinking that she was in love, when in reality it was...well, what it says on the tin. Again, catchy; easy to see why it was selected for the lead single.

Million Reasons is the next track to take the charts by storm, currently sitting comfortably at number 34 in this, its first week of entry. A nice change of pace, it's a big ballad, end of the road, break up song, pining over the million reasons to leave a relationship, whilst not really wanting to; instead wanting to be given one to stay. The piano backing, strings and guitar are a nice touch after all the Pop Rock we've been inundated with up to this point. Sinner's Prayer feels like something straight out of a Western. I honestly cannot decide whether this is a make believe moment, or just one of the padded bar lunacy-like type I attributed her with before I knew she had talent. Gaga is the Sinner and she wants to unburden her conscience to one person only; her travelling companion, who doesn't realise that he's travelling with a tramp (her words), and has hedged all his bets on her, unlike her little sister, who is the marrying kind that he's looking for. Her word in general isn't worth much, but her Sinner's Prayer? Well that's good as gold...

Come To Mama is a Gaga-esque equivalent to We Are The World. It's a plea to 'love one another, and stop telling each other how to live'. She begs that we stop pigeon-holing each other to a Folksy-Country beat, and that sisters and brothers should return to the times when we all loved one another; after all - it's not that long since we all lived in a jungle...she says. Featuring Florence Welch (of Florence and the Machine); Hey Girl is surprisingly listenable! An ode to friends that you can rely on, the song talks about knowing you can rely on each other to pull your hair back when you're upchucking, and get you home when you're not in fit state to do the job yourself. Soulful, with an almost RnB tinge; it's the most palatable song of the album so far, by a mile!

Angel Down is another decent offering. A balladic political reference to those losing their lives on the streets due to indifference and a general lack of respect for human life. It's hard to dispute a socially conscious, sensible Gaga (when she's not implying that we're Tarzan and Jane). Grigio Girls is a salute for those who have graduated from Lambrini. Celebrating the option of drinking your cares away, it's an ode to getting drunk with your mates when times get tough. Honky tonk Just Another Day is a love song with a difference. She sings of being the emotional woman that he knows, but that doesn't negate how much she loves him on this, Just Another Day.

Album closer Angel Down (Work Tape) is a more acoustic version of the earlier song, that actually works better than the original, because her voice is gritty, and the emotion conveyed sells the song much better than on the polished original. This is the Gaga that made me sit up and take notice on that awards show. She emanates a pain in the single verse that also further emphasises the narrative and makes the song a winner.

I reiterate, I'm not going to pretend to suddenly be Gaga's biggest fan; but Joanne has a few rare moments that demand you respect her as an artist, and after listening to them a few times over - I finally do.

Joanne is available from all independent retailers now.

Thanks for reading folks - this was a tough one to write! Let me know if you share or dispute my thoughts, but don't forget to explain why! YOUR stage is below.

Until the next...
ES

MusicMonday WaveRunner Duo: '24K Magic' - Bruno Mars / 'Starboy' - The Weeknd ft. Daft Punk

Now if I'm honest, The Weeknd's 'Starboy' was actually my selection for last week's #WaveRunner, but if you'll recall, technical glitches, and what I will now recognise as health hang ups got in my determined way. Not to be this week, my friends, Not. To. Be! Despite the fact that I have been laid up since last Wednesday when I literally froze in the middle of writing a publicly promised piece for you. I can only apologise, my friends, but even today will be light; because it's taking every ounce of strength I have, just to be upright long enough to write this.

Since it's 7 days Bruno Mars senior, we'll go age before beauty on this occasion - based solely on Mars' sisters, and not the long sock-wearing entourage in his latest video (no excuse Bruno, none whatsoever). Released on 30th September, with so many of this week's favourites, 'Starboy' is the latest release from a hitboy crooner that frankly, unlike Bruno, can do no wrong! Taken from his forthcoming album, 'Starry' (out 25th Nov.); the track entered the national charts at number 5, and jumped 3 places in the space of one week. Supermodel and 'It' Girl Bella Hadid's boyfriend is doing rather well...at least we assume that's why he killed himself and emerged as a new and improved version in his latest video?

Essentially telling the world that he has no competition, he's rich, successful, and has a lot of flashy cars; there's not really much else to share as far as the song's storyline goes. Creepy sacrilege aside; The Weeknd basically spends the entire video destroying the old him, and his awards, discs, wardrobe - apparently every trace of his former self - except the cars (they're referenced throughout the whole song, thus it would appear that they're important). Revealing what I like to call his 'Maxwell Moment' (do we remember the 'Pretty Wings' emergence after The Haircut?) what confuses me, is how we are meant to tell if he's good or evil - murdering his former self one minute, and smashing the place up with a neon crucifix the next? Answers on a postcard please...

Now I don't know who he's dating (yet); but I do know that Bruno Mars has been keeping things quiet, going underground shortly after releasing his last single, 'Uptown Funk' with Mark Ronson. With his new album also set to be released this year (date TBC); it's safe to say that all of our ears are in for a treat before year's end.

'24K Magic' is as big and brashy as it is smooth and synth sexy. Rounding up his amigos for a trip on the private jet; the boys are hitting Vegas for their weekend, and everybody is about to know that they're coming through. Unfortunately, there's very little vocal display, as Mars mainly raps throughout the track (yes, he can do that too); but when those flashes of vocals do come through, we're reminded of who we've missed for the last few years, and we're glad to hear he's back - despite the rather odd dance routine, and gratuitous booty shots (random females, not Mars).

Firmly expect to see this storming the charts the moment it becomes available; Mars has already set the world alight with this, the sassiest of comebacks (can men be sassy? Sidenote: I shall find out).

'Starboy' is available now at all independent retailers.
'24K Magic' is available now at all independent retailers.

That's all for this week folks...Nah, I'm just kidding, sick or not, I will bring you content worth reading, that was my promise to you - although I can't promise that some of it may not be gibberish. I babble when I'm sick, it's a habit, so shoot me.

Anywhoo, I'm off, as that fever is starting to climb...See you soon for a very special LostInMusic segment - dedicated to the late, great, Rod Temperton, who tragically lost his battle with cancer last week.

Until the next...
ES

'Mad Love' by JoJo: THE BIG REVIEW on MusicMonday

It's rare that I will part with my hard-earned cash for an album anymore.

Music is not at it's best calibre, and if my monthly music app rentals are going to let me listen to albums for free anyway, as often as I want, then what is really the point? Being the connoisseur that I consider myself to be however, when a stone cold winner comes along, by one of my favourite artists, then I will readily part with my coinage, and insist upon the deluxe edition. Let me introduce you to my latest purchase.

Mad Love is Joanna Levesque's - better known to one and all as JoJo's - first studio album in ten years due to label sagas and woes, and the offering is well worth the wait. 15 tracks of audio goodness defy her haters and naysayers with talents that they doubted she still had. Let's get into the album...

The set opens with Music; a touching tribute to the tour de force that has gotten her through the best and hardest of times, including the tragic loss of her father. It's sentimental, sombre, and sets the tone for a big show to follow. I Can Only is a hard follow that features new name on the block Alessia Cara. Defending their choices in life, love and leisure; the ladies refuse to apologise for being themselves and exercising their God-given rights to be themselves. Definitely a feel good feminist track, it's a nice setup for the young woman who spends far too much time fielding impudent comments and remarks about things that really aren't anyone's business but her own. F**k Apologies is the big single of the album. Featuring Wiz Khalifa; the track's production is reminiscent of Khalifa's other recent collaborative hit - Sucker For Pain from the Suicide Squad movie soundtrack.

FAB featuring Flipmode Squad Rapper Remy Ma, centres on a topic that both women, and most people, in fact, can relate to; "when they smile in your face, but behind you it ain't well wishes..." offers up crucial insight into why the singer is so disgusted. Ma offers the perfect topping on this cake; considering the marked decrease in her circle following her recent legal woes. The title track is a Bluesy ballad that suits JoJo's voice to the ground. Mad Love is a desperate love letter to a paramour, who may not be in the best position to reciprocate. It's a slow descent into madness, and we're just happy to come along for the ride.

Vibe is a dancehall-lite track that invites a new friend around for private fun and games which, if they want to pass judgement on they should keep to themselves, because to share would be killing her 'vibe'. Honest is a dance track with trance affectations. Confronting a potential new lover about their inability to be real in a real heat of the moment situation. Calling their ability to act on basic human impulses into question; JoJo says don't hate her for having the strength of conviction to not only face the truth but say it out loud and proud - you Go my Sister Girl!

Like This is where things get sexy and, if you haven't heard any of JoJo's mixtapes in between this and her last album (frankly, where have you been), then you might be forgiven (by someone) for thinking that this is an uncomfortable step away from her 15-year-old, The High Road persona - and you would be (even further) mistaken. Jojo has been getting her multi-octave freak on for quite some time, and in the words of LL Cool J, she's been 'doin it, and doin it, and doin it well'. That's why when she talks about her footprints on the ceiling in Edibles, you don't do much more than raise an eyebrow, fan yourself and tell the speakers, "well alright, now"; because in all honesty she simply solidified the fact that (not so) Babygirl gets down...

Black dress wearing, red High Heels walking, JoJo is out the door, because she's been cheated on, and she is understandably pissed (I mean for all we know, she put her back out, or pulled something in all those positions she talked about in Edibles...).  I Am is where things get Rocky. It's a doubtful empowerment song, where she reassures herself that despite her self-critique, she is worthy of love, and beautiful; the typical type of self-doubt that a wronged woman goes through, when she tries to understand why a man cheats.

Clovers is where we go back to a touch of the Dance vibe. The vocals - as on every song - are exceptional. About finding her sense of self at the brink of madness, and finding her closure on the whole depressing situation, she exhibits strength from her every pore. Reckless is a slowed down apology to a young ex sex toy (it's unclear whether or not he was ever actually a boyfriend), for using him and leading him astray until she took his virginity. Good Thing is the Club track of the album, and I personally foresee it being huge on the circuit. A thank you in recognition of good love, it's a perfectly polished, solidly produced track that has every ingredient for doing well.

Closer Rise Up is a call to action to strengthen yourself in anticipation of meeting the requirements to receive a nourishing love that will benefit you and the receiver. Guiding the listener to use her experiences as fodder for their own, to help them avoid the bad times and pain. It's a great, absolutely massive choral finish to a solid return that I suspect will flourish atop the charts for sometime, as fans show JoJo how much she's been missed, and how when it comes to her, industry, peers and public alike have got nothing for her but Mad Love.

Mad Love is available now from all Independent Retailers (I've got my digital, I'm about to go and order my hard copy). Alternatively, stream here straight from JoJo's Spotify account until your heart's content!

Until the next...
ES

MusicMonday: LostInMusic - Rod Temperton Retrospective

Rod Temperton was a lyrical Norse deity.

One sixth of the band Heatwave - who I grew up on, even though his songs had made the band famous, he had left and gone on to become one third of a dream writing team for the legendary Michael Jackson, all before I was born - their Soul / Disco / Funk sound was like nothing else being done in the music industry at that time, except maybe by the likes of Earth, Wind and Fire.

Little did Temperton - the white guy from Cleethorpes in Lincolnshire, writing and playing black Soul hits - know, but he was going to change the course of musical history, by writing one of the most successful songs of all time. Now pay attention here folks, because something will soon happen that you won't see often...I am about to eat humble pie. Before that though, I would really like you to enjoy some of this amazing man's legacy whilst I stall *ahem* find the right words to continue this tribute. Here are just a few of my favourites...

So as I was saying, the iconic man picked up a pen, and inked some of the greatest songs in Soul / Disco / Funk history. Heatwave was the latest of several bands that he joined, although his most famous. Writing all of the songs for the band's 1977 debut album 'Too Hot To Handle', earning them a UK No.2 for their monster third single, 'Boogie Nights' (described by Temperton to be "the most universal song I've written"); their fourth being arguably their most famous - 'Always and Forever'. Shockingly, the beautiful ballad only made it into the UK Top 10 (#18 on the Billboard charts), despite it's huge popularity. Temperton repeated his success with Heatwave's second album 'Central Heating' just a year later, when 'The Groove Line' gave the band another Billboard Top 10 hit. 

Rod Temperton in front with his Heatwave bandmates

Leaving the band in the same year to focus solely on songwriting (although still providing Heatwave with a steady flow of material); it was then that the legendary producer Quincy Jones snapped him up to join the songwriting trio known as the 'A Team', comprising the two of them, and Sound Engineer, Bruce Swedien. Also taking on solo projects for other artists like Ms. Aretha Franklin, Patti Austin, James Ingram, Siedah Garrett, Jeffrey Osborne, Karen Carpenter, Mica Paris, and many more that even I didn't know about until researching this piece!

Here's where things get messy. My lasting memory will forever be of Rod Temperton behind the scenes of the Making The Video recording for 'Thriller' (before the TV show was even an idea in anybody's mind); up until four years ago, I had had that video since I was in single figures, and being the kind of music dork that used to read the credits of absolutely every song, I'm quite certain that I remember there being something about Rod Temperton sharing the writing credits of 'Thriller' with MJ...and even went so far as to post a statement to that effect on Facebook and Twitter stating what I thought was a fact - only it appears that was not the case. Rod Temperton has sole writing credits for 'Thriller', and I was...not correct. There, I said it, it's written here for all the world to read, and I can't take it back...happy?!

Moving swiftly on, I was surprised to learn that Temperton was nominated for the Best Original Song Oscar in 1986, for 'Miss Celie's Blues', co-written (see, he co-wrote sometimes *pokes tongue*) with Lionel Richie and Quincy Jones for the movie adaptation of The Color Purple, and wrote five songs for the Billy Crystal movie 'Running Scared's soundtrack in the same year.

Rod Temperton's talent is a HUGE loss to the music world, and the gaping cavern left behind is one that will never be healed. He will never be forgotten.

Sincerest condolences to his wife Kathy and everyone else who truly feels his loss.

That's all for this week folks, dependent upon the state of my recovery, I hope to be back here with you on Wednesday - drop by, or follow the ESintheP Facebook Page for updates.

Until the next...
ES

Photo courtesy of www.dayton.com