#MUSICMONDAY #WAVERUNNER: 'MEMRISE' by FRANK OCEAN

If, like me, you've been wondering which channel you can find Frank Ocean on, and whether it is determined by a primary colour, or secondary mixture, have no fear, I am about to answer your question: our cheeky little Channel ORANGE cutie has been back in the studio working on equally hypnotic material. When I say that I have no doubt that this first number from his third set will be ruling the airwaves before long, I jest you not. Let's be honest, Frank can really do no wrong in the world of music, unless your name is Chris Brown (and even then, I'm pretty sure that stems from some not-so-deep-seated, but still secret, personal desires, but alas, I digress)...

Parental Advisory - contains explicit language

In addition to previous production collaborators: Happy Perez, Charlie Gambetta, and Kevin Ristro, rumour has it that Ocean has also enlisted Hit-Boy and Rodney Jerkins to bring us the goods. May I lead us in a chorus of 'Gimme Already'?!

Until the next...Enjoy!
ES ;)

#SoundOfTheWeek: XSCAPE - MICHAEL JACKSON

Since the untimely passing of Michael Jackson, music buyers have become firmly rooted in one of two camps. Either you believe that his decades of unreleased material should remain locked up and enshrined in his memory, knowing how particular he was about what the public got to hear, without his stamp of approval (making their release a desecration of his creative integrity). Or, you just want to hear the magic; even if that means the art is compromised by allowing others to finish the vision that MJ had started. You feel he did the basics and others can finish what he started, in fact you fail to see what the big fuss is even about!

Personally, I'm barely a step away from the former. When you have someone so intrinsically linked to everything that they create, you cannot have any old producer – no matter how talented, come in, and finish it with Michael's ear – no-one else is that gifted. Will I listen to it? Absolutely, it is the Greatest Entertainer of ALL Time, after all! Would I buy it, however? Not a chance – I will not support Sony's ongoing attempts to loot a deadman's vault, and steal his children's legacy to line their own pockets, it's shameful, and unconscionable.

Now that we've got the ethical issues out the way, let's talk tracks shall we?

Once you take the fact that as excellent a producer is, he will never produce the project to Michael's stellar level of skill out of the equation, you can judge the work on a more even footing. The standard version of the album consists of 8 'reworked' tracks, with the deluxe containing each in their original state, plus one bonus remix featuring Justin Timberlake. More about that mess later...

Lead single 'Love Never Felt So Good' kicks off the compilation set. A feel good, modern day Disco track, the opening strings are very 'typically Michael' in their slow, artful start. Taking you back to the days of 'Off The Wall', it’s an excellent open that sets the tone for the rest of the project in a big way. As the title suggests, the song is a thank you to a cherished partner, in recognition of the love that she makes him feel, and the happiness that comes along with it. The live original - one of the bonus tracks - is as poignant as it is natural, with just Michael, the piano, some handclaps and fingersnaps. The greatest moment however, comes at the end, when you hear Michael’s voice, giving his ok on the studio take. The first time you hear it brings startled surprise, chills, nostalgia, and a touch of wistful sadness, as you remember that the great man behind the talent is no longer with us. 

'Chicago' sounds like something that could have made the 'Invincible' album infinitely better. Michael's lower register dominates the moment in the best of ways in this semi-apology to the husband of his girl, as he recounts how she duped them both through the story of how they met. This is a healthy Michael, doing what he did best – singing his heart out with compelling emotion. 

'Loving You' is a stellar, standout track. Although it is distinctly 90s RnB / Soul, the modern day tinge means that it's competing with absolutely nothing on the radio right now. As suggested by the title, this one is a love letter with his typically beautiful harmonies, taking the whole five minutes and thirty-five seconds to an entirely new level.

'A Place With No Name' takes its bones from America's 'A Horse With No Name'. But the original songwriter's involvement notwithstanding, the similarities end there. This is a takeover club track, just begging to rule a dancefloor. Michael's lyrics and delivery catch you up in the dreamworld that he describes in infinite detail. Even the production by Jackson himself, songwriter Dewey Bunnel, and Dr. Freeze, sounds surreal. A mystery woman shows up in the middle of nowhere, and walks him through a mist into an unnamed Utopia where human, and environmental life coexist happily to a level of imaginary perfection, and attempts to use her wiles to keep him there. She almost succeeds, until he pulls out a picture of his family and girlfriend, which succeeds in reminding him that the dreamworld he stands in, does not compare to what he has waiting at home.

'Slave to the Rhythm' begins dramatically with the slow, clinking sound of manacles dragging on the ground, backed by equally intense strings setting a vivid scene for the next chapter. The victim of the story dances to every beat of it. Sounding like something you expect to watch crews battle to. A wife and mother works herself to the bone to keep both her tyrant husband and her merciless boss happy.

'Do You Know Where Your Children Are' seems like a ridiculous addition to me. Not because I believe any of the accusations, nor because the song is bad (far from it); but since this is supposedly a compilation in his honour, it seems completely mercenary and disrespectful to throw in a track that will invite personal controversy. Keep it about the music, I say. On that note…With production that wouldn't have been out of place on Chaka Khan's 'I Feel For You' album from 1984, Jackson plays out a variety of scenarios in which children pay the ultimate price for an adults lack of responsibility and supervision. The message is a viable one, it would just carry more weight coming from someone that half the world didn’t believe the wrong things about.

'Blue Gangsta' doesn’t quite wash with me message-wise. First of all, love Michael as I do, you cannot justifiably claim to be a gangsta and mention crying as early as the intro of the song. It's just against the rules of Gangstafied Living! Am I right, or am I right? Anywhoo, a rather mean and unchaste female who, at one time, had promised to marry him, has been exposed as a liar, and a cheat, and he's understandably upset. About as 'hard' as he gets, is 'watch me light the fuse'. Not much 'gangsta talk' beyond that. Solange Knowles in a hotel lift – Gangsta. MJ – the most Gansta of all-round performers throughout history. Apart from that? Not so much…

'Xscape' is the Rodney 'Darkchild' Jerkins big finish that sees the late, great one go out with a bang. The injustices of a world that treated him so callously are called to mind, as his haunting words echo being hounded to seek real life escapism…

'why is it I can't do whatever want to /

when it's my personal life, and I don't live for you...'

Now that's Gangsta!

The bonus remix of 'Love Never Felt So Good' featuring Justin Timberlake was far more of a sombre addition than I'm sure was intended. We didn't get the usual cocky ex-boyband member with the boyish, and sometimes flirty charm. Instead, a nervous sounding boy fan provided a nervous sounding verse, that should have been a cinch for him at the worst of times. Considering the tall order however, I suppose it's hard to condemn his nerves, but at the same time, don't try so hard not to make a mistake, that you overcompensate by under-delivering to the fullest potential as we all know that you are capable of doing.

And there you have it - all 9 parts of Sony’s latest money-making venture. Is it a good compilation? Yes, very much so. However, you cannot get away from the fact that this was not how the King of Pop would have wanted this music to be heard. These songs belonged to his children, and it was up to them, how the material should have been released – if at all - not some conglomerate wanting to clear the entertainer's hotel bill.

'Xscape' is available now from all major music retailers.

You know what time it is - share you thoughts below, let's talk!

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.