Truth & Soul(2009)
Following the death of Michael Jackson, a number of ludicrous claims were made concerning the infamous superstar's legacy. One affirmation thrown around with reckless abandon was that he was a genius - an interesting assessment of someone whose biggest hits were written by others. Another prominent understanding is that Jackson established the pivotal crossover between R&B and pop music. This cannot be denied. However, the common sentiment tied to this fact induces nausea, requiring that one should be thankful for the contribution. Far be it from me to mock the dead, but I must decline feigning appreciation for he who opened the floodgates for R. Kelly, Usher or any other source of pedophilic slow jams.
Once a respectable form of music, R&B had a different name. Soul. Flourishing during the 60's and 70's, greats like Otis Redding and The Temptations continually charted hits that were indicative of the title given to music; it was a sort of carnal testifying. Lee Fields, a contemporary of this legendary generation, had a supporting role during soul music's pinnacle in the Memphis scene. While working with many big players in the game, Fields never broke through as a solo artist, attaining little more than a cult status with genre loyalists. Fortunately, patience has proven virtuous for this unsung hero, paying significant dividends this year.
Out of the current cesspool of inarticulate porno-speak, Lee Fields has come forth as a messiah, dropping the next great soul stigmata, My World. The word "throwback" fits the sound, which is akin to the aforementioned pioneers. Yet, it seems inappropriate considering Fields' history with the music; rather than switching up to a retro angle, he's just doing his thing - a thing he's been doing for quite some time now. And if one attempted to define the essence of that thing, it would have to be the seamless versatility of Fields' voice. Harnessing both the warm lull of Al Green and the tenacious bite of James Brown, Fields strikes an exceptional balance between smooth and rough. So well integrated are the two styles that they cease to be exclusive approaches to individual songs. Instead of trying to express this vocal paradox in musical terms, a hypothetical anecdote proves much more effective: Lee Fields could walk in your house, cold-clock you, bang your woman, have her make him a sandwich...and you'd still shake his hand on the way out.
Gracefully orchestrated and stunning in its arrival, My World takes the crown for 2009. Sadly, it's more probable that the record will end up as one of the diamonds in the rough, due to the dire poverty this music now resides in. While D'Angelo and John Legend may have updated it, and Amy Winehouse might periodically mirror it, Lee Fields proudly exhibits that there is no substitute for classic soul. Let's bring it back.
(Seriously, don't sleep on this.)
Following the death of Michael Jackson, a number of ludicrous claims were made concerning the infamous superstar's legacy. One affirmation thrown around with reckless abandon was that he was a genius - an interesting assessment of someone whose biggest hits were written by others. Another prominent understanding is that Jackson established the pivotal crossover between R&B and pop music. This cannot be denied. However, the common sentiment tied to this fact induces nausea, requiring that one should be thankful for the contribution. Far be it from me to mock the dead, but I must decline feigning appreciation for he who opened the floodgates for R. Kelly, Usher or any other source of pedophilic slow jams.
Once a respectable form of music, R&B had a different name. Soul. Flourishing during the 60's and 70's, greats like Otis Redding and The Temptations continually charted hits that were indicative of the title given to music; it was a sort of carnal testifying. Lee Fields, a contemporary of this legendary generation, had a supporting role during soul music's pinnacle in the Memphis scene. While working with many big players in the game, Fields never broke through as a solo artist, attaining little more than a cult status with genre loyalists. Fortunately, patience has proven virtuous for this unsung hero, paying significant dividends this year.
Out of the current cesspool of inarticulate porno-speak, Lee Fields has come forth as a messiah, dropping the next great soul stigmata, My World. The word "throwback" fits the sound, which is akin to the aforementioned pioneers. Yet, it seems inappropriate considering Fields' history with the music; rather than switching up to a retro angle, he's just doing his thing - a thing he's been doing for quite some time now. And if one attempted to define the essence of that thing, it would have to be the seamless versatility of Fields' voice. Harnessing both the warm lull of Al Green and the tenacious bite of James Brown, Fields strikes an exceptional balance between smooth and rough. So well integrated are the two styles that they cease to be exclusive approaches to individual songs. Instead of trying to express this vocal paradox in musical terms, a hypothetical anecdote proves much more effective: Lee Fields could walk in your house, cold-clock you, bang your woman, have her make him a sandwich...and you'd still shake his hand on the way out.
Gracefully orchestrated and stunning in its arrival, My World takes the crown for 2009. Sadly, it's more probable that the record will end up as one of the diamonds in the rough, due to the dire poverty this music now resides in. While D'Angelo and John Legend may have updated it, and Amy Winehouse might periodically mirror it, Lee Fields proudly exhibits that there is no substitute for classic soul. Let's bring it back.
(Seriously, don't sleep on this.)
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