dirty martini

old music for new people

i can’t believe it’s not prince September 22, 2007

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oh yes, this is a sequel. there are definitely more than one post’s worth of prince jackers.

download here

alexander o’neal – innocent

well, alex was in a band, flyte time, with prince in the 70s. so it’s natural that their sounds would evolve similarly. especially with jam and lewis on production duties. i heard something about alex being spotted on kilburn high road looking confused last week. wtf if a soul legend doing on kilburn high road? shopping in primark?

cassie – me and you

no she can’t sing, especially not live, but the general consensus is that she’s getting away with it cos she has hot beats courtesy of er, her man ryan leslie. this sparse track is ‘kiss’ for the 00s. but not as good, obviously.

damage – ghetto romance

a very turn of the century sounding track from the boys and i’m not sure why it reminds me of prince exactly but i want to include it so…here it is.

janet jackson – if

in your face funk. janet, like prince, was never afraid to use rock in her production. she was also never afraid to tell it like it is which is probably they were my two favourite artists of the 80s. this track is every bit as hectic as ‘my name is prince’ which was out just a bit earlier.

karyn white – hungah

karyn’s earlier efforts were 80s machine funk and new jack swing respectively but for her third album she stripped her sound down somewhat.

mario vasquez – cohiba

the first time i saw mario on american idol i thought he had the potential to perform like prince, if not to be such an all rounder.  i’m not sure why this project has stalled…

natural selection – do anything

well this track fooled me the first time i heard it. the call and response chorus is very ‘erotic city’ and the beat is like a slowed down ‘extra loveable’.

nicole scherzinger – steam

there are no shortage of prince-style beats in 2007, which is just as well as nicole isn’t interesting enough without them. i’m not sure what all the fuss is about here. this will be another flop due to deluded self-belief that she’s as interesting on her own.

paula abdul – my love is for real

after cartoon cats and ethereal ballads, paula’s third album tried to channel prince and probably was more credible although not at all a success. her vocals are the problem. i find it incredible that she now judges others and that simon cowell has managed not point out the irony.

ryan leslie – rock u

to me, most of next selection’s beats are an attempt to recreate the buzz around early 80s prince. are ryan and cassie the new prince and vanity? probably, which is proof of the decline in quality and talent in the music industry.

spl2rge – scuse me

bear with me on this one – if prince had been born in london not minneapolis, twenty five years later, this is the kind of music he would have been making.

teedra moses – backstroke

well, teedra lies about her age but she does make decent music. this is very 90s prince.

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00s brit soul – national identity June 3, 2007

finally, after the copycat 80s and highs and lows of the 90s, british soul was ready to take on its own identity.

one of the first ways in which it achieved this was by redefining soul. house and garage were big business in the 90s, but the urban clubs and superclubs rarely mixed. typically, r&b was a smaller room adjacent to the the cheesier, townie clubs and didn’t even get a look in at cream, renaissance and the ministry of sound.

 

the speed garage scene that took off in the late 90s eventually slowed to a two step beat, and created a completely new sound. r&b vocals were married to stuttering, club-friendly beats and for a few years, between 1999 and 2002, uk garage was the sound of young UK.

 

after the inevitable drop in demand, uk hiphop and r&b were faced with a decision. either they could continue to emulate their US counterparts or they could use elements of uk garage to make their output distinctly british.

now we have traditional soul, copycat r&b, grime and some artists that defy classification and confuse the hell out of the yanks. we’re back in business…

 

twelve very different uk tracks from the 00sdownload here


 

 

 

 

 

 

 

 

 

 

lemar – if there’s any justice

the only good thing to come out of the dull fame academy, simon cowell surely wishes he’d been able to get to lemar first. lemar, like girls aloud, has truly transcended his reality show beginnings and is pretty much the best current british male r&b act.

 

 

misteeq – why

south london girl band who leveraged links with the so solid crew to create a successful career in the early 00s. swiftly shook off their uk garage roots by the time they reached their second album in 2002. the group split largely due to their label, polydor, sinking after investing way too much in tone deaf victoria beckham. that’s got to hurt.
 

unklejam – love ya

relative newcomers who have been blessed/cursed with the ‘sounds a bit like prince‘ tag. time will tell if there is more to them than this track, but the odds are in their favour with the hype reaching all corners of the globe right now. another myspace success.

 

 

 

 

 

 

 

 

 

 

 

sadie ama – so sure

shola’s little sister had a valuable induction into the industry at an early age, and she’s making some good choices production-wise, collaborating with the likes of kano and terror danjah amongst others. looks and sounds exactly the same – with shola expected to relaunch anytime soon, could be interesting.

 

 

 

 

 

 

 

 

 

 

conner reeves – oughtabelaw

irish soul boy who first came to prominence in the late 90s. this track from last year deserved way more attention. possibly one of the breed of artists that has suffered greatly from the download revolution as his image doesn’t quite fit his music. i always think people navigate this poor fit by just grabbing the audio.  

 

 

 

 

 

 

 

 

 

 

 

 

emmanuel and terri walker – flirtin’

always tipped to break through. hopefully it will happen for her before she is talked into a beverley knight-style commercial compromise. this track is from emmanuel‘s 2006 project that featured numerous british soul artists on his productions.

 

 

 

 

 

 

 

 

 

keisha white – open like so

came through around the same time as keyshia cole, and is far more talented, but received about 5% of the promotion. so, keyshia collaborates with p diddy and is set to release her second album whilst keisha‘s future is unknown. harsh. a good example of why leona lewis has been whisked off to the us.

 

 

 

 

 

 

 

 

 

 

 

nate james – universal

actually received some promotion around his debut in 2005, and it did ok. i’m going to be lazy and say he’s a hybrid of stevie wonder and lenny kravitz and worthy of your attention. hopefully an association with next big thing, sway, will catapult him back into the limelight.

 

 

 

 

 

craig david – seven days with mos def

back in 2000, referring yourself in the third person was even more ridiculous than it is now. the ensuing bo selecta parody may outlive his music in the nation’s consciousness if he doesn’t pull his finger out soon. craig, unfazed, still refers to himself in the third person when appearing on mtv cribs showing us how all his cash has enabled him to construct a state of the art pulling den. no women in sight though, and you can’t swing a jocasi bag round london without hitting someone he’s tried it on with.

 

 

 

 

 

 

 

 

ms dynamite – fall in love again

made a good contract choice and got the promotion other uk artists would kill for. this resulted in numerous awards for her debut album which, although nice enough, sounds dated only five years later. this track, from her largely ignored second album, will hopefully age a bit better.

 

 

 

 

 

 

 

spl2rge – scuse me

like unklejam, appear to be on the verge of big things, promotion notwithstanding. i never hold my breath on these things anymore.

 

 

 

 

 

 

 

taio cruz – i just wanna know

mario soundalike who can’t be accused of trying to create a british identity. which is fair enough. we don’t want to end up like the irish, who have to be irish all the time.