<body><script type="text/javascript"> function setAttributeOnload(object, attribute, val) { if(window.addEventListener) { window.addEventListener('load', function(){ object[attribute] = val; }, false); } else { window.attachEvent('onload', function(){ object[attribute] = val; }); } } </script> <div id="navbar-iframe-container"></div> <script type="text/javascript" src="https://apis.google.com/js/platform.js"></script> <script type="text/javascript"> gapi.load("gapi.iframes:gapi.iframes.style.bubble", function() { if (gapi.iframes && gapi.iframes.getContext) { gapi.iframes.getContext().openChild({ url: 'https://www.blogger.com/navbar.g?targetBlogID\x3d13627209\x26blogName\x3dThe+Cynical+Ones\x26publishMode\x3dPUBLISH_MODE_BLOGSPOT\x26navbarType\x3dBLUE\x26layoutType\x3dCLASSIC\x26searchRoot\x3dhttps://thecynicalones.blogspot.com/search\x26blogLocale\x3den_US\x26v\x3d2\x26homepageUrl\x3dhttp://thecynicalones.blogspot.com/\x26vt\x3d-4663045453058572490', where: document.getElementById("navbar-iframe-container"), id: "navbar-iframe" }); } }); </script>
About Me

Writer. Music head. Political junkie. Pop culture whore. Funny black boy. Looking to have a voice in the world -- with a few good sponsors.

View My Complete Profile


Find Me Here:

The Recession Diaries

The Spin

Stay Tuned

Twitter


The Roll

1016

Aliya King

All That I Am: A Diary of My Randymethoughts Pt. II

Amerika's Muse

Bark + Bite

Basement Elevation

Bomani Jones

Bossip

Brooklyn Sista

Clay Cane

Concrete Loop

crunk and disorderly

Dope Penmanship

Fly Cliches

Four Four

GangStarrGirl

Got Sole?

Hot 2 Def Inc.

Incommunicado

Just Another Girl on the IRT

Me, Myself An Eye

Middlechild Promotions

Mz. Virgo

Necole Bitchie

Negrita Linda

One Boy Revolution

Oo Itz Santo

Queen of the Non Sequiturs

Queen To Be

Rhymes With Snitch

Soulbounce

Straight From The A

Thank God I'm Famous

That Grape Juice

The Fury

The Real 7

The search for RELLevance

Think2wice

Toya's World



Previous Posts

The Lost Boys
G.I. T.I. Speaks
Nelly: But Halle Did It, Too!
Let Her Be Fine
American Gangster
Picture Day: Patti Labelle
Help Me: Kelly Rowland
Bottle Action
Boo!
Though I’ve done it in the past, I’ve shied away...

archives

May 2005
June 2005
July 2005
August 2005
September 2005
October 2005
November 2005
December 2005
January 2006
February 2006
March 2006
April 2006
May 2006
June 2006
July 2006
August 2006
September 2006
October 2006
November 2006
December 2006
January 2007
February 2007
March 2007
April 2007
May 2007
June 2007
July 2007
August 2007
September 2007
October 2007
November 2007
December 2007
January 2008
February 2008
March 2008
April 2008
May 2008
June 2008
July 2008
August 2008
September 2008
October 2008
November 2008
December 2008
January 2009
February 2009
March 2009
April 2009
May 2009
June 2009
July 2009
August 2009
September 2009
October 2009


Add to Technorati Favorites

Site Meter

free page hit
counter

Friday, November 16, 2007
1:14 AM


As I Am

 


Some people are under the impression that I hate Alicia Keys. It’s not that I hate her --- it’s just that I refuse to drink the Kool-Aid.

In 2001 the Clive Davis protégé was touted as “Bigge meets Beethoven,” - a piano playing prodigy that fused the classic soul of the 60s with the grit of hip hop destined to breathe new life in a sinking genre.

Then I heard Songs In A Minor, a solid but unconvincing effort to persuade me that Alicia Keys was in fact the second coming. There were some highlights, like the first single, “Fallin’,” but part of that song’s allure came in its sound --- credit that belongs to James Brown considering the song lifts heavily from “It’s A Man’s Man’s Man’s World.”

Sure, she did great covers of Prince and Brian McKnight on the album, but so do most Top 10 contestants from American Idol. By the way, another track from her debut boosts “inspiration” from someone else’s composition: “Loving You” owes a bit of gratitude to Aretha Franklin’s “Natural Woman.” I suppose when you’re affiliated with Clive Davis, selective listings of samples and interpolations are a right, not a privilege.

With her sophomore effort, The Diary of Alicia Keys, the would-be savior of soul delivered the remarkable single, “You Don’t Know My Name.” Beautifully sang, written, and produced, the song is by far one of the best R&B singles released this decade. Equally grand is its follow-up, “If I Ain’t Got You.” But the rest of the album is a mixed bag. Her lauded songwriting capabilities weren’t highlighted on songs like “Dragon Days.”

“Like a damsel in distress, I’m stressing you”.

Seriously?

Though she faltered on some songs, Alicia showed promised that she is indeed capable of producing her own classic album.

However, that album is not As I Am. While many will sneer at the suggestion, more times than not, Alicia Keys comes across just as pre-packaged and transparent as the very pop contemporaries her handlers hail her to be the antithesis to. Indeed not all gimmicks are created equal.

When the hype machine for As I Am was set in motion, the sound of the album was described as “Janis Joplin meets Aretha Franklin.” Modesty aside, once you throw the weight of those names around, it’s understandable that expectations become high. Word soon followed that Linda Perry and John Mayer were being added to the production roster. Let the push for bigger audiences, and displaying ‘growth’ and ‘maturity’ to secure an album of the year nomination begin.

I’m sure she’ll get it. She’ll sell millions of albums, win a bevy of awards, and continue to be celebrated as a phenom. But in a current climate of music that will reward people that can come up with glorified advertisements for expensive bottles of liquor, shoes, and designer duds, there’s only so much value you can place in an industry hailing someone for being so good because everyone else is so bad.

Is the album that bad? No, but it’s not as good as her record company’s press release will have you believe it to be either.

The kickoff single “No One,” while catchy, features Keys offering a shouting-inspired method of singing - leaving her sounding incredibly off pitch and leading one to wonder what effects this will have on her vocal chords in the future.

That same fear is shared on other songs included on As I Am. The idea of her singing out of her natural range may be intended to convey pain and conviction, but it only makes me want to send a couple of tea bags her way.

And when you’re heralded as a songwriter, you expect more than an onslaught of cliché’s. There are generic qualities to “Prelude to a Kiss” and “Superwoman.” Though the former is intended to be considered personal, and the latter empowering, both are cliché-ridden fodder with predictable production values. Does soul come in a can now or something?

“Sure Looks Good To Me” doesn’t help matters, offering trite musings like, “So, don’t rain on my parade. Life’s too short to waste one day.”

Someone strip Alicia of her umbrella. She’s capable of so much more than this.

I know because I listened to the album’s best track, “Like You’ll Never See Me Again,” which delivers on the promise of “You Don’t Know My Name.” It’s a dreamy, sensual groove that effectively captures the era where Prince reigned supreme in all of his purple splendor.

Other gems on As I Am include “Lesson Learned,” a joyous collaboration with John Mayer, and the nostalgia-driven “Wreckless Love.”

None of her albums have yet to wow me, but these songs remind me that Alicia Keys still has the potential to. But when her run of the mill offerings can get above average praise, what’s going to be the driving force that pushes her to dig a little deeper and aim higher?

I’m hoping it comes from Alicia herself. I may not be a believer, but I’m not a complete skeptic. She’s adept at rehashing other people’s classics, but I want to hold on to the belief that she can craft her own any day now.

Labels:


The Cynical Ones.
posted by Michael at