Sharod K. Moffett
Find Me On:
She sound great to me.
Kelis has done it all, man. She’s helped usher in The Neptunes, and make their sound something that once had the entire music landscape in a choke hold, she’s done big Atlanta 808 trap music years before it was a “thing”, she’s done atmospheric electronic dance stuff, and now she’s on some retro, big band shit. She doesn’t get enough credit for being able to fearlessly pull all of this stuff off and not even appear to be trying.
Oh my God. This is what I want the pallbearers at my funeral to march me away to.
God, if this upcoming album doesn’t propel her to the top of the planet, we’re all a useless bunch of creatures.
By the end of this thing you almost forget Courtney Love is still alive.
My initial thought.
I let out a very hearty chuckle at that last line. It was “play the Doritos stage safely” that really did me in.
I’d like to take a moment to apologize to all girls that exist on Pharrell’s behalf. These songs kinda suck.
The lack of juxtaposition and contrast makes for a very one-note album. It’s all quite literally jangling tuxedo music for people in tuxedos. His first record was a mess (and really hasn’t aged well, at all) but at least there he seemed to showcase a sense of adventure. I don’t know, man. I just think Pharrell’s capable of way more than this tired Frank Sinatra shit. I didn’t like it when Justin Timberlake did it and I don’t like it here.
I heard Happy on an amazing system at a party a couple weeks ago and fell in love with what I once considered an “adult contemporary Christian pop song”. I’m not sure if the rest of the record will have a similar fate with me (more than likely it won’t), but I am disappointed in an album I was secretly hoping was more than 10 quick-grab songs that don’t really live up to the splendor its title.