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OK, I'll admit it, I've been under Macy's funky spell since her 1999 debut 'On How Life Is.' Her wacky persona, fabulous fashion sense, ever amusing (and versatile) hair, and of course her inspiringly original voice have had me awaiting her albums like no other artist of late. What truly fascinates me about Macy Gray is the manner by which she can croon a swelling, hear-throbbing ballad far better and more convincingly than any of her octave-conquering chanteuses contemporaries and predecessors. Her voice is a wonder of its own and not because it is strong in the traditional sense, but for her personalization: you feel each song is exclusively yours. Perhaps it most closely relates to that of Louis Armstrong or Billie Holiday, but only in moderation. Such originality eludes most of the R&B mass-sellers of today. It's not even just that. Macy also has an uncanny use of substantial phrasing (she had a degree in screen writing from USC) and outstandingly witty songwriting skills. Her debut was in league of its own. Her tragically underrated sophomore effort. 'The Id.' was far more indulgent -- in every sense. It floated like an audio version of 1969 in Technicolor, lush with strings, horns, wah-wah guitars, exotic beats, and genre-defying tunes. It was, in essence, a party album that didn't fare well for its high-concept nature (or, as I believe, because it was released right after the 9/11 catastrophe). Traces of both past works are present in her third effort (the album in question). Gray has, as she declared in an Entertainment Weekly article, grown up quite a bit expressing with a strong anti-drug message and sorrow for the recent loss of her father. And the album shows it. It straddles between her last two pieces and represents the best of both. Musically, 'Trouble' dabs in a refreshing repertoire of styles: funky jazz ('Every Now and Then' is superb, more jazzy than any of today's glossy, ballyhooed 'jazz artists'), swooning balladry, cutting-edge/dance funk, '70's-Style soul (complete with full orchestrations, guitars, and horns), substantial hip-hop, opera (she splices operatic background vocals in a tango tune -- try it for yourself -- and it works), piano-based rock, -- all tinged with Macy's undeniable blues sensibility. 'The Trouble With Being Myself' is, simply put, the best album of the year thus far. Those of you who are distant Gray fans (or skeptics for that matter), should find it at the very least enjoyable. Still, even with this release, no one can be certain of exactly where Gray is heading in the future... right now, though, her music will continue making listeners laugh, cry, and dance from here until (in her words) 'the part never ends/ And all the angels are my friends.' Track Analysis: 1. When I See You: (the issued first single) extremely catchy, funky, and irresistibly danceable. A tad heavy though. A- 2. It Ain't the Money: Features a rapping Pharoahe Monch & a bumbling Beck, wackily creative counter to the greedy rap scene, creative lyrics, probably the most experimental in the set. B+ 3. She Ain't Right for You: (the second single) a bluesy, swelling, string-accented ballad, simply beautiful and never mundane or bland. A 4. Things That Make Me Change: sweetly confections, thoughtful lyrics, nice, light groove. A- 5. Come Together: (w/ invisible back-ups by Floetry) One of (if not) the best tracks, celebratory brass. peaceful words, irresistibly positive and undeniably confections. Headphone heaven! A+ 6. She Don't Write Songs About You: insanely catchy tune and intelligent lyrics; Macy seems to be denouncing the traditional role of women in relationships. A- 7. Jesus For a Day: beautifully arranged and smart tune about having your way -- not really religious. B+ 8. My Fondest Childhood Memories: there's always 1 track on Macy albums that explores disturbing but humorous black humor. As with the other albums, these songs tend to be the most musically & theatrically interesting. Great samba-t What people search: |
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