‘Sketchbook’, work of art by Fantasia

This news has been read 4997 times!

Sweet goes to 11

Fantasia, “Sketchbook” (Rock Soul/BMG)

If you haven’t heard Fantasia’s latest singles, there’s an easy summary: one’s spiritual, another’s about sex, and both are worth a listen.

The singer draws from very different worlds on her latest album “Sketchbook” – crediting a higher power for her heavenly vocals on the upbeat “Holy Ghost”, then confessing the pleasure and peril of a good romp in the hay on the seductive T-Pain-assisted “PTSD” (short for “Post-Traumatic Sex Disorder.”)

Neither areas are foreign territory to Fantasia, whose powerhouse vocals earned her the title of “American Idol” back in 2004. Since then, the R&B world has seen tons of shift, with newcomers who seem more focused on creating “a vibe” and less concerned with (or capable of) the dramatic belting out that Fantasia’s known for.

And while Fantasia has injected some youthfulness into her production, the Grammy winner is staying true to her artistry on “Sketchbook”, her first independent release. She delivers the fullness of her voice on the sexy, guitar-laced “Believer” and the easygoing “Enough”; pours her honeyed vocals over the island-influenced beat of “Take Off”; and experiments with a rock feel on “Warning”.

Fantasia’s gospel roots remain strong, of course, and fans will be delighted with “Looking for You”, which features the singer’s mom, Mama Diane.

“Sketchbook” was originally supposed to include a collaboration with fellow R&B stars Brandy and Jazmine Sullivan, though Fantasia explained that it didn’t happen because of “politics.” The song would have been welcomed, but thankfully Fantasia makes “Sketchbook” a work of art, all her own.

Big Thief, “Two Hands” (4AD)

How does the internal manifest itself in the physical? Is it rocking your body to ward off fear? Is it cutting off hair in a redirection of pain?

There’s a pleading in the voice of Big Thief’s Adrianne Lenker as she searches for the connection between body and soul. On the new album “Two Hands”, it is this connection which is ultimately explored.

The Brooklyn-based indie folk-rock band is a well of inspiration. In the last three years Big Thief has released four albums. “Two Hands” falls on the heels of “U.F.O.F.”, a critically acclaimed album released only five months ago.

Though “Two Hands” follows close behind their last, it is distinct. These tracks are not simply leftovers from their last album but address entirely different themes and harness an entirely unique energy.

While “U.F.O.F.” is more cryptic, concerning itself with the metaphysical, “Two Hands” is grounded in humanity’s current existence.

In “Forgotten Eyes”, Lenker sings of homelessness and addiction, relating humanity to a collective body. “Is it me who is more hollow as I’m quickly passing by?/And the poison is killing them, but then so am I/As I turn away,” she sings emotionally, sometimes as her voice cracks.

“Shoulders” is desperate and impassioned as Lenker implores a body in the chorus, “Please wake up,” yet recognizes her own capacity for destruction: “And the blood of the man/Who’s killing our mother with his hands/Is in me, it’s in me, in my veins.”

The elements that have drawn in audiences are still there, from the band’s raw, stripped down style to the ability of Lenker to transform her vocals, going from gravelly to ethereal all the while maintaining a sense of vulnerability.

Releasing two albums in a year might seem excessive, but thankfully Lenker and her band mates won’t waste your time. “Two Hands” is too good and proves that Big Thief still have much to say.

q      q      q

Michael Sweet, “Ten” (Rat Pak)

It’s called “Ten”, but this goes to 11.

This album is among the best work Michael Sweet has ever done, and that’s saying quite a bit given his nine previous solo albums and extensive discography with the trailblazing Christian heavy metal band Stryper.

It almost seems like the high-octave vocalist and guitar maniac is keeping ‘80s heavy metal alive all on his own, given his frenetic output and the consistent quality of each release.

His 10th solo album begins with a heavy dose of transplanted Stryper DNA on “Better Part of Me”, which is built around the intro riff from 1986’s “More Than A Man”. It’s remarkable how well Sweet’s voice has held up over nearly four decades, with scant rest between discs and tours.

A time-honored tradition of ‘80s metal is the power ballad, and no one does them better than Sweet. This time it’s “Let It Be Love”, a worthy successor to the MTV smash “Honestly” and 1990’s “Lady”.

Sweet also brings in a truckload of metal friends, including cameos from members of Whitesnake, L.A. Guns, Fozzy and Arch Enemy. “Son of Man”, a duet with Todd La Torre of Queensryche, is everything a heavy metal song should be: fast-paced, drum-heavy and with unfathomably shredding guitar by Andy James. It sounds like what might be expected if Sweet sang with Motorhead while Yngwie Malmsteen played guitar.

It all adds up: “Ten” is easily one of the best hard rock albums of 2019.

Also:

LOS ANGELES: “MJ”, a musical based on the life and career of Michael Jackson, will open on Broadway in summer 2020. Preview performances will start July 6 before its official debut on Aug 13.

The stage show, which will include songs like “Beat It”, “Billie Jean”, “The Way You Make Me Feel” and “Smooth Criminal” was originally titled “Don’t Stop ‘Til You Get Enough”, until the name was recently changed to “MJ”.

“MJ” is arriving on the Great White Way despite the release of a controversial HBO documentary “Leaving Neverland”, which details child sexual abuse allegations from two accusers, Wade Robson and James Safechuck, who allege that Jackson groomed and took advantage of them as young boys.

Jackson’s family has vehemently denied such allegations, which have stemmed from multiple accusers coming forward with stories of sexual abuse occurring at Jackson’s Neverland Ranch. (Agencies)

 In response to the documentary, the musical was cancelled ahead of an anticipated Chicago run.

The musical is penned by Pulitzer Prize winning book-writer Lynn Nottage. Christopher Wheeldon, a Tony-award winner, will direct and choreograph “MJ”. The musical is in developments at studios in New York City. Tickets are on sale starting on Jan 15, and the show is set to run on Broadway at Neil Simon Theatre. (Agencies)

By Melanie J. Sims

This news has been read 4997 times!