Jill Scott: The Real Thing: Words & Sounds Volume 3
Monday, 26 Nov 2007 16:53
Jill Scott offers words and wisdom on life and love.
Hidden Beach, November 29th.
In a nutshell...
Assertive. Taut. Engaging. Verbose. Personal.
What's it all about?
Philadelphia's Jill Scott delivers a third long-player in which she crams as many aggressive slices of well-produced R 'n' B into an hour as is possible. Noted for her take on the mysteries of love and life, plus her never-dull analysis of emotion, here Scott releases herself from any reigns and embarks on an all-out strut from the soul. So we get fiery ballads and poetics on sexual desire, arguments, fears and everyday longing.
Occasionally, matters dip from the skyscraper highs that Scott has set personally and for the rest over the course of a celebrated career, but with a voice so alluring and packed with depth, it's hard not to stay for the duration.
Who's it by?
Scott came to attention after hooking up pre-millennium with Questlove from the Roots, on which her undoubtedly unique word patterns hit the public domain. Since then, she has carved a niche in what can only be described as a usually saccharine-filled sector of the music industry.
First album Who is Jill Scott? displayed a vocal range that blew the competition apart from their conservative, airbrushed position of safety. Included were harmonic servings of genuine grief and torment. It's Love even went on to be covered by Andrea Brown in the UK and then Goldrix to liven up the Drum n Bass scene.
Live album Experience and second record Beautifully Human confirmed that Scott was a lady with a special aura.
As an example...
¿Whatever it is, let it be.¿ - Let it Be
¿I¿ll be a nasty baby.¿ - All I
Likelihood of a trip to the Grammys
You're kidding, yeah? It would be an ocean-freezing moment if Scott didn't get a call up. With nine nominations and two wins (including one for best urban and R 'n' B performance) the vocalist is one rare example of a modern artist that the critics adore, who can also sell truckloads commercially.
What the others say
"As with so many new R&B heroes, Scott's music is more about groove and mood than song.¿ - Robert Christgau, Rolling Stone
¿The Real Thing isn't exactly a step down from the last volume, 2004's Beautifully Human, but it's conceptually even less diverse, which makes it her weakest album to date.¿ - Sal Cinquemani, Slant Magazine
So is it any good?
The record is an exploration of a relationship's woes and highpoints, so as such delivers a highly listenable journey. As Scott says, her latest is stripped down and bares a tiger-like centre. Let it Be, which begins the excursion, is short at under two minutes, but is bulging with dynamic broken beats and diplomatic afterthoughts.
From then on, the ride is not always a pleasant one, chronicling the more inconsolable aspects of the heart's pull, such as on Hate on Me and Whenever You're Around, which notes alienation from those who are supposed to be the closest. On these, however, there is usually the reassurance of warming backdrops, including boisterous pianos or psychedelic loops, which underlay her tones.
It's at the tail end of the album that Scott truly offers fantastic power and grittier passion, such as the redolent All I and the sweet-laced Wanna Be Loved, where she evokes the ghosts of Aretha and Erykah Badu. The Real Thing is not without its moments of uncertainty, on Insomnia matters fade into the treacle gloop all too common that Scott would admit she wants to avoid. Come See Me, as well, brings no clear memory.
But these are left behind. On Volume 3 the songstress brings into light a being that is vehemently raw, yet astute and undeniably honest.
7/10
John Maher
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