Kelis, Tasty Full Album Zip
Kassim Bisaillon
With the aid of one unshakable hit, Kelis has quickly managed to succeed where so many others have stumbled: finding a solid link between the organic vibe of neo-soul and the sugary sparkle of contemporary R&B. "Milkshake," a single so chewy and irresistible it can leave you with a tummy ache, not only emerged as a last-minute contender for the radio hit of 2003, it pushed the sultry songstress onto the public radar during a holiday season when landing attention isn't always an easy task.
The good news: There's plenty more where that came from on the Harlem native's third album, the aptly titled "Tasty," which follows a pair of sorely neglected releases that nabbed the attention of critics but failed to make much noise on the mainstream circuit. Kelis is Macy Gray without the self-conscious eccentricity; she's Erykah Badu minus the calculated martyr complex. "Tasty" is indeed a yummy treat, a collection of songs that scream pop while preserving a foundation of genuine heart.
Featuring the production services of the Neptunes, Raphael Saadiq and Outkast's Andre 3000 -- along with a guest spot from fiance Nas -- the album packs a wide assortment of musical foodstuffs into one wholesome package. "Tasty" is peppered with diverse sounds: disco-tagged hip-hop, funk-inflected rock, Top 40 melodies straight from the mid-'80s. When it's not designed for dancing, it's made for singing -- and most of the time it's crafted for both.
As Kelis struggled to make a name in America after premiering in 1999, she made considerable inroads with audiences in Europe, who seemed more willing to embrace her Technicolor Afro and offbeat approach to the modern R&B template. In what seems to be a renewed effort to score points in the homeland, Kelis has loaded her new record with sex, of varieties both steamy and subtle. "In Public," her Nas duet, is a hot, lusty affair that serves as the yin to the slow-simmering yang of "Suga Honey Iced Tea."
Kelis isn't a full-throated soul belter, but what she lacks in natural vocal prowess she compensates with sheer attitude. Part sass, part wink, part shake-of-the-hips, her delivery makes for an engaging, even surreal counterpoint to the skillfully stuttered beats and chopped-up synths that line the production underneath.
In an era of glamour-obsessed Beyonces and flaccid Ruben Studdards, the pop world could use a whole bunch more of Kelis. With the endless hooks that grace her album from front to back -- promising a series of hits well beyond "Milkshake" -- it's a good bet we're going to get it. Happy, tasty New Year.
With the exception of the disastrous 1982 album, "The Hunter," eclecticism always seemed effortless for the underrated Blondie. (Why is this trailblazing band still unrecognized by the Rock and Roll Hall of Fame?) The group's classic "Parallel Lines" seamlessly merged disco, New Wave rock and girl-group pop and became a defining album of the late '70s. "Autoamerican," in 1980, added jazz to its rock and dance mix and most notably introduced rap to the mainstream with the No. 1 single, "Rapture."
"The Curse of Blondie," the second studio album following the group's 1999 reunion, aims for the same mix of styles that made the comeback CD, "No Exit," an artistic success but falls a bit short. The fault lies not with singer Deborah Harry, who sounds as evocative as ever, or the musicians who play with style and power.
Rather, the album sags into a near fatal lull in its midpoint for a few songs and some of the music feels labored, lurching from rap ("Shakedown") to Euro pop/dance ("Good Boys") to hard rock ("Diamond Bridge") to discordant jazz-rock ("Desire Brings Me Back") to trip-hop/pop balladry ("Songs of Love"). You can feel the gears shifting this time.
Truthfully, it took a long time for the diverse "Autoamerican" to reveal its full charms, and it's possible "Curse of Blondie" could similarly come through in the long run. "Undone" and "Diamond Bridge," in particular, both feel like vintage Blondie with brick-hard backbeats from drummer Clem Burke. Still creative and edgy, Blondie deserves more respect than it gets.
"Curse of Blondie" is reportedly scheduled for release domestically March 23 on the small Sanctuary label. The CD is readily available as an import now, however, for about $20 at some area music retailers like Virgin Megastore and via Amazon.com.
"O Brother, Where Art Thou?" an album of field hollers and turn-of-the-last-century Appalachian tunes, became the coffee-table CD of 2001, picking up an unexpected Album of the Year Grammy and selling millions. Whether anyone actually "listens" to the dusty-sounding relic is beside the point. The soundtrack, helmed by producer T-Bone Burnett, was a trendsetter and one of those must-have, cross-generational CDs like Norah Jones' "Come Away With Me."
This means ... another sequel. For the Nicole Kidman/Jude Law Civil War movie "Cold Mountain," Burnett returns to the producer's chair, bringing more ancient, stark, scratchy and, admit it, depressingly downbeat songs.
For marquee attention, Burnett hired film costar Jack White of the White Stripes to sing a handful of songs. Whatever virtues White may have with his critically acclaimed rock band, none are apparent here as he is revealed to be a terribly weak folksinger on traditional tunes like "Wayfaring Stranger."
"Cold Mountain" isn't likely to sell like "O Brother" did. Such curios come along once. Instead, this new CD will return the music to its niche audience. It's OK for fans of the form. Most others will nod off.
During a recent interview with The Associated Press the singer Kelis is somewhat curt and visibly exhausted from traveling to promote her wildly popular single and her new album "Tasty." It's clear that she would much rather be sleeping.
"Tasty" includes production by The Neptunes Andre 3000 and Raphael Saadiq. Despite its somewhat gimmicky premise (the liner notes show her posing with "tasty" things like ice cream and lollipops) the album is sexy and suggestive. The beats are stripped and daring; songs like "Trick Me" and "Millionaire" sound almost retro.
The 24-year-old New York native had her last hit in 1999 with "Caught Out There" (featuring the memorable chorus "I hate you so much right now!") from her debut record "Kaleidoscope." But her followup record 2001's "Wanderland" was never released in the United States due to drama with her record label at the time Virgin. Now she's on Arista and is her own executive producer.
Kelis is engaged to the rap superstar Nas and wears an exceptionally large diamond ring as proof but prefers to keep the details of their relationship private. And even though she's visibly worn out she still manages to look like a diva wearing gray pants and hoodie with multicolored embroidery.
Kelis There's a very fine line you have to walk but men do it all the time and cross the line and it's totally acceptable. Women are entitled to use their gifts -- I'm not going to look this good in 30 years so I may as well work with what I got while I still got it. But there is a fine between being raunchy and being sexy.
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