Jill Scott – The Light Of The Sun (20/07/2011)
There has been a rather substantial break between Jill Scott’s previous album release ‘The Real Thing: Words And Sounds Vol 3’ in 2007 to 2011’s ‘The Light Of The Sun’. A tumultuous mixture of personal issues ranging from struggling to resolve a difficult deal with her previous label, to the birth of her first child have all provided fodder for this record. So in some ways the highs and lows of her private life which are now seeping into her public performing persona are a mixed blessing and the break between releases could be forgiven.
Blessed is a taste of the neo-soul that we can come to expect from an artist as accomplished as this, however there doesn’t seem to be anything that really ropes you in immediately. The second track ‘So In Love’ which features Anthony Hamilton has some more energy and pace and Scott’s vocals actually shine a little brighter on this as opposed to her spoken-word-esque moments. From a lyrical perspective though these tracks do at least come across as a more realistic portrayal of life; as opposed to a lot of the manufactured urban material promoting lifestyles that aren’t entirely achievable or real.
‘Shame’ has some classic shoop-shoop style backing vocals provided by The A Group along with some commanding and empowering lyrics ‘I can stand on my own, I’m magnificent, I’m a queen on my throne, I’m magnificent’ but it’s the breakdown rap supplied by Eve that rams home the almost feminist push of this track. The human beat-boxing by Doug E. Fresh that kicks off ‘All Cried Out Redux’ is a surprise, as is the carnival-sounding ragtime piano, but somehow this gives the track a real character and charm for a song that is yet again about self-empowerment (in particular that of our heroine Jill Scott) and breaking free from a difficult relationship.
Clocking in at just a nudge over the 9 minute mark ‘Le Boom Vent Suite’ is an attempt at capturing the atmosphere and vibe of a live song in a recorded form. The mix of spoken word and rapping works to begin with but then at about the halfway mark we reach the slow breakdown and the varied delivery and little ups and downs create a unique little roller coaster of a ride.
It’s unusual to hear a gospel style ballad on an album that is so clearly targeted at an urban R’n’B audience, but ‘Hear My Call’ is so ridiculously stunning in such a beautiful understated way. With it’s building strings layered ever so gently next to the piano the mix in a delicate way so as not to drown each other out.
Another stand out track on this LP is ‘Womanifesto’ an entire spoken word piece of poetry rather than a song per se with yet another example of Jill Scott’s prowess and pedigree as a published poet coming to the fore. ‘I am warm, I am peace, from the roads of Botswana to 23rd Street, from the inside third eye, ever watching this wicked wicked system of things, I do see’. Given the opportunity it would be wise to read the entire song from a lyrical perspective, not just to listen to it, as this is truly a great piece of writing.
I think the weaknesses in this record lie predominantly within some of the urban elements that seem to be rather repetitive. However the strengths of this album lie within Jill Scott’s ability to present songs written from a realistic perspective delivered in unique ways, not just via singing but also implementing elements of rapping and spoken word. There’s a variety of musical elements at work here, from neo-soul to urban to jazz and hip hop which makes it an interesting listen, at least for the back half of this record. Also it is somewhat refreshing to finally see some African-American soul/urban music, which delivers a feminist ideal without necessarily resorting to strong sexual overtones; it’s done in a classy way. Any urban and R’n’B fans will truly appreciate this record, whilst those who aren’t hardcore followers of this genre may require a few extra spins to truly appreciate what Jill Scott has delivered.
Carina Nilma
Blessed is a taste of the neo-soul that we can come to expect from an artist as accomplished as this, however there doesn’t seem to be anything that really ropes you in immediately. The second track ‘So In Love’ which features Anthony Hamilton has some more energy and pace and Scott’s vocals actually shine a little brighter on this as opposed to her spoken-word-esque moments. From a lyrical perspective though these tracks do at least come across as a more realistic portrayal of life; as opposed to a lot of the manufactured urban material promoting lifestyles that aren’t entirely achievable or real.
‘Shame’ has some classic shoop-shoop style backing vocals provided by The A Group along with some commanding and empowering lyrics ‘I can stand on my own, I’m magnificent, I’m a queen on my throne, I’m magnificent’ but it’s the breakdown rap supplied by Eve that rams home the almost feminist push of this track. The human beat-boxing by Doug E. Fresh that kicks off ‘All Cried Out Redux’ is a surprise, as is the carnival-sounding ragtime piano, but somehow this gives the track a real character and charm for a song that is yet again about self-empowerment (in particular that of our heroine Jill Scott) and breaking free from a difficult relationship.
Clocking in at just a nudge over the 9 minute mark ‘Le Boom Vent Suite’ is an attempt at capturing the atmosphere and vibe of a live song in a recorded form. The mix of spoken word and rapping works to begin with but then at about the halfway mark we reach the slow breakdown and the varied delivery and little ups and downs create a unique little roller coaster of a ride.
It’s unusual to hear a gospel style ballad on an album that is so clearly targeted at an urban R’n’B audience, but ‘Hear My Call’ is so ridiculously stunning in such a beautiful understated way. With it’s building strings layered ever so gently next to the piano the mix in a delicate way so as not to drown each other out.
Another stand out track on this LP is ‘Womanifesto’ an entire spoken word piece of poetry rather than a song per se with yet another example of Jill Scott’s prowess and pedigree as a published poet coming to the fore. ‘I am warm, I am peace, from the roads of Botswana to 23rd Street, from the inside third eye, ever watching this wicked wicked system of things, I do see’. Given the opportunity it would be wise to read the entire song from a lyrical perspective, not just to listen to it, as this is truly a great piece of writing.
I think the weaknesses in this record lie predominantly within some of the urban elements that seem to be rather repetitive. However the strengths of this album lie within Jill Scott’s ability to present songs written from a realistic perspective delivered in unique ways, not just via singing but also implementing elements of rapping and spoken word. There’s a variety of musical elements at work here, from neo-soul to urban to jazz and hip hop which makes it an interesting listen, at least for the back half of this record. Also it is somewhat refreshing to finally see some African-American soul/urban music, which delivers a feminist ideal without necessarily resorting to strong sexual overtones; it’s done in a classy way. Any urban and R’n’B fans will truly appreciate this record, whilst those who aren’t hardcore followers of this genre may require a few extra spins to truly appreciate what Jill Scott has delivered.
Carina Nilma