Independent record labels scare me. When an artist I like goes from a major to an indie, it tends to fill me with mixed emotions. On one hand, independent labels are a better situation for the artist, as they're guaranteed a larger portion of the profits from their album and they tend to have more freedom in how they record. However, with a lower budget and a shrinking marketplace, there may not be enough room for many independent labels, causing a shift to a small label to produce a decreased visibility.
Following a much delayed third album that saw modest sales, Tamia went from Elektra Records to Image Entertainment in 2006. While Mrs. Grant Hill was never a blockbuster album seller or mainstream entertainer, she's a fairly well known name in r&b circles and could have simply vanished without a mainstream budget behind her.
But vanish she didn't. On the strength of two top 30 r&b hits and a lot of positive press, Between Friends managed a rather respectable sales number and saw a notable increase in quality on the artistic side of things. Love & I is probably the biggest leap forward for the veteran vocalist, as it's mature without being stodgy, adult without alienating younger listeners. I'm usually not a big fan of the epic end-of-the-record ballad (unless you're Erykah Badu), but this just works to perfection. Intelligently written commentary on love is hard to find sometimes, so to hear it against such a lush background and performed so expressively is magnificent. It may be a little dramatic for some, but it's a pure joy to listen to. First single Can't Get Enough capitalizes on Tamia's ability to make the most sensual material retain a certain amount of class. It's a lot of finesse, but it's handled well, as Tamia's whispery coos bring the lyricism to life. The main thing that I enjoy about this album is that it's never that obvious and this song is no exception; "slow jams" can sometimes be a little ham fisted, but Can't is sly, seductive, and infinitely repeatable. When a Woman eschews the first person-heavy slant of the record for a storytelling approach, a subtle change that keeps the record fresher. It's a little lowkey, as the tone of the song isn't unique, but the way it's handled makes this break-up ballad that much easier to handle. One of the positives about the record is that it takes typical topics and turns them around, either through lyrical interpretations or Tamia's vocal choices, which is possibly one of the side effects of being independent.
Too Grown for That may have the sound of "trying too hard", but trust me when I say that the execution is truly effortless. Taking a clap-heavy club-ready beat to dismiss an immature suitor, Tamia has never sounded more confident and in control. The thump of the track may pull you in, but the self-assured delivery and frustrated lyricism manage to keep your attention. It may be one of the only real uptempo tracks on this midtempo-heavy collection, but it never sounds like she's trying to be something she's not. People in her peer group sometimes use an uptempo to "appear younger", but this is an appropriately produced uptempo with a good message. Sittin' on the Job never fails to bring a smile to my face, whether it be the gorgeously stripped down production or Tamia's lighthearted delivery. If there were any doubt about her ability, this song should squash that, as she's only accompanied by a guitar and some really sparse claps. Appropriately romantic and dreamy, it's a bit short, so it's more of a transition between songs, but a wonderful one nonetheless.
Please Protect My Heart has that type of laidback 70s bounce to it that just fits in with the warm summer weather. The record tends to have a pretty good equipoise in terms of Tamia's sound; in the past, she's either been a really stuffy adult contemporary wannabe or tried to fit herself into the young, sexy hip pop singer mold, neither of which she is. Songs like Please capture everything that's positive about her presence, i.e. the ease in which she sings, how pure her sound is, and her ability to bring a certain amount of vulnerability to even the strongest of songs. A cover of Aretha Franklin's Daydreaming works as solid album filler but it's nothing that stands out. It has a bit of a disjointed sound, which makes it hard to listen to sometimes, but this paean to the one you love is richly sang with such a joyful melody that it's hard to dislike it. It's one of the tracks I listen to least on the record, just because it doesn't go down as easily as the rest, but I still appreciate yet another tender midtempo. Me has a neat little twist that changes the song from a slightly sordid eyebrow raising tale to a positive affirmation of independence. You may think you've heard every different approach possible for a song like this but trust me when I tell you that this is a truly original way of approaching the topic of acceptance and strength. With finger snaps a'la Officially Missing You and some flat out pretty guitar work, it's a listen that's empowering without slapping you across the head with its message.
Going independent seems to be the best thing for the mother of two. Not only is this her best album since her debut in 1996, it sold better than expected and showed that she still has a presence on radio. Eschewing rent-a-rappers and club tracks for assured uptempos and sensual ballads, Between Friends is mature, thoughtful, and relevant. Though slightly overlong with some unnecessary interludes, it's mostly interesting material presented from one of the genre's more underrated vocalists. With a long delayed live album and collaboration with Deborah Cox and Kelly Price (dubbed the Queen Project) both due soon, the next solo album from Tamia is a little up in the air. Regardless of when it is released or where it's released, I know that it'll be another captivating release from the mild mannered mama from Ontario.
0 comments:
Post a Comment