Monday, August 30, 2010

Now and Forever: It's Maxwell's World and I'm Just Living in It

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I admit it. I'm really picky when it comes to my romance music. Being the perfectionist that I am, it's hard to find the exact song or album for the more intimate moments of my life. You never want something to be ruined by the wrong mood being set, while actually finding the song can be a wonderful occurrence. Though I tend to love slow jams and quiet storm, it takes a lot to truly impress me.

Maxwell did that with 2001's Now, the follow-up to commercially and critically underwhelming Embrya. While that album was an abstract look at r&b, Now is a bit more of a traditional record, laced with luxurious falsettos and seductive melodies that the ever charismatic soul singer knocks out of the park on a consistent basis. One such revelation is W/As My Girl, possibly the sexiest break-up song I've ever encountered. Unless you're paying close attention, you may mistake this for one of the singer's silky ballads pledging his devotion, but you quickly find out that it's an especially resigned track about the end of a romance. Low key and almost muttered instead of sang, it's definitely a groove listen more than anything; you may not immediately recall the words, but the melody and entire atmosphere are quite notable. Silently picks up the pace a little bit, but it's still got the type of grounded romanticism and sincerity that Maxwell records typically have. All about letting your body do the talking, it has the slow whine of, say, TLC's Hands Up by way of Prince. Throwing in some muted trumpet to go along with the plodding bassline, it may not be the most ear catching of the lot, but if kept in your rotation can be a real treat. Temporary Nite has this extremely addictive strut to it that is deliciously throwback and breaks up any potential monotony; the 70s influences are much welcome, as the crunchy guitars and danceable bass will sear themselves into your brain and show yet another side to the versatile performer. The subject matter may not be anything new, but the presentation allows the extremely charming Maxwell to let his hair down and have some fun.

NoOne continues the trend of Nite, as it's this driving little ditty with light funk influences that is all about the one you can't seem to forget about. Less celebratory (it's still an introverted song, like most of the record) and more self-contained, its buzzing horns and slick guitars are reminiscent of something, say, present day Robin Thicke would kill to sing over and the melody is subtle but effective. Symptom Unknown sounds the most like something that could have also had a home on Embrya; oddly mystical with long instrumental breaks and wistful melody, Unknown is just a sad listen. You feel his pain with each long string of slightly garbled lyrics and moaned syllable, Maxwell's longing and desperation evident through the very tone of his voice. There may not be a hook or catchy section but this is artistic, thoughtful r&b in top form. This Woman's Work, Maxwell's cover of Kate Bush's 1989 original, will be one of the songs that people come to associate with him for years to come. Recorded for his stellar 1997 Unplugged album, it is everything I adore about r&b music; this is a classy, articulate break-up song that is in touch with true emotion and places sincerity above posturing. With a vocal that will bring tears to your eyes from how raw, honest and undeniably beautiful it is (it's almost all falsetto but is never shrieking or overly sang), Maxwell brings new dimensions and textures to the song without completely abandoning what made it good in the first place, the sign of a good cover song. Simply arranged with delicate strings and dreamy keyboards, it is immaculate in execution and a gem of its era.

While I enjoyed Embrya for what it was (and think it got unfairly criticized upon its release), Now is the type of music that Maxwell sounds at home on. He has the best falsetto of anyone working today and showcases it on intelligent, laidback soul music that never loses its touch of class. It's not the most artistically challenging record of all time, but if your night needs a little more steam, let Maxwell be the one to fog up your windows. Thank me later.

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