2011: The QH Blend's Year In Music

Year-end retrospectives, to me, are integral to anyone working in the music critique and commentary fields. Collecting together what recordings "mattered" in the year can be a massive task, and a joyful one. I've done this several times, in print professionally, and here at The Blend. This time, I've made an attempt to make this list as varied as possible.

Many will ask why I chose to include certain long players, and exclude others, for me, as it has always been, quality is the determining factor. Each album included here is the best 2011 had to offer, and captured my attention. There were several records I wasn't able to retrieve in time for the deadline of this piece: Blondie (Panic of Girls), Common (The Dreamer/The Believer), Joe (The Good, The Bad, The Sexy), Beverley Knight (Soul U.K.), Mýa (K.I.S.S.), Meshell Ndegeocello (Weather), Seal (Soul 2), and Robin Thicke (Love After War). I'll gather the remaining 2011 releases early in 2012.

The only record that was purchased out of the 31 that did not make the list is Jennifer Lopez's Love?. Excluding "Good Hit," "What Is (LOVE?)," and "Papi," Love? wasn't up to Lopez's standards. Check out my thoughts on Love? here.

I've been creating my own music universe here since 2008, and this article is the representation of everything I stand for when it comes to my "art" as it is. I hope that sharing this with you all gives you a doorway to that world.


2011 Selection #30
Tori Amos: Night of Hunters (Deutsche Grammophon)

Depending on how the individual views Amos, another concept fueled record may elicit jeers or cheers. It is no contest to state that Tori Amos is the mistress of taking obvious subject matter, and transforming it into something beyond the normal perceptions of an average listener.

Night of Hunters is no exception, see Tori Amos' website for a detailed dissertation on the plot of this album. Not overblown like Boys for Pele (1996) or American Doll Posse (2007), it lacks the accessibility of from the choirgirl hotel (1998) or Abnormally Attracted to Sin (2009); Hunters is a classical recording presenting Amos' pianist gifts. "Carry," the first single, makes bearable the brainteasers gallivanting all over Hunters, communicating less is more.

"Carry" from Night of Hunters





2011 Selection #29
Lupe Fiasco: L.A.S.E.R.S. (Atlantic)

You're forgiven for assuming Fiasco's best work is Food & Liquor (2006). The Cool (2007) wasn't a complete sophomore slump, if aiming too highly to reach above his debut.

L.A.S.E.R.S. ("Love Always Shine Everytime Remember (2) Smile") is the weakest of the Fiasco trilogy, yet L.A.S.E.R.S. still outclasses his peers. The thinning on L.A.S.E.R.S. cannot be blamed solely on Lupe Fiasco, but his label Atlantic Records pressuring Fiasco to go mainstream. Fiasco dared to work within the system, generating some immediate Lupe Fiasco familiars: "Words I Never Said," "Till I Get There," and "All Black Everything."

Fiasco is only competing with himself, topping Food & Liquor may not happen. L.A.S.E.R.S. receives high marks for taking to task a hip-hop record caught in the crossfire of commercial compromise and making it art.

"All Black Everything" from L.A.S.E.R.S.




2011 Selection #28
Chris Isaak: Beyond the Sun (Wicked Game/Vanguard)*

Chris Isaak loves rock and roll: Elvis Presley, Johnny Cash, Jerry Lee Lewis and the like.

Taking off in 1985, Isaak’s mournful, but erotic handsome take on the sounds surf rock, rockabilly, etc. was mesmeric. You could tell he loved making music in the vein of his vinyl heroes.

Isaak has earned enough clout in his career to record a covers project.
If a covers album is done right, it acts as a creative stopgap until new material is ready to launch, and secures the artist into his or her field. Beyond the Sun, recorded at the legendary Sun Records Studios in Memphis, Tennessee, doesn’t present Isaak in a new light. But, the lone figure to keep the rock of bygone days alive for three decades, fads notwithstanding, Beyond the Sun isn't meant to break new turf.

The pulse on Sun bears more reverence than his original long players. Recording someone else's work in the same studio they (Presley, Lewis, et al.) created in will do that to you. Hearing Isaak’s fantastic voice give and receive “the classics” brings him and his fans full circle.

Beyond the Sun will ensure that Chris Isaak becomes the next throwback hero to a young boy out there somewhere.

"Can't Help Falling in Love With You" from Beyond the Sun




2011 Selection #27
Mary J. Blige: My Life II: The Journey Continues (Act 1) (Geffen)*

Like her contemporaries Janet Jackson and Mariah Carey, Blige's R&B formulas are renowned for their potency and consistency.

Navigating, and at certain intervals precipitating trends, Blige's albums are back to front winners. The first mistake with her 10th long player is naming it after her second record, My Life (1994). My Life is an album that, as it should, stand alone in Blige's backlog. To reference it in a direct way means that whatever is making claim to that album's greatness will be judged, fairly or unfairly, against that originator.

While nothing on My Life II comes close to My Life, it is an enjoyable continuation of Blige's hybrids of classic, hip-hop, and modern soul.

Sullied by far too many guest spots, barring Nas' appearance on "Feel Inside," My Life II clues to Blige heading into bolder territories as heard on her nu-disco cover of Rufus' "Ain't Nobody." Blige would serve her art better to set the hip-hop soul aside, and focus on marrying the vintage and future R&B principles together for her veteran material to grip versus only satisfy.

"Ain't Nobody" from My Life II: The Journey Continues (Act 1)





2011 Selection #26
Chris Brown: F.A.M.E. (Jive)*

F.A.M.E. ("Forgiving All My Enemies"/"Fans Are My Everything") is a transitional assembly forecasting what Brown's next record requires to succeed, and what may hold him back.

Amidst the rabble of several unnecessary guest spots, booming, unfriendly hip-hop bluffs; there are songs to sing about on Brown's fourth long player.

Modish interpretations of dance music (hip-hop house) on "Yeah 3x," "Oh My Love," and "Say It With Me" announce a broader, Michael Jackson-esque expansion. But, Brown will always be an R&B entity first, and "Up To You" acts as proof that he hasn't forgotten that. With a little more reliance on quality versus quantity, Brown's stake to be a legend in his own right is closer to reality than he may suspect.

"Oh My Love" from F.A.M.E.





2011 Selection #25
Stevie Nicks: In Your Dreams (Reprise)

Nicks has entered that space of "legend" status that could afford her the luxury of coasting. In Your Dreams isn't jumping up and down with new things to give, but exemplifies what makes Stevie Nicks great.

Ten years after the sublime Trouble in Shangri-La, In Your Dreams presents Nicks in sturdy shape. Dave Stewart (one half of the Eurythmics) produces broad, rock-pop songs that bear obvious heart tugging lyrics, delivered via Nicks' witchy voice, intact and strong.

In Your Dreams would have benefited from trimming in spots. As it is, Nicks' new album journeys into the dramatic musical portraits as only she can paint them, a welcome return from one of rock's most beloved treasures.

"Annabel Lee" from In Your Dreams





2011 Selection #24
Jill Scott: The Light of the Sun (Warner Bros.)*

Switching to a higher key in her sexual frequencies lastly occupied on The Real Thing: Words & Sounds, Vol. 3 (2007), Scott's fourth record is a brighter, humid affair. Scott's voice stays her best asset: it gets low, it swoons, and it can holler and growl.

The music is urbane and funky, if dancing on the edge of boring, when compared to her rich voice. Only on the exciting "All Cried Out Redux" with Doug E. Fresh, featuring a ragtime flavored middle, does Scott break free. "All Cried Out Redux" poses the question of when will Scott really let go, and get into that rhythm and blues coloring box, and give herself real color to play in?

"All Cried Out Redux" featuring Doug E. Fresh from The Light of the Sun





2011 Selection #23
The Bangles: Sweetheart of the Sun (Waterfront)

Doll Revolution (2003) wrapped up The Bangles tale neatly. Yet Hoffs and the Peterson sisters reconvened for a fifth album, minus bassist Bangle Michael Steele. Steele is missed, but the remaining trio rocks on anyway.

Co-produced by the ladies, Sweetheart is a love letter to their Paisley influences. Hoffs still bewitches vocally, and "Under a Cloud" is gingery in its seduction. Not to be outdone, the Petersons give their own sugary leads on "Circles in the Sky" and "Mesmerized." Sweetheart of the Sun is no Doll Revolution, but on its own standard, it doesn't need to be.

"Under a Cloud" from Sweetheart of the Sun





2011 Selection #22
Roxette: Charm School (EMI)**

Marie Fredriksson and Per Gessle are back, and Charm School reflects their pop blend is ripe. Veering close to Crash! Boom! Bang! (1994) in its abundance of ballads, Roxette are wise to keep several fire cracker uptempos to prevent Charm School from sliding into monotony.

First single "She's Got Nothing On (But the Radio)," is cocky with its rapid beat and rubbery guitar lick. It's one of those great European pop moments that cements them as prominent tune-smiths.

Returning to Roxette's hallmark ballads, "Speak to Me," "In My Own Way," and "Sitting On Top of the World" are Roxette at their earnest best. Popping 'til they drop, Roxette show that time hasn't dulled their brightness.

"She's Got Nothing On (But the Radio)" from Charm School






2011 Selection #21
Joss Stone: LP1 (Stone'd/Surfdog)

Stone's walk to "creative freedom" continues to be a bumpy, if not dull, road. Freed from EMI, her former label, Stone's LP1 is her fifth, and first independent, outing.

Appearing in production capacity for the second time on this list, Dave Stewart paired with Stone to generate a guitar grinding blue-eyed soul appeal on LP1. The "funk" is lowered just a few decibels, giving a discernible amount of (needed) musical tension. Stone's sweet, molasses thick take on "Drive All Night" makes it a late night radio killer.

Juggling restraint and recklessness, Stone gets away with some mistakes made on LP1, and there are a few. Introducing...Joss Stone (2007) remains her best album, but LP1 has its own pull and power adding another twist in the road of Joss Stone's journey as an artist.

"Drive All Night" from LP1





2011 Selection #20
Lenny Kravitz: Black & White America (Roadrunner/Atlantic)*

Though fixable, Kravitz never completely rips from classic rock as many detractors state, normally he just puts his own imprint on them. His satin rhythm and blues garnishing of that rock is what helped him claim a form of originality to his vintage revivals.

However, it always came off as an accessory, not the rule. Bored or feeling stagnant, Kravitz decided to shake up his system with funk on Black & White America.

Up to this point, the closest Kravitz had come to courting the black sound directly was on sections of 5 (1998). On Black & White America, the Shuggie Otis throwback "Superlove" and its ilk coexist with familiar guitar-rock noisemakers in harmony. Length continues to plague Lenny Kravitz; the album overstays its welcome. Even with that variable, Black & White America is far from a poor showing, it's simply too much of good thing at times.

"Superlove" from Black & White America





2011 Selection #19
Marsha Ambrosius: Late Nights & Early Mornings (J Records)

Half of the disassembled U.K. duo Floetry, Ambrosius' first solo recording was highly anticipated, and doesn't disappoint her audience.

The runaway success of the single "Far Away," its video now infamous; is complimentary adult soul music that betrays the versatility Late Nights & Early Mornings holds.

"I Hope She Cheats On You (With a Basketball Player)" is fierce, with its bounce and bite threads on loan from existing contemporaries like Chrisette Michele and Alicia Keys respectfully.

Channeling "The Minneapolis Sound" that is trending is predictable, but compelling still on the titular cut. More impressive is her dank and dark version of "Sour Times," originally created by trip-hoppers Portishead. "Chasing Clouds," the cool and confused heart searcher will win fans with its watercolor soul peaks. Late Nights & Early Mornings' dawn/dusk vibes promises lasting success for Ms. Ambrosius.

"Chasing Clouds" from Late Nights & Early Mornings






2011 Selection #18
The Sounds of Arrows: Voyage (Geffen/Labrador)**

Hearing Daft Punk's Tron (2010), Goldfrapp's Head First (2010), and probably various eras in the Pet Shop Boys career on Voyage, the first album for Swedish duo The Sound of Arrows? Yes, and no, would be fairly accurate answers.

Oskar Gullstrand and Stefan Storm aren't pioneering the halls of electronica, and any of its neighboring genres. Voyage compels in that unlike Daft Punk's laser precision on Tron, or the aloofness of Goldfrapp's Head First, or the glam weariness of the Pet Shop Boys, it posseses youth.

Arrows debut is soaked with excitement at putting their own hand print on anything established prior. Visit with the cinematic climber "Into the Clouds," or the sunset somberness in "Conquest" and it becomes clear that Arrows are looking at this type of music at a different angle. Being a new voice can be enough, and if The Sounds of Arrows can keep their creative energy burning, their subsequent albums are sure to fascinate.

"Into the Clouds" from Voyage





2011 Selection #17
k.d. lang: Sing It Loud (Nonesuch)*

It hasn't been since lang's early, tumbleweed years that she's had a consistent session band tour and record with her. In those days that band was called "The Reclines," the new partnership present for Sing It Loud is called "The Siss Boom Bang."

Still, lang is the centerpiece for Sing It Loud, her 11th album, if you aren't counting 2002's A Wonderful World duet LP with Tony Bennett.

The lines separating lang's torch and twang have considerably blurred, but lang is no less sexy because of this. The songs "I Confess" and "Sugar Buzz" dwell within interlocked hands, lingering glances, and endless slow dances; late summer love and lust mood music.

The flickering title track shows off lang's unconquerable vocals. Sing It Loud isn’t a departure, it is executed excellently however that it doesn't have to break a sweat to seduce its listeners with its affable nature.

"Sing It Loud" from Sing It Loud




2011 Selection #16
Björk: Biophilia (Nonesuch)*

In jest, the title of Björk's eighth record could be "Bitch, I'm Björk!" to the forgetful if one considers her weight in the arena of pop music: both visually and sonically.

Biophilia is larger-than-life, in deluxe physical and iPad editions for the collector and media junkie. Just plain folks can cop the compact disc, where the music is just as epic without the previous exterior considerations.

Biophilia's main directive is a highbrow pop concept, a pseudo-scientific spiritual view of emotional states. All through the album Björk, either knowingly or unknowingly, sews in odes to her past albums: Homogenic (1997), Vespertine (2001), and Volta (2007). The three albums are referenced in various moments, but without any of the cringe-inducing laziness that can befall anyone that recycles their own material. Grand and weird, Björk continues to be the apex where modern art and pop intersect.

"Mutual Core" from Biophilia





2011 Selection #15
The Human League: Credo (Wall of Sound)**

Phillip, Susan, and Joann have remerged ten years after the cold steel of Secrets with Credo, their ninth affair.

While synth-pop and electronic fads have come, and gone, and come again, The League continued to plow and rock the genres even when it was not chic to do so. Credo finds them at the height of their creative abilities. The League’s uniformity is uncompromising, smart, and opulent, setting them apart as originators in the electronic field. That does not mean they are frightened to try new things throughout Credo either.

Credo casts the listener into the London nightlife made flesh.

"Never Let Me Go" from Credo





2011 Selection #14
Lenka: Two (Epic)

Initially, Lenka could draw comparisons to the mild mannered chanteuses Dido and Jem. Dido and Jem are known for their neutral tones, and Lenka (sometimes) occupies this space too.

Two, Lenka’s second album uncovers that she has plenty bark to back her up, when she dons her "unaffected" voice, it's a part of a larger, pop theatre production.

Two's expressive designs are set within her lyrical frames.
See "Heart Skips a Beat," "Everything At Once," and "You Will Be Mine." Musically, those mentioned pieces are knowledgeable interpretations of Motown, Broadway, and Euro-pop. Lenka's voice uses different modulations, the title track as an example steers to the retro likeability pop has hovered near the last five years. An intelligent, pleasant pop miscellany describes Two.

"Everything At Once" from Two





2011 Selection #13
Van Hunt: What Were You Hoping For? (Godless-Hotspot)

The shelving of Van Hunt's Popular in 2008 effected him immensely.

With, now his third album, What Were You Hoping For?, he disspels any neo-soul aspirations by burying his craft deep into snarling power funk and bits of muscular punk.

The rhythm and blues side of Van Hunt is used sparingly, often to sweeten the rougher edges heard here.

The fans that celebrated his epnoynmous debut in 2004, and tolerated his experiments on 2006's On the Jungle Floor will recoil at Hoping For.

If they (the fans) can see the genius in Hunt's craft, What Were You Hoping For? embraces the black-rock of Lenny Kravtiz's Circus (1995) and Terence Trent D'Arby's Vibrator (1995). Forward thinking and unapologetic, Van Hunt's What Were You Hoping For? is black music at its inventive, ear bending best.

"Watching You Go Crazy Is Driving Me Insane" from What Were You Hoping For?





2011 Selection #12
Ricky Martin: Música + Alma + Sexo (Sony)*

Is it in poor taste to completely single out Mr. Martin's sexual orientation confessional as the moment he became a true artist? Maybe, but it's hard to comment that his work before he came out, congenial as it was, was truly memorable.

His recent album Música + Alma + Sexo ("Music + Soul + Sex") is something that Martin will remembered for besides "Shake Your Bon Bon" thankfully.

A handsome force of nature, Música gives moment after moment of Martin in assured form. Regardless of the sensous slow numbers, or the pulse elevating rushes that will move feet and hips, Martin's Spanish tongue is up to the challenge. The record of 2011 that embodies liberation, sexiness, and confidence, with no chaser? I'd say yes.

"Más" from Música + Alma + Sexo





2011 Selection #11
Les Nubians: Nü Revolution (Shanachie)

Parisian sisters Hélène and Célia Faussart don't release music in a steady stream, so original music must be cherished when dropped.

Their last project, 2003's One Step Forward, melded their odd, appealing world music flavors with conventional American R&B, in French and English. The junior effort continues with the bilingual pace that One Step Forward started, but the grooves are a bit heavier on this mahogany adventure.

Afropean thumpers ("Afrodance"), French dawn soul ("Liberte"), and jungle funk mash-ups ("Nü Soul Makossa") lie in wait for audiences. The sisters are in fantastic voice on Revolution, not showing fatigue or uncertainty. Breaking cultural barriers, Les Nubians newest long player will communicate directly to the rhythm in everyone.

"Afrodance" from Nü Revolution





2011 Selection #10
Mint Condition: 7... (Shanachie)*

The title of "the last R&B band" is honorable and ominous. On one hand, it suggests the group in question, Mint Condition, deserves to inherit the moniker. With an eye to non-bias however, Mint Condition is also the only group to be considered in 2011, and that is when the ominous factor enters the equation.

The pressure of being seen as the last living ideal of black music finesse should be stressful. 7..., as the title states, is the seventh album by Mint Condition, and it doesn't give any air to fear or sense of overt bravado. What 7... does so well is function from a hard foundation of Minneapolis R&B, then adds a plethora of musical ideas to the pot.

Somewhere between artistic freedom and comfort coasting, Mint Condition comes off as a tight knit band. They know what they want and how they want it to sound. They know they can bring the same energy from the live stage onto the record easily. 7... doesn’t surrender its class, but isn’t a prisoner to austerity.

"Mind Slicker" from 7...





2011 Selection #9
Melanie C: The Sea (Red Girl)**

Anyone who has dismissed the Spice Girls as not having any lasting mark in popular music should be eating their words well done. 17 albums (group and solo) combined, Melanie C's fifth solo return continues her own musical legacy as well as that of her former group.

The Sea is a triumph, by and large, living up to its namesake. Granted, there are small batches of songs that get away from her ("All About You," "Drown," "Get Out of Here"), but the mass of The Sea roars.

The title track, similar to the grandeur of Katie Melua's "The Flood" from last year, is an aural juggernaut. The "butterfly blood rush," as Melanie sings in "Think About It" is just that, while bombastic ballads such as "Weak" captivate. Melanie C has found her space, yet reaches for new ground ("Stupid Game"), something she should be commended for. Again, her staying power, and that of her former group, continues to reverberate in pop music without fail.

"The Sea" from The Sea





2011 Selection #8
Rahsaan Patterson: Bleuphoria (Artistry Music)

After Wines & Spirits (2007), Patterson's R&B traveling continues on the thrilling, loose terrain of Bleuphoria. Romantic and conflicted, it isn't as dark as its predecessor was; instead it's a brew of sonics stewed for savoring.

The hypnosis of "Crazy (Baby)" or the starry rendition of The Flamingo's doo-wooper "I Only Have Eyes For You" are jaw dropping.

Patterson also brings along his friends to play: Shanice, Jody Watley, Faith Evans, and Tata Vega (to name a few) all get on board Patterson's train. Trippy, Bleuphoria is a journey into the spirit of an artist attuned to expression of feeling over anything else.

"I Only Have Eyes For You" from Bleuphoria





2011 Selection #7
Sophie Ellis-Bextor: Make a Scene (EBGB)**

Soldiering past a staggering three year delay, La Bextor's fourth opus finally saw the light in 2011. Sleeker, harder, and faster than her last three albums, Make a Scene is frenzy on wax.

Bextor pulls from Róisín Murphy, ABBA, Donna Summer, and Kylie Minogue without sacrificing what makes her work distinctly her own, namely good taste. Bextor treads some new water (see "Revolution") and keeps that British tea stained wonder she's calls her voice, the star of Scene.

The momentum of Bextor's newest album will be muted by its delays, and that is unfortunate. A record this cool should have a larger audience.

"Magic" from Make a Scene




2011 Selection #6
Duran Duran: All You Need is Now (Tape Modern/S-Curve)*

The gentleman are back again, though they've never really left, so leave the comeback claptrap at the door. All You Need is Now is their first wrap around to a specific soundfield (Rio, 1982).

Worry not, there is no desperate aftertaste most groups have when they reach this point.

There are surface level winners, and other diamonds in the trenches that will be found upon exploration from the listener. A true treat for long timers and the new curious fans they've sparked interest in.

"The Man Who Stole a Leopard" featuring Kelis from All You Need is Now





2011 Selection #5
Gloria Estefan: Miss Little Havana (Crescent Moon/Verve Forecast)*

What to do when you've come to the realization you've done everything? Spanning decades, Gloria Estefan faced this query and embraced it by looking back and forward on Miss Little Havana.

Her second album of dance charged fare following the iconic gloria! (1998), Estefan's producing partnership with Neptune Pharrell Williams is savoir faire.

Flashy, fun, and free from inhibition to do anything other than party down, Havana packs a wallop with its title track, "Wepa," "Make Me Say Yes," and there is more to discover here. Estefan's accomplishments continue to mount, Havana being a welcome addition to her treasure pile.

"Heat" from Miss Little Havana




2011 Selection #4
Vanessa Carlton: Rabbits on the Run (Razor & Tie)

Vanessa Carlton's Rabbits on the Run continues building on her honeycombed pop.

Bigger than Heroes & Thieves (2007) in the way it unravels to the attentive, Carlton sets Rabbits apart by letting her voice skim softly along detachment here.

With her gossamer voice accentuating her haunting songs, Carlton lets her virtuosic piano playing lead to the emotional cores dwellings inside the songs. Carlton’s adept composing and playing skills are demonstrated on Rabbits, signifying that the naïveté of “A Thousand Miles” is light years behind her.

"London" from Rabbits on the Run





2011 Selection #3
Joy Denalane: Maureen (Nesola)**

Four years after her second album Born & Raised (2006), and first in English, German soulbird Joy Denalane has returned with Maureen. The title comes from Denalane’s middle name linking the LP to the intimate songs on the album.

Languages aside, Maureen overflows with flowery ballads, sample-led midtempo’s, and a few funk throw downs, see “Rosen” on the last tip. The only song in English is a modest, lovely version of the Heatwave chestnut “Happiness.”

Maureen communes with anyone willing to listen to her song, German and non-German speakers alike.

"Der Tag Ist Nah" from Maureen





2011 Selection #2
Will Young: Echoes (XIX/RCA/Sony)**

The first to win Britain's Pop Idol in 2002, that spawned American Idol and its brood, Will Young has worked hard to reach the artistic home run of Echoes.

Young's ear is keen for sharp, warm adult contemporary pop that dons blue-eyed soul dusted with electronic sophistication.

That said, Echoes puts Young at its focal point. His voice commands the songs, and the structures are built around Young. Tailored, but not completely streamlined, Echoes is a sexy, emotional, confident affair that will age well in the coming years.

"I Just Want a Lover" from Echoes





2011 Selection #1
Nikki Jean: Pennies In a Jar (S-Curve)

Bob Dylan. Carly Simon. Thom Bell. Jimmy Webb. Barry Mann and Cynthia Weil. Lamont Dozier. Just a sampling of the talent brought together to co-write with Nikki Jean on her debut is awe inducing.

Attempts at such lofty partnerships have been tried, but never on this level has it been so successful. Jean’s producer Sam Hollander assists in keeping Jean’s vision of her music firm, not washed away in the gifts of the individuals she partnered with.

Making every retro tomb raider and pretender of the last decade irrelevant, Pennies in a Jar is a wondrous, versatile recording. Occupying country-hip-hop collisions, twinkling Philadelphia R&B, wistful pop, and street chamber music, Jean embodies the changeability of pop, without short changing the sincerity of soul. Jean’s voice makes Pennies special, springing forth in a multitude of hues.

Nikki Jean is the lady to watch in the ensuing years, as her next projects will be just as endearing as this one.-QH

"Pennies in a Jar" from Pennies in a Jar


[Editor's Note: *-Denotes that the album has an "expanded edition," or is "retailer specific" in where it can be purchased. Please see the official websites of these artists for details. **-Denotes that the album is only available as an import, and not a domestic U.S. release. Special Thanks: As stated, this article was a lot of work. I could not have accomplished it without the tireless efforts of several key people: Andrew Bird, Darren Spence, Justin Daniel, and Frank Coleman. I may select and listen to the music, and write the piece, but these guys helped make the piece beautiful with their contributions of the art & sound files. Thank you all so much. Special thanks to Tommy D for his recommendation of The Sound of Arrows.-QH]