The QH Blend's Records of 2012

Another year, another batch of records released into the world to soundtrack our lives. This year held several surprises and made the case that there is always something to discover under the surface. One simply has to look beyond what is provided. The QH Blend took to a simpler and all-inclusive approach for 2012.

Below the records of the year are split into five sections: "Hits," "Almost, but...," "Misses," "Honorable Mention," and "Considerations." For the latter, I buy all of my music legally and sadly I can't buy every record within the year of its release. See the mentioned category for a full listing of artists considered. For previous entries on The QH Blend for year-end reviews, see the following hyperlinks: [2008] [2009] [2010] [2011].

Hits

Record of 2012

Vows (Warner Bros.)

Finally making its (complete) global debut this year, New Zealander Kimbra’s Vows is the dynamo of 2012. Each song is its own mini-epic guided by the insanely adaptable voice of Kimbra, the featured vocalist of Gotye’s Stateside hit “Somebody That I Used to Know.” From the freestyle meets Motown zing of “Cameo Lover” to the power ballad “Old Flame,” Kimbra’s pop is all heart and art, accept no substitutes.

Listen/Watch “Settle Down” here

Return to Paradise* (Island Records)

Sam Sparro’s Prince influences are exchanged, with an exception to the acid cool of the titular cut, for a D-Train meets Deee-Lite pattern.  Return to Paradise takes the best from throwback disco heat and pairs it with early ‘90’s dance music with a modish pulse. Sparro is in fine voice throughout on “Paradise People,” the lovechild of Blondie’s “Rapture,” and the cruise ‘o’ funk of “Let the Love In.”

Listen/Watch “Happiness” here

In Our Heads (Domino)

Hot Chip, England’s favorite acerbic pop outfit, is back with their fifth album, In Our Heads. If the title is correct, what is in Hot Chip’s head is a mesmeric brew of S.A.W., Zapp, and Daft Punk styles that combine pop, dance, and electronic music across eras. These genres, contrary to popular opinion, don’t always run together. Here however, they sashay and strut together on “Motion Sickness” and “Don’t Deny Your Heart” with sickening ease.

Listen/Watch “Night & Day” here

Covered (429)

Macy Gray continually defies the genre gravity of R&B that grounds her peers. Covered, Gray’s first covers album was a revelatory read into Gray’s own eclectic tastes. The material is performed with care, humor, and acuity that prove that Gray isn’t showing signs of slowing down. Read the full QH Blend review here.

Listen/Watch “Smoke 2 Joints” here

Two Eleven^ (RCA/Chameleon)

Norwood's sixth LP Two Eleven is a fantastic interplay of contemporary and established aesthetics. La Norwood navigates soundfields of hip-hop aggression (“Put It Down”), sensual soul (“Paint This House”), and riveting R&B (“Wildest Dreams”) with her familiar peppered tones. Read the full QH Blend review here.

Listen/Watch “Wildest Dreams” here

channel Orange^ (Def Jam)

Stepping out into his own spotlight, Frank Ocean created the conversationalist music piece of 2012 with channel Orange. A difficult, but consistent medley of post-modern R&B, Ocean is strong as a singer and songwriter in his own right. Matching every ounce of hype generated, channel Orange is sure to be remembered as Ocean’s brave first moment in a string of accomplishments. Read the full QH Blend review here.

Listen/Watch “Pyramids” here

Push & Shove (Interscope)

Absent for 11 years, No Doubt’s sixth album Push and Shove was highly anticipated. The gang delivered on the promise of accomplished musicianship, if not acquiescing to the climate driving popular music in 2012. Their most personal album to date, Push and Shove isn't as racket ready as some of their punky past efforts, but a few rollicking numbers in the title track and “Settle Down” more than make up for the patient pace of the LP. Read the full QH Blend review here.

Listen/Watch “Settle Down” here

Words & Music by Saint Etienne*^ (Heavenly/Universal)

The pristine pop trio Saint Etienne returned with Words & Music, an epic tour de force that combined varying elements from British pop past, present, and future. Sarah Cracknell, the female vocalist of the outfit, is still the pink plush realness when handling the electro-acoustic fantasias of “Haunted Jukebox” and “Heading For the Fair.”

Listen/Watch “I’ve Got Your Music” here

The Spirit Indestructible^ (Interscope)

Striking a balance between the conformity of Loose (2006) and the expressive highs of Whoa, Nelly! (2000), Folkore (2003), and Mi Plan (2009) The Spirit Indestructible is a pop record that is proper due to its kaleidoscopic range. Whether cathedral cathartic (“Spirit Indestructible”) or knowingly placing her hip-hop-lite tongue in cheek (“Big Hoops”), Furtado is confident and in control.

Listen/Watch “Big Hoops (Bigger The Better)” here

Havoc and Bright Lights^ (Collective Sounds)

Morissette’s musical compass has consistently been set to her truth. That kind of uncompromising honesty is rarity in popular music regardless of the style. Havoc and Bright Lights largely picks up where 2008’s Flavors of Entanglement left off, dealing with fragile concerns of the human experience with gentle, but probing candor. Read the full QH Blend review here.

Listen/Watch “Guardian” here

Radio Music Society (Heads Up International)
Spalding’s transition from an instrumental artist to vocalist has been completed with her fourth album, Radio Music Society. Building on the classical black pop of Chamber Music Society (2010), Radio infuses a healthier amount of jazz and adult R&B influences led by Spalding’s pretty and pleasant voice. Solid with its original fare in “Radio Song,” an understated cover of Michael Jackson’s “I Can’t Help It” also makes Spalding a fantastic interpreter.

Listen/Watch “Radio Song” here

Not Your Kind of People^ (Stunvolume)

After the monotonous treading of Bleed Like Me (2005), Garbage seemed to be confined to the alterna-pop history books. While Not Your Kind of People isn’t necessarily groundbreaking, it does update their raucous power pop for a new generation and eye Garbage’s finest records Version 2.0 (1998) and (the underrated) beautifulgarbage (2001) in the metal dance floor filler “Automatic Systematic Habit.”

Listen/Watch “Big Bright World” here

Stages* (Red Girl Records)

For former Spice Girl Melanie C, Stages is her first records of covers. The concept behind this project is the songs of the stage, lovingly paid tribute to. The star of the album is Melanie C herself, in her subtlest voice she delivers astute and competent performances on classics like “I Just Don’t Know What to Do With Myself” and “Maybe This Time.” Read the full QH Blend review here.

Listen/Watch “I Know Him So Well” here

Elysium (Parlophone)

One of the most hailed duos in pop music, the Pet Shop Boys effulgent and opulent music is again reimagined on their newest album. “Leaving” ranks as one of the Pet Shop Boys solid pieces of mood music committed to record thus far. Mirroring Yes (2009) in terms of its clarity, if not tone, Elysium is self-deprecating wit and pathos played to the nines.

Listen/Watch “Leaving” here

Little Broken Hearts (Blue Note/EMI)

With The Fall (2009), Jones began shaking the sleepy time jazz-pop that had become her calling card. Little Broken Hearts may appear calm on its surface, but the quiet riots that readily rear their heads in “Happy Pills” and “Take It Back” suggest that heartbreak does Norah Jones good for inspiration.

Listen/Watch “Happy Pills” here

Roses (Downtown Records)
The Cranberries dreamy alternative pop-rock may be from a period bygone to some. For others, their first album since 2001’s Wake Up and Smell the Coffee, Roses is a comforting reach around to the sounds of their groundbreaking debut Everybody Else Is Doing It, So Why Can’t We? (1993).Thankfully, there are a few colorful detours that break the monotony and echo the experimental reaches of Bury the Hatchet (1999) and the mentioned Wake Up.

Listen/Watch “Tomorrow” here

Strangeland^ (Island Records)

Dogged by comparisons to Coldplay since their start, the gentlemen of Keane have tried their best to beat back the criticisms without appearing too self-conscious. After the misunderstood Perfect Symmetry (2008) and Night Train EP (2010), Keane regrouped and took a slightly back to basics feel with Strangeland. Not a complete rewrite of Hopes & Fears (2004), the album deals in meditative ballads and (some) unexpected moments.

Listen/Watch “Disconnected” here

Almost,  but…

Almost, but...of 2012

MDNA^ (Live Nation/Interscope)

The Queen Mother of Pop Madonna returns with MDNA, her 13^th album overall, a welcome earwash to the aural mess of 2008’s Hard Candy. Not to state that MDNA is perfect, there are several blunders that make navigating the album perilous, but the salt (“I’m a Sinner”) and sugar (“Masterpiece”) contained within the album more than make-up for the mistakes. Read the full QH Blend Review here.

Listen/Watch “Give Me All Your Luvin’” here

Glassheart*^ (Syco/RCA)
Lewis courts the same kind of sound expansion that helped Will Young shake off his reality television inception curse. Much like Young's junior effort Keep On (2005), Lewis' Glassheart is an intelligent and sensitive appropriation of contemporary and (surprisingly) classic adult-pop bathed in Lewis' vocal restraint versus overindulgence. Her need to please the charts at times impedes her ("Stop the Clocks"), but with compelling entries like "Trouble," "Fireflies," and "Colourblind" the lady shows that she's more than just a voice, she's a person with a story to share.

Listen/Watch "Trouble" here

Perfectly Imperfect (RCA)
Not a pin-up for alternative soul, nor a lemming for contemporary R&B, Elle Varner’s appropriately titled debut is an album that concerns itself with finding a voice between the two extremes black music has found itself caught between. Excusing a few unnecessary numbers (“Oh What A Night”) sexy boasts (“Sound Proof Room”) collide with self-confessionals (“So Fly”) with electric after effects.

Listen/Watch “I Don’t Care” here

All of Me (Warner Music/Atlantic/Homeschool)

“Freak” and “Fall In Love” preceded British rapper/singer Estelle’s third album by two years, unfortunately neither song appears on the general version of the album. Despite this, All of Me is a great stride forward, tempered by a cool mood that lends even the Mary J. Blige swag attack of “The Life” a head bopping gravitas. Only bogged down by several pleasant, if unneeded, narrative interludes, Estelle’s third LP is great modern soul (“Love the Way We Used To”) and hip-hop music (“Speak Ya Mind”) done right.

Listen/Watch "Back to Love" here

The MF Life^ (SRC/Universal Republic)

Canadian soultress Melanie Fiona is taking music matters into her own hands with The MF Life. Still cutting up in the retro lane, as heard on the roller boogie of “Watch Me Work,” Fiona spliced in a few “now” flavors on “This Time” with a feature from J. Cole. Mentioning duets, those are the only dull points on The MF Life, with a pass issued to the John Legend assisted “L.O.V.E.”

Listen/Watch “This Time” here

Magic Hour^ (Polydor)
That this album has wrapped on the somber note of an extended hiatus makes it that much more frustrating. Feeling like an extended hangover from 2010’s superior Night Work, Magic Hour does have several moments to cheer for. The tribal groove of “Keep Your Shoes On,” the "slippery when wet" vibe of “Let’s Have a Kiki,” and the irreverence of “Shady Love” evidence that the Scissor Sisters pop purity will be missed.

Listen/Watch “Let’s Have a Kiki” here

Soul 2 (Reprise)

Seal shares his second album of covers and only slightly improves upon the mistakes he made with Soul (2008): song selection and arrangements. In part, the return of his former principal producer Trevor Horn (alongside David Foster) helps give a better backdrop to Seal’s fantastic voice on a show stopping take of the Rose Royce classic “Wishing On a Star.” Seal will one day create the proper “covers album,” until then with work starting on his follow-up (with Trevor Horn), all one can do is wait.

Listen/Watch “Wishing On a Star” here

Misses

Miss of 2012

Fortune^ (RCA)

Brown needs to find new roads to travel musically, as his electro-soul sneaks have worn thin on Fortune. Granted, from a production standpoint Brown remains unmatched as heard on the ear shattering “Bassline.” Yet, without a lyrical net to support the sonic structure, the songs collapse into mean, muddy murk. The likable and artistic Brown heard on Exclusive (2007) and Graffiti (2009) is long gone and if he wants his legacy to extend beyond the lesser fare here, he must return to putting his songwriting first.

Listen/Watch “Turn Up the Music” here

Secret Symphony* (Dramatico)

With The House (2010), Katie Melua gave an awe inspiring face-lift to the sweet, if sagging jazz-pop that had defined her previous work. Instead of continuing in the forward momentum, she back tracked with the pretty, but pedestrian Secret Symphony. It is a covers record and Melua is in fantastic form (voice wise). The arrangements aren't terrible, but they've been heard on her first three albums, which is what makes it a slight decline following The House.

Listen/Watch “Moonshine” here

The Cherry Thing (Smalltown Sound)

Both darlings of their respective fields, alternative soul/pop icon Neneh Cherry teamed with the Norwegian/Swedish hipster group The Thing to create The Cherry Thing. This follows their 2011 effort Mono and Cherry’s Man from 1996. What sounds good on paper doesn't always translate and the album suffers under the pretensions that ersatz, erratic noise patterns equal expression. To be fair, this avant garde music has an audience and “Cashback” showcases Cherry’s fantastic pen. An acquired taste.

Listen/Watch “Accordion” here

Food & Liquor 2: The Great American Rap Album Part 1 (1st & 15th/Atlantic)

Lupe Fiasco has had a time handling the success of Food & Liquor (2006), the debut that placed him at the forefront of a movement that birthed B.o.B. and Kid Cudi. Along the arc that led to this, Fiasco’s fourth LP, Fiasco bravely handled an ambitious sophomore slump and a label assassinated third effort. It isn’t that Fiasco lacks ability; his intelligence and heart imbue “Bitch Bad” with a lost sense of communal responsibility missing in hip-hop. It’s the music, here reduced to mixtape flatness, that doesn't support his large lyrical precepts. With the proper accompaniment Fiasco will achieve a longer reach of greatness versus bursts of genius.

Listen/Watch “Bitch Bad” here

Honorable Mention

The Abbey Road Sessions (Parlophone)

Another highlight in the event marking Minogue’s 25^th year in music, a collection of her reworked classics, and a castoff from ‘07’s X (“Flower”), performed against either orchestral or acoustic canvas’ is breathtaking. Minogue has long since been successful at reinterpreting her work in live environs, here she recreates “The Locomotion” in a ‘60’s soul-pop paean it finally deserves and delivers more poignancy (if possible) to one of her iconic ballads, “Finer Feelings.” Some of the song selections are a bit too predictable (“I Believe In You” should have been exchanged for “Je Ne Sais Pas Pourquoi”), but Minogue services almost every facet of her fan base with this fine piece.

Listen/Watch "Flower" here

Considerations of 2012
Christina Aguilera Lotus, Andy Allo Superconductor, Tori Amos Gold Dust, Eric Benét The One, Céline Dion Sans Attendre, Melissa Etheridge 4th Street Feeling, Vivian Green The Green Room, Alicia Keys Girl on Fire, Diana Krall Glad Rag Doll, Maroon 5 Overexposed, Mint Condition Music at the Speed of Life, Monica New Life, P!nk The Truth About Love, Angie Stone Rich Girl, Joss Stone The Soul Sessions Volume 2, Tamia Beautiful Surprise, Karyn White Carpe Diem, Robbie Williams Take the Crown

[Editor's Note: ^=Denotes expanded/alternate edition was reviewed. See respective social media outlets for each artist for further information. *=Denotes album is an import, not a domestic U.S. album. Special thanks to Andrew Bird, Darren Spence, and Frank Coleman Jr. for their tireless enthusiasm and help. Special thanks to Everybody's Records in Cincinnati, Ohio that made it possible to buy & own these LPs.-QH]

Serious Music: Hall & Oates '72-'79

Hall & Oates in the '70's

When Daryl Hohl (later Hall) and John Oates, two Temple University kids, met at the Adelphi Ballroom in 1967, the partnership they struck became legend. Christened “the most successful recording duo in American music” by Billboard, Hall & Oates have become a staple of popular music and culture. 

Before “You Make My Dreams” and “Maneater” however, there was “Sara Smile” and “Rich Girl.” The latter two songs were from Hall & Oates ‘70’s stretch. Forty years ago, Hall & Oates were adventurous enough to criss cross their love of classic R&B with pop, folk, rock, and every other genre imaginable. The result of Hall & Oates first decade of work was a string of youthful records that defied the rules. Not always full of “hits” like their self-produced output from 1980 through 1988, their ‘70’s material had them learning and trying new things. 

In Hall’s own words, he summed up their first decade of recording,

I went back and listened to our ‘70’s music and I’m hearing us as these guys who came out of Philadelphia, were influenced by people around them there, like (Kenneth) Gamble and (Leon) Huff. And then we went to New York, where we came under the tutelage of Arif Mardin and all those musicians. Then we took the Philly thing to California where we mixed and matched those sensibilities.

On the 40^th anniversary of Hall & Oates first recorded release, The QH Blend looks back to the decade where two men took their brand of blue-eyed soul and pop on a decade long road trip that shaped their career, and others, for years to come.

Whole Oats (Atlantic, 1972)

Proudcer: Arif Mardin

Synopsis:  A well-paced set of quiet, reflective pop tempered by R&B and folk dominated Whole Oats. Both Daryl and John had pleasant pipes, Daryl possessed an immediate commercial charm whereas John’s voice held an odd, inescapable quality. “Fall in Philadelphia” and “I’m Sorry” were handsome blue-eyed jewels that sparkled. The pensive “Lilly (Are You Happy)” and comforting “Goodnight and Goodmorning” proved the Hall & Oates pen was sensitive, smart, and accessible.

Listen to “Fall In Philadelphia” here

Abandoned Luncheonette (Atlantic, 1973)

Producer: Arif Mardin

Synopsis: A dreamier album manifested on Abandoned Luncheonette. Dual sun rising classics shone on “When the Morning Comes” and “Had I Known You Better Then.” Groovier undercurrents steered “Las Vegas Turnaround” and “She’s Gone.” The latter saw covers by Tavares, Dee Dee Bridgewater, and Lou Rawls from its release here onward. The Philly color was making itself known here, though a rounded trio of aural pop cinema in “Lady Rain,” “Laughing Boy,” and “Everytime I Look At You” closed the record on an empirical note.

Listen to “Las Vegas Turnaround” here

War Babies (Atlantic, 1974)

Producer: Todd Rundgren

Synopsis: On Hall & Oates first charting album (U.S. #86), a dramatic shift occurred. A rockier affair than their last two hushed efforts, War Babies made guitar and drums the core of its sound on the aptly titled “I’m Watching You (A Mutant Romance).” Shout-outs to the downright ephemeral post-psychedelic R&B of “Can’t Stop the Music (He Played It Much Too Long)” and “You’re Much Too Soon” that softened the cynical crunch ‘n’ munch of War Babies harder numbers.

Listen to “You’re Much Too Soon” here

Daryl Hall John Oates (The Silver Album) (RCA, 1975)

Producer: Christopher Bond

Synopsis: New label, new look, (sort of) new sound. Referred to commonly as “The Silver Album,” it was the long player that landed Hall & Oates one of their first hits (“Sara Smile”) and struck a balance between the rock 'n' roll of War Babies and the calmness of their first two efforts. Hall & Oates were wearing their soul influences proudly (“Alone Too Long”) and alternated between confessionals (“Out of Me, Out of You”) and comedy (“Gino The Manager”). Consistent and fulfilling, Hall & Oates had made one of their first declarative statements.

Listen to “Alone Too Long” here

Bigger Than Both of Us (RCA, 1976)

Producer: Christopher Bond

Synopsis: Delivering another hit with “Rich Girl,” Bigger Than Both of Us had the boys in full control of their skills. A “Mach 2” variation of Daryl Hall John Oates, the white street soul of “Do What You Want, Be What You Are” and “Back Together Again” played well against the radio friendliness of “London, Luck, & Love.” Closing on the high drama of “Falling,” it pointed to the next direction of the Hall & Oates journey.

Listen to “Do What You Want, Be What You Are” here

Beauty on a Back Street (RCA, 1977)

Producer: Christopher Bond

Synopsis: The last of the Bond trio, Back Street lived up to its ominous title by returning to the harshness of War Babies, but with the slick soul harmonies of Bigger Than Both of Us. In fact, the title track to Hall & Oates last LP appeared here and is the only song that offered a respite to the rough, experimental edges (“Bad Habits and Infections,” “Winged Bull”). An interesting fusion of doo-wop and bar rock claimed a revival vibe on “Why Do Lovers Break Each Other’s Hearts?” and made Back Street a curiosity worth discovering.

Listen to “Why Do Lovers Break Each Other’s Hearts?” here

Along the Red Ledge (RCA, 1978)

Producer: David Foster

Synopsis:  Not as heavy as the record that preceded it, Along the Red Ledge made its case as a straight ahead pop record. Plays in T-Bird rock (“Pleasure Beach”) and posh Philly treats (“Have I Been Away Too Long”) rode alongside the beautiful balladry of “It’s a Laugh” and the remarkable cool of “Serious Music.” With its smart interpolation of George Gershwin's “Rhapsody in Blue,” “Serious Music” had Hall & Oates still trying on sounds but working toward an overall identity.

Listen to “Serious Music” here

X-Static (RCA, 1979)

Producer: David Foster

Synopsis:  Who’s afraid of the big bad disco/punk wolf? Not Hall & Oates. After spending the decade working as pop pioneers of the musical outback, Hall & Oates tackled the scenes of popular music with their Philly soul as the primer. Whether giving that classic ballad (“Wait For Me”) or fussing with dance (“Running From Paradise”), Hall & Oates located their formula. See “Portable Radio” for even more fun details.

Listen to “Portable Radio” here

 [Editor's Note: All of the records here are in print physically & digitally, with an exception to Whole Oats. Whole Oats can be located for an affordable price used. See Hall & Oates Official for tour events & updates.-QH]

Revisiting Deee-Lite's "Infinity Within" After 20 Years

L to R: Dmitry, Towa Tei, Kier

Three individuals, Dmitry Brill, Dong-hwa Chung, and Kierin Kirby drew together in the cultural axis of New York City to form Deee-Lite two decades ago. Known collectively by their respective stage names Super DJ Dmitry (production), Towa Tei (keyboards), and Lady Miss Kier (vocals) they blasted onto the popular culture lexicon with the super duper pop slap of "Groove is in the Heart" from their first album World Clique (1990).

Deee-Lite became the group to keep on pushin' dance music, which had gone through another of its many shifts, into a new decade. World Clique, a swanky collection of funk, disco, with hip-hop sample know-how clutched a pop fetishism that snagged casuals and snobs. Deee-Lite crossed over into the mainstream charts but kept their underground dance scene credibility. Deee-Lite encapsulated the (later) emergent trait of the 1990's: that catch-all embrace of pre-existing musical sounds, in retrospect, putting them far ahead of the curve. That advancement doomed them to the fate of "one-hit wonder-dom" and revisionist cruelty. At the time, they were a glaring oddity, dance floor hedonists who flung their skills in the faces of the dominating forces of West Coast hip-hop, grunge, and New Jack Swing.

Majority of the active pop purveyors of the time (Michael Jackson, Madonna, Paula Abdul) were adopting the harder sides of the mentioned dominant popular music styles (Dangerous 1991, Erotica 1992, Spellbound 1991). Nonplussed, Deee-Lite plowed their own path that was decidedly freer and poppier on their second offering 1992's Infinity Within.

Infinity Within was bigger, bolder, and brighter than World Clique. A cementing of their pop niche that had them, like World Clique before it, borrowing from the best parts of the '70's, and working with the best talent around. On board to join Deee-Lite as they steered their sophomore vehicle included Speech (of Arrested Development), saxophonist Maceo Parker (of Parliament-Funkadelic), guitarist/vocalist Bootsy Collins, and Michael Franti (of Disposable Heroes).

The above list was just the "star power" side, the musicians and vocalists troupe included: Fred Wesley (brass), Bernie Worrell (clavinet), Catfish Collins (guitar), Satoshi Tomie (piano), Robin Lobe (percussion), Misha Masud (tablas), Gary "Mudbone" Cooper, Danny Madden, Sahirah Moore, Zhana Saunders, Sheila Slappy (background vocals).

Single cover to "Runaway"

Under Deee-Lite's guidance, the assorted talent assisted in erecting a powerful album that cut between carefree concerns and socio-economic issues. The fun sides were contagious and giddy. Opening with Bootsy Collins declaring "Skinnybackmonkeyandhitme!" on "Heart Be Still," the surefire jungle groover dipped, swerved, and curved.

The polished house finish in the lead single "Runaway" was sleeker and serrated (something they'd pick up on their third, and final, album '95's Dewdrops in the Garden). "Runaway" pulled at the listener, even those looking for another "Groove is in the Heart".
"Two Clouds Above Nine" was a jittery shuffler, "Electric Shock" misled in its title as the song was all calm intonations and ice cream cool. The barely there sweetness of "I Won't Give Up" platformed Kier as an adroit stylist that held her own vocally. The flirtacious creamery in "Pussycat Meow," an aural come-on that Kylie Minogue herself would've killed to have owned, playfully seduced.

On the deeper sides, "I Had a Dream I Was Falling Through a Hole in the Ozone Layer" worked over gospel organs, sampled and authentic funk steam, and presented progressive politics versus empty rhetoric. Their brand of activism was kooky on "Vote, Baby, Vote" (tapped as an advertisement for the 1992 U.S. Presidential Election), and at times severely danceable and serious on "Fuddy Duddy Judge." "Fuddy Duddy Judge" in particular was an excellent mash-up of Michael Franti's alert raps and Kier's jump roping croons. The layered, often to hypnotic effect, sonics placed Dmitry and Tei as acute tunesmiths that knew how to apply rhythms and weird noise widgets ("I.F.O (Identified Flying Object)") or slip into chill-lite plastered corners ("Love is Everything").

A pop record with a message? It appeared Deee-Lite was ambitious, and rightfully so, Infinity Within a rare beauty and a beast of musicianship. It also heralded firsts in the music marketplace, being one of the initial "digi-pak," or paper sleeve, CD's released. In one of the obnoxious and mean twists of industry fate, the album met indifference. Critically, some said it was accomplished, but reached too high. Fans have tended to be kinder to Infinity Within, granting it status of Deee-Lite's best work.

Deee-Lite's MTV Interview for Infinity Within


Elektra Records, Deee-Lite's label, not knowing how to market a record that courted both escapism and introspection contributed to the commercial floundering of Infinity Within (#67, U.S. Hot 100).  All of the singles ("Runaway," "Thank You Everyday," "Pussycat Meow") from Infinity Within went on to become massive club storms (hits) and kept them hot on the touring circuit.

Only one more album appeared, the dancier, but no less captivating Dewdrops in the Garden in 1995 as mentioned. They pulled in another member at this time, Ani Schempf (DJ Ani), who replaced Towa Tei who departed after this, Deee-Lite's third album, to go on to a lucrative solo run. Both Dmitry and Kier moved further into DJing professionally after Deee-Lite's dissolution and remain revered figures on the club scene today. Looking back, especially with the success of lesser imitators (sorry Black Eyed Peas, Lady Gaga, Katy Perry), Deee-Lite were light years up on things. Infinity Within endures as a lost anthemic recording that captures what humanity does best, reflecting and partying. Five out of five stars.

[Editor's Note: Deee-Lite's catalogue is in print, digital and physical formats equally, however Infinity Within is only available new digitally. However, decent copies (conditions vary due to its paper sleeve nature) abound in used record stores for decent prices where yours truly found a clean copy.-QH]

The 16 Blue-Eyed Soul Paladins

R&B is “cred,” musically speaking. Next to rock music, the offspring of R&B, rhythm and blues is taken very seriously among its fans and performers. It's the aural-blood of blacks, passed down for its people, by its people. Skepticism runs amok when one who isn't black attempts to don the form of R&B. There are a select few of the Caucasian persuasion that have pulled off the major R&B coup.

Every singer listed here has either given homage to, or integrated, black music into their sound. These artists shine above the rest in executing this merger of sounds and cultures, transcending the messy color lines still present in popular music. The list is presented in chronological order as to when the artist, as they're known, entered the popular music sphere. It's not based on the importance or superiority of one over the other. This piece, in its entirety, is dedicated to the memories of Dusty Springfield, Teena Marie, Maurice & Robin Gibb.


#1. Dusty Springfield
First Album Released in 1964
Mary O'Brien, later Dusty Springfield, stepped out of the frilly family folk act of The Springfields to become the first of her kind, a blue-eyed soul singer. She sojourned to Memphis, Tennessee, the capitol of Stax, to record the legendary Dusty in Memphis (1969). That album cemented Springfield's legacy of importance in the movement of white singers authentically singing black music. Springfield burned brightest in the mid-'60's toward the early half of the '70's. With a voice that was gutsy or pensive, Springfield could sing anything. She recorded infrequently in the remainder of the '70's and '80's before returning with Reputation (1990) and A Very Fine Love (1995). While breast cancer claimed the vocalist in 1999, her music lives on.





"Bring Him Back" from Where Am I Going? (1967)

Recommended Listening: Where Am I Going? (1967)




#2. The Bee Gees
First Album Released in 1965

Brothers Maurice, Barry, and Robin Gibb emerged from Australia to become one of the biggest recording acts in popular music history. Before that, they had humble beginnings as a tasteful Beatles inspired vocal harmony group in the early '60's. After procuring several pop hits with "New York Mining Disaster 1941" and "How Can You Mend a Broken Heart," 1975 became a watermark year. It was then that the group charted new waters: R&B. From 1975 through 1979 The Bee Gees released Main Course (1975), Children of the World (1976), Spirits Having Flown (1979), and the soundtrack companion to the film Saturday Night Fever (1977). These records were crowned for their creamy, authentic grooves. Scoring many R&B hits, The Bee Gees became one of the groups to usher disco into mainstream music periphery. After the '70's wrapped, The Bee Gees continued to record hit records into the next three decades and became producers for others. With the recent passing of Robin Gibb in May and Maurice in 2003, Barry is all that remains of the Gibb empire. The Bee Gees reign has a multitude of treasures, their foray into R&B being a highlight.


"Fanny (Be Tender With My Love)" from Main Course (1975)

Recommended Listening: Spirits Having Flown (1979)



#3. Hall & Oates
First Album Released in 1972
Daryl Hall and John Oates hailed from another famous hotbed of black music, Philadelphia. Coming together as partners in writing, singing, and later producing, they followed behind the soft shift in R&B informed by The Delfonics and The Stylistics. What made their material powerful was its daredevil blends of other genres with the “Philly Sound.” When they took control by producing their own work, they continued to even more astounding victories. Later to be named "the most successful recording duo" by Billboard, Hall & Oates’ career has spanned four decades and counting.






"Wait For Me" from X-Static (1979)

Recommended Listening: Bigger than Both of Us (1976)





#4. Teena Marie
First Album Released in 1979
Mary Christine Brockert, later Teena Marie, subverted Dusty Springfield's iconic position by becoming the first white R&B artist. Under the tutelage of funk pioneer Rick James, Marie  graduated to arranging, producing, and composing all her own work in 1981. Marie enjoyed success with her literate works and an unmistakable voice until she passed away just a day after Christmas in 2010. Her last offering Congo Square (2009), showed her undiminished talent, one that is missed.





"Behind the Groove" from Lady T (1980)

Recommended Listening: Robbery (1983)





#5. Culture Club
First Album Released in 1981
Out of all the New Romantic groups that swarmed from England in the early '80's, Culture Club possessed an altogether organic ebb that set them apart. Boy George (vocals), Roy Hay (guitar), Jon Moss (drums), and Mikey Craig (bass) created the warm weight that defined the chart classics "Do You Really Want to Hurt Me?" and "Karma Chameleon." Reggae was a prominent fixture alongside dance minerals on their saucy debut Kissing to be Clever (1981), but 1982's Colour By Numbers was tempered with jazz and soul. Visit the Motown shiner "Church of the Poison Mind" or the bleak "Black Money" for proof. With a second reunion rumor on the wind for Culture Club's 30th anniversary, one can be sure to hear the same commitment to soul-pop quality that characterized Culture Club's finest moments.




"Mistake No.3" from Waking Up with the House on Fire (1984)

Recommended Listening: Colour By Numbers (1982)




#6. Eurythmics
First Album Released in 1981
Another of the giants to emerge in the Second British Invasion of the early '80's, the Eurythmics (Dave Stewart, Annie Lennox) were glass sharp. Stewart's icy arrangements hung on Lennox's voice with perfection. Based on the work of their first four records, their eligibility for this list could be questioned. In a twitchy move of musical retooling, the Eurythmics completely transformed from an electro-synth duo into a rocking R&B duo on their fifth outing Be Yourself Tonight (1985). This album makes the Eurythmics inclusion to this list a must. Putting what many already suspected was a soulful Lennox into searing soul-pop like "Would I Lie to You?" was epic. Even the collaborations boasted gold with Stevie Wonder on "There Must Be An Angel (Playing with My Heart)" and Lennox doing a duet with the Queen of Soul Aretha Franklin on "Sisters Are Doin' It For Themselves." Such a dramatic transformation, not at all expected, was a wonder. The Eurythmics moved further into rock/soul with Revenge (1986) before returning to the computer cool of old on Savage (1987). Not direct users of blue-eyed soul in the obvious sense, Be Yourself Tonight refuted that for a moment.


"It's Alright (Baby's Coming Back) from Be Yourself Tonight (1985)

Recommended Listening: Be Yourself Tonight (1985)



#7. Simply Red
First Album Released in 1985
Like many of the acts here, Mick Hucknall's outfit was from the United Kingdom. Unlike any of the prior New Romantics talked about, Simply Red’s sound was completely based in jazz and adult pop. Gems from their debut record Picture Book (1985) included "Holding Back the Years" and Money'$ Too Tight to Mention." Simply Red went through several line-up changes before becoming a talented, if revolving door of session musicians to Hucknall's dynamo voice. In 1989, Simply Red turned in a hit cover of the Harold Melvin & the Blue Notes "If You Don't Know Me By Now" on A New Flame. In the '90's, Simply Red's successes were kept to European, British, and Asian shores for recordings like Stars (1991), Life (1995), and Blue (1998). Recently disbanding, they leave behind pop records washed in refined R&B.





"Home" from Home (2003)

Recommended Listening: Blue (1998)



#8. George Michael
First Album Released in 1987
Along with Andrew Ridgeley, George Michael had humble beginnings in the twee pop duo Wham! Hinting at a mature direction with "Careless Whisper," Michael began assembling his solo effort for a 1987 release. Faith, a global sensation evidenced Michael’s ear for writing, arranging, and producing his own work. Steeped in a fair amount of R&B aesthetic, Faith crossed chart borders with "Father Figure" and "Hard Day." Michael continued to use R&B within each album that followed, maintaining an iron hold on his native Britain when his U.S. audience waned in 1996. Michael's strength lies in his natural affinity to capture the ideas of rhythm and blues and keep them accessible to a pop audience. More than any other artist featured on this list, Michael blurs the line between pop and R&B music with an uncanny ease.

"Amazing" from Patience (2004)

Recommended Listening: Older (1996)



#9. Swing Out Sister
First Album Released in 1987
Partners in pop, Andy Connell and Corinne Drewery shared the sassy "Breakout" in '87. A beloved treasure from its period, most associate Swing Out Sister with one-hit wonderhood. In reality, Swing Out Sister have been creating the kind of pop many only hope to make in a lifetime. From their Jimmy Webb and John Barry inspired works, to the fusion of hip-hop with Brit-beatnik acid jazz, Swing Out Sister have always been experimental. Importantly, they segued into a period where they explored '70's funk. Their third offering Get In Touch With Yourself (1992), a loose and bass heavy affair, boasted a cover of the Young-Holt Unlimited/Barbara Acklin's hit "Am I the Same Girl." They took it further with 1994's The Living Return. Still active, their last record Beautiful Mess (2008/2009) showcased sticky R&B in spots, Swing Out Sister's retroactive soul-pop isn't slowing down


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"Notgonnachange"* from Get In Touch With Yourself (1992)

*Denotes single version versus album edit featured in video.
Recommended Listening: Get In Touch With Yourself (1992)




#10. Lisa Stansfield
First Album Released in 1989
"The Rochdale Diva," Lisa Stansfield, is one of the leading ladies of the movement this list details. Blasting into existence with "All Around the World," Stansfield's forceful plea reverberated from radios the world over. Moving into a classic soul-pop vein with efforts Real Love (1991) and So Natural (1993), Stansfield remained a household name throughout Europe and England. Record label politicking caused So Natural to lose a Stateside release, so when her fourth (third in the U.S.) effort Lisa Stansfield (1997) dropped, its U.S. reception was lukewarm. Her last two releases Face Up (2001) and The Moment (2004) were contemporaneous, level crafts receiving a British release only. Stansfield has temporarily retired from singing, though it'd be advantageous for today's new crop of Brit-blue-eyed brats to see a master at work.






"Let's Just Call It Love" from Face Up (2001)

Recommended Listening: Real Love (1991)




#11. Texas
First Album Released in 1989
The center of this Scottish pop unit revolves around vocalist Sharleen Spiteri (center), bassist Johnny McElhone (far left), guitarist Ally McErlaine (between McElhone and Spiteri), and keyboardist Eddie Campbell (second to right) with varying musicians shifting in and out throughout their 20 year span. Additionally seen here, circa '97, is Richard Hynd (far right) who was Texas' drummer until departing in 1999. Texas' debut Southside (1989) was influenced by general rock (think Joshua Tree era U2). Later, a mix of alternative with blue-eyed soul seemed an unlikely victory, but that's just what happened as Texas enjoyed a second burst of popularity with White On Blonde (1997) and The Hush (1999). Two additional album releases in 2003 and 2006 followed. Texas paused as a group while Spiteri recorded and released two solo records. Texas' reformation seems to be on the horizon, but they've earned their spot here with Blonde and Hush.

"In Our Lifetime" from The Hush (1999)

Recommended Listening: White on Blonde (1997)



#12. Jamiroquai
First Album Released in 1993
In the mold of the previously mentioned Simply Red revolving door staff, Jason Kay (Jay Kay) does the same as Hucknall in his funk conglomerate Jamiroquai. Jamiroquai's socially conscious funk and jazz stormed the world charts. As they progressed, their work evolved into a sleeker, soulful disco form. In demand today, Jamiroquai is the best funk anyone has heard since, well the '70's.





"Runaway" from High Times: Singles 1992-2006 (2006)

Recommended Listening: Return of the Space Cowboy (1994)



#13. Nikka Costa
First Album Released in 2001
Daughter of Don Costa, a notable music producer, Costa had several "starter" records to her name before she officially entered the fray with Everybody Got Their Something (2001). Produced by Mark Ronson, who played a hand in the career of Amy Winehouse, Everybody was hot. It owed to an obvious blue-eyed sheen but with a tougher, black rock rooted grit indebted to Ike & Tina Turner. Her second outing Can'tneverdidnothin' (2005) received no push from her (then) label home Virgin Records and she moved to Stax to release the dusty, feel-good Pebble to a Pearl (2008). Although she has never achieved anything more than merely modest commercial returns, Costa shines not just as a singer, but a sensitive songsmith and visceral live performer. The digital EP PRO★WHOA! (2011), held her trademark blue-eyed rock, but included pop too.




"Like a Feather" from Everybody Got Their Something (2001)

Recommended Listening: Can'tneverdidnothin' (2005)



#14. Joss Stone
First Album Released in 2003
Leading the new wave of British blue-eyed female singers at the start of the last decade, Joss Stone outshone them all. Her debut The Soul Sessions (2003), a collection of R&B classics and one sexy White Stripes cover placed Stone in the veritable eye of a hurricane of attention. She followed that recording with the (over) mature Mind, Body, & Soul (2004) before settling into her youthful junior long player Introducing...Joss Stone (2007). On each effort, Stone’s voice platformed a rich and full spirit. After a nasty battle with Stone's label EMI Records, they released her. She dropped LP1 last year, her fifth album, produced by Dave Stewart (yes, of the previously mentioned Eurythmics fame). The record appeared on her own indie imprint label Stone'd Records.

"Tell Me 'Bout It" from Introducing...Joss Stone (2007)

Recommended Listening: Colour Me Free! (2009)



#15. Robin Thicke
First Album Released in 2003
Thicke began as an unassuming, if talented songwriter for various pop and R&B stars before his own debut Thicke (2003). Thicke's earthy atmosphere didn't clue to the leap he'd take with The Evolution of Robin Thicke (2006). Led by the single "Lost Without U," the record placed Thicke as the first to revolve around Teena Marie's throne of being a white artist with a legitimate black audience from the outset. Thicke's mixture of "old" and "new" school vibes have endeared Thicke to a variety of ears. Love After War (2011), Thicke's fifth recording was a marked return to his "classic" vibe, showcasing his milk and honey voice with all the trimmings.

"Magic" from Something Else (2008)

Recommended Listening: Something Else (2008)



#16. Sam Sparro
First Album Released in 2008
This Aussie, the son of a gospel minister was destined to become a vocalist. After darting back and forth between Sydney and Los Angeles for a few years, Sparro finally unleashed his eponymous LP in 2008 to rave reviews and decent commercial fanfare. An obvious student to Prince's sounds, Sparro's penmanship and acrobatic vocals kept him from being another Prince copycat. Return to Paradise, his anticipated second player, is due in the late spring or early summer of 2012.



"21st Century Life" from Sam Sparro (2008)

Recommended Listening: Sam Sparro (2008)


[Editor's Note: Originally posted April 9th, 2011. Amendments made on 3/20/12 & 5/28/12.-QH]