Brandy's "Two Eleven" Hits the Spot

Brandy, Circa 2012

How do you follow up one of the best R&B recordings of the last decade? When Human (Epic), Brandy Norwood's fifth album, released at the end of 2008, it was to acclaim if not sales. Norwood's continued commercial slide owed to a climate that eyed her age (29 at the time) as a "deciding" factor to her relevancy rather than her art.

Human's honesty in its vulnerability made it an easy target for scapegoating, and Norwood, being the sweet, if at times insecure woman she is, bought into it hook, line, and sinker.

The three years separating Human and Two Eleven were filled with speculation. What direction could Norwood take her music in? Desiring a chart score without losing her core (read: adult) audience of 18 years, Norwood had a fine line to walk. A duet with longtime colleague/competitor Monica earlier this year, "It All Belongs to Me," left feelings of fear in the place of anticipation due to its inane nature. Norwood's first RCA outing, Two Eleven takes its name from her birthday and the date her mentor/friend Whitney Houston died.

Norwood requested the assistance of individuals to capture the scene of black music in 2012 and fit it to her. A cross section of the producers and songwriters include: Bangladesh, Chris Brown, Sean Garrett, Dem Jointz, Mario Winans, Danja, The Bizness, Rico Love, Frank Ocean, Mike City, and Warryn Campbell. For those that have been into R&B and hip-hop in the last five years, a bulk of the names on the list will not be unfamiliar. The exciting names to see Norwood bring back aboard were two former Full Moon
(2002) principals (Campbell and City) and Ocean. Ocean already in a big year himself with his debut, his background with Norwood extended to two of Human's shining stars: "1st & Love" and "Locket (Locked in Love)."* Norwood's association with the old and new promised she'd take care of business.

Brandy in Blue

With a surface luster that is haughty, but irresistible, Two Eleven is (almost) all killer no filler in its retrofit of contemporary R&B to the Brandy personae. Norwood's voice, at its most cavernous and cool, saves the obvious commercial contender (currently U.S. R&B #3), "Put It Down." Chris Brown steps from behind the mixing board to drop in a funky rap that didn't clutter Norwood who straddles and guides the burping synth track.

In fact, her voice is the melody of "Put It Down," its additional seasoning making the track bearable to those not keen on Norwood's most chart aimed song thus far.

Elsewhere, Norwood acquits herself to the luxurious and galactic material that uses everything from up front guitar and rippling synth lines, layered versus superfluous. The discernible edge that characterizes the rugged "Let Me Go"  and "So Sick" have their eye on the aggressive sides of Full Moon and Afrodisiac (2004). Closer inspection to the form fitting video game soul of "Slower," courtesy of Chris Brown's production and Norwood's pen, proves Two Eleven as the proper experimental follower to Full Moon in place of Afrodisiac.

The decadent trio of sonic erotica Norwood shares ("Paint This House," "Can You Hear Me Now," "What You Need") might make Janet Jackson envious. The trio position Norwood into tastier waters without reducing her to trash. The only complaint leveled at Two Eleven is that it's too immaculate, a listen to the honey soul of "Music" reveals an icy, detached feeling underneath it. The arctic chill may not bother some, it does immediately set Two Eleven a distance away from Brandy (1994), Never Say Never
(1998), and (of course) Human.

She only gets warmer with two lone numbers, "Wildest Dreams" and "Scared of Beautiful." "Scared," the Ocean/Campbell contribution, is a lovely self-styled duet with herself that Norwood sends into the stratosphere. "Wildest Dreams," the second single, is undeniable with its razor sharp hook of "Ooooh, ne-v-er" snaring ears within the first few moments of play.

"Put It Down" w/ Chris Brown
Directed By: Hype Williams


In all, Two Eleven is a claim for Brandy Norwood as the premier interpreter of her era. Two Eleven also is an anomaly for an artist of Brandy's caliber who readily could have gone into a rightful veteran streak. Somehow, in plunging headfirst into the tepid soundverse of modern R&B, Brandy carved a record that was thoroughly her own and relevant without sacrificing consistency or class. Four and a half out of five stars.-QH

[Editor's Note: Deluxe version of Two Eleven reviewed here. *-"Locket (Locked in Love)" only available (physically) on the Japanese pressing of Human or the U.S. iTunes edition. Blue wash photograph of Brandy courtesy of Andrew Bird. For more information on Brandy and Two Eleven, visit foreverbrandy.com-QH]

No Doubt's Return with "Push and Shove" Examined

On the set of the "Settle Down" video

Blondie's reconvene in 1982 with The Hunter, despite possessing a few underrated moments, was a turning point for the group. Undeniably, Blondie had embodied a certain point in popular music history and their gusto to dare was infectious. Autoamerican (1980) made them pop savants, The Best of Blondie (1981) closed their first run, but was preceded earlier in 1981 by Deborah Harry's avant garde album Koo Koo.

When The Hunter dropped, it happened when Blondie's music and image (whether right or wrong) was no longer the "go to" for popular music stimulus. At this point I'm sure many readers are wondering why I'm discussing Blondie in what seems to be a No Doubt review? All of this is because No Doubt follows a hauntingly similar trail to their punky predecessors. Like Blondie, No Doubt was led by an electromagnetic lady in Gwen Stefani, but she was not the band itself. The men were as integral to the mix as Stefani: Adrian Young (drums), Tony Kanal (bass), and Tom Dumont (guitars).

No Doubt's last record, 2001's Rock Steady, like Autoamerican saw No Doubt's artistic ambitions ripen outside of the genre of ska where they originated. Later, No Doubt wrapped up their initial run of singles (see The Singles 1992-2003), and Stefani released Love. Angel. Music. Baby. (2004) and The Sweet Escape (2006). Stefani's confessed "art projects" endured acclaim and derision, and her band mates themselves stayed busy with their own gigs in the interim. So when No Doubt began the touring rounds three years prior to the release of Push and Shove, their sixth album and first in 11 years, questions hovered. How would a group so attached to a past period find audiences (core, casual, and nonplussed) in 2012? Could they beat the same fate that befell Blondie when they decided to get back in the ring?

L to R: Adrian, Gwen, Tony, Tom

Push and Shove only makes one mistake: its title. Presentation is everything. While it is a great title, it doesn't sum up the whole of the album once consumed. To explain, the record doesn't "push and shove" as much as it gives off a "sparkle," ironically a song title on the project.

Push and Shove's mass deals in a shiny batch of new wave, alternative '80's and '90's pop-rock gloss so well prepared that the previous acts that have used the techniques cannot be recalled. The tricks though, chiming synths, layered vocal swatches, and perfectly placed guitar/drum accents, are as magical as they ever were.

The mood of Push and Shove, reflective and melancholy, matches Return of Saturn (2000) slightly for somberness with beguiling ballads like "Easy," "Gravity," and the curtain closer "Dreaming the Same Dream." Whereas Return of Saturn dealt with fear of the unknown adult world, the emotional undercurrent of the new LP is grounded in reminiscing. Remember, all four members of No Doubt are married with children now. The lyrics, Stefani can still pen pensive, make the album's release during the first week of autumn prime for looking back to the recently departed summer. Stefani hasn't lost her vocal energy, one of the last jewels in the rusting American pop crown, she catwalks her band's musical paths.

No Doubt get rowdy on a select section of cuts for those worried that Push and Shove might be too mellow. The first single, an already definite No Doubt classic, "Settle Down" is a dually Asiatic and Jamaican baked good that knocks, rolls, and rides as confidently as "Hey Baby" did in the fall of 2001. The title track, with toasts from Busy Signal and Major Lazer, kicks out a pronounced ska-lite rhythm. The kick is thanks to the two "phantom" members of No Doubt: Stephen Bradley and Gabrial McNair. Tour mainstays since the mid-
'90's, their trumpet and trombone are staples of the No Doubt sound and dance on the titular cut and "Looking Hot's" middle eight with welcome joy.

"Settle Down"
Directed By: Sophie Muller


Thankfully, not a trace of the streamlined "thump-a-thump" of current Top 40 is heard, but there is a careful commercial sheen (courtesy of co-producer Mark "Spike" Stent) present. Such patience to not "rock out" (frustrating) or "sell out" (commendable) will land No Doubt somewhere in the middle of the 2012 popular music landscape. Push and Shove is a record about relevancy based on No Doubt's perfected talents. Four out of five stars.-QH

[Editor's Note: Push and Shove is available in all music retailers, for information on different editions and other No Doubt updates visit No Doubt Official.-QH]

The "Stages" of Melanie C's New LP

Lady Chisholm Has Arrived

Melanie C does standards? Correction, Melanie C peers into the classics of the stage for her sixth solo recording and situates herself exquisitely.

In a year that has seen the Spice Girls reappear in the popular music and culture landscapes, the timing of Melanie C's newest album Stages couldn't be better. Then again, Melanie C has been at it as her own woman for over a decade now.

Stages follows behind The Sea
(2011), Melanie's fifth record that gave a knowing kiss to the genre hopping that put her debut Northern Star on the map in 1999. Prior to The Sea, Melanie embarked on a journey to the West End, one that took her back to her pre-Spice Girls roots in studying theatre. Appearing in the Willy Russell produced musical Blood Brothers as Mrs. Johnstone, the six month gig in 2009 gained Melanie a "Best Actress in a Musical" Laurence Olivier Award nomination. Currently starring as Mary Magdalene in the U.K. arena tour version of Jesus Christ Superstar, Melanie has got her authentic threads adorned to pull this record off.

Paired with producer Peter John-Vettese who has worked with Melanie on her past endeavors, as well as her former group mate Geri Halliwell, Vettese took the task of bringing life to known classics with reverence and vitality. The cast of Stages: "Maybe This Time" (from Cabaret), "Another Hundred People" (from Company), "I Know Him So Well" (from Chess), "Aren't You Kind of Glad We Did?" (from The Shocking Miss Pilgrim), "I Don't Know How to Love Him" (from Jesus Christ Superstar), "Both Sides Now" (Priscilla, Queen of the Desert), "Ain't Got No/I Got Life" (from Hair), "I Just Don't Know What To Do With Myself" (from Shout! The Mod Musical), "I Only Have Eyes For You" (from Dames), "Tell Me It's Not True" (from Blood Brothers), "My Funny Valentine" (from Babes in Arms), Something Wonderful (from The King & I), and "Anything Goes" (from Anything Goes).



Andrew Lloyd Webber & Chisholm in 2012

The selection is strong and varied, some already pop classics before they transitioned to theatre or found life outside that medium. Specifically "I Only Have Eyes for You," with a stamped take by The Flamingos, and "Both Sides Now." "Sides," made a hit by Judy Collins in 1968, was written by Joni Mitchell who created her own great turns on Blue (1971) and Both Sides Now (2000).

Restraining her powerhouse inclinations, Melanie paints in a subtle and soft tone never encompassed over an entire long player before. It is that knowledge of song reading that makes Stages capture and captivate, because Melanie applies her voice correctly to each song. From the slow dance sway of "Maybe This Time," complete with golden horns and brushed drums, Melanie's never been so seductive. The pace elevates on the dynamic rush of "Another Hundred People" before segueing into the duet calm of "I Know Him So Well."

Partnered with her former group mate Emma Bunton (Baby Spice), it actually is not their first collaboration. In the past they teamed on a colorful cover of The Waitresses chestnut "Christmas Wrapping," the flipside to the Spice Girls single "Goodbye." Melanie also appeared on backing vocals for Bunton's solo tune "(Hey You) Free Up Your Mind" in '99, a lost soundtrack gem that found life as the b-side to her '01 hit "What Took You So Long?" The arrangement is a bit too washed out (if pretty), something that plagues only a few cuts on Stages ("I Only Have Eyes For You" notably). Still, Emma and Melanie's interplay is so relaxed and intoxicating, it will delight longtime Spice fans.


Stages EPK Circa 2012



Promotional Shot for Stages

Elsewhere, Vettese and Melanie collide and spark madly as heard on the initial single "I Don't Know How To Love Him." Melanie C matches the changing moods of the score with conviction, infusing it with passion and power.

The song that bears a true seal of emotion is her take of "Both Sides Now." The words hold meaning for the woman singing them, who has openly struggled with self-love, and recently the separation of her longtime partner Thomas Starr. The eloquence, elegance, and heartache come across clear and realized.

Whether taking a vivacious bite out of "Ain't Got No/ I Got Life" or burnishing the perennial "My Funny Valentine" with an unexpected introduction, Melanie is in versatile form throughout.  Cover records are never easy, but Stages is rare in that it includes comfort and surprise tucked away if one listens closely. Four and a half stars out of five.-QH

[Editor's Note: Stages is available in all digital outlets, "Anything Goes" is an iTunes bonus track only, the version reviewed here is the physical edition. To obtain a physical version, visit your local indie record store or MelanieC.net where current updates are available.-QH]