Lidell Tickles Your R&B Craving
A meandering homage to soul music of the ages by Lidell.
Jaime Lidell
Compass
Released on May 18, 2010
Jamie Lidell is a venerated soul singer with a true passion for music. His true love for soul comes through in all of his tunes. Lidell’s efforts are few and far between for a generation of listeners focused on the Billboards Top 100. His unique take on R&B gives him a niche for fans interested in the ingenuity behind soul music, not just sticking to the respective original stylings—far from it in Lidell’s case.
Lidell’s beat-boxing in “Completely Exposed” stands alone to open Compass. The lo-fi recording with a raw R&B funk plays part, including Lidell’s echoing and high-pitched voice all done with bare-bones mixing. The lo-fi swirls into full force, but not yet reaching the climax. Lidell’s ability to craft songs with affective dynamics to complement his emotional voice is respectfully done.
The ravaged and unkempt sound continues in “Your Sweet Boom.” The messy funk is a safe bet, but not a smart bet. The backing rhythm sounds like a Britney Spears song and less like a unique soul tune. The result leaves an emotional artist giving no emotion, but very well could move a room of intoxicated clubbers.
The true soul moves in with “She Needs Me.” This truly pays homage to the past R&B artists who have made their mark. This funky song would easily fit on a bedroom playlist. A sexually healing message to reaffirm any mans reservations about the love in their life, or even just a prospective lady. This song certainly sets the mood with a mean bass line intended to get the hips moving—thrusting, might I say?
“I Wanna Be Your Telephone” catches suspecting listeners with double entendres and innuendoes aplenty. Lidell delves deeply into a sexual, yet goofy message. The overtones of sexuality and lyrics speaking about being a phone pair strangely, but make sense. The female vocals moan whispers of “Telephone,” keeping the song sexually appealing and weird. It’s a toe-tapping rhythm and a hell of a dance beat, just asking you to find a partner and get grooving.
The colorful and effervescent “Enough’s Enough” is reminiscent of the Jackson 5. A whole crew of singers plays into the chorus beautifully. This late 60’s, early 70’s-esque groove plays with purpose and could find its way into a montage for some sappy success story. Regardless of where this song could fit, it presents itself with pride and color not to be contested.
The title track on this one, “Compass,” opens raw and emotionally. This song would fit perfectly in a movie, as a man on horseback rides off into the distance. It’s a real change of pace in this soul-filled album. Halfway through a little energy shines a light on this heroic sound, bringing hope to this otherwise dramatic song.
The album as a whole has its hits and misses. The hits hit hard and the misses lay stale. The songs lying stale feel like they need a breath of life to revitalize the emotion, which is typical of Lidell’s sound.
High Point
The funky and soulful tracks bring about a strain of the incurable dancing fever.
Low Point
The color and energy in half of this album is concentrated in particular tracks, not evenly throughout.
Posted by Daniel Wehrli on May 20, 2010 @ 9:15 am