HIP-HOP
Kelis, "Kelis
Was Here" (La Face/Sony BMG) ***
"There is
nothing special about me, I am just a little star," 26-year-old
Kelis Rogers sings in "Li'l Star," midway through her fourth album.
A few bars later, Cee-Lo Green, a k a the voice of Gnarls Barkley
and one of several guests here, chimes in with, "Just keep trying
and trying ... You sure look like a star to me." And that has
pretty much been the story of Kelis' career.
The singer's
1999 debut, "Kaleidoscope," was a huge hit in Europe, but her second
album, 2001's "Wanderland," wasn't even released in the States. She
finally made her big breakthrough with 2003's "Tasty," courtesy of
the smash club hit "Milkshake," but then she ended her fruitful
partnership with production team the Neptunes, claiming she didn't
want to be anyone's puppet. Now Kelis is married to rapper Nas, born
again and under considerable pressure to prove herself as her own
woman. And she doesn't disappoint.
The album isn't
without its flaws: At 18 songs plus a hidden bonus track ("F--- Them
B----es," apparently included by the label over her objections), "Kelis
Was Here" is too long at least by a third, and with a bevy of A-list
producers (including Scott Storch, will.i.am, Raphael Saadiq, Linda
Perry and Max Martin), the music is correspondingly schizophrenic
and unfocused. But that's also part of the disc's charm: This sassy
but sexy feminist refuses to be neatly pigeonholed. She's game to
try anything -- from the smoky R&B crooning on "Appreciate Me" and "Li'l
Star," to the Space Age bossa nova of ""Have a Nice Day," to the
"Milkshake"-inspired, bratty playground rhyming of gonzo hip-pop
tracks such as "Bossy" (a self-empowerment anthem), "I Don't Think
So" (her response to guys who want to get in her pants, as well as
to people who want her to "be nice") and "Like You" (a sexy come-on
scored to a sample of a Mozart aria) -- and she succeeds more often
than not.
The Roots,
"Game Theory" (Def Jam) ***1/2
Both the
grooviest live band in hip-hop and its greatest backing group --
critical consensus is divided between comparisons to the Grateful
Dead and analogies with the Band -- Philadelphia's Roots seemed to
be losing the plot on their last album, "The Tipping Point" (2004),
which marked a surprising drop in quality from "Phrenology" (2002),
itself a bit of a disappointment after 1999's masterful "Things Fall
Apart." Maybe the musicians, especially drummer and producer Ahmir "Questlove"
Thompson, were too distracted by their myriad side projects for
quality control with the Roots, or so the thinking went. But on
their seventh album, their first release for a new label now run by
previous skeptic Jay-Z, the Roots are back in top form, with a
dense, dark and foreboding 47-minute, 13-song suite that comes on
like a modern version of another epic of urban paranoia and
political turmoil: Sly Stone's "There's a Riot Goin' On."
The political
edge in the lyrics of primary rapper Tarik "Black Thought" Trotter
is hardly new for this band, but he seems angrier and more inspired
than ever -- "Yo, I'm like Malcolm [X]/Out the window with the
weapon," he raps in "Clock With No Hands" -- while railing at
the evils of "False Media," chiding his hip-hop brethren for being
too distracted by bling to speak the truth ("Don't Feel Right") and
continually questioning the racial inequities of the war on terror
and the response to Hurricane Katrina.
The Roots'
strength will always be the musical backings, though, and Thompson
continues to be one of the most subtle but brilliant drummers in
popular music, driving tracks that feature some of the collective's
best guitars and keyboards ever, as well as its most inspired
samples, ranging from a snippet of Radiohead in "Atonement" to a
classic bite from Kool & the Gang in "Don't Feel Right." The only
misstep is the long and melodramatic closing track, "Can't Stop
This," which follows Christina Aguilera's "Thank You (Dedication to
Fans ...)" in employing the cheesy gambit of sampled voice-mail
messages to pay tribute to the Roots' late friend, producer J Dilla.
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