Jussie Smollett wears crown on ‘Empire’ soundtrack
Various artists
“Original Soundtrack from Season 1 of Empire”
(Columbia)
If there‘s one thing that could have sunk Fox’s “Empire” faster than bad acting, it‘s bad music. But ratings for the record-breaking hip-hop drama are soaring, thanks to its addictive storyline and entertaining cast, as well as its slew of catchy tunes, which are now included in the “Original Soundtrack from Season 1 of Empire.”
Not every song on the compilation is a gem, but the set is certainly worth a listen, if only for a chance to hear more from actor and singer Jussie Smollett, who plays Jamal Lyons, the middle son of “Empire” music mogul Lucious Lyon (Terrence Howard).
Smollett is the soundtrack’s breakout star — a position for which veteran producer and “Empire” music supervisor Timbaland certainly deserves at least some of the credit.
Songs like “Good Enough” and “Keep Your Money,” crafted by Timbaland and co-producer Jim Beanz, marked pivotal moments in establishing Smollett‘s onscreen role as the introspective and talented Jamal.
But the upbeat “I Wanna Love You” and the irresistibly sunny “You’re So Beautiful” — both co-written by Smollett — give audiences a sense of the actor‘s off-screen musical abilities. (It should be no surprise that Smollett has signed a real-life deal with Columbia Records.)
As for actor-rapper Bryshere Gray — who goes by Yazz the Greatest — his musical contributions to the soundtrack are in line with his onscreen persona as youngest son Hakeem Lyon. That is, mostly shallow and more rap parody than real rap. “Speakin’ of water, you fluid with the foolishness, just like H2O, without the 2 in it,” Yazz raps on “Can‘t Truss Em.”
Depth comes by way of up-and-coming singer V. Bozeman, with her emotional delivery of “What Is Love”; U.K.-born singer Estelle makes a perfect duet partner to Smollett on the uplifting “Conqueror”; and Howard is an almost-believable singer alongside Mary J. Blige on the sweet “Shake Down,” produced by the-Dream and Tricky Stewart. (AP)
Kendrick returns with an impressive sophomore album
Kendrick Lamar
“To Pimp a Butterfly”
(Interscope Records)
Rapper Kendrick Lamar went three years without releasing an album, taking his time to craft an impressive sophomore effort in “To Pimp a Butterfly.”
This new album was certainly worth the wait, following Lamar’s classic studio debut “good kid, m.A.A.d city,” which helped boost his stature as one of hip-hop‘s best.
Already a two-time Grammy winner, Lamar continues to demonstrate that he’s one of music‘s best on the compelling and thought-provoking “To Pimp a Butterfly,” a play on the title of the Harper Lee novel “To Kill a Mockingbird.” And much like Lee’s novel, Lamar‘s album overflows with metaphors, focusing on how innocent minds can be influenced by money, fame and worldly matters.
The album’s 16 tracks flow masterfully from one to another, a fusion of jazz, funk and hip-hop. It‘s a compelling piece of work that features production by Pharrell Williams, rapper Terrace Martin, Boi-1da and Rahki.
Lamar’s socially conscious messages are once again easy to digest, especially on “Institutionalized,” featuring Bilal, Anna Wise and Snoop Dogg. Lamar is strong on the Pharrell Williams-produced “Alright” and “How Much a Dollar Cost,” where he raps about the struggle of his fame with the assistance of James Fauntleroy and Ronald Isley.
The rapper touches on how some black entertainers such as actor Wesley Snipes have fallen victim to the entertainment industry on “Wesley Theory,” featuring George Clinton and Thundercat. He also offers other thoughtful tracks, such as the upbeat “Momma,” “Hood Politics” and the album‘s single, “i,” which took home a Grammy for best rap song.
Meanwhile, “Mortal Man” is a 12-minute song that finds Lamar questioning the loyalty of people in troubled times. He speaks about the betrayal of influential leaders, from Moses to Martin Luther King Jr., reads a poem and then closes the song with a hypothetical conversation with Tupac Shakur, before asking the late rapper about his perspective of today’s changing world. (AP)
Richie Furay in strong return after 8 years
Richie Furay
“Hand in Hand”
(Entertainment One)
Richie Furay‘s first solo release in eight years is suffused in nostalgia and contentment, a recipe that could fall short were it not for the ringing guitar work and the soulful, occasionally exuberant vocals.
Furay is a rock ‘n’ roll rarity — a happy man marking 48 years of marriage by putting his wedding picture on the CD cover — and his songs celebrate the long ties that have deepened over decades, not only with his wife but also to the no-longer-young musicians he played with during the glory days of Buffalo Springfield and Poco.
There is a faint hint of boastfulness in the opening track, “We Were the Dreamers,” about the early days of the Los Angeles-based country-rock movement he helped found, but Furay‘s claim to have blazed a trail for generations to come does stand up, at least in musical terms.
More importantly, the guitars and the production are gorgeous: This is perhaps what Buffalo Springfield should have sounded like. It’s followed by the title track, “Hand in Hand,” billed as a sequel to “Kind Woman,” the Buffalo Springfield classic Furay penned after first meeting his future wife Nancy at a Whisky a Go Go gig. It‘s a heartfelt paean to deep, lifelong commitment, but the lyrics don’t break new ground. Later he‘s joined by Neil Young and Kenny Loggins for a remake of the original “Kind Woman” that has a charm of its own, and lovely harmonies, but, again, few surprises.
It takes the bluesy addition of Keb’ Mo‘ to bring a more dynamic sound to the mix. Under his influence, “Some Day” has a fresher sound and more drive.
Perhaps it’s good for Furay to move beyond the rather influential circle of friends he made early in his career, even though it‘s a pleasure to hear him sing about the beauty of the Laurel Canyon sunsets they shared those many years ago. (AP)
