By shelz
When Joss Stone appeared on the music scene back in 1993, she threw everyone for a loop. The 16 year old English chanteuse stood head and shoulders above all the adolescent pop tarts and angst-filled girly rockers that were climbing to prominence. However, she never quite got over the hump to superstardom. Her look was young and funky but her sound was that of an old soul with overwhelming retro R&B sensibilities. Fitting her rough, raw edges into the neat little pigeonhole the label had carved out for her didn’t work. So they rounded her off, updated her sound and attempted to erase a bit of what made her special. Well Miss Stone didn’t like that and she makes it very clear on her latest release, Colour Me Free.
The 12 track LP is a mixture of old school R&B, blues, funk, optimism and frustration. The blips, bleeps, and computer contrived muzak that’s all the rage is replaced by live musicians with real instruments and her topics run the spectrum from cheating men and underhanded government practices, to yes you guessed it, freedom. The album is a grove happy romp through decades old soul stylings and is yet another reminder of Stone’s undeniable talent.
Stone’s blue lights in the basement party kicks off with “Free Me.” It’s a rousing statement to everyone who has found their love or art to develop them as they see fit. It’s also a sharp shot at her label EMI that has declined her requests to be let out of her contract due to creative differences.
“Don’t tell me that I won’t. I can. Don’t tell me that I’m not. I am.”
Everyone can feel that chorus in one way or another so it’s definitely a concept to rally behind. She closes with the chant, “Free me EMI!” So be on the lookout for those “Free Joss!” shirts, sometime soon.
The album then moves on to “Could Have Been You” and if you like to read between the lines, yes this song could totally be another jab tossed in EMI’s general direction. If you don’t, then the song is simply about popping your collar when you walk past the old man with the new man. The sentiment is something that many women will enjoy and the easy guitar and barely there piano tinkling creates the ideal backdrop for the perfect goodbye kiss.
“Parallel Lines” presents the first two of Stone’s awesome list of contributors with Jeff Beck on the strings and Sheila E. on backup vocals. Beck’s whiney guitar and that deep, funky bassline combine for a great intro to the song about folks living their lives with blinders on because they fear difference. Listen to the words on this one. Dope.
Then there is “Lady.” It’s a sultry tune about keeping your ladylike in check when the man you’re with gives you naughty thoughts. “Big Ole Game,” featuring Raphael Saadiq, is probably the best cut on the album. The song is signature Saadiq soulfulness complete with horns, harmonizing backup singers and dramatic breaks. Stone sounds like she’s channeling Mavis Staples as she sings about getting that #1 lover status. The other highlight of the album, “Governmentalist,” shows Joss’ conspiracy theorist side as she enlists Nas to help her go in on the cheats and liars who are littered throughout the political ranks.
At this point the album takes a somewhat disappointing turn. Stone’s ability to carry a ballad has always been questioned and this album does not get her any closer to answering that criticism. “4 and 20” is a throwback with a 60’s soul vibe. It’s a beautiful song, but Stone’s interpretation is a bit flat and the ad-libs sound unnatural and forced. She throws some vocal runs in at the end but she’s 4 and 20 late and a dollar short unfortunately. “Stalemate” with Jamie Hartman is generally underwhelming and his voice is a bit irritating. “Girlfriend On Demand” is the best of the ballads and will speak to those who feel unappreciated, but it doesn’t compare to her up-tempo work.
Unfortunately for Stone, the price of homage on this album is pretty high. There are some songs that are influenced so much by earlier recordings that the similarities are beyond striking. I’m not going to tell you which ones, though. Maybe you can break this album out one night and play, “name the song that this tune sounds exactly like” or something to that affect.
In summation, the album is good. Her ballads aren’t awesome but her mid-tempo stuff makes up for it to a certain extent. The production is splendid and Stone has a tricky, slippery delivery that slides in, around and about notes like few others of her generation. That talent and passion is probably what led EMI to her in the first place. It’s a shame the love has faded.
3.25 out of 5
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