Tag: neo-soul

Lucky Daye | How Much Can a Heart Take (feat. Yebba)

Lucky Daye established a solid career as a songwriter before trying his hand as a performer, writing for the likes of Keith Sweat, Mary J. Blige, Boyz II Men, and others. “Neither explicitly retro nor overtly commercial, Lucky Daye is a singer/songwriter with a modern, slightly left-of-center approach to R&B with a foundation in classic soul,” (AllMusic).

From Exclaim.ca‘s review of Daye’s 2021 sophomore album, the duets-only Table for Two: “‘How Much Can a Heart Take,’ which features an assist from Arkansan songstress Yebba, is the EP’s crown jewel. It’s a bitter break-up track that plays like whiskey with a honey chaser. The verses are full of fiery attitude but thanks to Yebba’s spotlight-stealing vocals, the song unfolds into something lush and sweet near the chorus. Though the EP is light on ‘I love yous,’ it’s not nearly as depressing as it sounds. The instrumentals are deceptively warm and soulful throughout and Daye’s honeyed voice betrays the biting, sometimes tortured lyrics. It’s that juxtaposition that makes Table for Two so much fun.” 

After a start in C# minor, the wordy but relatively harmonically static verse opens up into a new vista with the chorus, which shifts into a G maj – C maj – A/B progression (G major-ish?) and then back to the original key. The pattern continues from there.

In addition to the live performance video below, don’t miss the original video as well, which features the two vocalists swapping roles while miming each other’s vocals.

Roy Ayers | Searchin’

According to the website of R&B/jazz vibraphonist/vocalist Roy Ayers, he’s known as “the Godfather of Neo-Soul. He continues to bridge the gap between generations of music lovers. In the 60s he was an award-winning jazz vibraphonist and transformed into a popular R&B band leader in the 70s/80s.”

Although he started performing in the late 1940s and was a part of the acid jazz sound of the 1970s with his band Ubiquity, he’s been prominently sampled by Dr. Dre, J. Cole, Tyler the Creator, Jill Scott and more, “earning him a vaunted place among music producers and DJs,” (LA Times). Again from his own website: “Today, (Ayers) is an iconic figure still in great demand with music industry heavyweights, including Mary J. Blige, Erykah Badu, 50 Cent, A Tribe Called Quest, Tupac and Ice Cube. Many of Ayers’ songs have been frequently sampled and remixed by DJs worldwide.”

“Searchin'” (1976) starts in E minor but shifts to G minor for its choruses (for the first time from 0:46 – 1:25) before reverting to the original key.

Silk Sonic | Blast Off

On their album An Evening with Silk Sonic, released today: “Working together as Silk Sonic, Bruno Mars and Anderson .Paak revisit that bygone analog era (the 70s) in a hybrid of homage, parody, throwback and meticulous reverse engineering, tossing in some cheerfully knowing anachronisms,” (New York Times). “They flaunt skill, effort and scholarship, like teacher’s pets winning a science-fair prize; they also sound like they’re having a great time.”

Mars and .Paak inhabit different regions of the R&B/Soul/Pop/HipHop vortex, but the overlapping section of the resulting venn diagram is intriguing — and apparently synergystic. The NYTimes continues: “Silk Sonic comes across as a continuation for Mars and a playfully affectionate tangent for Paak. Mars is a multi-instrumentalist with a strong retro streak … Paak’s catalog has delved into more complicated matters. On his albums, named after places where he has lived, he switches between singing and rapping, and his lyrics take on contemporary conditions; he’s also a musician steeped in live-band soul and R&B, and a hard-hitting drummer … On An Evening With Silk Sonic, Paak’s specificity merges with Mars’s pop generalities, while both of them double down on craftsmanship and cleverness.” With Parliament Funkadelic’s bassist Bootsy Collins serving as something of an intermittent master of ceremonies, the album “revives the sound of 1970s groups like Earth, Wind & Fire, the Spinners, the Manhattans, the Chi-Lites and the Delfonics … a Fabergé egg of an album: a lavish, impeccable bauble, a purely ornamental not-quite-period piece. Mars and Paak don’t pretend to be making any grand statement, but there’s delight in every detail.”

After a short intro peppered with compound chords, the tune settles in somewhere in the E major/E Lydian neighborhood. That duality is spelled out multiple times in the chorus (the first time at 0:44):

F#/G# — A/B — Emaj7

The use of densely-packed chromatic bass motion combined with compound chords as connective tissue (1:44 and elsewhere) keeps us happily wondering where we might touch down next. At 3:16, an extended outro leaves earth’s atmosphere entirely as the groove falls away. We continue to ascend a ladder of brief modulations (3:54), further and further into an ecstatic stratosphere — but not without a knowing and neighborly wave from Bootsy.

Phony Ppl | Why iii Love the Moon

Phony Ppl, a Brooklyn-based band with a neo-soul/hiphop focus, grew out of the school friendship of vocalist Elbie Thrie and keyboardist Aja Grant. “Thrie and Grant met in middle school,” Rolling Stone reports. “’We found out we lived two blocks from each other. It was the first time my parents would let me out of the house by myself, to go to Elbie’s: Oh, he’ll be okay. They’re playing music.‘ … A lot of our influences were us listening to new music that was actually super old music from the Sixties and Seventies.’”

Members of the band delved into music study at Juilliard, Manhattan School of Music, the School of Rock, and learning on the fly in musical theatre pit bands. Rolling Stone continues: “’Why iii Love the Moon,’ a hypnotic ballad on Yesterday’s Tomorrow (2015) combining vintage Earth, Wind and Fire with Kaya-style Bob Marley, that began as a voice memo … ‘Aja had the chords; I had the concept. We actually put the first time we played it on the record. That’s what you hear, us testing everything.’ Thrie smiles. ‘We tried to make it sound more shitty. But that’s the original tape.’”

After a dreamy intro, the track starts in earnest in Eb minor at 0:26. From 3:34 – 3:55, a trippy bridge shifts gears and airdrops us into B minor. The casually improvised percussion hints at the the tune’s homegrown origins as a voice memo. At 4:36, we’re suddenly back in Eb for the duration.

Childish Gambino | Sober

“Donald Glover doesn’t need your approval. He has always had plenty of admirers, be it through his standup, TV work, or his music, which he makes as Childish Gambino,” Consequence declares in its review of his 2014 EP Kauai. “Fans of his comedy routines and 30 Rock and Community episodes followed him to the mixtape circuit, a world which rewards humor but not necessarily Gambino’s particular brand of pop culture-dissecting kind. In turn, depending on who you ask, he’s one of hip-hop’s smartest MCs or a short-shorts-wearing outsider who’s unable to see why he’s unwelcome.”

Glover’s come a long distance since 2014. As Childish Gambino, he’s been extremely prolific, releasing multiple albums, EPs, and “mixtapes,” growing in prominence as he goes. His track “This is America” (2018), which went to #1 in the US and many other countries, was released with a single-take music video which Time described as “laden with metaphors about race and gun violence in America.”

After starting in a F major, 2014’s “Sober” drops a break (2:50) comprised of only scant background vocals, the buzz of heavily distorted electronic bass, and percussion, which somewhat obscures the whole-step modulation to G major at 3:09. The break’s contorted landscape continues until 3:29, when there’s a return of Glover’s clear, seemingly effortless falsetto over pulsing eighth-note synths and major 7th voicings at just about every opportunity.

Many thanks to Mark L. for this submission — his first!

Silk Sonic | Leave The Door Open

“Leave The Door Open” is the debut single from the new band Silk Sonic, comprised of Bruno Mars and Anderson .Paak. Describing the band’s genesis in an interview with Billboard, Mars said, “It was like, ‘Well, want to come back tomorrow? And we kept coming up with music. It felt like why you fall in love with music in the first place. And jamming with your buddy… There’s no plan, just working out the parts and trying to excite each other… that’s why this wouldn’t happen if it didn’t make sense and it didn’t feel natural and organic. This was a series of events that led us to ‘Man, why don’t we just do it?'”

“When you get in and you can jam with someone and other artists that could hold it down and you’re bouncing, that’s different,” .Paak said. “That’s the difference and you’re really creating a groove from scratch. You guys are trying to figure out what’s going to work. What’s the math behind this that’s going to get everybody feeling good? What is it? Is it too heavy? Is it not heavy enough? And especially with this song [Leave The Door Open], it’s a song that requires so much patience and delicate…” Mars jumps in: “Delicatessen,” with .Paak adding, “Delicatessens. A lot of meat went into this song.”

Released last week on March 5, the music video has already racked up over 22 million views on YouTube; the release date for the full album has not yet been announced.

The tune begins in A minor and pushes at its boundaries throughout. A definitive modulation to Gb occurs at 2:42. Thanks to contributor Clara Jung for this find!

Mama’s Gun | You Are the Music

From long-time neo-soul/r&b aficionado and first-time MotD contributor Aaron L. comes this effervescent, unapologetic love song, “You Are the Music,” from London r&b/neo-soul/pop quintet Mama’s Gun.

The album which featured today’s track, Routes to Riches (2009), was reviewed by Uncut magazine as “a masterclass in blue-eyed bubblegum soul, as heart-warmingly catchy as anything from Stevie Wonder’s ’70s purple patch.” The band has opened for fellow Brits, pop/funk legends Level 42, and American neo-soul artist/producer Raphael Saadiq.

Starting in A minor for the verse, the chorus transitions to compelling A major(ish) mix, then reverting to minor for the next verse. At 2:18, a breakdown/bridge pushes us into D minor, leading to a big modulation into Bb major(ish) for the remaining choruses.

Kali Uchis (feat. Bootsy Collins) | After the Storm

Colombian-American R&B/Neo-Soul songstress Kali Uchis released “After the Storm” in 2018. This whimsical track features collaborators Tyler the Creator and funk bassist / vocalist / icon William “Bootsy” Collins.

“The saying ‘if it ain’t broke don’t fix it’ is a perfect way to describe this new track,” (ListenMag). “A silky smooth bass groove (provided by none other than Bootsy himself) which plays along the bouncing synths, transports you to an era of love, soul, and funk.”

Modulations hit at 1:43, 2:07, as the bridge starts at 2:31, and 3:07.

Niya Norwood + Nikko Ielasi | Black Girl Magic

Happy February! In honor of Black History Month, here’s a lushly orchestrated, gospel-infused R&B tune, “Black Girl Magic” (2016), co-written by the lead vocalist, Niya Norwood, and performed by Berklee College of Music musicians, led by Nikko Ielasi.

The bridge starts with a sublime modulation at 3:16 and ends with a reversion to the original key at 3:42.