Joss Stone | LP1
Album Review: Joss Stone | LP1
by Brent Faulkner
Joss Stone's recent career has seemed to be a bit less stable than when the neo-soul singer first bowed in the U.S. On 2007's Introducing, Stone tried to position herself as recharging or reinvigorating a career that had already been solidified by two critically acclaimed efforts (not to mention Grammy-nominated). Her exclusive Colour Me Free suffered from only being available at Target, not to mention the lack of a distinct promo single to stir up the buzz. And now, here arrives the independently released LP1, following an unfortunate downgrade of her 'rising stardom' (Adele rules this roost) and a bizarre, failed murder plot against the talented vocalist. LP1 is another 'reinvention' sometimes suiting the singer perfectly while at other times selling her ever so slightly short. That said, Stone still possesses madd pipes.
The album opens with "Newborn," a departure for the singer, finding Stone accompanied by acoustic guitars and embodying more of an adult contemporary sound. The track gradually evolves into a more soulful vehicle (thanks to organ), not unlike Dave Stewart's production work on Stevie Nicks's most recent affair, In Your Dreams. The enjoyable refrain brings it all together: "everybody walk hand in hand/get hold of your land/push together yeah/everybody get over hate/ you turned up too late/that trick's over..." Not a bad cut, "Newborn" proves to be a bit clunky. "Karma" is a funkier cut, featuring songwriting credits from Martina McBride, Brad Warren, Bret Warren, Joss Stone and Dave Stewart. The clavinet may be the best instrumental highlight of the cut, hearkening back to Stevie Wonder’s pioneering use of the instrument. Vocally, Stone sounds as ferocious as ever, rivaling her electric performance on past hit "You Had Me." "Don't Start Lying To Me Now" is even better given it's bluesy nature and gospel-tinged sound. Of all the cuts on LP1, "Don't Stop Lying To Me Now" may be the most fitting, natural setting for Stone.
"Last One to Know" is a bit ambiguous at first, but like much of Stewart's production work, there is a sense of evolution about the cut. The drawbacks of this cut are the lengthiness (nearly five minutes in duration) and the departure from previous, more soulful cuts. Joss saves the day from any momentum loss with the soulful, rock vocal histrionics at the end. "Drive All Night" possesses a nice, low-key soul vibe. Despite the sound and capable production, the songwriting could use more structure. The other rub again is the extravagant length, clocking in at over five minutes in duration where four might’ve been more ideal. "Cry Myself to Sleep" is a ‘sleeper’ and brings down the momentum of the effort. Thankfully the brief, but enjoyable "Somehow" resurrects the soul-rock vibe of the best cuts on this effort. The production is superb and the songwriting is strong. "Landlord" finds Stone as soulful as ever, but the effect of the cut is somewhat bland. "Boat Yard" starts out promising, but again length proves to be a con. Closing cut "Take Good Care" is forgettable, yet appropriately placed in the sequence of cuts.
Overall, LP1 is an enjoyable album, but it is also a flawed effort. Hardcore fans will miss some of the overt neo-soul stylings of previous efforts. All fans - casual or ‘tried-and-true‘ will appreciate Stone’s vocal grit throughout the effort, which is never compromised. Next go-around, a return to Stone’s neo-soul roots might be just the formula to truly reinvigorate her promising career.
Brent Faulkner
The Urban Music Scene
Posted by Administration at 8/24/2011 7:36 AM 
Categories: Pop, Rhythm and Blues, Neo-Soul, Video
Tags: Rhythm And Blues Music Videos Pop Music
Categories: Pop, Rhythm and Blues, Neo-Soul, Video
Tags: Rhythm And Blues Music Videos Pop Music
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