Enough cannot be said for this R&B crooner who travels in packs.  The lineup included Chrisette Michelle and COMMON (my third time seeing him this year)…and it also looks like the Detroit show had the privilege of Robin Thicke….another stud I need to see as soon as he’s on tour again.  

Everything about tonight was great.  Good Indian food, Chrisette started on time, though her set was surprisingly short.  Only four songs and none from her first album….bummer.  I know great things are in store from her though, so in due time.  COMMON was quickly up next and I cannot even tell you how much I love this kat.  Three time’s the charm and he switches things up everytime.  You can really tell he’s been doing his thing for the last 20 years.  Well-polished, well-groomed, well-studded, well-stocked with veteran musical support staff, and well-rehearsed.  If you have a moment folks, do show the brutha some love.

Then we get to the main event…Mr. Maxwell himself.  He starts off the show with an electrifying bang and I was quite surprised by his skillful and acrobatic dance moves.  One can help but be captivated by a guy who seems to be having so much fun performing his own songs and who immediately gets the crowd into it.  The entire arena began the night singing with him and by the end, we all found ourselves still singing along….and on key!  From the strategic lighting to the stereo sound to the playful, movable stage to the incredible visual imagery on the two jumbotrons, this show was the best I’ve seen in a while…comprehensive, full of symbolism and originality.  One up to the tour director on that one.  However, even without all of the theatrics, Maxwell has the gift of all legendary crooners….the gift of relatability.  Not a soul walked out of that arena not feeling like he sung at least one song just for them, not feeling like we didn’t know him just a little bit better than we did hours before, and not feeling like both he along with us were having the time of our lives.  Maxwell, the humble.  Maxwell, the talented. Maxwell, the sexy.  Maxwell, the lovabe.  Maxwell, the unforgettable….which is why, 8 years later, we are still as excited as ever to see and hear him doing his thing.  DON’T EVER LEAVE US HANGING FOR THAT LONG AGAIN!!!     YOU’RE JUST TOO DAMN GOOD!!

It might be too early to tell what the real deal is here, but it is with great pleasure that I able to once again rave about how well-done VH1′s classic music documentary series, Behind the Music, truly is.  I couldn’t believe my droopy eyes when I stumbled across its inaugural re-episode featuring none other than Pink–the girl we all wish we could secretly be.   Since Pink’s no virgin to this TV series, the choice to pursue a remixed, updated version to existing footage reeks of a “behind-the-scenes” decision to urgently re-deliver the remnants quality programming and makes me–an avid fan of the 1990s VH1–very curious about its future.

Whatever the case may be, the re-introduction was refreshing and seamlessly revised to include the most recent part of the diva’s career and personal life, including her on-again, off-again marriage to cutie motorcross champion, Carey Hart.  Through interesting narration and candid personal dialogue, Behind the Music never fails to successfully capture and deliver a story, a personal history, of an artist in much the same way the game-changing and iconic “60 minutes” news broadcasts are able to capture the story of its wide-ranging topics.  For the true music fan, this series serves as a simple visual and audible autobiography that either makes you appreciate the artist and her music that much more or at least appreciate their point of view.

While I didn’t have to be convinced of Pink’s powerful backstory in order to like her music, I was surprised to find myself watching the second installment of Behind the Music’s double header featuring Lil’ Wayne.  Don’t get me wrong, I like Lil’ Wayne.  He seemed to be everywhere and then some in 2008, seamlessly jumping from genre to genre and solidifying his signature “rap mumbles”, sometimes brilliantly aggravated by the once popular, but now fading, autotune device.  I know some of Lil’ Wayne’s backstory, but I honestly felt like I missed his resurgence to stardom over the past few years–that is, from a Hot Boy to worldwide, platinum-selling-in-an-age-where-digital-music-makes-selling-actual-records-all-but-impossible  superstar sensation.  Lil’ Wayne has emerged as a strategic and talented artist that must be respected and it was fun to retreat into his world for 60 minutes to witness how it all came to be.  Much love Lil’ Weezy!

And so…here we are….with a reminder that all things gold are not yet dead and gone forever.  Let’s just hope that Behind-the-Music is not the only oldie, but goodie, that is resurrected from the VH1′s production graveyard, and perhaps the outrageous reality show run can finally rest in eternal peace….or better yet, be cremated !!

FLASHBACK:  LATE REGISTRATION
The Album as a whole:In its entirety, West intelligently straddles the line between political consciousness and typical hiphop commentary, pure formula beats and refreshing musicality, and witty lyrics and deficient storytelling. As stated in “Diamonds from Sierra Leone”, when he came in the game, he made his own lane. And so this album is on many levels, in a lane all its own, largely due to Jon Brion’s contributions that inject lingering musical breaks and bridges (composed mostly of string arrangements that bring an uncanny elegance and grace–two words historically disassociated with hip hop). But the breaks are so accurately formulated, the listener never questions their song location. West also tries to loosely hold onto his College Dropout theme through the album title and repeated skits of a fabricated Greek fraternity, “Broke phi broke”. As in, in case you weren’t listening, college still does not ensure your life’s fortune. An in-your-face fact that is proven over and over again by Hollywood’s elite (many a high school drop out) and, to a lesser extent, at the executive level of Corporate America and the idiot we now have as president (Yale…or Fast times a Ridgemont High?).

Heard Em Say: Nothing’s ever promised tomorrow or today…indeed it’s true. And Adam Levine from Maroon 5 sounds, oh so sweet, on the hook of this song. But I think the video did the best justice to this song…at least the animated version. I never did lay eyes on the toy store sleepover that seemed to be the preferred choice among Kanye and his camp. Why, I ask???.. when such a beautiful cartoon depicted the song so gracefully. At any rate, nothing can take away from the angelic melody and softness of this song. Listen up!!!

Touch the Sky: Shout, shout, shout…these are the exclamations I think of when hearing the excited horns in this track. They really make the song come alive, not to mention Lupe Fiasco- superbly endorsed rap phenom slowly working his way to the top. This is not my favorite song on the album, but the video does call into question Kanye’s thoughts behind song promotion. Even Evel Knievel himself wasn’t too happy about this performance. Next…..

GoldDigger: The anthem of 2006???….if not THE anthem, then one of them for sure. Jamie Foxx still living off the credit of RAY. I don’t blame ya boy!!

Drive Slow: Paul Wall?? C’mon son….the flow is crazy. Houston’s finest. It can’t get much better than that. Kanye does know how to pair himself up with the greats. And because of that, his song do great. Possibly hit material, but some other songs measure up slightly moreso. Awesome production, lyricism and concept.

My Way Home: I love my boy, Common. Even though this track is just a snippet for the imagination…I often long for the extended version just to know how the whole song would have sounded like. Can’t touch Common Sense….and with Kanye, it’s a dynamic duo.

Crack Music: Similar to Drive Slow, Ye pairing up once again with rap’s elite: the one and only GAME. Na, na, na, na, na…..immersed with political commentary, accusations, and implications, this song is nutta butta….nothing but the truth. It depicts, the oh so commonly discussed, plight and downfall of African-American in a society that still does not see us as equal. Shit…it begins to make one wonder how far have we really come…when will it ever be equal? Don’t hold you breath….similar to crack, racism is THE most evil existence known to ALL Blacks. Crack messes with our hearts and minds, racism is within our hearts and minds. And there is hardly a cure for something ingrained so deep

Roses: Inequity, sadness, life…all the theme of “Roses”–the story of a loved one on his death bed and how the living struggle with the very thought. Swimming in thoughts, Kanye actually delivers a stunning portrayal of his grandmother’s struggle with sickness and his family’s heartache at the potential outcome of death for their matriarch. It’s all in the eye of the beholder.

Bring Me Down: A true testament to Ye’s faith in, well, himself….and a “stick-it-to-all-those-who-doubt-me” type anthem. Heard it before, though well done, with a little help from Brandy.

Addiction: I LOVE THIS SONG….but I am a sucker for the underdog with tracks. This song would never make the hit list, but it’s totally fun mainly due to its quick tempo and thoughtless wordplay. It’s not really about much of anything, but it is crafted so well that it really does not need to be. Everyone has some sort of addiction, regardless of how big or small. Some of us can control it better though.

Diamonds from Sierra Leone (Remix): Jay-Z totally amps up with wanna-be thought-provoking tune…though the diamonds of Jay are all his own, with no homage to the very real issue of Blood Diamonds (out in theaters now). Jay’s verse is superb, but would be stellar if it intermixed the story of the terrible happenings in Sierra Leone with the fruitfulness of American materialism. Three stars for effort though.

We Major: Not really feeling it…thought I love NAS.

Hey Mama: All rappers should have at least one homage to mama…

Celebration: Not really feeling it….but ok.

Gone: Um….yeah! Jon Brion is brilliant and Cam’ron’s verse is pure fire. Ok, so most of the lyricists on this track can spit, but the instrumentation in the middle is what gets me. Call me a music nerd, an exceptional music enthusiast, or just plain weird, but the breakdown between the 2nd and last verse is just superb. It makes the song just that much better. One of the best examples of post-production I’ve listened to in a while. Could you imagine the craziness of creating that breach….the realization that this here is a masterpiece album. Whooo….ain’t nuttin’ like it in the world.

The tribute to MJJ was the best one yet, and sadly put BET to real shame (though its rival did have more time to prepare). Madonna’s ode to the gloved one was truly remarkable, silencing the ever-so-rowdy audience to a pindrop, as she poignantly relayed how and why MJJ was so, so special. Oddly enough, I came away from her candid reflection, respecting Madonna that much more. The similarities between her and Michael’s life are a bit uncanny at best, but it was the juxtaposition of the similar and the different that truly made her words resonate with such meaning.

Moreover, it was the juxtaposition of this somber mood against what would then come a fun, lively mix of MJJ’s key favorites, complete with an army of dancers dressed in MJJ’s signature clothing–the “Beat it” jacket, black pants, the sparkling socks, the white V-neck and opened button-down, the black suit jacket with the white arm-band. As a fan, I was definitely loving the thought put into that performance. But what I was most waiting for was my girl—Janet, Miss Jackson if you’re Nasty…and as usual, she didn’t disappoint. The performance finale appropriately ended with a truncated, but stimulating version of “Scream”–her only duet with King of Pop. Surrounded by world-famous choreographers, among them namely Wade Robson, Travis Payne, Tina Landon (my girl), Brian Friedmann, Mia Michaels, and Gil Duldulao, Janet performed her signature style and ended the performance with a digital MJJ dancing alongside her. In sync, in style, and in love, I reminisced for a split second about Natalie Cole’s historic duet with her posthumous father. And like that remarkable song, that final minute of the MJJ tribute was truly unforgettable. MJTV…at its best.

Dynamic Duo!! Awesome Twosome!! Call ‘em what you want, but Outkast by far is one of the most creative rap groups out there. No where do they show this more than their lastest CD, Speakerboxx/The Love Below. I ain’t gonna lie, I do miss the early days, when long cadillacs and hood attire was the norm. While most of the Dungeon Family is still rockin’ this today, its most creative fraternal twins rock everything from feather boas and eccentric costumes (Andre 3000) to plaid suits with pilot sunglasses (Big Boi). And their music has taken the same turn. Gotta love it!! The need to keep changing and take chances has made Outkast a dual force to be reckoned with in a category all their own. With Speakerboxx/The Love Below, it just keeps getting better. Big Boi’s bass hit mumbles fused with Andre 3000′s recent infactuation with instrumental experimentation and theater scoring maintains the group’s raunchy, but clever delivery. Keep it comin’ fellas.

Recommendation: A definite must for the frustrated rap music lover who knows there is more to ATL than all things crunk!! Word up.

Next, Donny Hathaway. So I pride myself on my deep knowledge of all things music. But I must admit, I did not know half of Donny Hathaway’s story and am graciously thankful to now know it. Repeatedly referred to as a true genius, ahead of his time in so many ways, he was truly one of the greatest. At the threat of being trite, my fondest memory of Donny Hathaway is “This Christmas”. As a little girl, my mother would always play old Christmas classics around the holidays and besides Stevie Wonder’s “I Wish You A Merry Christmas”, D. Hathaway’s “This Christmas” was my all-time favorite, mainly for the part I realized today was pure Donny. Even as a little girl, it was the instrumentation of that song that I loved the most and still to this day, words come second for me. The clips of video showing Donny on the piano takes one’s breath away. It was so natural and coupled by a voice so melodic. He’s one of the few artists who could probably make an album about nonsense and it would still sound good. Moreover, he was the voice of the average Joe…the average black Joe, that is, and songs like “Ghetto”, “Someday We’ll All Be Free” and “To Be Young, Gifted, & Black” celebrated the honesty of our culture. After these masterpieces, duets with Roberta Flack seemed like icing on the cake. Black America couldn’t get enough of Donny then, and we still cannot get enough of him now. Another angel gone too soon among us.

The Clark Sisters. As a permanent fan of soul music, a secular derivative of gospel music, I cannot help but be a fan of the creations from the Church. And though I prefer the mainstream kinship of the Lord’s hymns, learning about The Clark Sisters has literally changed my life. These powerhouses brought to the mainstream, what many Blacks knew firsthand, the energetic, contagous influence of Church music. The most thrilling part of The Clark Sisters’ story, to me, was that this was really a movement by women, particularly at a time when the pastor was traditionally marked as the most influential figure next to GOD. But when Mattie Clark’s fingers hit the organ and her direction set the tone, people listened, people sang, people cried and people united. Bringing her daughters along for the ride was just an added blessing. Boy could these sisters blow…every last one of them. Talk about breaking the proverbial sound barrier. These siblings brought a new meaning to the word “harmonize”, a signature begun by their persistent matriarch. She wanted her five daughters to sound as one and boy, did they and so much more. These sisters rocked the house every which way they went and to witness this so many years later is both bittersweet and joyful. The greatest part about this story was that tradegy stood far away from them. While they had many a battle to fight (especially with over-conservative Church members who decried musical ministry to the secular population), in the end, all of them had successful solo runs, families of their own, and an even better reunion album. Not to mention three grammies to boot….go ‘head girls! God done bless you!!

Finally Shalamar. Ok, so I have no idea how I only vaguely remember Shalamar, but very much remember Jody Watley, Howard Hewitt, and Jeffrey Daniel singularly–all for very different reasons. In a weird way, Shalamar was the first example of how a group can go on, and on, and on, even with multiple replacements and changes in sound. Shalamar withstood several replacements of lead singers and several genres of music…but it was the trio of Howard, Jody and Jeffrey that made the most memorable sounds of Shalamar. I personally like ‘Take that to the Bank’ (ok, I admit I like Disco)….but songs like “Second Time Around”, “This is for the Lover in You” and a fan favorite “A Night to Remember” are marked in stone. What intrigued me about this story was the origin. Beginning with Soul Train and Jody/Jeffrey as dancers, this group emerged into something very different from where it began. I just wish the dancing was showcased more….though later on it would be. After the breakup, Jody went on to establish herself as a recognizable and distinctive pop 80s artist (I’m still looking for a new love, baby!). Howard Hewitt’s vocals are still as smooth as ever…a modern-day Smokey crossed with Peabo Bryson. And who can forget Jeffrey Daniel, one of THE most iconic dancers of our time. I couldn’t believe my eyes when I witnessed his “Top of the Pops” performance of “A Night to Remember” in the UK back in ’82. Ah-MA-Zing! Jeffrey, as many of us know, would go on to choreograph some of the biggest videos and tours in music history–including and most notably, Michael Jackson’s BAD and Smooth Criminal (my personal favorite of all time). He still has a very intriguing presence, with a formal, light-spokenness akin to MJJ, an infatuation with Japan, and fiercely tight dance skills. Man, why couldn’t YOU TUBE exist back in the 80s.

All of the above (most notably Donny Hathaway and Jeffrey Daniel) have reinvigorated my musical energy and my unwavering pride in my musical heritage. I will definitely be taking some withdrawals out of the Itunes Bank to relive these classics and remix anew. Thank you TV One for providing me that glimpse into a seemingly timeless past. Good night all!!

Ok, so you know how after you cycle through your music collection, you always end up rediscovering an artist all over again? Well, that’s what happened today and the talented winner is (drumroll please)….none other than John Mayer. There’s a funny story that goes behind my discovery of this young man. The summer after my graduation from undergrad, I came to know a really cool girl who was just as into music (all types) as myself. It just so happened that she was ABSOLUTELY obsessed with Mr. Mayer, who was relatively new at the time and was coming to town that weekend. Of course, she was planning to go, but at the time, she had no one to go with. Although she had been ranting and raving about this young musician all week, I had not ever heard of him and wasn’t really tuned up enough to go “pay” to see him. Well, as it turned out, her other friend did end up going along with her to check out the show, but her insistence on this guy’s talent, at the very least, coerced me to check him out for myself. After sound checking some of his stuff, I gave a relaxed seal of approval to my friend, but it still wasn’t enough for me to “actually purchase his CD”. Eerily however, his songs followed me everywhere I went for the remainder of that year until I finally felt so moved as to, well..”actually purchase his CD”. Now I am sitting here wondering what took me so friggin’ long in the first place. Ok, so lemme break this down….

ROOM FOR SQUARES – this debut by John is a sheer knockout, enjoyable by both twentysomething females looking for love (good, real, sincere love) and twentysomething males that similarly emulate John’s awkwardness in finding such love. While love is not big on my agenda currently, John has a very sincere way of conveying relationship situations… obviously credited to his superb lyricism. Track 3 “My Stupid Mouth” for instance, vividly captures the discomfort of a “slip of the mouth” on an already tense, figgedity first date. John not only delivers situational dialogue, but also paints a fabulous description of body mannerisms, nervous behavior, and emotion. You can’t help but say “Damn, I’ve been through a situation just like that!” Not all his songs are about relationships though, tracks like “’83″ and “3×5″ show the true observer in John, respectively discussing the simplicity of childhood and how memories are so much bigger than any camera or 3×5 could ever capture.

HEAVIER THINGS – John’s second effort successfully rids the curse of the sophomore slump, mainly because this boy is very, very talented!! Appropriately titled, this album is a lot more contemplative about life, its moments, and its uncertainties. It’s slightly darker, but filled with curiousity and underbearing confidence (“Clarity and Bigger than my Body”). A couple other favorites include “Split Screen Sadness” (very cleverly titled), about a relationship gone wrong with both parties enduring pain of a breakup, and “Daughters”, a message regarding the significance of parenting.

RECOMMENDATION: Regarding his music and especially his melodramatic stage presence (his fans know what I’m talking about), no one can do it quite like John. Looking very forward to his next album.