djThunderfunk said:

Best song on a great album

Prince had me dying

Climbing That Hill

Sometimes everything just magically comes together in ways that genuinely shock your tired ass down paths that feel both familiar and refreshingly impossible to recreate.

Such is the narrative of Judith Hill's "Back In Time," an album that not only reaches the potency of Chaka Khan's collaboration with Prince on her 1998 "Come 2 My House" but locates that shelf that cries out for a step ladder.

Given Judith's amazing voice, power, range, and acute artistic abilities that imply an understanding likely surpassing a need for much direction, I'd say she really doesn't need Prince at all. Such is the irony of seeing her show up in the "Associated Artists" forum.

Judith Hill, aged 31, still a relative unknown, perhaps mostly stationed as such because she has yet to settle for someone else's dream.

Enter Prince. The man with a death grip on control with his long forgotten trail of fragrances capable of conjuring thick clouds of cynicism to form over your head like a comicstrip bubble symbol-laden in curse words.

Yanked precipitously from the studio you pace outside, Hill is met with furrowed brow and whispers of grave concerns you thought were reserved for your only daughter's first date.

But then the walls start to pulsate again with an earnestness that creates an impression found in Judith's reassuring smile. And suddenly I'm the one being comforted. There goes what little I thought I knew.

If this isn't real, count me in as sold proudly down the various flows that now gently guide me back toward the studio.

I have no idea whether Prince has found his kindred spirit in his preferred tone while aligning artistically like some blue moon or whether he has been evolving towards a more open air feel (more we and less me) ever since Khan left her legendary shadow — and perhaps some tears and blood — upon his Paisley walls.

But if it is any of the latter, a huge nod also goes out to that famously fired duo from the 80s and that recently stoked fire from Andy Allo's own.

In short, you might be slightly (or significantly) disappointed if you pick up this piece expecting to hear another side of Prince's legendary communion. It's Prince in the backup roll now as a producer of more than just his own ideas across its brisk 38 minutes of crippled anger, impassioned hope, and celebrated harmony.

We all know that most of Prince's side projects have been about exploring more of his seemingly bottomless well of musical sketches that, despite some obvious exceptions, wouldn't always fit with his finest solo attire.

The difference here, and I could be completely wrong, as nothing much has been announced yet, is that a significant chunk of this album sounds like some portion of the rumored primo Prince material he had frustratingly jettisoned, destined for who knows what and god knows when, but probably for his more soulful, horn-based aspirations to be released only after, if at all, the rock muscle had been fully mused.

Step also into Judith's well versed but never fawning prescient lead that pens its own bag of riches. On "My People" she sounds nearly as precise and measured as James Brown lining up the faithful in a fevered focus that could stop a riot before it even begins. If Prince's slap bass doesn't get you, Ms. Hill has the power to make that call. You feel the strength in numbers as you raise a fist and find a looped joint to link.

More shawls of her womanhood dance in the breeze kicked up beneath Judith's own outdoor piano stool, coaxing a soul vibration in a "Beautiful Life" that seem as much Stevie Wonder soothing your inner child as it is a personal reminder to never settle for today's regret. Cue a note held against the stiffest of winds.

And given the spontaneous nature of this recording (2 or 3 weeks) there certainly must be some drying paint found amongst the main drive.

Such perhaps is the tale of the opener, "As Trains Go By," a harshly reflective bleeder and musical anchor that arrives emboldened enough to stomp the funk face unapologetic. It's hard and angry as it bares fierce witness to the chokehold prints left all over the last several weeks.

It's the superior, serious-as-sin progeny of "3121," demanding another level of equality birthed from awful realities. It clearly will rattle some cages as it builds upon a similar strike that is Chaka's already quaking "I'll Never Be Another Fool," which in and of itself was already the even more ferocious step from "Emancipation."

Poetic images pass through what is seen and lived juxtaposed with a hope in burdens that will someday be guided away. Not sure yet if the song is lowered a bit by red-light hooks found in a chemtrail-like conspiracy.

Listening to Prince's harder edges in the studio of late makes me feel baptized in his youthful accomplices. You can hear him gushing over the epic contributions of his childhood heroes as much as he's relishing in showing off what he has done and can still do.

Perhaps also some day totally new ventures will be climbed apart from the missing links provided by Sly Stone's legendary signposts (acknowledged in a second of silence that ends the proceedings and gives this album its title track).

This knockout opener is pleasantly greeted by further steamrolling on "Turn Up," a track more than capable of picking you back up, dusting you off, fawning over you like a schoolgirl in the front row of a One Direction concert, before causing your head to knock to the final you-gotta-be-kidding-me.

The "afterparty" vibe might give away its chromosomes, but if such a thing even exists, I don't want to hear Prince's. Judith is banging supreme here with her "Holly-fornia" roots maniacally dangling and twisting about before bouncing you hard in the backseat for some low-rider excitement.

Perhaps this is the kind of vibe Prince was shooting for with “Musicology." But that album never seemed to clearly part the way. This one has booked a yearlong stay at the International Space Station.

I remember seeing Judith Hill a couple of years ago in the documentary "Twenty Feet from Stardom” (streaming now on Netflix) and wondering alone to myself in the dark why Prince hadn't — outside of Khan, late in her career — ever fully embraced someone of this potential grandeur.

Hill fits right in with this film's theme. Seeking earnestly to maneuver the complexities of reaching the forward most mic while surrounded by extraordinary women (and a couple of guys) who were counted on 40 or 50 years ago for a disproportionate slice of the heavy lifting from another burner, even as Hill herself is shown backing up such giants as Stevie Wonder and Michael Jackson.

Walking this fertile incisiveness to new stations is "Angel In the Dark." Caressing the boom of the unmistakable clinch of a modern day power ballad elastic enough to ride the vinyl crackle that summons a pass strait through to the spiritual hauntings hung on Adele's Bond-themed walls.

Fully in charge meets the bottom of my wow.

Apparitions slowly fade after slyly attesting to the "Cure" found adrift the feminine readings impressed upon its many layered rings. Entering as a Rufus-sized queen to a procession of no subjects to get in the way of Judith's uninhibited horn-like frolic about some playful, deep-throated sax that flaps the antidote for a change heard halfway around a "Hot Butterfly"."

Tracks stopped nearly dead in a dramatic shift that crawls through the door as weathered as yesterday's coughed up, inviting a trail of puffery and an unmistakable grunt that completes the space. Unfazed in the obvious multiplicity of this "Love Trip," Prince dutifully backs up with sounds that cry out for short bursts of studied, bow-tied choreography sponsored by the finest jazz clubs. Meanwhile, Judith sits across the darkened way scatting and natively chanting as if stroked by Miles himself.

The biggest stumble across things you thought you'd never encounter is a young Michael Jackson and Prince dictating the funk heard on "Wild Tonight" with a fluidity that doesn't even make you wince at its boundless improbabilities.

Any lingering thoughts of this being Prince's new solo instruct are sucked down a blackhole as Hill grips the urgency the spotlight double takes. Retina burn if directly gazed into knees that dip and shoes that spin in a stunning display of dexterity and unmistakable command in what you probably still can't altogether believe.

Sandwiched between this upstairs funk — close to the bag you dropped near the entryway — and before you're motioned to strip down to cooler confines comes the penultimate "Cry, Cry, Cry" along with the spirit of Etta James freshly bandaged from the scuffles earned on the first track.

Or if you prefer, Amy Winehouse telling you how it's going to be if you wish to ever climb that stoop again. Large, bellowing snips of bite answer Prince's blues-like contortions that meet at your particulars as you attempt to squint your way through this bed you now lay in.

Down the final steps we pile, met with dark and creaking, cracked cement, and the unmistakable bouquet of mold growing on the stereo console that'll serve as our centerpiece for "Jammin' In the Basement," a groove serious enough for a Motown party held back when the world was listening in awe to a diversity that could expand reflections.

Listen to how Judith's giggle gets rolled into the mix. Listen to how the horns can still put the juice in your marrow. Watch as your stupefy energizes to awaken the dawn.

While this particular recording is no where near as adventurous or audaciously different as some of Prince's most iconic contributions that have forged much of his legendary persona, it's as bright and imperative as very few have ever been fortunate to cast in a debut.

There was a time, it seems a long lost wilderness ago — with some really great ballads, gospels, and instrumentals interspersed — where the more energetic Prince, post TRC, often felt at least partially held back in someone else's thought jar.

But with AOA and now "Back In Time" — Prince, and Judith — a mini renaissance of sorts may have sprouted. Both records marked in themes of time that, just as importantly, tout a freshened stride that keeps them from becoming just a dusty tribute that ends right here.

Nearly four decades into Prince's career, if it all disappears faster than the scent of just another in a long line, it would be exactly what we all expect.

But perhaps what we have downloaded for free here (I'll gladly pay when the time comes) is something more viral than old school, even as ridiculous as that suggestion may sound given that Prince's baggage has almost never fit inside someone else's overhead.

--proofreading/editing--
[Edited 4/4/15 22:54pm]

udo said:

3rdeyedude said:

Hey, looks like Hill might tour with Prince............like I suggested earlier! This would be cool.

.

How much different would this be from the Tamar thing in 2006 or so?

Probably not much different. So far I think people seem to be more positive about her than Tamar. I liked Tamar better though. Both of them have great voices. I don't see them having a voice that will make them a star though.

There was an interview with Hill today on NPR, she was great. She mentioned she and he band are about to tour.

Rebeljuice said:

I really like this album. Does anyone really know anything about it though? Was it Prince penned? Did he contribute to every song? A few songs are clearly Prince songs, but some seem to have no trace of him at all. Could that just be him being clever for once and not insisting his sound come to the fore? Or is he on this less than we may possibly think?

Im also utterly confused by its release strategy... Whats going on there? Was it just a teaser? Did the legal action against him stop things in its tracks? Is it Prince's lack of business acumen taking centre stage again? Is it another Protege that will fall by the way side, despite a good album, yet again?

And more importantly, how many questions can you ask in two short paragraphs? Did I ask enough? Should I come back and edit my post with more questions? How are you feeling today?

not much, who knows, hopefully, probably not, could be, only he knows, nah, doubtful, probably, time will tell, more than that, yes please, great

Rebeljuice said:

I really like this album. Does anyone really know anything about it though? Was it Prince penned? Did he contribute to every song? A few songs are clearly Prince songs, but some seem to have no trace of him at all. Could that just be him being clever for once and not insisting his sound come to the fore? Or is he on this less than we may possibly think?

Im also utterly confused by its release strategy... Whats going on there? Was it just a teaser? Did the legal action against him stop things in its tracks? Is it Prince's lack of business acumen taking centre stage again? Is it another Protege that will fall by the way side, despite a good album, yet again?

And more importantly, how many questions can you ask in two short paragraphs? Did I ask enough? Should I come back and edit my post with more questions? How are you feeling today?

This article pretty much sums it up:

http://www.billboard.com/articles/business/6524106/judith-hill-label-battle-prince-live-nation-cherry-party-sony-red

She was great at the Detroit concert. The songs from the album felt more fleshed out (almost more "important") live.