"free like a bird"

Meshell (like Jill Scott) is one of those eclectic artists that I've been hooked on since their beginnings. Music, unique. Their album releases but also when you discover them guesting on someone elses album. Know any off album cuts by her. Smooth mixes. Stand out cuts from an album?

.

Plantation Lullabuys 1993

Peace Beyond Passion 1996

Bitter 1999

Cookie: The Anthropological Mixtape 2002
Comfort Woman 2003
The Spirit Music Jamia: Dance of the Infidel 2005
The World Has Made Me the Man of My Dreams 2007
Devil's Halo 2009
Weather 2011
Pour une Âme Souveraine: A Dedication to Nina Simone 2012
Comet, Come to Me 2014

Ventriloquism 2018

.

Tonight - Miguel Migs Feat. Meshell Ndegeocello

https://www.youtube.com/w...1Z_WlUUC2A

Miguel Migs - Tonight feat. Meshell Ndegeocello (Fred Everything Lazy Vocal Mix)

https://www.youtube.com/w...PMewjhWqyE

I will always look at fish in aquariums differently as a result of this one

Aquarium – 4:43 Featuring Sabina Sciubba

The Spirit Music Jamia: Dance of the Infidel

https://www.youtube.com/w...10zOk4Sg_o

Hmm, hmm, hmm

I'm a fish in an aquarium
Cut off from the outside world
The water's always lukewarm
And i observe

Hardly anyone takes notice of me
But I am, here
Quietly floating
My lips, moving
Just like yours

Always in motion
You, never seem to rest
Through my reflection
I watch you
Why do you keep me here, like this

I'm a fish in an aquarium
Cut off from the outside world
The water's always lukewarm
And i observe

No storms in these waters
So quiet, they're turning stale
Sometimes the tension
Keeps me hanging on each day
Each day

Will you starve me or feed me
I never really know
This love
My mountain
My detention
I'm dying...

Will you starve me or feed me
I never really know
This love
My mountain
My detention
I'm dying slowly

I'm a fish in an aquarium
Cut off from the outside world
The water's always lukewarm
And I observe

I just want to fall
Fall

I'm a fish in an aquarium
And so i will remain
Where i slowly stir the water
And everyday's the same
The same
The same
The same
The same
The same
The same

Me' Shell NdegeOcello - Soul Searching 1995
Higher Learning movie Soundtrack

https://www.youtube.com/w...o-nAhT1rVQ


Soul Searchin' (I Wanna Know If It's Mine)

Meshell Ndegeocello

Don't nobody hold me
Don't nobody kiss me
Nobody
Come caress my saddened heart
My sunrise and my darkest dreams
All my hostility's tamed
When you kiss me

Come into my darkened room
Come
Where I'm waiting
I'm waiting here just to please you

All I want is you
All I want is you
To love me
Come on, so don't bring me down
All I want is you
All I want, is you
Come on
So don't bring me down
All I want is you to love me
Come on
So don't bring me down
All I want is you

Don't nobody hold me
Don't nobody kiss me
The way you do
Nobody
No
Don't nobody hold me
Don't nobody kiss me
The way you do
Nobody

Not a day goes by
That I don't burn for you
I find myself yearning for the heaven
That you bring me from your black hands
Touch me
Touch me
I want to feel you inside me

All I want is you
All I...

All I want is you
All I want, is you
To love me
Yeah
All I want is you
All I want is you
So don't bring me down
Come on, come on
Come on, come on, come on
All I want is you
Come on
So don't bring me down
To love me
Don't bring me down
All I want is you
Come on, don't bring me down
All I want, is you

Don't nobody hold me
Don't nobody kiss me
The way you do
Listen when I'm talkin'
Yeah
Nobody
Don't nobody hold me
Don't nobody kiss me
The way you do
Nobody
Don't nobody hold me
Don't nobody kiss me
The way you do
Nobody
Don't nobody hold me
Nobody
Don't nobody kiss me

The Tangled Roots of Jazz and Islam: Me'shell Ndegeocello



Me'shell Ndegeocello says she comes up with interesting ideas and ten tries to get record companies to fund them! That is what I call the ideal life. Her music, whether she sings, plays the bas, or composes and produces, is exciting, energetic and eclectic. Jazzy with a bluesy feel when its not a fusion between soul/R&B and hard bop.

Spectacular evidence of her success at getting record companies to fund her interesting ideas can be seen on the record we shine the light on today, The Spirit Music Jamia: Dance of the Infidel. There is no picture or drawing of her or any other band members or anything musical. In keeping with the teachings of Islam and its prohibition against the portrayal of the human form, the album's cover is emblazoned with Arabic calligraphy: bismi'llah al Rahman al Rahim (In the Name of God the Merciful and Beneficient).

Four years after September 11, 2001, with America up to its bloodshot eyes in twin wars against 'Islamicist global terror', at a time when the M word was the new N word, an American record company puts out an album with Islam's most basic incantation on the cover! This woman clearly is persuasive!

Of course, the music on the record is what persuaded Shanachie Records to release it. It, like everything Me'shell has done, is classy, integrated and pleasurable. Here are several reviews of the record which will give you the low down on who does what etc.

What none of the reviewers even try to understand, though, is what the significance of the record is. What does it mean, or imply or say? Why release a record that is so potentially provocative? So overtly spiritual? All the reviews rave on about the brilliant playing on Al-Falaq 113 and Luqman but unless you're a scholar of comparative religions you'd have no idea where the titles come from.

I'm no scholar of jazz or religion. And I certainly do not have any inside dope on what the 'meaning' of the music is. But it certainly is intriguing to reflect upon.

Me'shell converted to Islam as an adult but appears to have a fairly modern and sceptical attitude to Faith. She has termed herself an 'Islamic atheist' but one who believes in angels and finds solace in the practice of praying 5 times each day. Fundamentalists would no doubt consider her a kafir (unbeliever) especially when her bisexuality is added into the equation, but from everything I've been able to find on her views of Islam, faith and religion (not much) she takes it very seriously. Just not in the strict traditional way.

This album, released in 2005, came to life, to some degree, through her reflections on her faith in the wake of 9-11.

"Well, I think part of being involved with Islam prior to 9-11 and having it be a big part of my life, then watching everything fall apart and seeing people do things that I was really ashamed of, and also doing things myself that I was ashamed of-it just really made me look deeper into my faith and myself. And what I used to tell people about the Dance of the Infidel record is that its improvisational music, because I don't like the word 'jazz'. There's no regimen. Like if you read a verse your interpretation and feeling of it is going to be completely different than mine. Like if you play the melody and I play the melody, even though it's the same melody, it's going to feel different. And pretty much, that's what I learned about religion and life, and politics. Everything is filtered through people's experience, their beliefs, hurts and joys. And it comes out in different ways, but we're not all meeting at the same place all the time. That's why great writers are so important and rare. So that everyone can get the same thing from something. But I think that's difficult to achieve as well, but it just really made me see world for what it was. And a lot of that music is just to express that and to also put a certain energy out in the world. Having an "alternative lifestyle" it made me ask myself why am I embracing a religion that won't even accept me? And so, it was my gift to the creator, if there is one, because I'm also humble enough to know, like– I don't know. No one does. So how about I just live a good life and do the best again, because without the devil and without God you only have yourself to blame."

It appears her response to the horror of the Twin Towers was to conceive of a suite of music where community and collaboration were the vital themes. To bring diverse experiences and personalities and styles together but within the frame of an Islamic worldview.Several of the tracks are named for Quranic suras (chapter) including the opening short track, Mu-min. This sura speaks about the persecution of the Prophet Mohammad (PBUH) in the early years of Islam and the many conspiracies to discredit his message and even kill him. The Believer (mu-min) is encouraged to stand firm and place faith in God's ultimate superior power. Even when evil seems overwhelming. Interestingly, it seems Ndegeocello has interpreted this chapter in a way that sees the 9-11 attackers as being the evil-doers, who are trying to murder Islam's true message and messenger. Probably the very anti-thesis of what those who participated in the attacks believed. Naming the opening track after this chapter suggests she is giving expression to her faith that God (Allah) will prevail against the 'terrorists'.

Al-Falaq 113, a long jazzy track, in many way the heart of the album refers to a very short 5 versed sura which invokes the protection of the Almighty upon the Believer. A beautiful piece of literature, Al Falaq states

Say: I seek refuge in the Lord of the Daybreak
From the evil of that which He created
From the evil of the darkness when it is intense
And from the evil of the blower of knots
And from the evil of the envier when he envies

The darkness when it is intense, is about the best description of 9-ll I've heard.

Finally, Luqman is a sura that relates to the Universality and Eternity of Islam. That even though Islam came to the Arabs for the first time through the Prophet (PBUH), the message of Islam (submission to the Almighty Creator of All things) is in fact, eternal and pre-existent. And others, such as the sage Luqman, who was not identified as a Muslim, spoke the same very same—Islamic—message in his Age. Is Me'shell employing this sura as justification for her own unorthodox lifestyle (as perceived by traditionalists) and her proclamation that her personal interpretation of the message of Islam is as valid as any other, as it belongs to the 'eternal and universal' Being of God?

Who knows? This is all speculation at a distance. But it does seem to make sense. Islam is an iconoclastic religion, especially during the life and era right after the death of Mohammad. Her personal interpretation of that faith, in turn, cracks open the icons of received traditional Islam, especially as co-opted by the radicals of 9-ll. Is the attack on the Twin Towers, the real 'Dance of the Infidel?'

This record then appears to be her very heart-felt cry and response to the 'shameful' act of September 2001. Anguished, yet hopeful and unbowed. Just like the incantation on the cover, In the Name of Allah the Most Merciful.

She is one of the most talented and dynamic artists of her generation, and her catalgogue is impressive. I used to call her "Prince's True Heir" in this forum for years, but in reality, she has a voice and a legacy that's all her own, in a way few artists in the last 3 decades can claim.

namepeace said:

She is one of the most talented and dynamic artists of her generation, and her catalgogue is impressive. I used to call her "Prince's True Heir" in this forum for years, but in reality, she has a voice and a legacy that's all her own, in a way few artists in the last 3 decades can claim.

Yes, she has her own vision and direction. She was definately a fan of Prince

Prince was playing around Carmen Electras and Tony M's.

And it was Madonna who discovered and got her signed.


https://www.youtube.com/w...bvD3QhD_Ag

Towards the middle of the song, an eight bar rap break is taken by singer and rapper Meshell Ndegeocello, who raps: "Tell me what you want / Tell me what you need...". Madonna interrupts, with her voice foregrounded and juxtaposed over the short interjections of Ndegeocello's rap part.

• Me'Shell NdegéOcello – vocals, bass

1994: Bedtime Stories: "I´d Rather Be Your Lover" (Maverick/Sire/Warner Bros.)

https://www.youtube.com/w...u_Vdj5zdEc

I'm Diggin' You (Like an Old Soul Record) ·
Me'shell Ndegeocello Plantation Lullabies ℗ 1993 Maverick Recording
Company Executive Producer: Bill Toles
Recording Engineer: Bob Power
Mixer, Producer: Bob Power
Guitar: Dave "Fuze" Fiuczynski
Drums, Producer, Programmer, Vocals: Me'Shell Ndegeocello
All Instruments: Me'Shell Ndegeocello Masterer: Tom Coyne Writer: Me'Shell Ndegeocello

Meshell has put on some of the best performances of any I've ever seen. I've been to many & like a true artist you never know what your going to get. I remember first seeing her in SF in the late 90's & after seeing her band i said Prince finally has a rival. She would kick your ass. I've also seen her during the "bitter" stage & I almost fell asleep. Her veriosn of Waterfalls is on repeat.

I used to love her live shows, then she came out as a lesbian and almost overnight, her audience changed and with it the atmosphere. (not gay-bashing, love is love, just that the audience was suddenly filled with (presumably) lesbian couples with a definite "one of us" vibe.)The groove became much less important and it seemed to become more of a vibe. Not saying it's bad, just that it resonates less with me. Luckily her albums have consistently had interesting music on it, although her appetites seem wider or at least different than mine, causing me to sometimes enjoy parts of her albums less.

OldFriends4Sale said:

The Tangled Roots of Jazz and Islam: Me'shell Ndegeocello



Me'shell Ndegeocello says she comes up with interesting ideas and ten tries to get record companies to fund them! That is what I call the ideal life. Her music, whether she sings, plays the bas, or composes and produces, is exciting, energetic and eclectic. Jazzy with a bluesy feel when its not a fusion between soul/R&B and hard bop.

Spectacular evidence of her success at getting record companies to fund her interesting ideas can be seen on the record we shine the light on today, The Spirit Music Jamia: Dance of the Infidel. There is no picture or drawing of her or any other band members or anything musical. In keeping with the teachings of Islam and its prohibition against the portrayal of the human form, the album's cover is emblazoned with Arabic calligraphy: bismi'llah al Rahman al Rahim (In the Name of God the Merciful and Beneficient).

Four years after September 11, 2001, with America up to its bloodshot eyes in twin wars against 'Islamicist global terror', at a time when the M word was the new N word, an American record company puts out an album with Islam's most basic incantation on the cover! This woman clearly is persuasive!

Of course, the music on the record is what persuaded Shanachie Records to release it. It, like everything Me'shell has done, is classy, integrated and pleasurable. Here are several reviews of the record which will give you the low down on who does what etc.

What none of the reviewers even try to understand, though, is what the significance of the record is. What does it mean, or imply or say? Why release a record that is so potentially provocative? So overtly spiritual? All the reviews rave on about the brilliant playing on Al-Falaq 113 and Luqman but unless you're a scholar of comparative religions you'd have no idea where the titles come from.

I'm no scholar of jazz or religion. And I certainly do not have any inside dope on what the 'meaning' of the music is. But it certainly is intriguing to reflect upon.

Me'shell converted to Islam as an adult but appears to have a fairly modern and sceptical attitude to Faith. She has termed herself an 'Islamic atheist' but one who believes in angels and finds solace in the practice of praying 5 times each day. Fundamentalists would no doubt consider her a kafir (unbeliever) especially when her bisexuality is added into the equation, but from everything I've been able to find on her views of Islam, faith and religion (not much) she takes it very seriously. Just not in the strict traditional way.

This album, released in 2005, came to life, to some degree, through her reflections on her faith in the wake of 9-11.

"Well, I think part of being involved with Islam prior to 9-11 and having it be a big part of my life, then watching everything fall apart and seeing people do things that I was really ashamed of, and also doing things myself that I was ashamed of-it just really made me look deeper into my faith and myself. And what I used to tell people about the Dance of the Infidel record is that its improvisational music, because I don't like the word 'jazz'. There's no regimen. Like if you read a verse your interpretation and feeling of it is going to be completely different than mine. Like if you play the melody and I play the melody, even though it's the same melody, it's going to feel different. And pretty much, that's what I learned about religion and life, and politics. Everything is filtered through people's experience, their beliefs, hurts and joys. And it comes out in different ways, but we're not all meeting at the same place all the time. That's why great writers are so important and rare. So that everyone can get the same thing from something. But I think that's difficult to achieve as well, but it just really made me see world for what it was. And a lot of that music is just to express that and to also put a certain energy out in the world. Having an "alternative lifestyle" it made me ask myself why am I embracing a religion that won't even accept me? And so, it was my gift to the creator, if there is one, because I'm also humble enough to know, like– I don't know. No one does. So how about I just live a good life and do the best again, because without the devil and without God you only have yourself to blame."

It appears her response to the horror of the Twin Towers was to conceive of a suite of music where community and collaboration were the vital themes. To bring diverse experiences and personalities and styles together but within the frame of an Islamic worldview.Several of the tracks are named for Quranic suras (chapter) including the opening short track, Mu-min. This sura speaks about the persecution of the Prophet Mohammad (PBUH) in the early years of Islam and the many conspiracies to discredit his message and even kill him. The Believer (mu-min) is encouraged to stand firm and place faith in God's ultimate superior power. Even when evil seems overwhelming. Interestingly, it seems Ndegeocello has interpreted this chapter in a way that sees the 9-11 attackers as being the evil-doers, who are trying to murder Islam's true message and messenger. Probably the very anti-thesis of what those who participated in the attacks believed. Naming the opening track after this chapter suggests she is giving expression to her faith that God (Allah) will prevail against the 'terrorists'.

Al-Falaq 113, a long jazzy track, in many way the heart of the album refers to a very short 5 versed sura which invokes the protection of the Almighty upon the Believer. A beautiful piece of literature, Al Falaq states

Say: I seek refuge in the Lord of the Daybreak
From the evil of that which He created
From the evil of the darkness when it is intense
And from the evil of the blower of knots
And from the evil of the envier when he envies

The darkness when it is intense, is about the best description of 9-ll I've heard.

Finally, Luqman is a sura that relates to the Universality and Eternity of Islam. That even though Islam came to the Arabs for the first time through the Prophet (PBUH), the message of Islam (submission to the Almighty Creator of All things) is in fact, eternal and pre-existent. And others, such as the sage Luqman, who was not identified as a Muslim, spoke the same very same—Islamic—message in his Age. Is Me'shell employing this sura as justification for her own unorthodox lifestyle (as perceived by traditionalists) and her proclamation that her personal interpretation of the message of Islam is as valid as any other, as it belongs to the 'eternal and universal' Being of God?

Who knows? This is all speculation at a distance. But it does seem to make sense. Islam is an iconoclastic religion, especially during the life and era right after the death of Mohammad. Her personal interpretation of that faith, in turn, cracks open the icons of received traditional Islam, especially as co-opted by the radicals of 9-ll. Is the attack on the Twin Towers, the real 'Dance of the Infidel?'

This record then appears to be her very heart-felt cry and response to the 'shameful' act of September 2001. Anguished, yet hopeful and unbowed. Just like the incantation on the cover, In the Name of Allah the Most Merciful.

Wow! Amazing posts

I tend to not like most covers of Prince songs especially from the 1978-1989 period

But she did a good job putting her style/sound on this and made enjoyable

.

https://www.youtube.com/watch?v=gWe55aMBnII

Meshell Ndegeocello Pop Life LIVE @ Sunset Junction 2010 Los Angeles

OldFriends4Sale said:

EP & Single

Germanegro said:

Yes--I enjoyed that one very much also! The personnel were perfect, to me. They did a nice job on that song. > Once she started moving strongly into exploring covers my interest has waxed and waned, and people like Esperanza Spalding stepped up in the original composition department and kind of took her place for me. > I'm waiting for when Meshell kicks into another groove--she's really innovative & resourceful, but I think she's also really comfortable with her current team of bandmates. One thing that was cool for me was discovering Valerie June guest-appearing on her album covering Nina Simone songs. > OldFriends4Sale said:

I tend to not like most covers of Prince songs especially from the 1978-1989 period

But she did a good job putting her style/sound on this and made enjoyable

.

https://www.youtube.com/watch?v=gWe55aMBnII

Meshell Ndegeocello Pop Life LIVE @ Sunset Junction 2010 Los Angeles

I agree. Esperanza took a nice walk through covers. I need to relisten to Me'shells cover of Sometimes It Snows In April

https://www.youtube.com/w...M0JN5IAD50

The track is from the genre-bending musician’s upcoming album of covers, “Ventriloquism.” Rolling Stone reports that the record includes renditions of “Waterfalls” by TLC, “Funny How Time Flies (When You’re Having Fun)” by Janet Jackson and “Tender Love” by Force MDs. Ndegeocello released the last of those songs on YouTube today. Listen to it below:

https://www.colorlines.co...nows-april

https://www.youtube.com/w...2VNTEDn9nI

I feel the 'remix' made it feel too much like current 1990s slow jams.
Made it more 'average' feeling

Me'Shell Ndegeocello - Stay (Soulpower Mix)

https://www.youtube.com/w...rD-br9B8T0

I want you
I can't get you off my mind
Ooh you turn me on-stay

So sorry you think it's wrong being here alone with me
I wish I could understand you and what you feel
You must feel something or you wouldn't have let me get this far
So don't be afraid just give in

If you let me have you just this once I promise never to want you anymore...

If you let me have you just this once I promise never to want you anymore
'Cause what's happening now feels so good
And the forbidden always arouses temptations
Come here let me have you
Just stay
Ooh baby come on let me

Me'Shell Ndegéocello – and all other instruments (#9)
David Gamson – drum programming (#9),

OldFriends4Sale said:

https://www.youtube.com/w...u_Vdj5zdEc

I'm Diggin' You (Like an Old Soul Record) ·
Me'shell Ndegeocello Plantation Lullabies ℗ 1993 Maverick Recording
Company Executive Producer: Bill Toles
Recording Engineer: Bob Power
Mixer, Producer: Bob Power
Guitar: Dave "Fuze" Fiuczynski
Drums, Producer, Programmer, Vocals: Me'Shell Ndegeocello
All Instruments: Me'Shell Ndegeocello Masterer: Tom Coyne Writer: Me'Shell Ndegeocello

Plantation Lullabies may have been the baddest joint of the 90s (IMHO). Recently pulled it out of the crates during quarantine and was blown away by how well this album's aged...

OldFriends4Sale said:

The track is from the genre-bending musician’s upcoming album of covers, “Ventriloquism.” Rolling Stone reports that the record includes renditions of “Waterfalls” by TLC, “Funny How Time Flies (When You’re Having Fun)” by Janet Jackson and “Tender Love” by Force MDs. Ndegeocello released the last of those songs on YouTube today. Listen to it below:

https://www.colorlines.co...nows-april

I really liked this album. I liked her cover of "Funny" as well as the covers for "Smooth Operator" and "Sensitivity."

TruthBomb said:

Peace Beyond Passion is her best work hands down. She truly is talented but hit and miss with anything post PBP

Wendy Melvoin appeared on about 3-4 songs on PBP

I agree, now i did like Bitter. It sounded like what you feel after the breakup. all those crazy and quiet emotions and thoughts.

But Cookie: The Anthropological Mixtape 2002, is where the flowndering threw me off. Some good cuts. But I didn't get the messge really.

https://www.youtube.com/w...1qBn-VPJQY

https://www.youtube.com/w...mtQGdgKs3M

Me'shell Ndegeocello - "Faithful" Live at Weeksville, Brooklyn

She delivers simple, declarative phrases in a simple, demonstrative voice. When she sighs that ”no one is faithful” (clearly including herself), her quiet resignation screams hurt and guilt and strength all at once. Bitter never tasted so sweet.

https://ew.com/article/19...30/bitter/

OldFriends4Sale said:

TruthBomb said:

Peace Beyond Passion is her best work hands down. She truly is talented but hit and miss with anything post PBP

Wendy Melvoin appeared on about 3-4 songs on PBP

I agree, now i did like Bitter. It sounded like what you feel after the breakup. all those crazy and quiet emotions and thoughts.

But Cookie: The Anthropological Mixtape 2002, is where the flowndering threw me off. Some good cuts. But I didn't get the messge really.

Bitter is her best. I and a lot of others loved Cookie. Comfort Woman and TWHMMTMOMD are remarkably consistent. I think it was around Devil's Halo where I began to feel the way you guys do about her work.

From This Place
Pat Metheny featuring Me'shell NdegeOcello

From this place I cannot see
hardest dark
beneath rising seas.
From this place I don't believe
all my hopes
my sweet relief.
From here I say I cannot breathe.
Fear and hurt again we bleed.
Unsafe, unsound, unclear to me
don't know how to be.
From this Place I must proceed
trust in love.
Truth Be my lead.
From here I will stand
with thee
until hearts are truly free.

https://www.youtube.com/w...kuzaxWib2Q

mediumdry said:

I used to love her live shows, then she came out as a lesbian and almost overnight, her audience changed and with it the atmosphere. (not gay-bashing, love is love, just that the audience was suddenly filled with (presumably) lesbian couples with a definite "one of us" vibe.)The groove became much less important and it seemed to become more of a vibe. Not saying it's bad, just that it resonates less with me. Luckily her albums have consistently had interesting music on it, although her appetites seem wider or at least different than mine, causing me to sometimes enjoy parts of her albums less.

I sorta know what you mean. It was like you entered the Island of Lesbos by mistake.
I've seen shows where it was like inside a club was all women but outdoor shows was male/female etc

I'm surprised, Meshell always struck me as somebody with a diverse audience, I haven't been to any of her shows to come up with that conclusion though, but from the way other different artists and writers talk about her, not to mention she has such a versatile musical body of work, it would be strange to have one sector of audience coming to her shows.

it may have been a temporary thing for a few years. it was striking how different the audience was. I've not been able to attend a Meshell show in years unfortunately, so things may have changed. I always love artists that change things up and explore new things, so I understand shifts in audience, but in this case it seemed like the change in audience was much more extreme than the shift in music.