To get immediately to the point, if Me'Shell NdegéOcello's Comfort Woman isn't regarded as one of the finest contemporary soul albums of 2003, then those who review music for a living had better get eardrum transplants and a transfusion of blood to get rid of the sawdust, or quit to sell used cars, work in a fast-food establishment, or pump gas. The marketplace is tricky, but if this disc doesn't sell, then Madonna needs to fire her marketing department at Maverick. Comfort Woman is a deeply sensual album, sexy as hell and drenched with lush, richly textured bass grooves that bubble under warmly and luxuriantly in a series of songs that may not be all that divergent in tempo, but don't have to be either. This is late-night music, where the sound of a bass doesn't so much pop as it rumbles in the lower spine, looking for release. Make no mistake on Comfort Woman, space is the place and that place is reached via two vehicles, a perfect commingling of the spirits of dub reggae and mid-'70s soul and groove jazz. Think, perhaps, of David Sancious and Teena Marie as bandmates with Sly & Robbie in the rhythm section, Jimi Hendrix's "Rainy Day, Dream Away" as a music model, and Sade as vocalist — you get the idea. The opening track, "Love Song," begins with a spacy bass line, rumbling in the lower register soft enough to ease its way into a song yet tough enough that it won't let the listener go. With a B-3 shimmering in the background, NdegéOcello begins to sing, so s-l-o-o-o-o-o-w-l-y: "If you want me, baby, just call/Let me kiss your body/Fill you with love/Let me feed your body/Feed it with love/I can't sleep...this is love/This is how I love you..." She croons with a breathy Smokey Robinson coo. On "Come Smoke My Herb," you can hear traces of both Shuggie Otis' and the Brothers Johnson's ballads infused with the brazen promise of Joni Mitchell and Gregory Isaacs meeting in bliss to swing and sway under a dubwise moon. Speaking of moons, "Liliquoi Moon" features guest guitarist Oren Bloedow, who adds his tonal dexterity to a soulfully psychedelic mix of woven acoustic guitars, a lullaby melody, and life-affirming lyrics until the end when Doyle Bramhall goes into overdrive in his solo, transforming the tune into a shape-shifting poltergeist of a track. Bramhall also lends his axe to "Love Song #3," which was truly inspired by Hendrixian grace and elegance à la Electric Ladyland. "Love Song # 2" and "Andromeda & the Milky Way" are sex beat tracks, music with a slow walking tiger in the hips as bass and keyboards stride out, loping, then halting and curling around the listener like smoke. Fact of the matter is, Comfort Woman is one of the most forward-thinking records to come out of contemporary soul in well over a decade. It's possible to remember when Prince made music as fine, sensual, and spiritual as this, but it's a struggle. This is NdegéOcello's finest moment on record thus far, and is as good as it gets in the field. — Thom Jurek

this has ****-all to do with prince

.
[This message was edited Wed Oct 22 20:42:02 PDT 2003 by mrdespues]

You should never re-freeze sea bass.

I'm a big fan of her and this record.This album will not do that well commercially.She's like an underground artist.I give Madonna all the props in the world for not severing ties with this great artist.

rockwilder said:

Madonna isnt that bright but she knows when someone is better than her, I bet. Paisley Park tried to sign her but she refused. How much fun would it be to hear her with Prince?
[This message was edited Thu Oct 23 6:26:13 PDT 2003 by undulatingacrobat]

I believe she turned Prince down because she didn't want him to make her have his sound. I don't know, but I'm glad she didn't. She did collab with him on Emancipation.. The love we make and one other song I believe..

anemone said:

Paisley would have killed her career. Has ANYONE on Paisley put out more than three sub-par records?

Doyle is on that record? I'm on it now. They did another song together on Keb'Mo's record. Hot DAMN.

She just didn't want to wear any lingerie on stage.

Anyways, I'm glad she didn't she would be in purple obscurity by now, just like the rest of his protege's.

Prince has his hands full just managing his own career. Much less anyone else's.

anemone said:

You're right on both counts. Meshell's admiration and respect for Prince runs deep, but it never over-rode her desire to be seen and heard as an individual. Prince protegés didn't tend to have the individuality thing goin on - and since he's the man behind the curtain, they all had his sound to certain degrees. Meshell made the right decision by NOT signing with Prince back then.

Even though I love the album I can't agree with Thom Jurek that this is Meshell's finest moment on record so far.

Unfortunately, since her debut album and on thru "Cookie", people have been saying "This is the one..." to break out commercially. I don't see that happening with this album either. There are no "Wild Nights" duets on the disc. But who knows? Mainstream audiences have often been known to come to the party late. You can never say "never" in this fickle business.

Supernova said:

Did you catch her recent swing thru LA (with SOULIVE)?
I thoroughly dug her band's sound. Shyt ws bangin' hard.

I"m pissed b/c I thought Soullive would open for HER! I got to the show at 8:45 (started at 8 pm) and only caught the last 30 minutes of her set! I left after a few soullive songs.. they were aight.. first song reminded me of Madhouse.

AND, I still think Cookie is her best album. Don't get me wrong, they are all amazing in their own right.. I think Cookie was perhaps the most commercial.. or Plantation?? In a way, I'm glad she's not popular.. most popular music is shit! Clay Aiken at #1? I rest my case.

anemone said:

You people
need to listen to what I tell you is going to happen.

I'm rarely wrnk.

See? I can't even spell it right.

Paisley Park would have been the kiss of death for Meshell. I'm ENDLESSLY happy she sidestepped Prince's offer.

I caught her Detroit show on Oct. 19. (Somewhere floating in this forum is my review of it.) I think she held back a bit, but generaly good stuff.

Damn. I haven't heard shit from Meshell past her first lp, which I adore. Time to catch up!

smokeverbs said:

In a strange way I envy you. You've got LOTS of joy coming your way