is the ciara album worth getting?

These are tough questions for me to answer because I don't write about lyrics that much. In terms of formula I'm referring to the type of situations which R&B songs tend to deal with (falling in love, not being in love but wishing I could be, falling out of love, wanting not to be in love but finding it too difficult to break away etc.) and the language/phrasing used to then express/construct these situations.

The difficulty in explaining Teedra's distinction is that she's not obviously deviating from convention on either of these grounds - you might point to the unusual tinge of existentialism which runs through some of her songs, or her more abstract poetic metaphors, but these are all visible only against a backdrop of a more general adherence to R&B norms.

The other larger issue is that much of the value in Teedra's lyrics is actually conferred by her exquisitely judged performance of them - she knows which lines to give weight to and how, how to control the feel of the narrative progression by using vocal progression etc.

The overall point deriving from all of this is that Teedra's persona - as expressed by the music - strikes me as incredibly strong, such that she speaks from a position more clearly than many other ballad singers - a point of distinction which then (in a circular fashion) imbues the lyrics she is singing with greater resonance and meaning. And yet this position is not created Kelis-style by a succession of deliberate breaks with the genre-formula-chain, but rather by a succession of subtle shadings of the formula. It is this dialectic movement of individualism arising out of genre formalism that interests me, but it also makes Teedra difficult to unpack.

Tim you are GREAT.

from the Chain Letter thread:

this album is GREAT. i can't wait to review it.
-- strng hlkngtn (ya...), April 4th, 2005.

huh? not questioning anyone's freedom to change their mind, but that's quite an about-face.

also Tim i like the idea of R&B balladeers keeping it real by keeping R&B from getting swallowed by hip-hop, and would add that 'real' in this sense also means 'in touch with the roots of the music - Aretha etc - without being totally hidebound by classicism a la Joss Stone'.

Yeah okay but that's not what i mean at all! In this case "keeping it real" means "keeping it (un)real". The classixor are not "Respect" but "I Have Nothing" etc. It is a disavowal of grit, which both Aretha and hip hop have (or have been designated by critics as possessing) in spades.

When I say "fidelity" I mean fidelity to a concept (R&B balladry as a space for the feminine of effeminate) rather than a past musical precedent. I don't want to imply that this concept has some sort of ethical/epistemological validity or superiority (ie. that R&B "understands" the feminine correctly) though, or that "fidelity" is the correct posture for musicians generally.

I guess what interests me is that you have a constellation at work: the concept of current R&B balladry and what it "means" generally, and then the real life actual R&B ballads and what they "mean" specifically (all will differ or deviate from the concept to a greater or lesser extent). And these are all interrelational: we will understand R&B ballads in a normative fashion (ie. how they relate to the concept of R&B ballads) but that concept itself is an effect of the constellation of individual examples. So you have this back and forth of concept and real life examples, and there's no necessary value that derives from breaking away from the concept, or remaining true to that concept, or remaining true to another concept (pieces of music, unlike stars, can belong to several different constellations); and yet it is this movement, this tension, this friction etc. which generates the appeal of a particular piece of music.

Aretha was perhaps a bad example. a modern balladeer eg. Teedra Moses doesn't appear to be expressing fidelity to Aretha and deliberately ignoring Whitney or Mariah, she's expressing fidelity to the R&B ballad tradition as a whole, which includes even the treacliest Babyface material. ditto Beyonce, who is probably more influenced by Mariah than anyone else IMHO. in fact, people who try to disavow certain influences from the tradition usually end up marginalizing themselves - Jill Scott will never sell as much as Ashanti.

When I say "fidelity" I mean fidelity to a concept (R&B balladry as a space for the feminine of effeminate) rather than a past musical precedent. I don't want to imply that this concept has some sort of ethical/epistemological validity or superiority (ie. that R&B "understands" the feminine correctly) though, or that "fidelity" is the correct posture for musicians generally.

is R&B balladry necessarily feminine or effeminate? i see it as being much more about virtuosity combined with vulnerability. the singer has to show off their range, scale the heights, triumph over that absurdly high note not only to expose the depth of their emotion, but as a demonstration of their mastery of the form. incidentally, ballads in heavy metal are nearly identical, but they usually leave the crazy virtuosity to the guitar solo, which in my opinion comes because singing in a really emotional, demonstrative way is like crying in public - they have to sublimate it through the guitarist. (I'm thinking of Ozzy and his seemingly emotionless vocal on "Mama I'm Coming Home").

"Aretha was perhaps a bad example. a modern balladeer eg. Teedra Moses doesn't appear to be expressing fidelity to Aretha and deliberately ignoring Whitney or Mariah, she's expressing fidelity to the R&B ballad tradition as a whole, which includes even the treacliest Babyface material."

Yeah I'd agree with this definitely.

surprised there's no discussion of her new track here of all places

Yeah, “Level Up” is great!

https://youtu.be/Dh-ULbQmmF8

(and Ciara has become a niche interest on ILM, just like almost everything else that’s interesting and fun, sadly)

She's a niche interest now because her last album was really boring, but if this is representative of the new one then I'm on board.

this sounds like it's already been given its own Soundcloud Deconstructed Club Edit

This is fucking great

Yep, way to save everybody some time and jump right to the Jersey club remix

https://www.youtube.com/watch?v=RBcXmRe5UAw

this predates Level Up which is strange because when I first heard it I thought it was a parody

also this now has a remix with Missy Elliott and Fatman Scoop, which is actually really phoned in but also cute for existing

yeah it's explicitly based on that, I think they're credited even?

"level up" is just okay to me. i like the vid tho and am glad it's getting her some attention

https://youtu.be/NSIDTlG6bbs

OMFG. This is above and beyond anything I might have hoped for at this stage.

A couple of years ago this would have felt like a daring left turn but now it feels like a perfectly natural move that could do numbers but I'm still overjoyed it actually happened.

Love this so much

So it looks like the strategy for this album is to get Ciara on as many genre playlists as possible but if the execution is this good on all of them then I'm onboard.

I also feel like afrobeats hasn't inflitrated US R&B and rap to anywhere near the extent it has in the UK, so this might actually lead somewhere exciting? I mean the alternative is that no one there cares about her any more, but if you're going to bandwagon jump to mitigate that then this is a pretty good one to be on.

love both these tracks but lmao at Level Up being based on Fuck It Up Challenge

I approve of this collabo, but “Freak Me” didn’t come out of thin air either. It sounded super familiar, and yes:
https://www.google.nl/amp/s/amp.pulse.ng/entertainment/music/ciara-samples-tiwa-savage-on-new-single-freak-me-with-tekno-id8708959.html

https://www.youtube.com/watch?v=FcfwvX0HPVI

three for three

Yep. At first I thought "hmm a Lose My Breath rip off" but it rewards repeat plays. A+ video too.

haven't heard yet (no headphones at work) but does this one have a prominent sample as well?

not feeling this so much - functional and perfunctory but nowhere near the level of the last two

new song is super gorgeous, fuck

https://www.youtube.com/watch?v=5BjpWJyd_hk

Beauty Marks is another disappointment.

ton of good stuff on the record, kind of a DOA first track though

"thinkin bout you" song of the year

I like the one.

I really can't stand this tendency to lapse into therapyspeak with goddamn Macklemore and the title track.