Pitchforks: 4.5/5
Record Label: Heads Up International
Perhaps most famous for taking the Grammy for Best New Artist last year over Justin Bieber, Esperanza Spalding confirms in her new album, “Radio Music Society,” that it is her artistry as a musician that foremost defines her.
As the title suggests, “Radio Music Society” draws its inspiration from the catchy melodies and infectious grooves of pop and R&B radio stations.
While the album may seem totally foreign to today’s Top 40 radio (every sound on the album was invented by the 1970s), the retro feel to “Radio Music Society” is an appropriate throwback in light of the album’s concept. In the age of the iPod and Internet, the radio does not carry nearly the weight and ubiquity that it did even 20 years ago.
The first track, “Radio Song,” illustrates this quite literally. Amid backing vocal harmonization, a laidback drum groove, horns, electric pianos and popping electric bass, Spalding narrates the thrill of discovering a catchy new tune on the radio during what would have otherwise been a mundane trip in the car.
The album continues with “Cinnamon Tree,” written to cheer up a friend. While the string chorale at the opening appears to contradict the album’s theme, a slow, satisfying groove soon cuts in that creates a cycle of intense moments driven by electric guitar solos and releases that highlight Spalding’s voice, which seems to drip slowly like melting chocolate.
The rest of “Radio Music Society” touches on issues ranging from political hot topics in “Land of the Free” and “Endangered Species” to black empowerment in “Black Gold” and her hometown of Seattle in “City of Roses.” “Radio Music Society” also confronts the joys, pains and complications of love in “Hold on Me,” “Let Her,” and “Smile Like That,” which end the album with a rather edgy tone.
The album also includes a cover by Michael Jackson and Stevie Wonder (“I Can’t Help It”) and a cover by jazz saxophone legend Wayne Shorter (“Endangered Species”).
The deluxe version of “Radio Music Society” includes a DVD featuring conceptual music videos that further explore the stories told through each song.
“Radio Music Society” is the second half of a series representing Spalding’s split musical personality that started with “Chamber Music Society.” The previous album captures the refined artistic aesthetic somewhere between orchestral classical music and jazz that is best suited for concert halls and cocktail parties.
If a person were to attempt to place “Radio Music Society” in a genre, they would have a spread from which to choose. The musicians on the album come from a jazz background, which is clearly evident by the mastery they display. “Radio Music Society” appears to be presented as a pop album, although its complex grooves and melodies are much more indicative of jazz and funk. It also displays clear overtones of Latin music and even briefly borders on gospel music and disco.
As Spalding said of the album in a press release, “I’ve tried to put together a program of music that speaks to the non-jazz listener, but can still provide a viable foundation for my jazz heroes to express themselves. Hopefully, people can enjoy all of the elements of my music without being told which genres it is ‘supposedly’ a blend of.
“Everyone is invited to listen with no pre-conceived notions,” she said.
With this in mind, the best action to take with regards to “Radio Music Society” is to stop reading and turn it up.
Reach the reporter at bscolaro@asu.edu
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