you
don’t know, now you know!
by Brett Collins
CD REVIEW
Angela Johnson • They Don’t Know
(Purpose Records)
Angela Johnson
is a bad, bad girl. The proof is in her debut solo CD, They Don’t Know,
a solid project that spotlights the versatility of this young New Yorker,
who is at the forefront of this country’s (underground) independent soul
movement. Perhaps not since the heydey of Patrice Rushen and Angela Winbush
has a young (female) soul musician displayed so much ability. Not just a singer,
writer and producer, Johnson is a student of the old school and a programming
whiz who recorded and mixed her entire CD (at her own Estrogen Studios, no
less). She handled virtually all the vocals and arranged the horns and the
strings. She also played both viola and violin on several tracks.
For someone so
incredibly self-contained, Johnson wields an easy hand with her tracks, relying
on smart lyrics and arrangements to get her point across. She never seems
to be showing off. She is sincere and confident enough to let her music speak
for itself without being trendy. No rap solos or self-conscious acoustic guitars,
for instance.
A short intro
segues into the irresistible "Rescue Me," a Fender Rhodes-laced,
horn-punctuated groover that features a fed-up Johnson pleading for relief
from takers: What does it take for them to understand that I am only human?/
I got enough problems of my own/Sorry, I ain’t no Superwoman/leaping
over buildings in the sky ...
"Sad Days"
is a well-crafted ditty about reveling in the rain and the pain brought forth
by a departed lover. Let the rain fall down on me/this is where I want to
be/these are sad, sad days. The song’s loping groove and unique circular
structure add to the drama.
The title track
best illustrates Johnson’s numerous gifts. It’s the kind of jazzy
album-oriented R&B cut that was standard radio fare back in the day. The
adventurous arrangement, thoughtful lyrics, muted horns and Johnson’s
dazzling piano soul-o, recall Roy Ayers, Seawind, Brainstorm or Hiroshima.
No question,
Johnson owes a debt to such ’70’s soul elements as solid melodies,
heartfelt vocals ("No Better Love" is a Staples Singers–flavored
groove with Chaka Khan-like phrasing on the hook). Ditto for ’80’s
technology like drum and keyboard programming, used liberally throughout the
CD. The soul Johnson embodies is expansive though, incorporating American
R&B, acid jazz and British-style soul — particularly when she picks
up her violin and struts over a punchy groove, as on "After It’s
Gone."
Johnson’s
soprano is strong, although a bit reedy at times. Her skill and freedom as
a vocalist more than make up for the occasional tonal issue, though. She is
especially adept at arranging vocals, as she proved with CHB. When she stacks
background harmonies, the effect is lovely, recalling R&B’s most
revered girl groups, including the Jones Girls ("Rescue Me" and
“They Don’t Know"), the Emotions and En Vogue ("Ordinary
Things").
Other highlights
include the punchy “Some Kind of Wonderful” and the sentimental
"Call," a gentle piano-ballad tribute to Johnson’s mother.
Stellar.
The disc ends
with one of its funkiest tracks, "Money Don’t Grow on Trees,"
featuring Soulive’s Eric Krasno on guitar and piano. Johnson’s jazzy
phrasing and harmonies add humor to the song’s biting words. How come
I’m the only one giving you some money?/You ain’t got any other
friends?/ … Everytime you come around you’re always crying about
what you need/and you don’t know how to get it unless I give it to you
for free/you put me in this tight position/Cuttin you off, that’ s my
decision/ I’m changing the locks on the door.
Recently, piano
women Alicia Keys, Norah Jones and Vanessa Carlton have enjoyed amazing success.
With the right exposure, 2003 could be the breakout year for a dynamic musician
named Angela Johnson. Now you know.
They Don’t
Know is available locally at Sound Asylum Records, or at www.purposerecords.com.
Brett Collins
is the TCP arts editor
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