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Jose: “I felt envy at Spurs’ support - now they are on my side”
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Join the discussion. Please be respectful when making a comment and adhere to our Community Guidelines. Create a commenting name to join the debate Submit. Please try again, the name must be unique Only letters and numbers accepted. Loading comments I don't sit around and think 'my work is so important' so that was kinda nice. Of course, things are a little different this time around. Thirdly, with the backing of a wildly good band held down by rhythm sections in Los Angeles and Brooklyn befitting Rainbow Blonde's bicoastal status the songs are warmer and more defined than ever, balancing classic songwriting against immersive vibe.
For James, all of these pieces are related, and speak to a constellation of small but vibrant artist communities in constant communication. No Beginning No End 2 easily makes the case within three songs. Opener "I Need Your Love" basks in the kind of romantic groove the Roots or Fugees used to whip up, but with James and Ledisi duetting while a very overqualified Christian Scott aTunde Adjuah — one of the greatest trumpeters of his time — happily flows over the living beat.
The next cut sounds something like Mutations -era Beck interpolating "Hey Ya! And song three, "Feels So Good," is straight-up disco bliss, with James exuding Bobby Caldwell cool as he trades lines with divine newcomer Cecily. Again, James sees a connection others might miss: "It all ties into this idea of the '70s being this remarkable creative and eclectic moment," he says, when individualism came to be expected of all sorts of artists.
But it's not just throwback — James points out that the culture is experiencing something like that right now. It was such a struggle for my generation, and others before, to kick these doors down of this genre and that, and it's so beautiful to know there are kids who can't even think that way. Because as much as the first half of the album displays James as the consummate entertainer — bright and extroverted — the second half finds the lyrical lens subtly pushing in on the man behind the band.
The transition point is the aforementioned "Nobody Knows My Name," where he and Mvula examine the slippery nature of identity in the face of fame, race, time, and place. Then, with Lizz Wright on the gospel-lifted "Take Me Home," James can be heard yearning for something soulful and familiar.
To have her in my corner, on my label, and on my writing team is amazing, and I'm really glad everybody can have a window into how holistic my world has become.
Related And now, José?
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