Weather

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Weather album cover
Album Information

Total Tracks: 13   Total Length: 47:33

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Great Artist Great Album

Trismegistus

Meshell Ndegeocello hasn't changed her persona, ever. As for her music, interests, and life, like life, it changes all the time. This album is that summing up of life lived long enough to provide perspective. She is a bit of genius of an artist. There is a fine quality that Joe Henry has captured to the mercurial and fluent versatility of this gifted bass and songstress, but I have to disagree with the Sade comparisons. There is more Miles Davis in Meshell than many realize. One of my favorite songs of her was cut with Regina Carter with Cassandra Wilson on vocals (September 3). Ndegeocello is a musician's musician. She is a writer's writer. An artist's artist. She is not made for this current edition of the world. Sad. But there are enough of us who appreciate the honesty, I hope, to support her genius. Otis Redding, Chris Whitley, Joseph Arthur, John Lennon, Jamaaladeen Tacuma, Aaron Neville, Miles Davis, Casandra Wilson . . . I hear understandings, conversations with all them here, but the voice is Ms. Ndegeocello. We Can Always Blame It On The Weather - the refrain from the shortened "Weather" that positions at #1 on this album sets the tone with a guitar that does refrains from Arthur and Whitley, and reminds one that the soul of New York music may no really reside a bit north up the Hudson. The weather in the City is a complaint, but up state it is a mood. Objects are closer in the mirror than they appear - is the metaphor for being rear ended in love. This is an album of changes in the heart while equally radical changes in the world appear. And the Jamaaladeen Tacuma styled cut bass lines of Dirty World sends this message down, with the clear cut poetry of Ndegeocello's line, "The pursuit of happiness has led to clutter." The Lennonesque Oysters has a similar plaint, "Everybody's talkin' bout changin' the world, but the world isn't ever going to change." Meshell isn't bitter, not anymore, and maybe not ever, just honest. And like other great singer, song writers, poet-musicians, like Leslie Feist, who also just brought out a great album, this artist isn't giving up, she's just not into preaching fiction. Don't take her kindness for fiction.

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They Say All Music Guide

On the majority of Weather, Meshell Ndegeocello is supported by a core group that played on 2009’s Devil’s Halo: drummer Deantoni Parks, guitarist Chris Bruce, and pianist Keefus Ciancia. While Devil’s Halo was co-produced by Ndegeocello and Bruce, this set was produced by Joe Henry, who was involved in the making of 1999’s Bitter and notes in the liners here that he “pushed for songs to happen — as much as possible — as real-time ‘live’ performances.” Compared to Devil’s Halo, the set is a little more stripped-down with a slightly greater sense of spontaneity, and Ciancia dials down his “various soundscapes.” There’s tighter focus on romantic relationships, or maybe just one relationship, with a “you” addressed throughout on a spectrum of aching emotion that ranges from distress to desire. Radically different emotions are conveyed with minor, affecting inflections. In the dizzily swaying “Objects in Mirror,” she can’t move on (“I think about you every day/While I loiter on your doorstep”), while the somewhat similarly adorned “La Petite Mort” floats in on hushed libidinal swagger (“Arch your back and tell me the truth/Who’s your daddy now?”). The wealth of lithe, quiet backdrops played at slow tempos allows Ndegeocello, who switches between husky lower and sweet upper registers with more ease than ever, to tickle the ears. No song rocks, but a few groove, best heard on “Dirty World” (“Kick and scream and watch it burn”), featuring a stealthily furious and funky Ndegeocello bassline. This time, there are two covers, and they slip into the album’s fabric with ease. The Soul Children’s 1972 Stax single “Don’t Take My Kindness for Weakness” is turned into a delicate ballad with acoustic guitar and piano but is no less assertive, while Leonard Cohen’s “Chelsea Hotel” gets stately, full-band treatment with a wistful touch. Ndegeocello is making some of the finest music of her life. Given her consistency of late, it’s quite possible that the same thing will be said of her output for as long as she is active. – Andy Kellman

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