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Also by Natalie Prass
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Prass had actually recorded a version of Janet's 'Any Time, Any Place' as a b-side to the album's single's 'Birds of Prey', so the connection was more obvious than I immediately realized.
However, it is only with the long-awaited album number two that Prass' Janet enthusiasm makes itself known immediately in the overall musical direction she presents the listener for. Where the debut as said was on the shoulders of 60's sound (and production techniques), there is a clear nod to later epochs in especially black popular music:
The opening song 'Oh My' could have been included on Janet's 'Control' album (1986) with its 'new jack swing', the form of fun-pop hip-hop fusion that Janet pioneered in collaboration with Jimmy Jam and Terry producer Jimmy Jam Lewis on the hit 'Nasty'.
'Never Too Late', the Janet fence poems move for a decade to the softer, r'n'b-popped sound of Janet (1993), but supplemented by an instrumental outro which, with the use of the clavin, is a clear homage to Stevie Wonder. Also, the perk on the short-term 'Short Court Style' series is as cheated by the Janet handbook, but fans of Mariah Carey's 90's repertoire (a la 'Butterfly') will also be able to surrender to the welcoming mix of pop and modern r'n'b.
'Sisters' sounds like a touched love statement to Erykah Badus neo-soul: The jazzy syncopations and the talking-singing vocal cadency in the verses are Badu classic, as is the use of choir sentences in the chorus. 'The Fire', the album's best bet for a summer hit could be a Haim hit, and the mint poem about the ballad 'Far From You' does not make clear memories of The Carpenters (!), Perhaps a lovingly-ironic manifestation of Prass' appearance similar to Karen Carpenter?
Prass challenges the generally pop-friendly approach to, for example, the brilliant 'Hot for the Mountain', where the strings give the song a light seaworthy sensation - like a sneak on the subconscious, or as the manifestation of heartbreak in its most personally disruptive manifestations. 'Hot For the Mountain' also distinguishes itself by the fact that Prass is more than willing to leave the song with drama and nerve by its vocal presence. The vocal melody does not completely end with the instrumental (orchestral) backing, but plows like its own delicate track.
Fans of the debut album might rock the nose of Prass 2.0 if the reason they fell in love with her was the first time updating of a particular sound of roots for a certain period of time (60s), but they are pop music lovers - Such a broad understanding - you should not cheat for the updated, more colorful and more direct version of Prass.
She does not just sing in the present time, but has convincingly channeled pointers from the last five decades of popular music story without losing sight of the goalkeeper (the good song) and without putting his personal vision out of control - even herself if her fraudulent-eclectic vocal effort in turn conflicts with the very idea of artist excellence.
However, it is only with the long-awaited album number two that Prass' Janet enthusiasm makes itself known immediately in the overall musical direction she presents the listener for. Where the debut as said was on the shoulders of 60's sound (and production techniques), there is a clear nod to later epochs in especially black popular music:
The opening song 'Oh My' could have been included on Janet's 'Control' album (1986) with its 'new jack swing', the form of fun-pop hip-hop fusion that Janet pioneered in collaboration with Jimmy Jam and Terry producer Jimmy Jam Lewis on the hit 'Nasty'.
'Never Too Late', the Janet fence poems move for a decade to the softer, r'n'b-popped sound of Janet (1993), but supplemented by an instrumental outro which, with the use of the clavin, is a clear homage to Stevie Wonder. Also, the perk on the short-term 'Short Court Style' series is as cheated by the Janet handbook, but fans of Mariah Carey's 90's repertoire (a la 'Butterfly') will also be able to surrender to the welcoming mix of pop and modern r'n'b.
'Sisters' sounds like a touched love statement to Erykah Badus neo-soul: The jazzy syncopations and the talking-singing vocal cadency in the verses are Badu classic, as is the use of choir sentences in the chorus. 'The Fire', the album's best bet for a summer hit could be a Haim hit, and the mint poem about the ballad 'Far From You' does not make clear memories of The Carpenters (!), Perhaps a lovingly-ironic manifestation of Prass' appearance similar to Karen Carpenter?
Prass challenges the generally pop-friendly approach to, for example, the brilliant 'Hot for the Mountain', where the strings give the song a light seaworthy sensation - like a sneak on the subconscious, or as the manifestation of heartbreak in its most personally disruptive manifestations. 'Hot For the Mountain' also distinguishes itself by the fact that Prass is more than willing to leave the song with drama and nerve by its vocal presence. The vocal melody does not completely end with the instrumental (orchestral) backing, but plows like its own delicate track.
Fans of the debut album might rock the nose of Prass 2.0 if the reason they fell in love with her was the first time updating of a particular sound of roots for a certain period of time (60s), but they are pop music lovers - Such a broad understanding - you should not cheat for the updated, more colorful and more direct version of Prass.
She does not just sing in the present time, but has convincingly channeled pointers from the last five decades of popular music story without losing sight of the goalkeeper (the good song) and without putting his personal vision out of control - even herself if her fraudulent-eclectic vocal effort in turn conflicts with the very idea of artist excellence.