The most impressive release on any musical spectrum last year was Raphael Saadiq’s masterpiece, The Way I See It. A singer capturing a sound from the mid 60′s to the late 70′s in a container and opening it at their will in 2008 was the most impressive display of loyal artistry, heavily for its devotion and unique touch. There, we saw a man pissed off with the current state of rhythm and blues, thus, taking it in his own hands and revitalizing it the only way he could; by resurrecting the golden era of soul. With Leela James, 3 years removed from her debut A Change Is Gonna Come, we see the female equivalent of Saadiq in just about every sense. With her new album on the rise, Let’s Do It Again, this is synergetic soul between the old and the new is very, very welcoming.
The title takes on a triple meaning. For one, it is Leela‘s sophomore album (which she produced herself). Secondly, it’s a title of one her songs, a cover of the Staples Singers classic. More appropriately though, it takes on this symbolic meaning of homage, dedication, and reliving. Miss James invites the listener to take a time machine into various musical eras, but she wants herself and her live band to tag along too.
In this journey, Leela visits the UK in 1984 where she adds her tender vocals to the Foreigner classic, “I Want to Know What Love is.” She displays a genuine interest and curiosity in the topic even though she was only 1 year old when the song was released, but moreover, emphasizes passion and endless searching attitude that propels the meaning of the song and her lyrical integrity. It’s actually remarkably beautiful. More of this is shown on the 1972 Al Green gem, “Simply Beautiful,” which is easily one of the hardest songs to cover. Leela does it effortlessly, and once again gives her all in this 5 minute performance.
These are not male dominated tracks anymore, just look to the very impressive Godfather of Soul’s redone 1966 song, “It’s a Man’s Man’s Man’s World.” Leela James takes over and the listener’s unavoidable weak knees posture forcefully bows at this songstress’s presence; she’s that good.
Ironically enough, the funk-infused joints don’t have as much bounce as the aforementioned soulful ballads. The Booty Collins classic, “I’d Rather Be With You” and Betty Wright‘s “Clean Up Woman” exemplify this. By no means are they bad, but it’s an interesting setting and change of pace that doesn’t live up to expectations.
Regardless, if Leela could win a Best Actress nomination for this album, the Best Supporting Actors/Actresses would be her live band and backup singers. They are what The Roots are to Black Thought; yes, they are that vital. Not only do they make these classics their own, they elevate them to be perfectly modern and updated while staying loyal to the source material. The band also gives a very necessary live feel to the album to make it as special as it is.
Even though new and original material from Leela James is always wanted, it is hard to not consider this new and original. In fact, we are given a complete compilation of greatest hits that should only increase the appreciation for the original and the new product; very similar to the Saadiq project. Nevertheless, the fact that this woman is singing again warrants an acknowledgment, and after one whiff of this LP, people will only be craving more and more of this jewel.
88/100
Standout Tracks:
“It’s a Man’s Man’s Man’s World”
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“Miss You”
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“I Want To Know What Love Is”
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