SOLANGE When I Get Home (Sony) In its spirituality and refusal to be tied down to strict structures, in its expansive eye and preference for mood over specifics, in its consciousness raising and emphasis on a singular vision, in its confidence that the line between jazz and R&B is already rubbed thin and can only be further smudged, When I Get Home is more Alice Coltrane than Lauryn Hill, more post-Sorcerer Miles than post-4 Beyonce. It is a heady album of immersion into blur
First, but not last, end of year thing from this pen/keyboard. A summation of a year dominated by people who won't be making music again but not ruled by it because it was also a year driven by people who made music socially and politically relevant again,
Also a top 10 that somehow doesn't include Nick Cave's Skeleton Tree. Still not sure how that happened. Can I have a Top 11 please?
(I'll be writing about the top 10, or 11, or 20, elsewhere soon.) BLACK DAYS, BLACK STAR
Beyonce and Solange Knowles are one of the great music stories of 2016. Two sisters as solo artists releasing number one albums in the one year is impressive enough. It’s never happened before – and before you ask, no, not even the Minogues. And it’s never happened to two brothers either - no, you don’t need to ask, it certainly didn’t happen to the Gallaghers after Oasis. But to do it with albums that aren’t just collections of songs but broader, deeper, commentary about bla
SOLANGE A Seat At The Table (Sony) “Why you got to be so angry? Haven’t we done so much already for you? “Sure, it’s not perfect but compared to a generation or two ago it’s a huge difference. You got jobs, including the biggest one in the country. You dominate sports and can get into colleges and schools without being bussed or escorted in by armed servicemen. You run the pop world don’t you, making yourselves millions and marrying celebrities, and you’re even winning Oscars