Release Date: March 29, 2005
Label: Gotee Records
Buy on iTunes
Tracklisting:
1. Jenny (Intro)
2. Stereo
3. Fabulous Dramatics
4. Unhappy Birthday
5. Overloaded
6. Take Me Away
7. Sorry
8. Monumental Continental
9. Who's Watching Me?
10. Caeser
11. Why Listen
12. Rush
13. It's Over Now
4th Avenue Jones was made up of vocalists Ahmad Jones and his wife Tena Jones, violinist Gailybird, guitarist Timmy Shakes, drummer Dee Calloway and bassist Phat Al. Evidently, "Stereo: The Evolution of HipRockSoul" is a crew effort and Ahmad, who for the greater part of the '90s was destined to be remembered as a one hit wonder, wouldn't have it no other way. As he says on the band's website: 'Being solo is about selling yourself, while being in a band is about the collective. I love the team. We are all capable of doing well on our own but we are really GREAT together.'
No need to disturb the peace, 4th Avenue Jones do indeed harmonize well musically. And when the domestic harmony is threatened, Ahmad and Tena fight back. On "Fabulous Dramatics," she assists her husband in fending off persistent exes, on "Unhappy Birthday" she leaves him on his birthday only to show up towards the end of the day (or song, respectively), while "Sorry" sees him desperate to save their relationship. The vocal time sharing is an essential part of 4th Ave, and the unpredictable manner in which they switch from one to the other and from singing to rapping might just be "Stereo"'s biggest asset. Contrary to standard pop and hip-hop albums, the course this album takes is completely unforeseeable. Ahmad nevertheless plays the lead, his singing voice ranging from hysterical antics to subdued tones, even approaching the bluesy cool of Kelis on songs such as "Unhappy Birthday" and "Overloaded." If the songwriting was more refined and the loud guitars weren't so obnoxious, further references could be N*E*R*D's "Fly Or Die" to categorize this album's extroverted side, or John Forté's "I, John" to describe its introspective side. Or think Linkin Park with an understanding for soul, funk, rhythm and blues.
Yet even though Ahmad would like to see 4th Ave in the tradition of Sly & the Family Stone, often it's just basically power pop, at times sounding slightly outdated or at least very American with all its hardrock riffs. Despite the infusion of modern electronica in small doses, it looks like truly contemporary music might have passed the Jones' somewhat by. Which may have been the intention all along, seeing how "Stereo: The Evolution of HipRockSoul" is also a homage to the good old stereo that picks up radio signals and transforms them into words and music. Now, since we have gone from broadcasting to podcasting, it seems one has to be connected to the cyberworld to be musically updated.
Though "Stereo" has little to offer to an audience hooked on hip-hop He-Men, Ahmad still got a bit of an MC in him, boasting that he's "been killin' mixtapes way before I heard 50." "I'm West-coastin', they hate that / young and I'm straight black" could even be something The Game says, right? It's mostly rearguard action when on the album's most hip-hop track, the closing "It's Over Now," the rapper laments that they "really don't make MC's like they used to" (mentioning The DOC and Pharoahe Monch, among others), but when he does address competition, he doesn't just spit battle raps, he engages in the age-old battle for hip-hop's soul:
"I don't bust my pimp juice, I don't bust that watered-down
I don't bust that Sambo, my grandfolks wore a crown
What I bust is revolution, what I bust is full of life
What I bust is for my people, me, my baby and my wife
I don't be with fakes and lames, I won't leave my faith for fame
I don't need no Jacob chain, you gon' see me change the game"
Unfortunately, as a rapper Ahmad makes too few attemps to make that happen. The short "Caesar" might be the only instant where he pens a really coherent, compelling verse:
"Caesar, I wanna see ya
We scared of police, not North Korea
I sweat and bleed, workin' to feed mi familia
Wear jackets every day, full-metal, I'm from the ghetto
where teens forced to settle, so they scream like a kettle
Gangbang and exchange drugs, they try to peddle
Lost love from livin' as thugs since they was little
Go to the Sire, tell him we're bringin' his empire
down, when my Messiah returns he's gonna tire
every liar will perish in lakes, burn 'em with fire
Murderin' thieves, how much peace does money buy ya?
Let's educate the homies cause the game is changin'
'stead of wrists they makin' sure our brains are chained
Let's reminisce how many of us hanged and slain
and now we pain our women as a claim to fame?
You just a puppet, Elmo playin' with flames
These are the last days, and it's finna rain
That's why they entertain us
Everybody loves you when you're famous
Hatin' everybody else who ain't us
All we want is more, overlookin' poor people in anguish
Dollars are the universal language
I wanna see Caesar"
There's nothing wrong with the more traditional themes and topics that are prevalent in rock and pop, but somehow "Caesar" reminds you of what a rapper like Ahmad would be capable of if he didn't have to share the stage. Which takes nothing away from the fact that "Stereo: The Evolution of HipRockSoul" is an energetic album that gives a clinic on fusing the most essential genres of popular music. Read More Here
Pulling from each edge of the musical spectrum, 4th Avenue Jones creates a listening experience like none other as they forge the way for a genre they've dubbed HipRockSoul. Anchoring the sound, the roots of rock and hip hop combine with jazz, funk, and r&b to provide an artistic and innovative concoction that serves up a taste of the future of music as we know it.
"Stereo", the lead single, introduces the listener to this mix with a driving rhythmic section, solid vocals and a killer rap verse. Tracks like "Take Me Away" , "Who's Watching Me", and "Rush" continue this aural assault that keeps your attention and takes music to a new high. Other tracks showcase the group's versatility, such as "Caesar", a track that is constructed right in front of your ears, with each "piece" of the composition comes in one at a time.
Thematically, the album fits together like a jigsaw puzzle. Each track, when properly observed and placed, offers another glimpse at the bigger picture which captures the scenery of a life that is all too familiar for many of us. Whether it's haunting past relationships ("Fabulous Dramatics"), arguments with people who are important to us ("Unhappy Birthday"), struggling to make it through the day ("Take Me Away"), and a general sense of frustration ("Why"), each song speaks to a common part of life and the difficulties that many of us face during our journey. "Overloaded" relates beautifully to schedules that are hard to keep and the busyness that fills our lives and often overwhelms us.
4th Avenue Jones pulled out all the stops and have achieved new heights with Stereo: The Evolution of HipRockSoul . With a firm grasp of musical standards and traditions, the group stretches the borders on this phenomenal effort. Easily the hottest release of this year so far. Read More Here
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