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SOLANGE - WHEN I GET HOME
ARTIST:
TITLE:
When I Get Home
LABEL:
CATNO:
19075944041
FORMAT:
Vinyl record
DESCRIPTION:
2x12" LP R&B Hip Hop & Soul LP - Unfazed by having to follow a landmark album that crowned the Billboard 200, went gold, and yielded a hit that took a Grammy, Solange leisurely detours with When I Get Home. Made in spots as remote as Los Angeles and Jamaica, the follow-up to A Seat at the Table was also recorded in New Orleans and Solange's native Houston. Most pertinent is the last location, referenced repeatedly in expressions of nostalgia, pride, and tranquility, as well as in titular geographic markers.
Moreover, the spirit of DJ Screw, Houstonian developer of the woozy and torpid sound perfectly termed "chopped and screwed," is often felt, even as a bountiful supply of synthesizer lines burble and wriggle like certain '70s moves made by George Duke, Stevie Wonder, and Space City's own Joe Sample. Compared to A Seat at the Table, the balance of which processed anguish and anger, this is lighter and freer, above all else a luxuriant bliss-out. From the early moment where Solange makes like a group of harmonizing, sunlit Janet Jacksons, it sounds custom-made for a basking joy ride that tops out around 20 mph and slows just enough to accommodate get-ons and drop-offs for a variable group of companions including a lover. It comes across as both spontaneous and deliberate. Some portions sound raw enough to have been generated on the spot, prioritizing feeling over "proper" songs. Certain tracks offer little more than riffing and moodscapes, yet all 19 are shaped into a concise flowing whole with subtle twists and turns. Smoothest of all is the point where the bewitching and beatless "Jerrod," on which "Come and say the word and you know you gon' hit it" is sung in the most tender way imaginable, shifts into the steady-rocking "Binz," allowing Solange to wind up her waist and get gleefully materialistic with the-Dream in tow. Relatively drastic is the switch from the chugging "all black (and brown) everything" exultation "Almeda," also featuring Dream, into the aching and intimate "Time (Is)." Separation of the two songs is nonetheless unimaginable. Just as skillfully latticed is the large assortment of artists honored through evocation, collaboration, and sampling. The cleverest placement might be the sampled gospel group singing "Please take the wheel forever." In the context of When I Get Home, their devoted appeal takes on a literal meaning while losing none of its redemptive intent.
Moreover, the spirit of DJ Screw, Houstonian developer of the woozy and torpid sound perfectly termed "chopped and screwed," is often felt, even as a bountiful supply of synthesizer lines burble and wriggle like certain '70s moves made by George Duke, Stevie Wonder, and Space City's own Joe Sample. Compared to A Seat at the Table, the balance of which processed anguish and anger, this is lighter and freer, above all else a luxuriant bliss-out. From the early moment where Solange makes like a group of harmonizing, sunlit Janet Jacksons, it sounds custom-made for a basking joy ride that tops out around 20 mph and slows just enough to accommodate get-ons and drop-offs for a variable group of companions including a lover. It comes across as both spontaneous and deliberate. Some portions sound raw enough to have been generated on the spot, prioritizing feeling over "proper" songs. Certain tracks offer little more than riffing and moodscapes, yet all 19 are shaped into a concise flowing whole with subtle twists and turns. Smoothest of all is the point where the bewitching and beatless "Jerrod," on which "Come and say the word and you know you gon' hit it" is sung in the most tender way imaginable, shifts into the steady-rocking "Binz," allowing Solange to wind up her waist and get gleefully materialistic with the-Dream in tow. Relatively drastic is the switch from the chugging "all black (and brown) everything" exultation "Almeda," also featuring Dream, into the aching and intimate "Time (Is)." Separation of the two songs is nonetheless unimaginable. Just as skillfully latticed is the large assortment of artists honored through evocation, collaboration, and sampling. The cleverest placement might be the sampled gospel group singing "Please take the wheel forever." In the context of When I Get Home, their devoted appeal takes on a literal meaning while losing none of its redemptive intent.
PRICE:
£22.49
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Mint (M)
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Mint (M)
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Last FM Information on Solange
Please note the information is done on a artist keyword match and data is provided by LastFM.
Solange Piaget Knowles, known mononymously as Solange, is an American singer, songwriter, performance artist and actress. Expressing an interest in music from an early age, Knowles had several temporary stints as a backup dancer for Destiny's Child, which featured her elder sister, Beyoncé Knowles, among its members, before signing with her father Mathew Knowles' Music World Entertainment label. At age 16, Knowles released her first studio album Solo Star (2002). Between 2004 and 2007, Knowles had several minor acting roles, including the direct-to-video Bring It On: All or Nothing (2006) and continued co-writing music for Beyoncé and former Destiny's Child group members Kelly Rowland and Michelle Williams.
In 2007, Knowles began to record music again. Her second studio album Sol-Angel and the Hadley St. Dreams (2008) deviated from the pop-oriented music of her debut to Motown-inspired sounds from the 60's and 70's. It peaked at number nine on the US Billboard 200 and received positive reviews from critics. She followed this up with the 1980s pop and R&B-inspired EP True (2012) on Terrible Records and her imprint Saint Records. Her third studio album, A Seat at the Table (2016) was released to widespread critical acclaim and became her first number-one album in the United States. The album's lead single, "Cranes in the Sky" won the Grammy for Best R&B Performance. Her fourth studio album, When I Get Home, was released in March 2019 to further critical acclaim.
Knowles was heavily influenced by Motown girl groups and says that her first passion is songwriting. Frequently compared by the media to her sister Beyoncé, Knowles has claimed that they have different aspirations and are musically different. She has been ranked by Billboard as the 100th most successful dance artist of all-time, and in 2017 was honored with the "Impact Award" at Billboard Women in Music. Her other ventures include an endorsement deal with Rimmel London and a line of hip-hop-oriented merchandise for young children. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.