That leaves the only problem of the record: the songs aren't all that great. So, the sound is right on Fantasia, as is Barrino's performance: she delivers on the promise she displayed on the show, sounding like a full-throttle powerhouse on the faster songs and smoldering on the slower ones. Even when things slow down for the ballads Fantasia never sounds schlocky the songs sound made for DJs and clubs, which is why the album is at its best when it sticks close to that updated '70s soul feel, as on "Baby Makin' Hips" which doesn't hit as hard as "Hood Boy" but it's equally alluring in its cool reserve. It's inspired in concept and delivery, as Barrino puts her all into it and it works: with this one track, she sheds her AmIdol past and remakes herself into a vibrant, vital diva. Like Destiny's Child in Soldier, Fantasia is celebrating thugs, and with the day-glo Supremes sample skipping and stuttering in circles, "Hood Boy" sounds not unlike an updated version of Ike & Tina, as Fantasia desperately pledges her devotion to strong men. Fantasia is a hard R&B album through and through, a distinction made clear by the album-opening "Hood Boy," a dynamite single built on a blaring Supremes sample and featuring a rap from Big Boi that sets the tone for the rest of the record.
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When you want that type of record, you have to go to Ron Fair.Since it adheres to just one style of music, Fantasia is a more consistent album than her debut it has a sense of purpose and it takes greater risks in the production, two things which make it a bolder, better album than Free Yourself. When I leave this world, I want people to take my music and put them in musicals and on a big stage.
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And when you hear that type of album, it’s a full body of work it’s like something you can make a play off of. It was something like how Michael teamed up with Quincy Jones back in the day. He went and got a full orchestra, called Ricky Minor and all of his friends came up with these beautiful ideas we turned into songs. There’s nothing that this dude can’t do in music. As soon as I said that I wanted to document this process and he actually posted cameras in the booth, cameras at the board, at the piano. How was it working with such a legendary music mogul? You executive produced “The Definition Of…” with Ron Fair. I went to find a whole new team of people who completely get the woman I am now, who and get the Rock Soul thing, because I’m not the same girl I used to be.
When everybody on your team has the same mentality of who you used to be, you’re not going to go anywhere. When you’re growing, everybody’s not growing with you.
Here’s the thing! Everybody can’t go where you’re going. Not just R&B, but a little bit of everything. Now when my band I complete these albums and shows, the people will get to experience music across all boards. I’m a soul singer, that will never go away, but God gave me Rock Soul so I took it and ran with it. I would go back in the vault and take a Prince record or a Shelia E record and incorporate that in my live show. RELATED: Politics, Philanthropy, and Love: A Conversation with Common When Bonnie Raitt’s, “Let’s Them Give Something to Talk About” came out my mother and I were like, “Ok, this is the baddest white girl on the planet now.”
So in elementary school all I knew was Patti Labelle, Aretha Franklin, Elton John, Tina Turner, Bonnie Raitt. You got the uncles and aunties who listen to gospel and the blues, jazz and you got the youngins who listen to hip hop and different types of R&B. Growing up in a musical family exposed to me all different types of genres early on.