From: owner-god-shiva-digest@smoe.org (god-shiva-digest) To: god-shiva-digest@smoe.org Subject: god-shiva-digest V2 #64 Reply-To: god-shiva@smoe.org Sender: owner-god-shiva-digest@smoe.org Errors-To: owner-god-shiva-digest@smoe.org Precedence: bulk god-shiva-digest Wednesday, September 1 1999 Volume 02 : Number 064 Today's Subjects: ----------------- Re: god-shiva-digest V2 #63 [Lisa Wente ] Re: god-shiva-digest V2 #63 [JRGabriel2@aol.com] Bitter in the UK ["Chris Whyatt" ] Re: god-shiva-digest V2 #63 [Snow2iger@aol.com] ---------------------------------------------------------------------- Date: Tue, 31 Aug 1999 09:20:14 -0400 From: Lisa Wente Subject: Re: god-shiva-digest V2 #63 what a dumb headline!! me'shell sure is on point when she says, "sex sells"... 'cuz that is only one aspect of this article, and only one aspect of her... *climbing down off my soapbox* ...but okay...aside from the title, i guess it is a decent article... * * * * * * * >http://www.washblade.com/point/990827a.htm > >Keeping the faith Musician Meshell NdegÈocello keeps her sexuality up front >without carrying a banner > >by Lawrence Ferber > >At first glance, Meshell NdegÈocelloís latest album Bitter seems to contain >a litany of religious tracks, with titles like "Adam," "Eve," and "Grace." >But a careful listen will unearth an altogether different set of themes and >meanings. > >For example, says NdegÈocello, the song "Faithful" isnít really about a >belief or trust in God. > >"Some people you go out with want to be monogamous," explains NdegÈocello >of her ode to fidelity. "Others want an open relationship. You question >that ó itís something I think we all question in a relationship." > >The instrumental pair "Adam" and "Eve" isnít about the Garden of Eden, either. > >"I use ëAdamí and ëEveí as attributes that live in both male and female," >says NdegÈocello, "as an example of bringing those two together." > >Still, the musician admits itís probably not a coincidence that religious >undertones pervade her work. Her tendency to examine the places where >sexuality and race intersect with faith has informed her music since her >1993 debut Plantation Lullabies. On 1996ís Peace Beyond Passion, the >award-winning single "Leviticus: Faggot" made waves with its visceral, >challenging look at a staunchly traditional Christian family and the Gay >son it wishes to "save": "Go to church, boy. / Faggot, youíre just a >prisoner of your own perverted world. / Before long he was crowned Queen >for all the world to see, bloody body face down. / The wages of sin are >surely death, thatís what mama used to say, / So there was no sympathy." > >These themes are still present on the new album. > >"With Bitter I was kind of hoping that I steered away from anything >religious and dealt more with the personal struggles we all go through, >most importantly love," says NdegÈocello. "But coming from a traditional >Christian household, I guess it just permeates my psyche." > >Aside from the religious-tinged tracks, album highlights include >"Beautiful" and "Full of Me." > >"I was involved with somebody and I really had a strong connection and >feeling for her," explains NdegÈocello of the latter trackís meaning, "and >they just were wishy-washy and really kind of left me hanging. Thatís where >that came out of. Fancying someone who doesnít feel the same way about you." > >The openly bisexual NdegÈocello admits that her romantic fancies ó both >male and female ó are the seedlings behind many of her compositions. >However, she feels the loverís specific gender doesnít matter when it comes >to how the songs should be interpreted by others. > >"I know any song can mean anything to anybody," she says. "Thatís the >beauty of music. If you perceive it to be about the woman you love in your >life, great. ëBeautifulí ó you can sing it to no matter what sex. Of course >there are songs I definitely wrote to my lover, and then there are songs >about relationships Iíve had with men. I write what I feel and they come >out how they do." > >Happily, Ndgeocello reports that her openly bisexual status has never been >a source of professional friction. Her record label, Maverick, has been >pressing for a change in musical direction ó "If I could make a Britney >Spears record, theyíd be really happy," she jokes ó but has not pressured >her to tone down her sexuality. > >"Iím bisexual," she says. "I donít hide it, but Iím also very relaxed about >it, I donít think I have to carry a banner. Itís part of who I am, but not >all of who I am, and I wish more people would concentrate on the fact I >play several instruments, write all my songs, and on my musicianship. I >think culturally itís just more exciting and accessible to talk about my >sexuality ó sex sells. So my sexuality is up front, at the forefront >sometimes, yet I donít like that. It gets boring sometimes." > >NdegÈocello would rather talk about music ó and not just her own. She has >collaborated with many of her musical idols in recent years, citing gigs >with Vanessa Williams and Chaka Khan as some of her favorites. > >"Sheís just incredible, the ultimate vocalist," gushes NdegÈocello of Khan, >"someone I was a huge fan of. And finally getting to meet someone you >idolize! She was just great to work with, an incredible vocalist." > >Not all her collaborations have been pleasant ó she cites Babyface as a >"conservative" and "Wonder bread" musician, saying, "I played with him on a >gig and heís just really conservative and bourgeois. I think heís just >phobic, period, of just anything" ó but stresses that sheís "pretty easy to >work with." She also looks to a wide range of artists as potential partners. > >"If Trent Reznor came, that would be great. Or Garth Brooks ó Iím a huge >fan," she says. In between those extremes of goth rock and country come >other people sheíd like to work with, from Dave Matthews to Tracy Chapman, >from Rickie Lee Jones to Skin. "Bon Jovi may be a little out but otherwise, >itís all fine." > >NdegÈocello doesnít shun dropping names of such artists as David Sylvian >and Ryuichi Sakamoto in assessing Bitterís mellow, earthy sound. Indeed, >NdegÈocelloís fans may be surprised by the new albumís unexpectedly somber, >quiet, and downbeat tempo, particularly when the new album is compared to >her soulfully groovy debut. > >"Thatís just what I was feeling," she says, assuring listeners that her >sound could change anytime. "I let the universe guide me, and thatís the >direction it goes. I just donít want to do the same thing all the time ó >you have to grow." > >Just donít expect NdegÈocello to produce that "Britney Spears" album >anytime soon. ------------------------------ Date: Tue, 31 Aug 1999 12:51:03 EDT From: JRGabriel2@aol.com Subject: Re: god-shiva-digest V2 #63 Joy and pain Emotions hit hard on Bitter by John Murph Meshell Ndegéocello’s new album finds her in a deep blue funk, with her musky alto as persuasive as ever. Throughout Meshell Ndegéocello’s six-year career as a solo recording artist, the bassist/singer/songwriter has been as open about her tumultuous love affairs as she has been about her bisexuality. On her first two albums, she hinted at betrayal, playing a vamp on the jocular "If That Was Your Boyfriend (He Wasn’t Last Night)" and a paranoid lover on the Bill Withers classic, "Who Is He And What Is He To You." On her latest album, Bitter (Maverick), the sense of betrayal looms overwhelmingly. The new album finds Ndegéocello in a different kind of funk — a deep blue funk that’s articulated not by the thrust of slapping bass, infectious rhythms, or white-hot rapping, but through soul-baring verses and shadowy arrangements. Bitter doesn’t necessarily rock the body so much as it rocks the cathartic spirits, with Ndegéocello’s musky alto persuasive as ever. Exploring the angst-ridden themes of unrequited love, irreparable relationships, and spirituality, Ndegéocello opts for a softer, questing approach that’s in direct contrast to the randy art-funk of her two previous records. Enlisting producer Craig Street, who hemmed classics for such artists as Cassandra Wilson, jazz-rock fusion band Harriet Tubman, and Jimmy Scott, she’s insulated her dire themes with stately, yet more organic arrangements that betray more of her jazz sensibilities. When Ndegéocello sings of romantic humiliation on "Fool Of Me," Lisa Coleman’s sparse piano accompaniment reinforces the harshness of such lyrics as "Was I blind to the truth? Just there to fill the space?" The sullen title track finds Ndegéocello whispering aching verses ("You curse my name bitterly") against Wendy Melvoin’s lonesome acoustic guitar. On the melancholy "Wasted Time," Ndegéocello’s androgynous voice duets with Joe Henry’s equally intriguing voice. Together they create a jolting dissonance which gives lyrics like "Brokenhearted, I dream for you to notice me" added discomfort. While Bitter mostly portrays Ndegéocello as the wounded underdog, she does own up to her destructiveness as she sings of physical infidelity on "Faithful" with the lines "No one is faithful. I am weak. I go astray. Forgive me for my ways," and admits that she’s faithful only to God on the comparatively optimistic "Grace" and "Satisfy." And it’s Ndegéocello’s sense of spirituality that prevents the record from becoming rote, neck-rolling, Terry McMillan-inspired soap opera. Even at the most despairing moment, Ndegéocello never utters a vengeful note. Instead she meditates on inner beauty and strength, which is evident in her blissful cover of Jimi Hendrix’s "May This Be Love." Despite Bitter’s contemplative nature, it evokes a sensuality that her two previous albums lacked. Ndegéocello sounds more assured as she sings more slowly, with more elongated phrasing. Her signature staccato delivery is intact on the gritty "Wasted Time," as is her almost spoken-word singing on "Fool of Me;" but on "May This Be Love" and "Bitterly" Ndegéocello’s languid voice evokes an enormous sense of yearning. And although the album contains nothing that lends itself to dancefloor remixes, songs like "Sincerity" and "Loyalty" are bolstered by a sultry "slow screw against the wall" grind — their erotic charge burns deep and long. As the wise old saying goes, "You have to experience pain to really understand joy" — and on Bitter, Ndegéocello transports listeners to a place where both joy and pain hit hard and simultaneously. ------------------------------ Date: Tue, 31 Aug 1999 22:51:55 +0100 From: "Chris Whyatt" Subject: Bitter in the UK I've got my import of Bitter from the States here and now in the UK. A truly fantastic album of beautiful songs, played and sung with true emotion - *****. Chris ------------------------------ Date: Tue, 31 Aug 1999 21:05:56 EDT From: Snow2iger@aol.com Subject: Re: god-shiva-digest V2 #63 In a message dated 8/31/99 1:40:23 AM Pacific Daylight Time, owner-god-shiva-digest@smoe.org writes: << Not all her collaborations have been pleasant — she cites Babyface as a "conservative" and "Wonder bread" musician, saying, "I played with him on a gig and he’s just really conservative and bourgeois. I think he’s just phobic, period, of just anything" >>an article on Me'Shell and Spirituality I always find myself nodding in agreement to things Me'Shell says. Damn, she's always ON POINT. ------------------------------ End of god-shiva-digest V2 #64 ******************************