[rating=8.00]
“Hello, this is Charles Bradley,” the prolific soul singer introduces himself in the powerful and emotional spoken word intro “God Bless America” on his latest record Changes. Never one to shy away from a dramatic entrance when it comes to his songs, Bradley does not disappoint on any part of Changes. And though it hasn’t been especially long since his last record, 2013’s fabulously sexy Victim of Love, Changes feels like a re-entry for Bradley. The theme of returning to something (to his fans, to the studio) is prominent on tracks like the rollicking “Good to be Back Home” and the peace-promoting “Change for the World”. There is excitement and buzz, even with Bradley’s low key sensuality taking center stage. The latter tune is Bradley’s take on a protest song, and it’s one of the record’s best.
Still though, Bradley is most himself when he’s moaning about love and love lost. Title track “Changes” is a desperate plea to a wronged lover set to a lounge-y, sultry pace. “I’m goin’ through changes,” Bradley repeats throughout, driving it home that though he’s hurting, he’s evolving. Musically he’s evolved, too. Bradley is one of those artists that seems like he’s been putting out records forever, when truthfully, Changes is only his third full length studio album. His sound harkens back to 1960’s soul music, and even his record covers have a classic look to them (the cover of Changes is one of his best, though). With each album, he sounds more and more grown into himself, and his confidence is unwavering.
“It’s my turn to love and be loved/It’s my turn to get out in the world and speak,” Bradley preaches on one of the record’s most soulful grooves “Ain’t it a Sin”. This track is Bradley at his most devilish, letting out those primal shrieks he’s perfected, a la James Brown, and getting cheeky with his lyrics. “If you ain’t gonna do me right/I might just do you in,” he wails in his larger than life rasp. Even when he’s putting you in your place, there’s something undeniably sexy about Bradley. He oozes sex with every carefully constructed note, yet it all sounds so effortless and easy for him.
Bradley gets true old school on songs like “You Think I Don’t Know (But I Know)” with its doo wop backup harmonies, and the psychedelic sex trip that is “Crazy For Your Love”. This guy has romance and seduction running through his veins and Changes is the ultimate baby-making record. Even when he reflects on the crazy state of the world (as on “Change for the World”), it’s still so silky.
In many ways, it feels incredible that music this authentic can still be made in 2016, but Bradley is proof that old timey soul and R&B is as relevant and important as ever. The smoothness he brings to his craft and the way his songs are so easy to dance to (in fact, they’re impossible NOT to dance to) is astounding. We should all feel fortunate we still have an artist like Bradley making new music for us to enjoy. Changes may be the name of the game this time, but where it matters, Charles Bradley hasn’t changed a bit.
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Photo by Shayan Asgharnia
