JOHN CAMERON'S MUSICOLOGY EPISODE X: Maxwell (94 - 01) by John Cameron Urban Hang Suite (Ascension, Sumthin' Sumthin', Whenever Wherever Whatever) MTV Unplugged (This Womans Work) Embrya (Luxury: Cococure, Maybe You: Matrimony, Fortunate) Now (Get To Know Ya, Changed, For Lovers Only, Lifetime) Introduction Maxwell. "Musze" of the "Novella", the "Mythos" and the "Now". A consistent innovator of truly timeless music and a discography that any artist yearns for. The story of a Hattian-American, self-proclaimed nerd with a distinctive afro, composing music on a cheap Cascio keyboard at the age of 17, to having one of the most defining albums of recent times and redefining sexiness for that generation, which some might call "Mellosmoothe". If you don't feel sexy when listening to Maxwell, you're not listening to Maxwell. In spite of the long breaks that would challenge his fans later in his career, at the beginning, his profile was pretty consistent, some might consider it an impressive output, based on volume alone. His debut, was ground-breaking. It developed with the sound of soul in the 60s, funk in the 70s and quiet storm of the 80s to meld what would be dubbed as "neo-soul" in the 90s. Urban Hang Suite Urban Hang Suite was more than a revolution of a revolution, being neo-soul. Released in 1996, after having sat on the shelf at Sony for a year, itÕs eventual exposure was a result of D'Angelo's success with his "Brown Sugar" album, which was worked on during a similar time period. It's exploration of lust, love and disappear were not typical to the assumed level of someone in their early twenties, no matter how creative or aware. Its composition is masterful. While Maxwell himself is a brilliant arranger, the album features a mix of known and unknown musicians, but there is no deviation in quality between players. After creating a demo tape and playing the New York nightclub scene for only a short time, Maxwell signed to Columbia Records in 1994 and began recording the beginnings of what would become his debut. Ascension "Acension" was a collaboration between Maxwell and Itaal Shur, having exchanged ideas at the ÒGiant StepÓ club in New York. They returned to Itaal's apartment to write a number of song, but this would be the one that made the final cut. Featuring a bouncy bassline from Johnathan Maron, one of Shur's frequent collaborators and fellow Groove Collective member, "AscensionÓ stands out as Maxwell's first hit and a perfect introduction of what to expect from this new artist. The track, like many other from what would be the Urban Hang Suite, didn't just have life in this form... After the album was finally released, it would have its feature as a single. Those buying it though, were in for a very unexpected surprise. The majority of singles released around the world would not contain the version of what you hear on the album... Sampling the "SOS Band's" "No One's Gonna Love You", "The Tribute" is not just a remix, but a complete rerecording, including the vocals. Remember, Maxwell started working on these songs as early as 1994, by the time the public got to hear them, this young, innovative artist is arguably in his prolific creative prime, different from when they were written. Sure, the remix is great, but the original is a classic. It's the shining presentation of what the neo-soul movement had to offer. It's the perfect song, in a discography to be filled with many perfect songs. Had it been released in the 70s it would have been a hit. If it were released today, it would be a hit. Its classicality doesn't contradict its timelessness. Even if Maxwell himself, a couple of years later, disagrees... Sumthin' Sumthin' Maxwell had many amazing collaborators on the debut, but none quite as legendary as Leon Ware. A general descriptive of the track wouldn't be too dissimilar from that of "Ascension", but "Sumthin' Sumthin" seems to double-down on the pumping bassline, as provided by "Rare Esscence" member Mike Neal. Its lyrics are more tongue-in-cheek, perfectly matching the soul/ funk fusion that probably would have been a classic in the seventies. It was also remixed, and not just once. More so matching the album versions feel, "The Mantra" remix does appear to feature the same vocal, however additional background vocals have been added to better match the entirely new instrumental. Maxwell would often perform this in a melody with the original during television performances at the time of the single's release. If two versions weren't enough or you're not feeling the funk of either, there is yet another, with an entirely new vocal and second verse. "Mellosmoothe". Although it wasn't just regulated to a b-side, it became well known enough to become not only a fan favourite, but also find its place on the "Love Jones" movie soundtrack. While the first half of Urban Hang Suite would be filled to the brim with pulsating danceable rhythms, by the second, the listener is witness to the more vulnerable lyrical craftsmanship of this new, 22-year-old artist. Whenever Wherever Whatever Stuart Matthewman of the band "Sade", was another collaborator on the album. Perhaps the most significant with three writing and production credits, as well as playing various instruments across most tracks. He would also contribute to almost all of Maxwell's albums, as well as featuring him on his "Sweetback" album, also released in 1996. Despite all of the incredible songs they've made together, "Whenever Wherever Whatever" is undoubtedly the stand-out. It infuses MaxwellÕs love of Sade with its brainchild, but doesnÕt sound like a cheap impersonation. While the theme of heartbreak is nothing original in music, this does show Maxwell's ability to touch on the general, while making it feel so specific. Most would write such a song with the conviction of yearning, in this however, he writes with acceptance and loyalty. "Urban Hang Suite" is remembered as a seminal album of the nineties and neo-soul. Its success introduced an incredible artist to the world, as well as showing off the diversity its associated genre could explore. A movement was taking place, the establishment was quick, but maintaining it would be the challenge. The pioneers neo-soul were releasing or had released their debut albums, the question was; what are they going to do next? MTV Unplugged On May 7th, 1997 at the Brooklyn Academy of Music, Maxwell performed as part of MTV Unplugged. Many of the songs performed felt familiar, as they were revamped, stripped-down, orchestrated versions on what had appeared on ÒUrban Hang SuiteÓ, but there was one performance that night, that no one was prepared for. Maxwell's performance was edited down and released on its own EP just two months later. It was the perfect in-between the music he had done and what he was about to do next. Embrya Luxury: Cococure That following year, a twelve-inch black and red promotional vinyl was discreetly released. It contained five versions of a song to feature on his next album, ÒLuxury: CococureÓ. Three of these tracks made up an extended version of the one song, spanning over 15 minutes. The first section, "Epilogue", is an atmospheric build-up of percussion and delicate guitar riffs. Then the synths come in, adding an essential piece to what will become the complete composition. There's the bass, perhaps the most prominent, load-bearing structure on the album. If you were to look closely enough at the label, you would read; "Separated from the forthcoming full-length mythos: Embrya Due date: 6.30.98 wonder what but wonder not". The second section, "Monologue" contains the song as you would hear it on the album. The track itself is a series of similes and metaphors, articulating one's psychological and perhaps physical struggle out of a depressive state. The chorus though, reveals the panacea; "cococure". Given that half of the neologism itself is the word "cure", perhaps there is something in the other half, "coco". The final third is the "Epilogue", which is much like the first, being a stripped back, slight-rearrangement, although, this time with more of the instruments that make the song the centrepiece of the album. As promised, "Embrya" was released in late June of 1998. The album would only deliver two singles, ÒCococureÓ being one of them... Maybe You: Matrimony "Embrya" was a statement. It said to the world that an artist was not going to be restricted by some quasi-genre. Maxwell undoubtedly could have done an ÒUrban Hang SuiteÓ part II, but he didn't. Despite its contrast, if you were to expect a natural progression from his first album, this would be it. Strip away what makes it different, and you probably would have another "Urban Hang Suite". The main components are there, heÕs just built upon them. In spite of this, the album was nowhere near as successful or renowned in comparison Ð something that Maxwell predicted. For the fans that invested, the payoff was worth it. The album is a connected experience from its first track to its last. The individual tracks almost don't work without them bookending each other. What makes "Embrya" different? Compositionally, it's use of string arrangements and heavy bass gave it a more impactful sound, moving away from the smoothness of its predecessor to an intense soundscape. Lyrically, there's more depth. Poeticisms are stronger, metaphors are more frequent and guessing what everything means is an ongoing investigation for the listener. Long past their first spin. Fortunate There would be an opportunity for commercial redemption though, when that following year, R Kelly submitted a song titled "Fortunate" to Maxwell, for use on the "Life" movie soundtrack. Despite a lacking involvement, beyond recording vocals, Maxwell makes it his own, which might explain how it became the most successful single of his career. Now Get To Know Ya In 2001, Maxwell releases his third studio album, "Now". The sound of the album is perhaps best categorised as RnB, but still does incorporate funk and soul, in a fusion not too dissimilar from neo-soul or quite storm. This perhaps explains itÕs successes, receiving critical acclaim and charting at number one on the Billboard 200. Changed Thematically, he challenged himself more with this project, still exploring the wide spectrum of love, but also topics of a more depressive state. A pit of long-erm, deep-seeded despair. "Changed" is perhaps the most obvious example of such feelings - beginning the loose narrative of betrayal, introducing it with established dark feelings from his upbringing, then relating it to his current circumstance. In the song heÕs pleading for the past not to repeat itself Ð something in the hands of almost anybody but himself, a typical self-assessment of abandonment. ItÕs a more uncommon exploration in music; rather than the typical post-break-up yearning, begging and eventual grieving, heÕs touching on the anger following desertion. Somewhere between acknowledgement and acceptance. Themes of heartbreak run deep throughout Maxwell's discography, but perhaps the most poignant are those with elements of loneliness and longing. For Lovers Only While most would write songs of singular love about themselves, Maxwell pens an ode to the others. This is a true reflection of his ability to emote. Not only does he write for the listener, he writes to them. There is no fourth wall, there is no distinction between the performer and the audience, it's best described an experience shared by the two, in the full range of their individual emotions. What they reflect on might differ, but an essential component of timeless music is universality. The selfless, broad assessment of one's own life, while acknowledging that they're not the only one. Lifetime For most, the highlight of the album, ÒLifetimeÓ is an example of MaxwellÕs powerful song writing, proving once again that simplicity can be very profound, as is apparent from the first line. ItÕs a reiteration of themes of acceptance, a broad story that serves as a life lesson to the listener. Songs with deeper lyrics like this are usually regulated as fan favourites, however ÒLifetimeÓ would receive heavy radio play, while peaking at number 5 on ÒUS Billboard Hot R&B/Hip-Hop Singles & TracksÓ charts. While a more stripped-back instrumental compared to previous albums, the song does keep the utilisation of horns and development of amplified background vocals. This allows the listener to focus on the lyrics and vocal, without obstruction. MaxwellÕs voice is the main instrument. While not the generally regarded "best"; "Urban Hang Suite" or the obscure fan favourite; "Embrya", "Now" is just an as important developmental stage for Maxwell as an artist. While the instrumentals may come across as more hip-hop oriented (like most of what was on the charts around the time of its release), what made his first two albums great are still in there, along with the introduction of new instruments, despite their subtlety. It's not just his evolution though Ð he kept the producers and musicians throughout his all projects, even beyond this era. That same group of newbies and legends from the first album. This is a critical component of his work Ð trust and comfort. A discography like this is full of vulnerability, the type a producer canÕt just hand an artist on their way to a vocal booth. Surmise Maxwell would step away from the limelight following the promotional tour for ÒNowÓ, making only the occasional guest appearance on other artistÕs tracks. While he did still continue to work on music, he was an artist with nothing left to prove and an individual that had self-exposed the most course facets of his life. What is equally as amazing is his drive. After a successful debut, many end up desperate for another hit; and many fail. This doesnÕt faze Maxwell. HeÕs aware that thereÕs greater value in one person buying your album and listening to in from end to end, rather than one hundred people hearing half of the album, out of configuration on the radio. That is the attitude of an artist.