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marsha reviewrate5 Marsha Ambrosius embodies soul. Ever since “The Songstress” appeared as the scene as part of neo-soul UK duo Floetry her honest personality (which translates through her singing talent) has positioned her as one of the top talents in soul. At London's Islington Assembly Hall on the 24th of February, the singer showed off just why we can’t get enough of her, as few others on the music scene match her exuberance and vulnerability.

Best known for his much-sampled dance floor funk bomb “Soul Makossa" [that Michael Jackson got sued for unauthorized use of in “Wanna Be Starting Something"], Manu Dibango is among a small illustrious group of musicians who’ve managed to sustain their career into a fifth decade. The Cameroonian saxophonist and vibraphone player blends Afrobeat, jazz and funk together for an original sound - which we heard in all its brilliance in London on May 4th; the second of a sold out three night stand at the legendary music institution Ronnie Scott’s.

It beggars belief that today will make it two years since Michael Jackson passed. It’s no less shocking even after all this time. Once in a while I’ll get a hankering to listen to one of the three classic albums he made with Quincy Jones between the late 1970s and late '80s. Recently it was the turn of Bad: an album I’ve dubbed in the past as Michael’s best ‘pop’ album. And it is unabashedly pop. Having shown signs on Thriller of moving away from the pure funk/soul rhythms of Off the Wall, with Bad Jackson and Jones threw themselves wholeheartedly into the more commercial, synthesised sounds that characterised that particular decade. There was a noticeable absence of the sweet soul contributions from Brit maestro Rod Temperton with whom Quincy and Michael had made such beautiful music before. No doubt many saw this as selling out to a degree but if they were going to soften their sound, my goodness, Bad was the way to go about it.

As much as I would like to ignore the controversy surrounding the new Michael Jackson album, Michael, I feel obliged to address it. Having received this album via Sony Records and not some dodgy internet download, it came with an accompanying press release which went into great depth about the creation of the album and the controversy surrounding the authenticity of some of the tracks. Let’s get one thing straight, on any other day I’m a sucker for conspiracy theories and I would like to express that I am going to be as impartial as I can honestly be, as both a fan of Michael Jackson and a writer. I’m not here to impart my opinion on you regarding this specific aspect of the album, instead, merely to act as a vessel to present the facts.

As I sit here on the bus, composing this piece on my BlackBerry, the guy next to me has his headphones up real loud. He can't be that old, 14 or so. I'd usually be annoyed, but today I'm not. It's 'Billie Jean'. It’s such a familiar and distinctive sound, I’d spot it from a mile off. There's not many souls who wouldn’t recognise that drum intro, bass line and 3 note synth motif. Even though the album is as old as I am, Michael Jackson is so engrained in music culture it's hard to separate him from music itself.

I learned too much from Michael Jackson.  Having the opportunity to be both observer and writer/vocal producer was too rich to put into so many words.  Watching his breathing techniques, the vocal scales he would go over and over again before even stepping in the vocal booth at the studio every day we recorded.  He was perfect.  He was just so giving.  He gave his all. That would be the same thing that inspires me about him.  He cared so much for everything and everyone.  He gave his all in anything he did.  His legacy is left for us to study.  It's evidence of how GREAT he was and always will be. I wrote "I Want You To Stay" for Michael Jackson a few weeks before he passed away.  

There are a handful of artists who, on discovery, change the way I listen to music.  Without question the first one to start the trend was Steveland ‘Stevie Wonder’ Morris.  I was seven years old when I truly understood the power of music and its potential for socio-political impact and I have Innervisions to thank for it. For a while I had been both frightened and mesmerised by the artwork on the family copy of Stevie’s 1973 album.  It took a while for me to actually put it on the old turntable as I kept examining the strange humanoid creatures on the inside cover.  I’d got it into my head that Stevie had drawn them himself and being blind these depictions were a fruit of the ‘innervisions’ of the title; strange other-worldly beings that only someone, whose remaining senses were heightened by the absence of sight, could concoct.  I know - a lot for a seven year old’s imagination - but ask anyone who knows me well enough and they’ll confirm my tendency to over-think things. Prior to listening to Innervisions my main exposure to Stevie were vague memories of him being number one in 1984 for what seemed like forever to my three-year old self with ‘I Just Called To Say I Love You’ (it was actually closer to six weeks).  I remembered the Flamingo-pink

hiphophighlights Ten years into the 21st Century and Hip Hop is now one of the biggest grossing industries in the world today. Forget the music – the clothing, films and TV deals have all played a part in establishing this way of life as one of the biggest phenomenons. To think it all started off with just two turntables and a mic... As 2010 dawns, its time to take a look at what has had the streets and discussion boards talking; the artists, the controversies and sadly, the losses. The Hip Hop Highlights of the Decade...