It is a mystery why mass acceptance of producer albums has historically been so lukewarm. Pete Rock’s Soul Survivor series is criminally overlooked; 9th Wonder’s Dream Merchant series will only be discussed on Internet messageboards; and Platinum Pied Piper’s Triple P might be one of the finest albums released this century never to see a radio spin. Perhaps all the attention that Sa-Ra receives will get the pendulum swinging towards the endeavors of these beatsmiths/artists… but it’s unlikely. London-based 4hero’s most recent work, Play With The Changes, their 6th album, serves as another toddler thrown into this ignored and oft-panned “kiddie” pool of genius.
As pioneers of Jungle and Drum and Bass music, Dego MacFarlane and Marc Mac Claire’s latest album takes a slightly more defined soulful turn than its predecessors’ sound. The molasses-thick basslines and upbeat tempos are still, for the most part, a staple much like on their last offering, Creating Patterns. The artist selection on Changes, though, is more robust and dynamic and appeals more to the pallet of a Black Lily neo soul fanatic than a 91 lb. raver hopped up on Ecstasy. Carina Andersson’s anthemic opener, “Morning Child”, sets the album off on a blissful journey of soul that has multiple rest stops along the way. “Take My Time”’s funky bassline, smoothed-out synths, subdued horns and neck-jarring soul clap provide the perfect landscape for a talented J Davey to ruminate about the art of resisting the temptations of the flesh, while the pulsating string arrangement on Face’s “Look Inside” can surely serve as a soundtrack for spring. Surprise cameos include Justus League’s own Darien Brockington and Phonte on the mid-tempo’d “Give In” and Grammy-winner Jody Watley on the metaphysical and socially aware “Bed of Roses”.
Changes also has its share of artistic shifts that add to the overall black music texture of the album. Ursula Rucker’s (whose poetry has closed out numerous Roots albums) “The Awakening” is her typical dose of socially conscious spoken word meandering but with a much heavier tinge of musicality as her voice intonations match the lush orchestration that accompany her.
Terry Devos’ cover remake of Stevie Wonder’s “Superwoman (Where Were You When I Needed You?)” is downright brilliant for 2 reasons: First, 4hero was smart enough not to “overdo” this track and stick to the floaty aesthetic of the original. They don’t get in the way of this classic by employing ambitious experimentation; rather, they add subtle nuances that bring the familiar Music of My Mind single to life. Second, the challenge of singing a Stevie Wonder song note for note is akin to vocally nailing “The Star Spangled Banner” – it’s hard, people. For Devos to mirror Stevie’s unpredictable and vocally strenuous melody changes is perplexing. The freewheeling jazz of “Why Don’t You Talk?” also shocks the listener’s ear with the intensity of the horns and the train-wreck quality of its conclusion… it all works, though. When put into context, these pieces are so properly sequenced that they really give the album a diverse feel and break up any sense of comfort or ease you might lull into with your listen.
Play With The Changes is a sonic masterpiece that toggles between laid back Electronica, Dance, and Soul music all strung together by 4hero’s brilliant aural backdrops and rich instrumentation. The diversity and number of artists make it feel like a smartly streamlined and thematic mixtape. The “replay value” is high as you can spin it to start your day or play it to entertain a group. As a producer album, it ranks as one of the best in recent memory and is inching its way towards the most notable album of its ilk about which the masses will never know.
