Dwele
Sketches of A Man
by: Travis Larrier on Jul 22 2008
Almost perfect: Most of these tracks are instant classics.
4.5
Detroit bred R&B/Soul crooner Dwele has been busy in the three years since his second official debut, Some Kinda… The talented singer, songwriter and multi-instrumentalist was featured on Common’s lead single, “The People”, as well as Kanye West’s multi-video, mega-hit, “Flashing Lights”. Logically then, it makes sense that he would continue on this natural course to R&B stardom given that the name “Dwele” was starting to become something of a household (i.e., radio) mainstay. Wouldn’t you cash in?! Get some Polow Tha Don synthesizers and maybe snag Ne-Yo for some songwriting ideas to really dig into the radio-ready crowd. Co-hosting TRL or 106th shouldn’t be that far off either. Instead, what Dwele offers up on Sketches of a Man is a return to the authentic, thoughtful, soul-stirring music found on Rize, his 1998 demo tape that earned him some serious street-cred with the underground intelligentsia.
Sketches’ lead single, “I’m Cheatin’”, belies this supposed return to the roots. Despite the familiar sensibilities, the song is very good and sits in the middle as the album’s centerpiece. What surrounds this radio single, however, are the melodic Fender Rhodes, thick basslines, articulate trumpet play (by Dwele) and solid production that make a soul album a memorable experience and not Starbucks fodder. Dwele handles the lion’s share of the production and instrumentation on the album. This feat alone is worthy of the utmost praise and acclaim but when these multiple talents are combined with Dwele’s masterful songwriting, the product promises to be the R&B/Soul album of the year.
The best contemporary nu-soul comes from artists who have hip hop roots and sensibilities. Consequently, Sketches’ multiple nods to the late J Dilla are frequent, apparent and welcome. The album’s cover art is an obvious homage to the deceased beatmaker’s final opus, Donuts. The delectable medley of some of Dilla’s “donuts” on “Workin’ On It” warms the soul and drips of authenticity coming from a homer like Dwele. Similar sentiments can be echoed for the groovy-but-poignant cover of “Open Your Eyes”, a Bobby Caldwell original that Dilla used for Common’s 2000 single, “The Light”. With the use of an ambient fuzz guitar and some sincere production, Dwele is able to put his own unique spin on this new hip hop/soul standard. Dwele’s best ideas on Sketches occur when he invokes the nu-soul spirit of Dilla — the Mama’s Gun, Like Water For Chocolate, Fantastic Vol. 2 Dilla as opposed to the Champion Sound, Ruff Draft, space-aged Dilla. Crisp drum work mixed with affecting electric piano and trumpet touches are what make “Free As A Bird”, “Travelin’ Girl” and “Shady” pure ear candy.
What really makes Sketches such an engaging and varied listen is the album’s sequencing, flow and song structuring. At times, the album falls victim to some inane lyricism and if limited to its Dilla-isms, could have been a neo soul snoozefest. Dwele, however, finds a way to mix in some personality to break up whatever monotony might set in. There are several interlude jams reminiscent of a Pete Rock record as well as some great guest appearances. Fellow Detroiters, Slum Village, stop by to offer some metaphoric rhymes on Dwele’s ode to liquor, “Brandi”. The track, which is an adaptation of Slum Village’s “Go Ladies”, has all the characteristics of something the Soulquarians would have put together in 2000 and is easily the album’s highlight.
There are virtually no holes on Sketches of a Man, unlike Dwele’s prior two studio releases, Subject and Some Kinda… On those (very strong) releases, Dwele somehow interrupted a soulful flow and vibe for the sake of an unseemly and awkward R&B dud or two… or three... While Sketches has some of these same leanings, they are more strategically placed. “I’m Cheatin’” is positioned in the middle to serve as some sort of a R&B “time out” and the Raheem Devaugn-sounding “Body Rock”, which is brilliantly executed, rests snugly at the end of the record — a bonus track of sorts. Sketches of a Man is the ultimate mix of colorful instrumentation, varied production and strong songwriting that defines R&B artistry. It is an authentic return to form of a truer, more focused incarnation of the artist, but not too underground to make you stop when you jingle .
Sketches’ lead single, “I’m Cheatin’”, belies this supposed return to the roots. Despite the familiar sensibilities, the song is very good and sits in the middle as the album’s centerpiece. What surrounds this radio single, however, are the melodic Fender Rhodes, thick basslines, articulate trumpet play (by Dwele) and solid production that make a soul album a memorable experience and not Starbucks fodder. Dwele handles the lion’s share of the production and instrumentation on the album. This feat alone is worthy of the utmost praise and acclaim but when these multiple talents are combined with Dwele’s masterful songwriting, the product promises to be the R&B/Soul album of the year.
The best contemporary nu-soul comes from artists who have hip hop roots and sensibilities. Consequently, Sketches’ multiple nods to the late J Dilla are frequent, apparent and welcome. The album’s cover art is an obvious homage to the deceased beatmaker’s final opus, Donuts. The delectable medley of some of Dilla’s “donuts” on “Workin’ On It” warms the soul and drips of authenticity coming from a homer like Dwele. Similar sentiments can be echoed for the groovy-but-poignant cover of “Open Your Eyes”, a Bobby Caldwell original that Dilla used for Common’s 2000 single, “The Light”. With the use of an ambient fuzz guitar and some sincere production, Dwele is able to put his own unique spin on this new hip hop/soul standard. Dwele’s best ideas on Sketches occur when he invokes the nu-soul spirit of Dilla — the Mama’s Gun, Like Water For Chocolate, Fantastic Vol. 2 Dilla as opposed to the Champion Sound, Ruff Draft, space-aged Dilla. Crisp drum work mixed with affecting electric piano and trumpet touches are what make “Free As A Bird”, “Travelin’ Girl” and “Shady” pure ear candy.
What really makes Sketches such an engaging and varied listen is the album’s sequencing, flow and song structuring. At times, the album falls victim to some inane lyricism and if limited to its Dilla-isms, could have been a neo soul snoozefest. Dwele, however, finds a way to mix in some personality to break up whatever monotony might set in. There are several interlude jams reminiscent of a Pete Rock record as well as some great guest appearances. Fellow Detroiters, Slum Village, stop by to offer some metaphoric rhymes on Dwele’s ode to liquor, “Brandi”. The track, which is an adaptation of Slum Village’s “Go Ladies”, has all the characteristics of something the Soulquarians would have put together in 2000 and is easily the album’s highlight.
There are virtually no holes on Sketches of a Man, unlike Dwele’s prior two studio releases, Subject and Some Kinda… On those (very strong) releases, Dwele somehow interrupted a soulful flow and vibe for the sake of an unseemly and awkward R&B dud or two… or three... While Sketches has some of these same leanings, they are more strategically placed. “I’m Cheatin’” is positioned in the middle to serve as some sort of a R&B “time out” and the Raheem Devaugn-sounding “Body Rock”, which is brilliantly executed, rests snugly at the end of the record — a bonus track of sorts. Sketches of a Man is the ultimate mix of colorful instrumentation, varied production and strong songwriting that defines R&B artistry. It is an authentic return to form of a truer, more focused incarnation of the artist, but not too underground to make you stop when you jingle .
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