If you pay attention to the electro-funk scene, then odds are you’ve run across Sa-Ra already. Their demo has been one of the most widely circulated in recent memory, finding its way to DJs all over Europe, as well as the States. These cats had a pretty big buzz going based on their demo, culminating with them signing to Kanye West’s G.O.O.D. Music imprint on Sony Urban.
After more than two years of being promised a major label debut, Sony’s urban division folded, leaving the boisterous trio in a bad predicament: massive buzz, no product. I almost began to wonder if I’d ever hear a proper release from them when out of nowhere they announced a deal with independent label, Babygrande, to release their much anticipated debut, “The Hollywood Recordings.”
Boasting appearances from Erykah Badu, Talib Kweli and Pharoahe Monch, among others, their debut is ambitious if nothing else.
In lieu of the recent Imus aftermath, I must warn the ladies that this album contains some pretty misogynist lyrics. However, it’s done in such a farcical manner that it’s hard to take these guys seriously.
The opening track, “Hey Love,” has been floating around on the underground scene for a while, but it’s great to hear a properly mastered version. The bouncy track epitomizes their electro-funk sound, mixing their Parliament-esque vocals with a hip-hop sensibility. The breezily melodic track finds Sa-Ra in their best motif.
They spice things up with vocalist Rozzy Daime, who makes two appearances on the album. The song, “So Special,” is a pretty straight-forward R&B tune. There’s nothing wrong with that; it sounds great. Daime doesn’t have the greatest voice, but it works perfectly over this track.
The other track she appears on, “Tracy,” sounds like a Prince-produced Vanity 6 or Shelia E outtake. The synth-heavy track blends perfectly with the talk-rap style she uses on the track (think “Holly Rock”). This raunchy ode to a strumpet named Tracy is so wrong it’s right, hearkening back to the days when His Royal Badness ran things. It’s not for everybody, but I love it.
My favorite of the new tracks is “Fly Away,” an extremely funky tune featuring Erykah Badu and abstract vocalist, Georgia Anne Muldrow. The bass-heavy track bumps relentlessly as Badu and Muldrow sing the spaced-out chorus.
Plus, they manage to incorporate a synthesized guitar without sounding corny. These guys excel at this type of left-of-center, raw funk. I wouldn’t have wanted this collaboration to go any other way.
The album is not without its missteps though; unchecked, these guys have a tendency to go a little too far left. It’s cool, but it’s definitely an acquired taste, mainly because they sometimes abandon traditional melodies in the interest of being different.
Overall, I really do dig this album, but I’ll be the first to say that it may be a little too esoteric for mass consumption. However, if you don’t mind being challenged by an album that seamlessly takes electronica, funk and jazz and filters it through an abstract hip-hop sensibility, you might just like this album.
“The Hollywood Recordings” hits stores today.
