Tamara’s
Class Of Soul
In
2016 there were a lot of great releases, and Textures Of Emotions by Tamara’s
Class Of Soul is one that is worth seeking for its amazing collection of
soulful pop tunes that go everywhere from there to pop, jazz and adult
contemporary. She comes from up north, where it stays wet but creative and a
lot of music thrives beneath the radar of the rest of the nation. But it’s only
her first record so she has a long road ahead of her, no matter where she’s
been thus far. Make no mistake about it though, she’s got something to say and
makes tremendous strides to get that across on her first release.
“This Is My Heart” is worth the price of admission alone. It’s that good and should be a lead-off single but it’s not. She’s a bit of a spoken word expert but it doesn’t come on at its strongest point here, you just get the idea it’s going to featured elsewhere on the album. This is probably the most uniquely structured song, but also somehow the most accessible. It reaches the top shelf by not relying on the clichés and bringing something more to the table. It’s a must hear if anything on this album is, and that’s most likely why it comes first. It’s a choice I would make if I were her, so it wins on every level with me. Not every track earns that amount of praise, but the rest all provide a lot of healing and very powerful advice. The music takes a back seat on most of it, but provides spot on duties when called for. It’s her voice that does the business, with some high-standard backing. “Do You Remember The Time” is a bluesy, groovy number with a lot of slow-dance quality. But once again it’s her voice that shines, with more spoken word to make this what it is. It reminds me of singers like Valarie Simpson and Sade, which is a testament to her vocal inspiration combinations and how she uses them.
I also compare the sound of her voice to the likes of Anita Baker at times, with that low register turning out big efforts. “Cried My Last Tear” is a chance to show that side of her, with more of a jazz style to prove it. And it goes a long way on the professional side of things, but it’s not all serious, there are many playful moments too. “Party Time” is an example of one of them. So is “Just Get Funky With It (Intro to Band)” even more so. It’s where the album really starts jumping and she takes a break and lets the band kick back and play. And while not extensive, the jamming is immensely tight. When skipping around a little, “You Never Really Wanted Me” gets two placements with itself and a remix, for those with ears for that sort of thing. It’s important to some and not to others to hear more than one version of something on a studio album, but the difference is loud and clear, so it gets a pass. “Touch So Gentle” can be seen on YouTube to get a short glimpse into Tamara herself with an accompanies acoustic guitar player. It’s worth searching for to see what you’re hearing, and recommended for this track as well. The rest is all good to go, and some of it even radio-ready.
“This Is My Heart” is worth the price of admission alone. It’s that good and should be a lead-off single but it’s not. She’s a bit of a spoken word expert but it doesn’t come on at its strongest point here, you just get the idea it’s going to featured elsewhere on the album. This is probably the most uniquely structured song, but also somehow the most accessible. It reaches the top shelf by not relying on the clichés and bringing something more to the table. It’s a must hear if anything on this album is, and that’s most likely why it comes first. It’s a choice I would make if I were her, so it wins on every level with me. Not every track earns that amount of praise, but the rest all provide a lot of healing and very powerful advice. The music takes a back seat on most of it, but provides spot on duties when called for. It’s her voice that does the business, with some high-standard backing. “Do You Remember The Time” is a bluesy, groovy number with a lot of slow-dance quality. But once again it’s her voice that shines, with more spoken word to make this what it is. It reminds me of singers like Valarie Simpson and Sade, which is a testament to her vocal inspiration combinations and how she uses them.
I also compare the sound of her voice to the likes of Anita Baker at times, with that low register turning out big efforts. “Cried My Last Tear” is a chance to show that side of her, with more of a jazz style to prove it. And it goes a long way on the professional side of things, but it’s not all serious, there are many playful moments too. “Party Time” is an example of one of them. So is “Just Get Funky With It (Intro to Band)” even more so. It’s where the album really starts jumping and she takes a break and lets the band kick back and play. And while not extensive, the jamming is immensely tight. When skipping around a little, “You Never Really Wanted Me” gets two placements with itself and a remix, for those with ears for that sort of thing. It’s important to some and not to others to hear more than one version of something on a studio album, but the difference is loud and clear, so it gets a pass. “Touch So Gentle” can be seen on YouTube to get a short glimpse into Tamara herself with an accompanies acoustic guitar player. It’s worth searching for to see what you’re hearing, and recommended for this track as well. The rest is all good to go, and some of it even radio-ready.
CD
BABY: https://store.cdbaby.com/cd/tammieingram
Mike Tabor
Mike Tabor
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