Despite her young age of twenty-two years, singer and songwriter Joss Stone recently released her fourth album: “Color Me Free.” Stone, a Dover, England native, was discovered for her outstanding voice in 2001, and she soon released her first album, “The Soul Sessions,” only two years later. Unlike many other new artists nowadays, her first single was not a number-one hit in the charts; however, she grew popular over a relatively short time and eventually her album went triple platinum in 2005, two years after the official release. Her music, a combination of classic and modern soul, R&B, and pop, is greatly influenced by the 1960s and 70s music of Dusty Springfield and Aretha Franklin. She also had great success performing on stage with music legends such as Blondie, James Brown, Tom Jones, and Gladys Knight. Besides her incredible voice, Stone is also known for her trademark barefoot performances.
Her new album, “Color Me Free,” contains 12 new songs, which is two less than on the last couple of releases; however, in all but two songs she was a major part of the song writing process, and the track list also mirrors a variety of songs with more diverse styles than in the past. Those styles include fast pop songs and classic jazz songs, as well as romantic ballads, performed either in a duet or by Stone alone. Therefore, the title of the album is fitting, since it is the first one which she has freed herself from all the predefined terms of other writers, producers, or labels.
Another striking point of this album is that it sounds more musical and instrumental. There is less computerized or synthesized sound; instead, the supporting instruments range from a single piano to a big band. They never undermine her strong voice, making it an album about singing and song writing, not just instrumental music. However, it is important to state that only both voice and music together create the sound that is typical for Joss Stone and her style of music.
The first track of the album is also the first released single. The song, called “Free Me”, reflects the overall purpose of this album; namely, to break free from her previous styles of songs, to break free from the songs of other writers, and to break free from conditions predefined by her record label. The chorus of this song says “Don’t tell me that I won’t, I will. Don’t tell me that I’m not, I am. Don’t tell me that my master plan ain’t coming through […].” This clearly states her ambition to represent herself as a new, independent artist. Additionally, the whole song, including music and singing, sounds strong and self-confident.
One of Stone’s best songs on this album is track eleven, a duet with Jamie Hartman, who is a British musician and songwriter. The song, “Stalemate,” is about a guy and girl being in stalemate with each other; while he does not know what he did wrong, she feels betrayed, heartbroken, and better off alone. However, it is not the topic of the song that is worth mentioning. This part is more average and many lines are built up in a similar way. But it is the music and the juxtaposition of two unique voices, forming this song into a beautiful love ballad. When I first heard this song, Hartman’s voice surprised me with an unusual husky sound, and I wanted to skip the first verse to hear Stone singing. However, his not-so-clear strong voice gives a perfect set up for the change to Stone’s voice. A minute and a half into the song, Stone opens her verse with “You used to pick me up, yeah” sung in a deep, calm voice. In my opinion, this is one of her best verses ever. In addition, Hartman’s and Stone’s different voices make the whole duet work perfectly. They represent the perfect couple, having problems in their relationship at a point where they are at a stalemate.
As a big Ray Charles fan I was looking forward to hearing track ten of Stone’s new album, which is a cover of the Charles classic “I Believe It To My Soul.” Since nowadays covers of old songs are usually a cheap pop or dance version, missing every well-working element of the original, there was some fear that Stone might have done the same. But she did not. The music of her interpretation is almost exactly the same, using a brass band, a percussion set, and female background singers. Even the lyrics are the same, and Stone’s performance of this song is simply the homage to one of her idols, arguably the best swing and jazz musician of all time.
One of the songs not working for this album is track eight, “Incredible,” which is not a bad song; nevertheless, it sounds like it was stolen from one of Stone’s past albums. The rhythm, beat, speed, and instruments are similar to her old songs. The songwriting is good, but the performance of this song, including parts where it sounds out of rhythm, or where the background singers suddenly jump in, is not as strong the rest of this album. With a runtime of less than three minutes it is also the shortest song she ever released on an album.
Overall, Stone definitely goes new ways with her latest album. Her major involvement in the work behind the songs, the diversity of new styles containing classic and modern music, and her strong singing performances, turn this album into a good piece of music which does not follow the usual trends of pop, dance, or hip-hop music. Despite her young age, Stone is a grown-up artist and not an overhyped teen-sensation. Musically and vocally, “Color Me Free” is her best album so far, and with time she may also bring her song writing to perfection.
