Album Review: Citizen Cope - The Clarence Greenwood Recordings

When I first heard about Citizen Cope, the entire idea of his style was enough to get me interested. It seemed like he had the funky chops to make songs like “Son’s Gonna Rise,” which I heard on an internet sampling, and also the heartstring-tugging ability to make songs like “Sideways,” a song I heard on an episode of Scrubs. These two aspects are my two favorite components of musicians, so when I got the opportunity to pick up the album that had these two and nine other of his songs, 2004’s The Clarence Greenwood Recordings, I jumped at the chance.

Unfortunately, the third album by the Memphis born singer/keyboard player/DJ/jack of all trades wasn't all highs. The music certainly delivers: "Nite Becomes Day" immediately introduces us to the funky keyboard and his almost speech-impediment delivery, a lisp that reminds me of G. Love, but with more soul. From there Cope experiments with samples and strings throughout the album, and for the most part his music is a treat to listen to (with the exception of the final song, "Deep", which is essentially three minutes of repeating synth and drums with no vocals).

What really bogs down the effort of this CD is the combination of the thoughtless lyrics and the repetition. It becomes apparent halfway through the CD that Citizen Cope's favorite thing to do is to find a verse that he is pleased with, then repeat it with minor or no tweaking for a second and sometimes even a third time. Even on songs as good as "Son's Gonna Ride," repeated listens proves that there is nothing to find beyond the first verse. The only song that truly provides thoughtprovoking words is "Bullet and a Target," and while that song is almost always in my earphones, one song cannot save an album from repeated lines such as "We're waiting for the time when the people are free to see that the penitentiary is on fire" without much else supporting it. Maybe it's my own flaw, but one of my biggest pet peeves in life, not just music, is repeating: I can't stand to hear something say the same thing more than once. It just grates me. Thus, the album and I aren't exactly bunk buddies.

The one good thing about the CD, though, is that it does have a complete feel to it, perhaps because of the theme of repetition. Although I am annoyed by the repeating verses, I don't feel the need to skip through any of the songs, and the meld from "D'Artagnan's Theme" to "Bullet and a Target" to "Fame" is a nice roller coaster transition.

Scoring:

Replayability: (15/20) Like I said, there are songs on this album that hit really well, and I mention them below in the Check column. "Sideways" and "D'Artagnan's Theme" are just two songs that continually make me want to listen.

Music: (17/20) Citizen Cope's singlehanded manufacturing of these beats is simply impressive. Using claps, keyboard, and his own style of singing, most of the songs come off as a strange amalgamation of funk, soul, and jazz. It's a sound that really works for him most of the time.

Lyrics: (12/20) "Bullet and a Target" is a great song, lyrically complete. There are also some good words scattered throughout the rest of the CD, but I hate repetition. I hate repetition. I hate repetition. I hate myself.

Completeness :(17/20) There's a big beginning, a flowing middle, and if the CD had ended on "Fame" this score would be even higher. However, ending on a repeated sample with no lyrics is not a way to end an album.

Emotional Pull: (15/20) Make no mistake, the only reason this score is so high is completely on the shoulders of "Sideways," "Bullet and a Target," and "D'Artagnan's Theme." The rest of the album gets nothing from me, but these three songs get so much that I'm able to give a relatively high score. But the fact remains that Citizen Cope is better at making the listener feel his vibe than his emotions. Which isn't necessarily a bad thing. We don't need to be crying whenever we listen to music.

Total Score: 76

Grade: C

Mixing some big highs with some big lows usually sits an album at right about average, and this is where The Clarence Greenwood Recordings comfortably resides. To defend my scoring system, which I admit hasn't gotten many superb scores (or any) since its inception, a C album doesn't mean it isn't worth listening to. Matter of fact, this CD is in the player in my car right now, and chances are it'll stay there for a bit. The point of this system is to show how important it is to have a complete album in terms of my five categories, which are the components I believe would result in such an album.

Extras

Check/Check Plus/Check Minus:

Nite Becomes Day √
Pablo Picasso √-
My Way Home √
Son’s Gonna Rise √+
Sideways √+
Penitentiary √
Hurricane Waters √
D’Artagnan’s Theme √+
Bullet and a Target √+
Fame √
Deep √-


Now that I have my reviewing legs back under me, I think it's time I review an album that goes away from the rock/indie rock/funk rock theme we've laid out so far and take a look at a bonafide new-age hip hop album. I'll start with an album released late last year and see if any other new releases peak my interest. Then I'll come back to the "rock" part of rock report card.

Next Review
Artist: Lupe Fiasco
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