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Charles Bradley's “Changes" is true to its title, but keeps traditional soul sound intact

Soren Spicknall
WIIT STATION MANAGE R

Charles Bradley is an unlikely fig—
ure to be making the rounds on today’s mu—
sic festival circuit, drawing crowds at annual
destinations as diverse as Eaux Claires, Hang—
out Fest, and Coachella. His truly traditional
blend of turn—of—the—70s soul and funk seems
somewhat out of place even in a world that’s
currently busy embracing modern interpreta—
tions of those genres performed by the likes of
Alabama Shakes, Leon Bridges, and more. His
rise to prominence is made even more unlikely
by his recent past: struggles with homeless—
ness and personal tragedy kept the 67—year—
old singer from pursuing a full—time musical
career until his discovery by Daptone Records
co—founder and Dap—Kings bandleader Bosco
Mann in the last decade. Bradley’s 2011 debut
No Time For Dreaming catapulted him to soul
stardom, and 2013’s Victim Of Love cement—
ed his place in the history of the genre. Now,
with a legacy established, Bradley is branching
out on his newest album, appropriately titled
Changes. Scheduled to be put out by Dap—
Tone in April, the album features collabora—
tions with the Dap—Kings, Budos Band, and his
own touring group The Extraordinaires. While
its roots are still pure soul, these new voices in
the recording process have widened the scope
of the singer’s music, a change that is perhaps
necessary to maintain the throne of today’s
most visible throwback soul singer.

Bradley’s voice, when expressed at
full volume, has the potential to be both rough
and exultant. However, as attendees at his live
performances can attest, sometime that rough—
ness lends itself to scattershot accuracy with

 

 

 

pitch, something that isn’t entirely reigned in
on this recording. The first track on Changes,
an unapologetically patriotic rendition of “God
Bless America” prefaced by a spoken intro duc—
tion, is perhaps the worst offender, belted out

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Image courtesy of Charles Bradley

with little regard to vocal musicianship.
Luckily, things improve drastically
following that first misstep. Songs like “Good
To Be Back Home” and “Ain’t Gonna Give It
Up” exemplify Bradley’s showman style, while

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adding new elements to backing instrumenta—
tion that give this new collection a markedly
different feel than previous albums. Title track
“Changes” is remarkable in itself just by virtue
of its existence: it’s a cover of one of the most
boring Black Sabbath songs of all time, reinvig—
orated with a level of passion that was entirely
missing from the original. After hearing the
cover, it actually makes perfect sense for this
to be the title track for Bradley’s latest album.
More than any other song present, it shows an
eagerness to innovate and make something
new from a fairly traditional soul, funk, and
R&B toolkit.

Like his previous work, most of the
pieces on Changes are romantic (or occasion—
ally religious) in some manner. Songs titles like
“Things You Do For Love,” “Crazy For Your
Love,” and “Slow Love” are all lyrically exactly
what they sound like, with thematic repetition
that may be a turn—off for some contemporary
listeners. However, the musical style of each of
these pieces is varied, and the album continues
to be rewarding on each subsequent listening
after the first. “You Think I Don’t Know (But
I Know),” “Change For The World,” and oth—
ers each contain some hidden hints of the 21st
century, like subtle synthesizers or echo effects,
integrated into the 70s soundscape in unob—
trusive ways. Though some will miss Bradley’s
older composition style when collaborating
with the Menahan Street Band, this new al—
bum is almost certainly his most varied work
to date, and proves that Bradley continues to
be a force to reckon with in the world of soul.
7.8/10

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