Folklore

by

Nelly Furtado

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In January 2001 I heard a song called "I'm Like A Bird" on the radio for the first time. I found out that it was by a new Canadian talent called Nelly Furtado. The song became a huge hit, and her debut album "Whoa, Nelly!" became one of Britain's top sellers in 2001. I bought that album and totally fell in love with Furtado. Her voice, her lyrics, her sound, her style, her melodies, Hell even the album artwork was exquisite! The album became my favourite of 2001, and one of my all-time favourites. So it was with the release of Nelly's second studio album, "Folklore" that I waited with baited breath. However, I need not have worried.

Folklore is an even more fabulous album than her debut, which sees Nelly bridging the gap and breaking the boundaries between different cultures and their musical styles. She hooks up with Track & Field once more, who she worked with on her masterpiece first album, but they've taken a different approach here. Gone is the record-scratching production of her debut, replaced by a much more serious, worldly and mature feel. Nelly's first album relied on its lyrics, beats and instrumental qualities. Folklore does more of the same, but bends the rules a little. It's hard to describe, but it's not hard to imagine Nelly and her production duo picking up any object from the studio floor and turning it into an instrument.

The album opens with the fantastic "One Trick Pony." Here Nelly declares that she is indeed no one trick pony, and that she will be around for a very long time. I have no doubt in this statement, especially when you have a wonderful orchestra build up to open the song, provided by the Kronos Quartet. The album's lead single, "Powerless (Say What You Want)," is easily Nelly's best single to date. It surpasses "Turn Off The Light" easily, and goes on to become one of 2003's best songs in a world of overproduced teeny-bopper junk. "Explode" could definitely be a single. The lyrics are deep with references to burns, rape, drinking and violence. Nelly sings of the 'teenage waste' which is followed by a phenomenal rap. It's catchy as heck. Nothing more to be said.

"Try" is the first ballad of the album. Nelly sings of people and their great expectations of her. All she can do is try as they just stand there, wanting more from her. The chorus is majestic, and reaches its pinnacle when Nelly wails, "And that's you, baby/This is me, baby/We are, we are/We are, we are!" "Fresh Off The Boat" could fit in perfectly on Nelly's debut. With a mixture of vocals and random sounds, the song has a hectic sound to it, with a fantastic clap-ending and some foreign warbling. "For?a" is like the centrepiece of the album. With its tropical and sunny feel, the song has a wonderful opening verse, followed by a swaying chorus that you can just jump up and down to, while thumping your fist in the air! The song peaks, falls, and carries on rising towards its fantastic ending.

"The Grass Is Green" is undeniably one of the best songs Nelly has ever recorded. The song opens with a deep and tranquil beat. Incredibly captivating and exotic, the bass is actually deeper than the vocals. It's so striking and deep as the ocean. It's these songs by Nelly that paint images of Canada in my mind. The mountains and the fields. Incredibly refreshing. "Picture Perfect" is one of the album's best songs, and a brilliant ballad where Nelly's vocals just rise and rise every second on the majestic chorus. The verses are so catchy, and the drums add that much needed rock-anthem feel to it. "Saturdays" is the shortest song on the album, and serves as more of an interlude in its acoustic style. In the context it's a fantastic song about Nelly's life before being a singer when she was a hotel cleaner. Jarvis Church helps her out, by repeating everything she sings in a high-pitched style.

"Build You Up" opens with the beat right next to the speaker, pumping out its violins. Nelly sings of the media and jealous people who build you up, but tear you down once you achieve fame. It's an emotionally-charged song, and it adds more dimensions to Nelly's already vast perspective on life. "Island Of Wonder" features Caetano Veloso as a guest on vocals. Nelly's voice is so passionate in this song, and the chirping/whispering as the song closes makes it even more surreal and multi-cultural. "Childhood Dreams" closes the album, and in awesome style. This song has done things to me that no other song has ever had the power to do. At just over six and a half minutes long, it's a moving masterpiece. An orchestra opens the song in a classical style, before the soft beat seeps in. After a minute, Nelly begins singing, "I can't believe you need me/I never thought I would be needed for anything," in such a beautiful voice. The lyrics are powerful and heartfelt. It almost makes me cry. A perfect ending to a second masterpiece album.

OVERALL GRADE: 10/10

Nelly Furtado has crafted another superb album here. Folklore is hands down my favourite album of 2003. Some people are hating this album, but I can't see why. It's a fantastic achievement, and I am sure that I will be listening to this for years to come. Nelly Furtado is already one of my all-time favourite female artists. She has so much talent that it's unbelievable. She writes some fantastic lyrics, produces some of the most creative beats, has some of the catchiest melodies, has a gorgeous voice, and is just drop-dead beautiful in the process! A true talent, and I'm sure she's going to be around for a very long time. I look forward to her third album. She could take 10 years for all I care. It would still be worth the wait.

After her annoying debut "Whoa Nelly," Nelly Furtado didn't seem aimed anywhere except down. Surprisingly, her sophomore album "Folklore" has a relatively fresh sound, a sort of acoustic folk-pop. Her songwriting and vocals are still lacking, but they are made up for by the excellent music.

Starting off with the defensive banjo-led "One Trick Pony," Furtado kicks off into the catchy, strong-willed "Powerless" and odd, intense "Explode." Then she spreads her wings with some slower numbers ("Try," the pretty "Childhood Dreams"), more ponderings on her background (the rock-edged "Fresh off the Boat," the traditional-sounding "Island of Wonder") and some steady pop ("Build You Up," the steady acoustic "The Grass is Greener").

Every instantly-acclaimed artist's second album is worse than the first -- right? Not exactly. Furtado seems more at home in the folky pop-rock influenced by her Portuguese ancestry and less by a crazy-quilt street sensibility. The music is more acoustic and less poppy, and her style seems to have settled into its niche. In short, Furtado has matured musically.

Don't expect the usual synth instrumentation. Furtado weaves in acoustic guitar and banjo, with some added stuff like flutes, mandolins and squeaky wheels. It has a richer, more rounded feel. What's more, the deeper folk-pop helps to camoflage Furtado's voice. It's still nasal, but she sounds like she's reining it in when she sings. Good idea.

Furtado's third-grade-level songwriting was the lowest point of "Whoa," but she's shaped up and smoothed it out in "Folklore." Instead of nonsense words and spoken blather, Furtado actually writes some better material; they lack complexity ("For you I will not dance/For you I will not prance") but they're solid enough. Too bad she is still telling us what a force she is to be reckoned with. Sure, whatever, okay. At least she's not saying it quite so often.

Nelly Furtado's brand of ethnic folk-pop is a step in the right direction, with more musical maturity and seriousness. While "Folklore" is far from legendary, it is worth checking out.