Natty - Man Like I (album)

Ok so I'm cheating - this album isn't out yet in the US and I don't actually know a release date but I know that has never stopped a savvy music listener from hearing something great. . .
The first thing that struck me listening to Natty's calmly rasping vocals and reggae rhythms was just how much he sounded like Spearhead (who I love.) But I wasn't satisfied just saying "Oh he sounds like Spearhead," and writing him off - I liked the album a little too much to do that, so I set out to figure out what it was that I liked so much about him that differentiated him from Spearhead.After much contemplation and car time, I've decided that what it all comes down to is the weather; and more specifically, warmth.
Spearhead's music is clearly from California - quirky, colorful, and summery. True, he has some more somber songs, but on all his albums, Michael Franti has perfectly crafted songs that are bright to the point of being celebratory and perfectly suited forthe dreadlocked masses to dance barefoot to before going off to eat something vegetarian.
And it's likely that Natty caters to the same crowd. But coming from a freezing place like London, warmth is something that needs to be contained, and likely indoors. The resulting sound is every as bit as warm, but much more intimate and cozy in a "lets huddle by the fire" kind of way as opposed to a "let's go frolic in the sun."
Keeping that in mind, whole debut Man Like I is a really enjoyable listen both pleasant and mellow in a way not unlike Jack Johnson. And within this good album lie a couple of great songs. Notably, the wistfully charming "Coloured Souls." Chillingly intimate and wistful, there is an earnestness to the song that I think can push it past the hippie world and into the pop realm.
Other highlights include "Badman," which boasts a nice bit of scat, and the slightly more urgent "Cold Town."

Estelle ft. Sean Paul - "Come Over"

I know I tend to write about songs or artists that have less exposure in the public domain, but every so often, a top forty song comes along that is so well deserving of its place that not only do I turn up my speakers when it comes on in my car, I sing along to it, and badly.
I fell in love with Estelle's vocals in her collaboration with Kanye West and his killer (and dare we say Daft Punk-esque production) on "American Boy," enjoyed her collaboration with John Legend, and nearly cheered when she unwittingly did me a massive favor and paired up with one of the few and far between crossovers from reggae into mainstream; none other than party starter Sean Paul.
Naturally, I was drawn to Estelle's accent (I can't be too inconsistent) and silvery voice, but I was also impressed by her versatility. I like to think she has the staying power to make it as an R&B songstress, though its admittedly a genre I know nothing about, and she has enough sass and sex appeal to hold her own against the boys of hip hop. Since all of those qualities in a lady do well over bright reggae rhythms, "Come Over" is an excellent track. On the gentler side, there are definite R&B tones, but the hammock friendly rhythms lend it an air of lovers' rock.
Then, over an already excellent track, and in true reggae MC style, Sean Paul's vocals were laid down after the album version of the track was released, like toasting over a dub original for one of those beach jams perfect in the freakishly warm Los Angeles winter.

Currently, the song is only available on the radio, or on demand at Estelle's Myspace.