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Track List
01) Intro
02) 22nd Century
03) 4th of July (Fireworks)
04) Home
05) Acapella
06) Scream
07) Emancipate
08) Brave
09) Song for the Baby
01) Intro
02) 22nd Century
03) 4th of July (Fireworks)
04) Home
05) Acapella
06) Scream
07) Emancipate
08) Brave
09) Song for the Baby
3:31
4:55
5:40
4:03
4:28
3:30
4:26
3:32
3:42
Data Complete
80%
Total Rating
80%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2010
R&B
Confrontational
Rock/Pop
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Album
0 copies
Album Description
Available in:
Flesh Tone is the fifth studio album by American recording artist Kelis, first released on May 14, 2010. Recorded while the singer was an unsigned artist and while pregnant with her first child, the record is an ode to motherhood and is a distinct departure from the urban sound of her previous album, Kelis Was Here. Production for the songs comes courtesy of David Guetta, Boys Noize, Jean Baptiste and Benny Benassi amongst others.
Flesh Tone was described as a pop album but adopts electropop, synthpop, house and dancehall elements to form a "euphoric dance album" which tributes the birth of Kelis' son. The record serves as her debut with Interscope Records under the will.i.am music brand. Clocking in at just over 37 minutes, contemporary critics praised the album for being cohesive as well as refreshing and lean. "Acapella" was released as the album's lead single and topped the U.S. Dance/Club Songs and UK Dance charts as well as peaking at top-ten on mainstream single charts in Europe. "4th of July (Fireworks)" served as the second single reaching top five on the U.S. Dance/Club Chart and number six in the UK Dance Chart. The album was listed at number fifty-three on NME's list of the "Top 75 Albums of 2010".
User Album Review
As Kevin Rowland knows, pulling off a whiplash change of musical direction can backfire on you. It can make you look like a sales-chasing dilettante, or worse. But Kelis, an RnB artist for more than 10 years, has made a dance album with such confidence and aplomb that it seems no more of a shock than a new hairstyle.
Flesh Tone credits house-man of the moment David Guetta as producer, and he brings the same vitality and sheen to it as he has to Madonna’s work. Kelis has always been a strong character and a brave musician – this is what carries the album and assures your ears that it’s no out-of-element flounder. It’s arresting from the start, the hooks having immediate familiarity without directly pilfering. References leap exuberantly between decades – Moroder here, Justice there, some sweaty Ibiza melody filtering through.
Kelis’s honey-husky voice slips easily into the hypnotic repetitions of dance music vocalisation; she uses the classic language of love songs and the soaring declarations of generalised euphoria particular to house music. The sense is that she’s singing of her love for her child, this made explicit in Brave (the most Madonna-esque track here) and breezy closer Song for the Baby, but seeming more heartfelt in the astonishing centrepiece of Acapella. This is an absolute trampolining technicolour dancefloor monster, a model of songwriting precision but also the sound of pure joy, so happy it sounds like it’s distorting its own fuzzed-up backing track with its bouncing. It’s followed by Scream, a beat-free piano-based meditation giving way to Fedde-le-Grandian fist-pumping. Wow!
The album is surprisingly taut – nine tracks, most around four minutes long – incredibly disciplined for an RnB artist, unheard of for a dance act. There’s an understanding of how dance music works and a willingness to rule-break – sometimes build-ups go nowhere and structures are discarded, but there's tremendous self-assurance in every swerve and extended breakdown. It only improves with further listens, the rich layering revealing itself and the hooks bedding in. It's a sensual and exhilarating album, and Kelis is a unique treasure.
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User Comments
Available in:
Flesh Tone is the fifth studio album by American recording artist Kelis, first released on May 14, 2010. Recorded while the singer was an unsigned artist and while pregnant with her first child, the record is an ode to motherhood and is a distinct departure from the urban sound of her previous album, Kelis Was Here. Production for the songs comes courtesy of David Guetta, Boys Noize, Jean Baptiste and Benny Benassi amongst others.
Flesh Tone was described as a pop album but adopts electropop, synthpop, house and dancehall elements to form a "euphoric dance album" which tributes the birth of Kelis' son. The record serves as her debut with Interscope Records under the will.i.am music brand. Clocking in at just over 37 minutes, contemporary critics praised the album for being cohesive as well as refreshing and lean. "Acapella" was released as the album's lead single and topped the U.S. Dance/Club Songs and UK Dance charts as well as peaking at top-ten on mainstream single charts in Europe. "4th of July (Fireworks)" served as the second single reaching top five on the U.S. Dance/Club Chart and number six in the UK Dance Chart. The album was listed at number fifty-three on NME's list of the "Top 75 Albums of 2010".
User Album Review
As Kevin Rowland knows, pulling off a whiplash change of musical direction can backfire on you. It can make you look like a sales-chasing dilettante, or worse. But Kelis, an RnB artist for more than 10 years, has made a dance album with such confidence and aplomb that it seems no more of a shock than a new hairstyle.
Flesh Tone credits house-man of the moment David Guetta as producer, and he brings the same vitality and sheen to it as he has to Madonna’s work. Kelis has always been a strong character and a brave musician – this is what carries the album and assures your ears that it’s no out-of-element flounder. It’s arresting from the start, the hooks having immediate familiarity without directly pilfering. References leap exuberantly between decades – Moroder here, Justice there, some sweaty Ibiza melody filtering through.
Kelis’s honey-husky voice slips easily into the hypnotic repetitions of dance music vocalisation; she uses the classic language of love songs and the soaring declarations of generalised euphoria particular to house music. The sense is that she’s singing of her love for her child, this made explicit in Brave (the most Madonna-esque track here) and breezy closer Song for the Baby, but seeming more heartfelt in the astonishing centrepiece of Acapella. This is an absolute trampolining technicolour dancefloor monster, a model of songwriting precision but also the sound of pure joy, so happy it sounds like it’s distorting its own fuzzed-up backing track with its bouncing. It’s followed by Scream, a beat-free piano-based meditation giving way to Fedde-le-Grandian fist-pumping. Wow!
The album is surprisingly taut – nine tracks, most around four minutes long – incredibly disciplined for an RnB artist, unheard of for a dance act. There’s an understanding of how dance music works and a willingness to rule-break – sometimes build-ups go nowhere and structures are discarded, but there's tremendous self-assurance in every swerve and extended breakdown. It only improves with further listens, the rich layering revealing itself and the hooks bedding in. It's a sensual and exhilarating album, and Kelis is a unique treasure.
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