Macy Gray

On How Life Is
The Id
The Trouble With Being Myself

On How Life Is (Sony ’99) Rating: A-
With glowing reviews, brisk sales, and a Grammy nomination for best new artist, Macy Gray became this year’s Lauryn Hill. And though this fine debut album is a little overrated considering the hype, Gray joins Hill (and a select few others) as a fresh and original new r&b voice, not the least because of her wheezy rasp of a voice (which one writer likened to a cross between Billie Holliday and Donald Duck!). The best songs here generally feature catchy chanted choruses and richly funky but relaxed grooves that have a hip-hop flavor, though several overly repetitive tracks show Gray’s songwriting to still be a work in progress. However, upbeat songs (at least musically) such as “Why Didn’t You Call Me” and “I Can’t Wait To Meetchu” are easy to hum along to, while “I Try” (the album’s hit single) is a soulful song about a lover’s longing, and “Still” sees Gray on the wrong end of an abusive relationship. Elsewhere, “Caligula” and “Sex-O-Matic Venus Freak” are lustful songs with outrageously forward sex lyrics, while “I’ve Committed Murder,” a story song about getting away with murder, and “The Letter,” about a suicide letter, further demonstrate Gray’s provocative and often very offbeat subject matter. “Do Something” was another (sample-heavy) highlight, and though it contains a couple of nondescript tracks, On How Life Is was a very infectious, enjoyably mainstream modern r&b record that bodes well for a bright future.

The Id (Epic ’01) Rating: B
Macy Gray urges you to “share your freak with the rest of us,” and she (with apologies to David Crosby) lets her freak flag fly on this oddly appealing second album. Gray expands upon the busy, bustling, groove-based sound of her debut, and she continues to specialize in party flavored sing alongs and offbeat lyrics (“Relating To A Psychopath,” “Gimme All Your Lovin’ Or I Will Kill You”). Gray goes disco on the excellent appeal for a “Sexual Revolution,” and a strange new wave twist enlivens “Oblivion,” on which she urges: “let’s get the party started.” Most of The Id will do just that, though it must be said that only a few of these songs are as instantly ingratiating as the best songs on the more accessible On How Life Is. Some listeners will also still find fault with that voice, too (it remains a love it or hate it proposition), but this album was a bold second step that I’ve gradually grown fond of despite its overly long length. Other not previously mentioned highlights include upbeat fare such as “My Nutmeg Fantasy” and “Freak Like Me,” while “Sweet Baby” is a beautifully romantic ballad that reveals more of Macy Gray than most of the other songs here; more such self-revelations will be welcome in the future. Surprisingly, this album was a commercial disappointment despite Gray’s high profile (she appeared in several major benefit concerts, as well as in Gap and Gatorade commercials) and major label backing. However, the sales slump had more to do with the album’s experimental nature (check out "Forgiveness" and "Blowin' Up Your Speakers" for examples), and the fact that people weren't in a partying mood post-September 11th than the quality of Gray’s music, for she remains one of the more uniquely entertaining figures in r&b today.

The Trouble With Being Myself (Epic ’03) Rating: B+
With a multi-platinum debut smash and an overly ambitious but still solid second album behind her, Macy Gray has much riding on The Trouble With Being Myself. Fortunately, with 12 lively songs clocking in at a relatively concise 49 minutes, Ms. Gray has corrected the primary problem of The Id, and though it doesn't have the hit single-quality highlights of On How Life Is, album number three nevertheless is an impressive showcase for an eccentric talent. First of all, with live instruments and a fresh, organic sound that never skimps on the funk, Gray is already miles ahead of most of her faceless female contemporaries. And though her sound has a retro '70s feel, it's also a sound for the here and now; witness Pharoahe Monch's incendiary rap on "It Ain't The Money," an album highlight that takes on Enron, WorldCom, etc. Granted, her scratchy, high-pitched voice will be off putting to some (and oddly appealing to others, such as yours truly), but it's the way in which she integrates horns, piano, and saxophones along with chicken scratch guitar and upbeat percussion that makes most of these songs attractive, especially the ones with catchy chanted choruses. She "does" ballads well, too, and this album is evenly divided among upbeat, funky pop numbers and lovelorn ballads. Her lyrics on songs such as "She Ain't Right For You" and "She Don't Write Songs About You" are easy to relate to, as is "When I See You," on which she gleefully attempts a reconciliation, aided by an ace Jackson 5-borrowed melody. Elsewhere, she gets more reflective; "Things That Made Me Change" is inspired by her single motherhood and the death of her father, while lyrics like "I just want to love the person who I turn out to be" show off Gray's ongoing spiritual quest. Religion comes more explicitly to the fore on "Jesus For A Day," yet this fantasy is actually fairly conventional compared to "My Fondest Childhood Memories," on which Gray's quirky personality completely dominates. As on previous albums, this one is a tale of murder, this time of her babysitter and plumber, both of who were "sexing" her parents. The last line ("my parents are still happily married thanks to me") is the real kicker, yet the song would mean nothing without it's peppy salsa beat. "Happiness" is another highlight, one whose lyrics ("I'm a junkie just like you") are easily misinterpreted. Yet a closer look into this soulful ballad reveals that the drugs she seeks are (to quote another soul giant who greatly influenced Gray) love and happiness. The everything-but-the-kitchen-sink closer, "Every Now And Then," is another easily recommendable track, but other songs ("Come Together," "Speechless," "Screamin'") aren't nearly as memorable. None of them are bad (though the ridiculously straightforward "Speechless" especially falters on its cheesy chorus), but none of them add much, either, and none of the songs here truly achieve classic status. Still, this is a consistently entertaining album that again reveals Ms. Gray to be a singular talent. Whether bringing forth jam-based party tunes or relaxed ballads (actually, the album as a whole is her most low-key to date), Gray's unconventional yet accessible songs are distinctive and strange, yet easy on the ears and enlightening. She'll make you think one moment and then she'll make you run for cover the next, but she'll always have your undivided attention.

send me an email

Back To Artist Index Home Page