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She’s evidently emboldened by the stylish adaptability of her band, led by the keyboardist Brian LeBarton, a longtime Beck collaborator.īeck’s fingerprints are all over the first four studio tracks on “Stage Whisper,” as they were throughout “IRM.” A couple of those songs, “Paradisco” and “All the Rain,” feel like reheated leftovers the others work marvelously. On “Set Yourself on Fire,” a song by Jarvis Cocker included on some editions of “5:55,” she projects steely hauteur against brooding bass and fuzztone guitar. Gainsbourg’s recent albums “IRM” and “5:55.” Then there are eight new tracks, mostly an overspill from the “IRM” sessions, which were produced by Beck. A little more than half the album consists of material recorded during a 2010 European tour, with songs drawn from Ms. But it’s a checkmark in the right column, strengthening her foothold and identity as an artist. “Stage Whisper” isn’t likely to fix any of that. Gainsbourg has enjoyed unfair advantages and elicited unfair judgment, which complicates perceptions of her work. The second is her birthright as the daughter of Serge Gainsbourg, the shrewdly mischievous French musical polymath, and Jane Birkin, the smoldering British actress and singer.
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The first is her success as a film actress, which stretches back to her childhood and more recently involves the professional antagonist Lars von Trier. JON CARAMANICAĬharlotte Gainsbourg has wielded two double-edged swords throughout her musical career. Too much of the rest of the album is musically undistinguished, though you sense Webbie isn’t paying it much mind. Listen to some of the best new recordings here.
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Still, Webbie perseveres, keeping his sound intact, or at least not working hard at changing it. What’s more, a reckless appearance on BET seems to have had him barred from the network (one of many topics he discusses in a rambling, hilarious and lengthy two-part interview conducted at Walmart that recently entranced the rap blogosphere).
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17 on the Billboard album chart, despite the fact that Webbie gets little attention outside the South. In 2011 Webbie is the definition of a regional rap star: “Savage Life 3” made its debut at No. Accordingly, Webbie’s biggest hits - “Give Me That,” from 2005 “Independent,” from 2007 - have felt like almost accidental, half-hearted ideas stretched to song length, and delivered with glee.
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He didn’t even take time to come up with a newish title for this, his third solo album, and he certainly doesn’t agonize over his lyrics, which have a haphazard quality cohered mostly by his heavy local drawl, in which he never quite closes a syllable.Īlmost a decade ago he emerged in tandem with the far more fiery and intricate Lil Boosie (who is serving an eight-year sentence for conspiring to smuggle drugs into two prisons and is awaiting trial on a murder charge), and he appeared happy to play second fiddle. The Baton Rouge, La., rapper Webbie has the laziest sort of charm.