The Search for Everything also offers some of his best songwriting in recent times, with "In the Blood" and its examination of family and identity being an obvious standout. There's the beautiful piano-laden ballad "Never on the Day You Leave" of the Born and Raised variety, the bluesy and superb “Moving on and Getting Over” (JM3/ Continuum), and "Rosie" knocking you over with a horn section and guitar licks that sound straight out of a Heavier Things session. With The Search for Everything, he gets into his bag and hits fans with an amalgam of flavors, making it his most expansive project yet. Damien ScottĪlbum after album, John Mayer has tweaked and refined his approach while also implementing different genres-blues, Americana, etc.-to extend his sound. So, sure, Miguel may have lost the thread there for a little bit, but as this album proves, it takes very little for him to get it back. He sounds equally at home singing in English or Spanish. Even when the songwriting gets a bit muddled, as it does on “Now,” you’d be hard-pressed to care. As clear as it is powerful, it’s his strongest asset, and he knows it. And then there’s his voice-his unblemished jewel of a voice. Cole, Kali Uchis, Rick Ross-serves as a much needed grounding, allowing him to stray and try new concepts. The songwriting is tight and delightful, as are the beats that go along with them. His latest effort is restrained when compared to the boundless lustful energy of Wildheart, but it’s for good reason. Thankfully, it seems as if that’s now all out of his system. But Miguel’s third album turned out to be a slight detour, seeing him play with structure and sound in ways that didn’t always connect. After a strong debut boasting seductive ditties with just enough experimentation to justify the crazy accompanying artwork, he dropped a wonderful, taut, psychedelic dreamscape that included “Adorn,” a song that is easily in the top 100 of the 21st century. You’d be forgiven for thinking Miguel lost the thread. ![]() You know, the double-sole joints with the leather cuff. The 12-track album closes with "LAUDER" an urgent declaration of a man who plans to stomp through the rap game with a pair of unlaced Timbs. saunters over the molasses-esque beat, where " Hereditary" shows off his thematic writing and versatile delivery, employing harmony instead of fast hitting raps. But there are also offerings that feel more like thoughtful choreography. The majority of the album feels like high-flying lyrical Taekwondo. His songs like "General," " NEVER," and "Underwear" feel like a dangerous man on the run after a heist, letting his pistol off out the driver side window with one hand, gripping the woodgrain steering wheel with the other. Now, a gift is enough to gain attention, but it's his lyrical intent, cleverness, and charm that keeps it. ![]() The Atlanta native is blessed with a unique voice that cuts through whatever beat he spits on. ![]() Those are the words that come to mind when listening to J.I.D's impressive debut studio album, The Never Story.
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