LP1 marks the third successive album from Joss Stone where she’s attempting to hit the restart button on her career, to usher in a new beginning for the neo-soul diva or, better yet, find the right setting for her considerable gifts. This journey began with 2007’s splashy modern R&B set Introducing Joss Stone, a makeover she rebelled against on her major-label kiss-off Colour Me Free, and now that she’s truly independent, she’s aligned with Eurythmics’ Dave Stewart for LP1, returning to the classicism of her earliest work. There is a difference. Stewart is naturally reluctant to present Stone in a strictly soul setting; R&B is the foundation, but he dabbles in tight funk, folk, blues, Euro-rock, and modernist pop, giving LP1 just enough elasticity so it breathes and just enough color so it doesn’t seem staid.
Before she’s truly freed from the shackles of EMI, Joss Stone must endure one final indignity: that standard end-of-contract ploy, a greatest-hits album, covering her six years with the label. Every one of her 12 singles for the label is here, with the Jamie Hartman duet “Stalemate” – originally released on Ben’s Brother’s 2009 album – added as a concluding track. If this doesn’t dig deep, it nevertheless hits all the highlights – her White Stripes cover “Fell in Love with a Boy,” her Top Ten U.K. hit “You Had Me,” “Don’t Cha Wanna Ride,” her only charting U.S. single “Tell Me 'Bout It,” the Common duet “Tell Me What We’re Gonna Do Now” – drawing a picture of the decade when Stone was always on the cusp of stardom yet never quite truly there. As introductions go, it’s a solid one, capturing her potential and promise, alternating between singles frustrating and fun.
The "free" in the title to Joss Stone's fourth album apparently refers to the neo-soul singer breaking free from the shackles of her major label, EMI, who apparently have not let Joss be Joss. That this constricting argument happens to be the exact same story line Stone used for 2007's Introducing Joss Stone, the splashy diva power trip meant to unveil the "real" singer, is conveniently forgotten, as is the modern R&B of that makeover, with Joss returning to all the retro-soul of her first two records. The one lingering element of Introducing is a propensity for melisma-laden oversinging, a tic that stands out greatly in the warmer, funkier settings of Colour Me Free!, helping Joss seem somewhat disconnected from the emotional thrust of her music. Still, her raw vocal skills remain impressive, as does her taste in soul, and even if this feels off-kilter, not quite achieving a balance between retro and modernity, it does beat with a messy human heart, one that was subdued on Introducing, so perhaps she did need to break free.
Preparation is overrated. Impulse is everything. Such was the rebellious wisdom that drove the sessions for Project Mama Earth's astonishing debut EP. In June 2017, five world-renowned musicians met in Devon England for a high-wire act unique in modern music. They had no songs. No chord charts. No game plan. No safety net. Nothing, in fact, but a plan to play and catch the sparks. Where a lesser band would have stumbled, the gauntlet was readily seized by the all-star Mama Earth lineup of Joss Stone (vocals), Nitin Sawhney (guitar), Jonathan Joseph (drums), Étienne M'Bappé (bass/guitar) and Jonathan Shorten (keyboards). "The possibility for catastrophe was huge," nods the drummer. "It could have completely tanked. But the minute everyone stood in the studio, before we even touched an instrument – I just knew."
Typically, artists dispense with introductions after their debut – after all, that is an album designed to introduce them to the world – but neo-soul singer Joss Stone defiantly titled her third album Introducing Joss Stone, thereby dismissing her first two relatively acclaimed albums with one smooth stroke. She now claims that those records were made under record-label pressure – neatly contradicting the party line that her debut, The Soul Sessions, turned into a retro-soul project after Joss implored her label to ditch the Christina Aguilera-styled urban-pop she was pursuing – but now as a young adult of 19, she's free to pursue her muse in her own fashion.