Zronimo – Funk Avenue
Zronimo – Funk Avenue – Album Review
To say this album has been a long time in the making would be about the biggest understatement I’ve ever made!
Ain’t no rules on this kind of stuff though…and I’d be the last person to say you should ever rush your art. Take your time and get things as right as you possibly can! That’s how it should be.
Just know that no matter how much time and effort you put into something, there’s always gonna be some jerk like me out there that feels like they don’t completely ‘get it’ – so don’t be discouraged by that. There are more than enough people out there in this world that will, so stay true to your vision.
Because…yeah…I mean…I put on Funk Avenue, and as it started up with “EFA,” I was like…huh? Don’t get me wrong…in some ways, I DO ‘get it’ – “EFA” is meant to serve as an intro track, and it’d be fair to say that it hits the mark in that regard, at least somewhat. It’s a little bit different for me to listen to Zronimo than it will be for most folks out there…I know how many amazing cuts this dude has in his catalog from having a listen to him creating this record for years behind the scenes. Other people aren’t going to know that kind of history, so there’s a chance that going with an intriguing/mysterious type of vibe in a track like “EFA” will be a solid approach. For myself personally, I’m thinking that Zronimo has nine tracks on Funk Avenue – why he wouldn’t have gone with nine tracks that would be absolutely fireworks, “sounds kinda risky” to me. Because lemme be clear – he’s got the material to do that, if that was the route he wanted to go. That being said, who knows, maybe this track is essential to the book he’s put out supporting Funk Avenue, or the movie that’s coming out later down the road…it’s hard to say what the grand scope of the purpose of “EFA” could be, but his artistic spin could be enticing enough for some for sure. We’re really up against the age-old question of whether or not it’s better to bank on people being patient, or whether it’s better to hit’em with the best of what you got straight off the drop – and there’s no right or wrong answer to that. “EFA” is well made, I’ll give him that, but I do think it’s an interesting choice & direction to have gone in, knowing how much bulletproof material he’s created. I felt like this when it came to his debut album Hitman too I suppose, but I’d say “EFA” does make for a better start.
Like some tracks…”Keep My Cool” for instance – he doesn’t really need to hear my opinion on this again. I thought this cut jammed before the first of many times I’ve heard it, and I continue to feel that way. If he’s wondering if it holds up over time and a massive dose of exposure to it, I can certainly confirm that it does. Other than that though, Zronimo knows how I feel about it…and having to repeat myself as well. I don’t know if I’m hearing a lot of changes that have been made to this particular version, but I could be wrong…dude makes a song, then remakes it, then remakes it again, then creates another version just to be sure, then a remix, wash, rinse, repeat! When something is dialed in, my opinion ain’t gonna change. “Keep My Cool” is a kickass track that has Zronimo large and in-charge, confidently doin’ his thang from start to finish. I’d expect people to dig on this song, because it’d be weirder to assume anything otherwise. From the stylistically slick delivery, to the artistic spin he puts into his vocals, to the heights of his talents revealed, there’s a whole smorgasbord of stuff to love about “Keep My Cool.” For myself personally, a lot of the appeal in this track actually comes from the background elements at this point in my history of listening to this song. The lead is great for sure, but he’s really done a whole lot else right in the process as he’s refined this track over time to be the shiny version that you hear now.
I believe that this is the first time I’ve heard “Can’t Stop,” if I’m not mistaken. Solid tune…I’ve got no substantial objections here, nor would I expect anyone else out there that digs on their flashy Pop/Funk combinations to have any of their own. I’m not the hand clappin’ or finger snappin’ type of dude myself, but as far as I’ve ever seen, there are a whole lot of people out there just waiting for someone to give’em permission to participate! So that’s the target audience when it comes right down to it…your lovers, your dancers, your hand clappers & finger snappers…they’ll really dig what they find on Funk Avenue from start to finish. Regardless of whether or not that’s YOUR jam, I think we’ve all gotta admire how well-assembled a track like “Can’t Stop” is, and the inherent single-worthy catchiness that it contains. I’ve said it many times on these pages of ours – Zronimo is among the most gifted entertainers I’ve ever had the privilege of listening to. Doesn’t mean he doesn’t make the occasional strange choice here and there, but when it comes to the level of talent and the art of performance, he’s among the best you’ll ever find in your speakers. “Can’t Stop” is a really cleverly composed track with hooks that are guaranteed to get the majority of you movin’ and groovin’ along…or at the very least, if you’re someone like myself that should probably never be caught dancing, you’ve got something to sing along to. He’s like a giant combination of Eddy Grant, Billy Ocean, Johnny Gill, and Teddy Pendergrass on “Can’t Stop.”
So…I’ve been listening to “Funk Avenue” for more than five years at this point – you see what I’m saying? I’ve heard this song at its roots, I’ve heard it evolve, I’ve heard it possibly go back in the other direction…again…Zronimo knows how I feel about this tune. Ultimately, I think he’s still on solid ground at the end of the day – it IS a great song no matter how you slice it. Is there a better version of it that I’ve experienced along the way to becoming the song you’ll hear on this album? Yes there is – but that don’t really matter now, does it? This is essentially what I was telling been tellin’ the guy from day one all along…we can spend a minute or a lifetime making a single song, but the length of time we spend on it doesn’t always mean things just get better and better. I still enjoy the version that we hear on the album and believe it’s still well worth being the record’s centerpiece & title track – but I do think there are arguably stronger versions of “Funk Avenue” that could be lying there on the cutting room floor at this point too. In all honesty, I think this track makes for an incredible case study when it comes right down to it…I think the original version I heard way-back-when could have used a bit of the sparkle and shine that he applies to his production today, but other than that, the arrangement and hooks were all perfectly in place and as tight as they could be. I was surprised to hear this song morph even further over time to be truthful with ya – but the call on where to stop is well above my pay grade, I’m just here to offer my opinion on things, take’em or leave’em. “Funk Avenue” is still excellent entertainment, and there’s no doubt about that. Ultimately, you’d have to assume that he believes this is the strongest version of the song to-date, and rightly so he should – he’s the guy that created it! I’ve still got not issue about jamming this loud & proud – if you’ve got a morsel of Funk up in ya, you’ll dig this Zronimo tune.
“The Bottom Of My Heart” is an interesting tune to me, and there are two things that it makes me think of right away. The first thing I think about, is that Zronimo is very much rocking with a song that is built to be a part of a musical, which from my understanding, all of these songs technically are as they support the film for Funk Avenue, which is anticipated to wrap up by the end of 2024. The second thing I think about, is that “The Bottom Of My Heart” is probably the newest track on the record, and perhaps in Zronimo’s catalog. I have no way of knowing this, but I’d be willing to make a decent wager on it. The main reasons for that being, I’ve personally never heard it before, it sounds like it was designed for the screen with choreography and dancing and all that…and lastly, I hear about 5-10% of this track that Zronimo is gonna wish he tinkered with just as much as he has with much of the material surrounding it that traces back for years and years. It sounds less familiar to him, and the performance in my opinion, reflects that. Not so much that it’d turn anyone off as far as I’d say – but if you’re a longstanding fan of the man and know what Zronimo is capable of at his maximum potential, you’ll discover a few spots in this track that could be polished up that much more. For the most part, he’s bang on, and he’s delivered a sweet Pop-inspired track that’s bound to appeal to a whole lot of people out there listening, myself included. Having said that, it’s not the 90% he’s gonna hear over time, it’s the 10% – which brings us right back around to that point I was making earlier on…you wanna spend a minute on a song, or do you wanna spend a lifetime on it? If he played “The Bottom Of My Heart” in the same way he did with the songs in this lineup he brought back from the past, he might have been able to fill in the 10% that falls a bit flat or sharpen the lyricism a little, sure – but by spending that extra time, how many songs would he not be writing as a result? Is that last 10% worth a bunch of other material? The debate continues, and it will for longer than Zronimo or I will be around for. I dig the vibrant bounce of “The Bottom Of My Heart” and I felt like the hooks were great. That last run through of’em needs some work as the intensity ramps up, but the idea is right. His attention to detail in the background elements still shines.
“Sarah” is a song I’ve always really liked from Zronimo – it’s loaded with character, culture, and highly interesting sound right from the start. It also has a noticeable sensual and mysterious vibe to it as well. Objectively, I’m trying to figure out if this has come out perfect for the man behind the microphone, and if it’s not, then hell, at the very least it’s about as close as close can be. Would there be anything about it that I’d change? The only thing that gets a bit difficult to argue is the song’s length…I think you could probably say that “Sarah” is a bit on the long side at more than six & a half minutes. For some folks like myself, we’ll have no problem getting right into this tune like you would a good movie, and pay our full attention to it. For the more restless, I think the main concern would be that Zronimo’s got about a three & a half-minute build up, which leads into one of the only spots I wasn’t completely sold on in “Sarah” as necessary…a bridge of sorts…and THEN you go into an instrumental solo section that will continue on until the end. So for sure, there’s risk there with losing a few listeners with a structure like that, that’s just the reality of the scenario here, but where there’s risk, there’s always reward to be found somewhere. To me, that solo section is one of the most kickass parts of any of Zronimo’s tunes, and considering how killer this guy is on a microphone, that’s genuinely saying something significant. “Sarah” shows his songwriting chops from multiple angles, but also puts emphasis on his musicianship.
He’s leaning into it all, and I think that’s a wise choice. When I started listening to this dude, he was a lot smaller! Not in size, but in the amount of personality he was willing to share, know what I mean? He was recording under a completely different name than Zronimo back then, and while ‘more humble’ would be a fair way to assess the personality that came along with his songs perhaps, it was also costing him a little in the process. You listen to the start of tracks like “Funk Avenue” and “Hot Foot,” and you can feel the man’s confidence, which has also manifested itself in a bit more of an ego-based lyricism – but…it fits, and it’s not ridiculously over the top in a way that would turn anyone off. Like I said, it’s an audible confidence, and I’m certainly stoked that he traded a more questionable approach, to going into the booth knowing that he’s got the goods you wanna hear. It makes all the difference in the world. A track like “Hot Foot” shows the confidence of the veteran Zronimo actually IS at this point in his career. You might just be learning his name now, or over the past couple years as he’s released stuff – including “Hot Foot” along the way – but yeah…trust me when I tell ya, he’s been around, and he knows what he’s doing. When he’s at his most focused and prepared, the dude just continually crushes it. I do feel like there’s probably a bit of risk in having back-to-back six & a half-minute tunes appear together, but they are both so different in demeanor that this lengthy section of the record still stands a solid chance. You get some of Zronimo’s best Prince-like vibes on “Hot Foot” – it’d be hard to resist this groove he’s got goin’ on in this track, and I don’t feel inclined to be the guy to try and fight against it. Zronimo has found that sweet-spot between completely tight & completely loose, which believe it or not, is not completely medium – it’s something else entirely, and it absolutely works. “Hot Foot” is the kind of track that’ll keep everyone satisfied; whether you like the vocals or music more, there’s something rad here for ya. And listen to that spot around the 4:15 mark will ya? Vocally, that’s shockingly good – and as soon as you witness these major highlights beaming outta the mic, the music goes on to rival it all right after.
It’s funny…I know Zronimo’s music SO WELL, that I can look at a title coming up and still remember my old opinion on it. Once I get around to listening to it, it’s a matter of finding out if that still matches up with the memory I’ve got of it. I probably won’t remember all the details completely beyond whether I loved it or liked it, but yeah…I look at tracks like “Love Me As I Do” and I can remember really liking this track back in 2019 when I first heard it. It feels like he’s done a stronger job in singing this tune and likely made a few updates to it since I last had a listen to it four-plus years ago…and I’d say he got a lot closer to the mark he was looking to hit in the final results we hear. I could be wrong about that of course – it has been several years. When I started listening to “Love Me As I Do,” I was still a young man – now I’m older than old. Anyhow. I think the most you’ll find me conceding to ya is that he’s got SO MUCH incredible material now that it’s a bit harder to feel like “Love Me As I Do” stands out quite as much as it might have used to, but I still really like it. Of all the songs he’s got that could have really used a spotlight on the instrumentation, I’m almost surprised he doesn’t build a bit more room for that within this one. Like – to me, that first hit of the piano melody is such a powerful moment AND a huge hook, even with it being as subtle as it is…when I listen to that first fifty-five seconds of “Love Me As I Do,” I end up feeling a bit surprised we didn’t loop back around to that somehow later on in the song. It’s a quality ballad though…gentle, serene, peaceful, beautiful, and bold when it needs to be too. He’s got a few spots just past the three minute mark that threaten to get the best of him, but aside from that, I felt like “Love Me As I Do” continued to be a memorable low-key moment that works well for him.
Finishing things off with “Blue Odyssey,” and pushing the length even further as the final song of Funk Avenue gets real darn close to eight-minutes – I’m told there is a freakin’ KEYTAR in the solo of this last cut! While many of the details of the movie are still under wraps, I can also confirm that this KEYTAR will be a “huge part in the finale” of Funk Avenue too. I know what you’re thinking – how could it NOT be, right? It’s a freakin’ KEYTAR! Gotta feature that thang! I’ve been telling my old man to rock one of those for years and years now…he’s been a professional keyboardist my entire life, and yet, I’ve never seen him pick one up…what a crime! Anyhow. From where we started with Zronimo entering Funk Avenue on “E.F.A.,” you can hear how this story shapes up a little bit in the way that “Blue Odyssey” finishes off, with Zronimo singing “I must go back” in the main vocal hook. So there you go…that’s a little insight into what the plotline could potentially be…you’ve now got a head start on the movie coming out soon – you’re welcome. “Blue Odyssey” has its moments of restraint and calm, which you’ll find towards its beginning – and just like you’d expect in a finale of this magnitude and length, the further it plays, the more intense it becomes. I wouldn’t go quite as far as to say this last track is Zronimo’s own “Purple Rain,” but there is an epicness to this final song that translates to us with ease. You can certainly hear how it’d fit right into a musical type of setting…and I mean, heck, you could pretty much squeeze in another Act I – III in this final song at the length it’s at! Melodically though, it works really well…vocally, Zronimo reveals some last solid highlights pre-Keytar solo, and musically, he’s got this final cut sounding smoother than smooth too. As the intensity builds up, I still dig it, but it does give us a different side of sound than what we find in the start of “Blue Odyssey.” That gentle sway is soon replaced by the grand scale of musical-inspired heights, which is cool too, it’s just got a different appeal to it than the way this song starts is all. As for the keytar solo…well…obviously that’s solid gold y’all.
It should be interesting to see how all this music he’s been making plays a role in the upcoming movie! Zronimo is always as busy as busy can be on a creative level, and he’s got himself a solid soundtrack with Funk Avenue here. I’ve always told ya he’s an all-around entertainer. He’s proven that once again with this latest record, and I’m fully confident that he’ll show ya directly when he hits the screen with his film.
Find out everything you need to about Funk Avenue from this handy multi-link right here: https://zronimo.hearnow.com
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