The immediate message from Stones Throw funk-souled
brethren, Dudley Perkins; is for you to return to a “funk
upon a time.” Perkins and the always impressive Madlib
make R&B sound passe`, while bringing in a sexy new era of jazz-infused
funk and soul. Expressions
(2012 a.u.) marks the second release from the artist known most
notoriously to his label-mates for having first “dibs” on Lib’s
“prized”beat
collection. Perkins and Lib deliver a
product of Dudley‘s own
ultimate search for his future, while he delves into detours and side-bars in
that quest. Complete with smoke-breaks, tracks for the ladies and tracks
for the spaced-out cats, Perkins’ ability on the album is
easily recognized. Never one to disappoint, Madlib presents
track after track of jazz gems with quality back-up from Dudley and
his funked out back-up singers, including James Brown on “Dollar Bill.” Before
you can be distracted by the fact you may be listening to and enjoying
jazz, funk and soul, the ultra “Funky Dudley” keeps your attention
throughout the three opening tracks which see Dudleytrade characters from the Nat King Cole-esque
delivery on “Me”
and his best George Clinton on “Get On Up.”

While complaints can be made that Dudley Perkins, who also
raps under the moniker Declaime, isn’t necessarily the model
for proper singing technique when it comes to jazz and soul. But Perkins‘
versatility on whatever Madlib throws in his direction is
quickly recognized. His freshman effort, A Lil’ Light was criticized for what first attempts are usually
accused of, including “too many chances taken.” While there was
little or no actual song-writing and possibly too many smoke breaks for the
artists themselves, the sophomore attempt can be respected for its
maturity. Madlib and Dudley seem to have
effectively settled into their own creation and will let it all hang out,
regardless of criticism. Nevertheless, some many not enjoy the overtly
teary-eyed confessions and almost religious evocation on “Dear God.”
Even though the song speaks on a divine light mostly having knowledge of the
“green seed” he planted on Earth. The message can be taken for what
it’s worth; faith, praise in anything, divine light, green, religion or even
oneself. Perkins stays away from the repetitive and
enjoys the chances he takes this time around. 

While he was compared to rock’n’roll/jester Wesley Willis, Perkins
more than represents the soul-searching soul-singer and Madlib
provides some of the best backing to leave that exact expression with
listeners. The impression is deep; funk and soul clouded in smoke,
love-saturated tunes, sad-soul ones with funk-out jams, sometimes with a
cheery, yet perceptive take on life around us. War, violence at home,
lay-offs, addiction, heartbreak, poverty, riches, it’s all prevalent in our society
and on our front pages, but Perkins remains steadfast in
singing and hoping for better and the best from all of us in a nu-soul
era. Stones Throw junkie Madlib is a
purveyor of new and classic soul and his production is just an example of his
breadth of funk and soul samples. “Testin Me” sees Madlib
blessing us with a standout keys and drum pattern performance while the deft Perkins
laces it with his own voice and what may be his own voice in a higher pitch.
Still the track evokes a certain charm, which is easily complimented by the
production.

Dudley Perkins and Madlib repeatedly
impress on this album, which may become a staple for these two to deliver us a
handful of albums. The two created thirteen distinct songs leaving listeners
with their own expressions to gather from Dudley and Madlib,
which may include hundreds of songs from his beat collections. For now, Dudley
Perkins can impress you with his soulful and funky renditions, but on
“Come Here
My Dear,” his rap alter-ego Declaime shows up to
remind the audience why he is an MC to respect and the duo can be considered a
nu-soul team to keep on your radar.