Maxwell's Urban Hang Suite

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Maxwell's Urban Hang Suite
Studio album by
ReleasedApril 2, 1996
Recorded1994–1995
Studio
Genre
Length64:47
LabelColumbia
Producer
Maxwell chronology
Maxwell's Urban Hang Suite
(1996)
MTV Unplugged
(1997)
Singles from Maxwell's Urban Hang Suite
  1. "...Til the Cops Come Knockin'"
    Released: May 15, 1996
  2. "Ascension (Don't Ever Wonder)"
    Released: July 30, 1996
  3. "Sumthin' Sumthin'"
    Released: December 1996
  4. "Suitelady (The Proposal Jam)"
    Released: May 1997

Maxwell's Urban Hang Suite is the

debut album by American R&B singer-songwriter Maxwell. It was recorded in 1994 and 1995, then released on April 2, 1996, by Columbia Records
.

Maxwell largely wrote and produced the album himself, recording in sessions at Electric Lady Studios, RPM, Sorcerer, and Chung King Studios in New York City, and CRC recording studios in Chicago. The resulting music features a mellow, groove-based sound with elements of funk, jazz, smooth soul, and quiet storm. A concept album, Maxwell's Urban Hang Suite was composed as a song cycle that focuses on an adult romance, based in part on Maxwell's personal experiences.

Maxwell's Urban Hang Suite was not an immediate commercial success, but it was helped by the release of its second single "Ascension (Don't Ever Wonder)" in July 1996, and the album eventually became a million-seller. It was also a success with critics, who praised it as a departure from the mainstream, hip hop-oriented R&B of the time, while earning Maxwell several accolades and comparisons to soul singers of the past, particularly Marvin Gaye and Prince.

The success of Maxwell's Urban Hang Suite elevated Maxwell's reputation to that of a sex symbol and a notable performer in the music industry. He was credited with shaping the "neo soul" movement of musicians that rose to prominence during the late 1990s. Along with D'Angelo's Brown Sugar (1995) and Erykah Badu's Baduizm (1997), the album provided commercial exposure to neo soul and has since been cited by several critics as Maxwell's greatest work.

Background

After receiving a low-cost

S.O.S. Band and Rose Royce, Maxwell began to teach himself to play a variety of instruments.[4] According to him, the R&B of the early 1980s contained "the perfect combination of computerized instrumentation with a live feel", and that the genre's dynamics later became lost due to the influence of hip hop on R&B.[3] Despite facing ridicule from classmates for being shy and awkward, he progressed and continued to develop his musical abilities.[2]

At 19, Maxwell began performing throughout the New York club circuit while supporting himself by waiting tables during the day.

moniker out of respect for his family's privacy.[2]

Recording and production

Electric Lady Studios (entrance pictured) in New York City, where part of the album was recorded

Maxwell recorded his debut album between 1994 and 1995 at

Melvin "Wah-Wah Watson" Ragin.[2] Prior to working with Maxwell, Ware and Ragin were collaborators of soul musician Marvin Gaye;[2] Ware had produced and composed most of Gaye's tenth album I Want You (1976).[7]

Production assistance and instrumentation from such veteran session musicians contributed significantly to Urban Hang Suite's vintage overtones and classic R&B influences.

mastered by Tom Coyne at Sterling Sound in New York City.[8]

Music and lyrics

Although one of his earliest influences was early 1980s urban R&B,

bass lines.[5][15] The tempo of the songs slowly diminishes through the course of the album's songs.[16] One critic attributes the tempo decrease to Stuart Matthewman's production.[17] The album contains elements of funk, jazz, contemporary R&B and quiet storm,[5] and it is mostly composed of sexual balladry and slow jams.[18][19]

A concept album,[2] Maxwell's Urban Hang Suite is a song cycle that focuses on an adult romance from first encounter to its dramatic conclusion.[20] Over the course of the album, Maxwell details a single passionate encounter.[14] Throughout, it examines the concept with lyrical themes of love, sex and spirituality,[20] as well as issues such as commitment, marriage and monogamy.[21] Maxwell has described the themes and his thoughts on romance as "idealistic" on Urban Hang Suite.[22] Rolling Stone editor David Fricke compared the album's concept to that of Marvin Gaye's 1978 record Here, My Dear, which dealt with his divorce, saying that Maxwell's Urban Hang Suite had been reworked as a treatise on monogamy.[10] The album has been noted for the sincerity of Maxwell's lyrics, which depict a man's weakness and vulnerability to a woman's love.[9][17] In an interview with music journalist Mark Coleman, Maxwell cited his respect for African-American women as the inspiration for the respectful nature of his lyrics towards women.[4] Maxwell told Interview's Dimitri Erhlich that his main muse for Urban Hang Suite was women, and further elaborated on his inspiration, stating:

I think creativity is innately feminine. Obviously women at 12 or 13 get either cursed or blessed with the fact that they're vessels for human life to come through. And that's what music--what creativity--is to me. I guess being a man is a truly physical state and mentally it's a little bit limiting. But what I'm talking about is not a person's 'female side' or 'male side'. The only way I can pay homage to that feminine thing--not necessarily women but to what they represent as creative forces--is by getting artistic and making music.[3]

Maxwell also cited his grandmother and other West Indian women he knows as the inspiration behind his romantic notions.[3] Music journalists inferred that the album was inspired by or based on an unsuccessful affair in Maxwell's life.[2][23] Maxwell said in an interview, "I'm so innately romantic and always have been, and I went through this particular romantic experience and based my album on that".[23] The album's liner notes have a dedication from Maxwell to his "musze", stating "I could never have done this without you".[6]

The album opens with an instrumental track, "The Urban Theme", which begins with the sound of a

Brand New Heavies.[17] "Welcome" features the album's prominent sexual vibe, and contains a quiet storm sound and saxophone.[5] The two opening tracks both contain prominent funk influence.[16] Roni Sarig wrote that their "early '80s full-band R&B and jazz pop grooves are reminiscent of Maze's brightest days and Steely Dan's coolest nights."[24] The funk-influenced "Sumthin' Sumthin'", which was co-written by Leon Ware,[8] contains a strong, rhythmically tight groove created by the implementation of the "pocket" bass technique.[25] Co-written by songwriter Itaal Shur,[8] "Ascension (Don't Ever Wonder)" opens with a funky groove and bass line, and features a forceful rhythm and rough funk sound.[5] The song contains strong gospel overtones with references to God in the lyrics.[26] The song has been covered by gospel artists such as Londa Larmond and LaShun Pace.[26]

Cited by Blender magazine as one of the "Greatest Make-Out Songs of All Time", "...Til the Cops Come Knockin'" contains sexually explicit lyrics and a slower tempo than its preceding tracks.[16] It also contains the sound of distant sirens and "grinding porn-movie" guitar licks.[16] The songs "Whenever Wherever Whatever" and "Lonely's the Only Company (I & II)" are ballads that contain themes of vulnerability to love.[17] "Suitelady (The Proposal Jam)" completes the album's concept of monogamy with lyrics depicting a marriage proposal from Maxwell.[10] Maxwell's Urban Hang Suite closes with the instrumental track "The Suite Theme".[5] While the length of the track is listed as 13:47 minutes,[9] the song ends after 6:00 minutes, followed by a period of silence, before resuming with a hidden track,[5] which consists of 1:41 minutes of an instrumental version of "...Til the Cops Come Knockin'".[27]

Release and promotion

After Maxwell's Urban Hang Suite was completed,

bar coding prominently displayed.[29]

In the period before its release, Maxwell wrote and demoed songs for a subsequent studio album, and embarked on an

Critical reception

Professional ratings
Review scores
SourceRating
Encyclopedia of Popular Music
[36]
Entertainment WeeklyB+[14]
The Guardian[37]
Los Angeles Times[38]
MusicHound R&B4/5[39]
Pitchfork9.0/10[40]
Q[41]
The Rolling Stone Album Guide[42]

Maxwell's Urban Hang Suite received positive reviews from critics.[43] It was called a "masterpiece" by several reviewers who viewed it as a departure from the mainstream, hip hop-oriented R&B of the time.[43] Maxwell was also compared to soul singers of the 1960s and 1970s.[3]

Writing for

Thriller".[45] In American Visions, Michael George wrote, "In an age where young, black artists are criticized (often rightly so) for misogynistic lyrics, Maxwell's focus on commitment is refreshing. But more important, he can flat-out sing."[46] In The Rolling Stone Album Guide (2004), Arion Berger later said, "[Maxwell's] laid-back romanticism has heat at its core and a powerful groove that grounds the music: By varying the push of the beat but retaining the central mellow vibe, Maxwell creates a sound as felicitous on headphones as it is in the bedroom."[42] Peter Shapiro was more critical, panning Maxwell's lyrics and calling the album an "overly mannered pastiche of early 70s soul ... all style and no substance".[43] In The Village Voice, Robert Christgau jokingly accused Maxwell of "expiring of Afrocentric texturitis",[47] while rating the album a "dud",[48] which indicated "a bad record whose details rarely merit further thought".[49]

At the end of 1996, Maxwell's Urban Hang Suite named one of the year's 10 best albums in lists published by Rolling Stone,

Soul Train Awards.[28] That year, Rolling Stone voted him Best R&B Artist.[28] The album's success also earned Maxwell his own MTV Unplugged special, which was a popular measure of mainstream success for recording artists in the 1990s.[11] Nick Coleman from The Independent later cited Maxwell's Urban Hang Suite as the "sexiest record of 1996",[51] while Q magazine called it "one of the very best R&B records of the '90s."[41] Stylus Magazine ranked it at number six on their list of the Top Ten Albums from 1996.[52] The album was also included in the book 1001 Albums You Must Hear Before You Die.[53]

Legacy

Along with musicians

black music's predictability.[58]

Maxwell's role in writing and producing the album exhibited a level of artistic control by an R&B artist that was uncommon in the recording industry at the time.[4] On Maxwell's emergence with Urban Hang Suite, writer Carol Brennan cited him, along with the Fugees, D'Angelo and Tony Rich, as neo soul musicians that "exhibited the identifying characteristics of this new breed of R&B artists: lyrics that give voice to intense personal expression, creative control over the music, and a unexpectedly successful debut."[4] In his book A Change Is Gonna Come: Music, Race & the Soul of America (2006), Craig Hansen Werner lists Maxwell's Urban Hang Suite as important in neo soul, including it along with R. Kelly's R. (1998), D'Angelo's Voodoo (2000), the Young Disciples' Road to Freedom (1991), Aaliyah's self-titled final release (2001), Faith Evans' Keep the Faith (1998) and "anything by Seal" as among "the starter kit" for the genre.[59] In Songs in the Key of Black Life: A Rhythm and Blues Nation (2003), writer Mark Anthony Neal cited the album as one of the most popular of neo soul recordings, along with Musiq Soulchild's Aijuswanaseing (2000) and India.Arie's Acoustic Soul (2001), that helped to redefine the boundaries and contours of black pop and R&B.[60]

Maxwell in 1998

The unexpected commercial and critical success of Maxwell's Urban Hang Suite helped establish Maxwell as a serious performer in the music industry.[4][11] He was described by critics as "part of a new generation of smooth soul crooners", and he obtained a reputation among fans as a sex symbol, which according to one journalist, was due to his "wild" afro and "extravagant cheekbones".[43][61] His concert performances in promotion of the album attracted many female fans.[4] One sold-out concert at New York City's Radio City Music Hall was praised by Rolling Stone, who compared him to R&B singers such as Gaye, Prince, Frankie Beverly, and Luther Vandross. The magazine highlighted Maxwell's showmanship, "down-to-earth" attitude and body movements including dropping down to his knees, swiveling his hips in a "slow grind", and crawling across the stage while singing.[62] Essence writer Jeannine Amber compared his stage presence to Teddy Pendergrass.[4] According to some journalists, Maxwell's appeal to female fans was due to the respectful and sincere nature of his lyrics regarding women.[4] In Contemporary Musician (1998), Mary Alice Adams examined the personal impact of his debut album on listeners:

To his fans, Maxwell's Urban Hang Suite lures them into the heart of a romantic encounter that ends with a marriage proposal. The honest, sincere sexuality has struck a collective nerve with many in his audience who have built, renewed, or refined relationships based on the many messages found in the songs from Urban Hang Suite ... Maxwell's emotive power seduced not only significant numbers of both the urban and pop audiences but critics as well.[3]

Maxwell's following studio albums were received less enthusiastically by critics, who were more critical of his songwriting on his next two studio albums, Embrya (1998) and Now (2001).[42] Maxwell's Urban Hang Suite has since been cited by several critics as his best album,[43][42] including Stephen Cook from AllMusic, who said it was "destined to become a classic contemporary R&B disc".[9]

Track listing

No.TitleWriter(s)Producer(s)Length
1."The Urban Theme"MaxwellMaxwell2:42
2."Welcome"Maxwell, Stuart MatthewmanMaxwell, Stuart Matthewman5:18
3."Sumthin' Sumthin'"Maxwell, Leon WareMaxwell4:18
4."Ascension (Don't Ever Wonder)"Maxwell, Itaal ShurMaxwell5:46
5."Dancewitme"Maxwell, Hod DavidMaxwell6:15
6."...Til the Cops Come Knockin'"Maxwell, DavidMaxwell, Peter Mokran6:56
7."Whenever Wherever Whatever"Maxwell, MatthewmanMaxwell, Matthewman3:45
8."Lonely's the Only Company (I & II)"Maxwell, MatthewmanMaxwell, Matthewman6:22
9."Reunion"MaxwellMaxwell, Mokran4:53
10."Suitelady (The Proposal Jam)"Maxwell, DavidMaxwell, Mokran4:48
11."The Suite Theme" (ends at 6:00; hidden track at 12:06)MaxwellMaxwell, Federico Pena13:47

Personnel

Credits for Maxwell's Urban Hang Suite adapted from liner notes.[8]

Players

Guitars: Wah Wah Watson, Stuart Matthewman, H, Maxwell
Keyboards: Amp Fiddler, Federico Pena, Itaal Shur, David Gamson, Stuart Matthewman, Maxwell
Bass: Mike Neal, Gary Foote, Jonathan Maron, Stuart Matthewman
Drums/Beatmachine: Gene Lake, Stuart Matthewman, Itaal Shur, Peter Mokran, David Gamson, Maxwell
Percussion: Bashiri Johnson, Karl Vanden Bossche, Gregory Marsh
Horns: The Beverly Soul Sextion
Saxophone: Stuart Matthewman
Trombone: Clark Gayton
Trumpet: Kevin Batchelor
French horn: Vincent Chauncey
Cello: Erik Friedlander, Rufus Cappadocia
Voices: Maxwell

# Title Notes
Maxwell's Urban Hang Suite

Produced or co-produced by Maxwell with Stuart Matthewman or Peter Mokran
Additional production assistance: H (Mike Humphries), Wah Wah Watson (Melvin Ragin) and Itaal Shur
Written by Maxwell or co-written with Hod David, Stuart Matthewman, Leon Ware, Itaal Shur or Melvin Ragin
Recorded at Electric Lady (NYC), RPM (NYC), CRC (Chicago), Chung King (NYC), Sorcercer (NYC)
Engineers: Mike Pela, Peter Mokran and Ed Tuton
Assistant engineers: Michael Nuceder, Jamie Campbell, Brian "Mr. Bones" Kinkead, Phil Castellano, John Seymour and Ron Lowe
Mastered by Tom Coyne at Sterling Sound (NYC)
Art direction: Stacey Drummond and Julian Peploe
Photography: Eric Johnson
Photo assistance: Michael Stryder and Jamel
A&R direction: Mitchell Cohen

1 "The Urban Theme"

Arranged and produced by MUZSE
Mixed by Peter Mokran

2 "Welcome"

Written and produced by Maxwell and Stuart Matthewman
Mixed by Mike Pela

3 "Sumthin' Sumthin'"

Written by Maxwell and Leon Ware
Produced by Maxwell
Mixed by Mike Pela

4 "Ascension (Don't Ever Wonder)"

Written by Maxwell and Itaal Shir
Produced by Maxwell
Mixed by Mike Pela

5 "Dancewitme"

Written by Maxwell and Hod David
Produced by Maxwell
Mixed by Mike Pela

6 "...Til the Cops Come Knockin'"

Written by Maxwell and Hod David
Produced by Maxwell and Peter Mokran
Mixed by Peter Mokran

7 "Whenever Wherever Whatever"

Written and produced by Maxwell and Stuart Matthewman
Mixed by Mike Pela

8 "Lonely's the Only Company (I & II)"

Written and produced by Maxwell and Stuart Matthewman
Mixed by Mike Pela

9 "Reunion"

Written by Maxwell
Produced by Maxwell and Peter Mokran
Mixed by Peter Mokran

10 "Suitelady (The Proposal Jam)"

Written by Maxwell and Hod David
Produced by Maxwell and Peter Mokran
Mixed by Peter Mokran

11 "The Suite Theme"

Produced by Maxwell
Arranged by Maxwell and Federico Pena
Mixed by Peter Mokran

Charts

Certifications

Region Certification Certified units/sales
United Kingdom (BPI)[76] Gold 100,000^
United States (RIAA)[77] 2× Platinum 2,000,000^

^ Shipments figures based on certification alone.

References

  1. ^ Pitchfork Staff (September 28, 2022). "The 150 Best Albums of the 1990s". Pitchfork. Retrieved April 26, 2023. ...Maxwell's sumptuous debut album dilates one turbulent romance into a celebration of monogamous love and '70s soul. To bring this retro vision to life...
  2. ^ a b c d e f g h i j k l m Huey, Steve. Maxwell: Biography. Allmusic. Retrieved on 2009-03-30.
  3. ^ a b c d e f g h i j k l m n o p q r s Adams (1998), pp. 172–173.
  4. ^ a b c d e f g h i j k l m Brennan (2002), pp. 132–133.
  5. ^ a b c d e f g h i j Product Page: Maxwell's Urban Hang Suite. Muze. Retrieved on March 30, 2009.
  6. ^ a b Maxwell (1996), p. 10.
  7. ^ Jurek, Thom. Review: I Want You. Allmusic. Retrieved on March 30, 2009.
  8. ^ a b c d e f Track listing and credits as per liner notes for Maxwell's Urban Hang Suite album
  9. ^ a b c d e Cook, Stephen. Review: Maxwell's Urban Hang Suite. AllMusic. Retrieved on March 30, 2009.
  10. ^ a b c Fricke, David. Review: Maxwell's Urban Hang Suite. Rolling Stone. Retrieved on 2009-03-30.
  11. ^ a b c d Easlea, Daryl. Review: Maxwell's Urban Hang Suite. BBC Music. Retrieved on July 9, 2009.
  12. ^ a b Hahn (2003), p. 227.
  13. ^ Linden, Amy. Pop View: Young Crooners Learn the Subtle Art of Seduction. The New York Times. Retrieved on 2009-08-13.
  14. ^ a b c d Ehrlich, Dimitri. Review: Maxwell's Urban Hang Suite. Entertainment Weekly. Retrieved on March 30, 2009.
  15. ^ Gill, Rajinder. Audiophile Journeys with a PC: Subjective Listening - Arrrgh!. AnandTech. Retrieved on April 4, 2009.
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  17. ^ a b c d e Lima, OJ. "Review: Maxwell's Urban Hang Suite". Vibe: 132. March 1996.
  18. Rhapsody
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  20. ^ a b c d Harrington, Richard. "Maxwell's House of Soul; Romantic Debut Is Quite a Concept". The Washington Post: 7. October 16, 1996.
  21. ^
    Milwaukee Journal Sentinel
    : July 23, 1997.
  22. ^ Hay, Carla. Maxwell Tries Living In The 'Now'. Billboard. Retrieved on April 4, 2009.
  23. ^ a b Columnist. "What He Does Want Is to Make Beautiful Music". PACE Magazine: 100. September 2002.
  24. Amazon.com
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  38. ^ Johnson, Connie. "Review: Maxwell's Urban Hang Suite". Los Angeles Times: 58. July 14, 1996. Archived from the original on August 27, 2009.
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  49. ^ Christgau, Robert. CG 90s: Key to Icons. Robert Christgau. Retrieved on March 30, 2009.
  50. ^ "1996 Pazz & Jop Critics' Poll". The Village Voice: February 25, 1997.
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  52. ^ Southall, Nick. Top Ten Albums from 1996 Archived 2009-07-16 at the Wayback Machine. Stylus Magazine. Retrieved on 2009-03-31.
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  60. ^ Neal (2003), p. 117.
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Bibliography

External links