Album Review: Sergio Mendes - In the Key of Joy

Honestly, Sergio Mendes should not need an introduction, but here we go. Mendes is THE Brazilian bossa nova player. You've heard his stuff, even if you didn't realize it was him. He struck sonic gold with his rendition of "Mas Que Nada," released through A&M Records back in 1966, and has remained a consistent figure in American popular music ever since. Although he's transitioned into mostly soundtrack work for major motion pictures since the mid-00s, he is still well regarded as an emissary of one of Brazil's most popular styles, and the reach of influence is incalculable. He currently has more than 55 studio albums under his belt, of which In the Key of Joy is only the latest, and first since 2014's Magic. The album is being released along with a documentary on Mendes of the same name, and I wanted to cover this album because I'm a fan of his work, and being nearly 80 years old, I don't know how many more records we're going to see from him at this point. That said, if this is your introduction to his work, I'm sorry. In the Key of Joy is an uneven album that does not always showcase the man's strengths. It's essentially a pop album that attempts to please too many ears, that feels too light for serious bossa nova fans, and too authentic for people who may only be interested in his soundtrack work. It's also over 100 minutes long, which... yikes.

The problems start early, with "Sabor Do Rio," which has a lovely strummy rhythm and lush, sun-kissed texture. It's a perfect bossa nova track... until Common starts dropping some lazy struggle bars over it. Everytime the dude opens his mouth, it causes the track to unceremoniously face plant in the sand. Common is a talented guy. But he doesn't do beach music. Ask him to your poetry slam. Do not invite him to your spring break party. Thankfully the album rights itself before the tide can roll in and drown it. Both "Bora Lá" and "Muganga" have tight funky disco vibes, while "Samba in Heaven" gives the formula a distinctly early '00s R'nB twist. "Time Goes By" introduces an air of somber, weighty soul, while "Lamento" is an exception, straightforward, guitar-lead bossa nova jam. Sound great, doesn't it? The title track "In The Key of Joy" even has another rapper on it, Compton's Buddy, who delivers some killer rhymes, in a raw, carefree, and cutting flow. It works, frankly, and makes the album's lower moments all the more inexplicable. Especially, shockingly bland and flareless covers of '70s pop songs that are speckled throughout the album's runtime. The whole thing is like a pile of neatly sliced, fresh mango and strawberries, that someone has dumped five pounds freezer burnt honeydew melon on top of. There are a lot of delicious cuts of what you want on In the Key of Joy, but if you want them, you're going to have to dig for them.

Grab a copy from Concord, here.