Slated to come out in “2015” fans of Divinity Roxx had to wait until April 19th of this year to get their callused fingertips on ImPossible her third solo album. Best known for her standout performances for over five years as Beyonce’s bassist turned Queen Bey Musical Director, Divinity Roxx proves on ImPossible that good things do indeed come to those willing to wait. “Waiting around” however, seems to be one of the few skills Divinity Roxx has yet to master in what is an impressive and consistently growing resume of performances alongside a veritable “who’s who” of artists almost as eclectic as the former UC Berkeley journalism student herself.
ImPossible Divinity Roxx seamlessly intertwines phat basslines through rap verses, smoothly melds R&B with hard rock, and slathers funk like peanut butter and jazz her jelly.
ImPossible truly had me pondering what makes a household name like Erykah Badu, Jazmine Sullivan, Gladys Knight or Patti Labelle (all of which she has played with) the stars that they deserve to be and Divinity Roxx who outside of those in the music industry remains a relatively unknown “studio musician”. All of that lack of star status might quickly be eroding with another in what has been a decades long and consistently line of groundbreaking and innovative musicians hailing from Atlanta, GA.
On ImPossible’s opening track “Miracle”, a song about her father’s reflection of when Divinity was born to this earth Divinity has a line that parallels her career thus far, “I’ma take the road less travelled by and I’ma take the slow ride to where you are, cause that’s how we do and I’m expecting a miracle for you to”.
From basscamp with the legend Victor Wooten, to trading bass lines with Bootsy Collins on Roxx Boxx Experience, to playing for President Barack Obama at the White House, Divinity Roxx has indeed taken one of the more clearly lit back doors to this her crowning achievement thus far, ImPossible.
Her time spent with Jazmine Sullivan shines through off the top of “Break Down These Walls” giving the impression that she was going to take it to a more chill atmosphere after the bass heavy intro to Miracle, however no sooner does that thought process when she transitions into a guitar driven Evanescence type riff performed by Anahayla, and proceeds to flow like the lovechild embodiment of The Lady Of Rage and Parisian born Bas on vocals.
On “We Are” the album’s first single from an album that throw a dart hit a hit one can hear the virtual choir behind the vocalist / bassist’s chorus, which although not actually accompanying Divinity Roxx on the album, was no doubt conceptualized during the arrangement of the fifth ImPossible track.
If one is forced to point out a single piece of criticism regarding the twelve track LP it is simply that ImPossible is too brief, clocking in at 38 minutes and 49 seconds Divinity Roxx successfully leaves the listener wanting more.
The allotment of space I am provided to share my ImPossible assessment barely scratches the surface on an album that I will now play to death. The 2329 seconds of ImPossible fly by with an impressive array of outstanding qualities including channelling Saul Williams, Les Claypool and Kendrick Lamar with a delightful mash of vocal tones akin to that of Tracey Chapman or Me’shell Ndegeocello. Highlighting a single best quality splits more than a few hairs. However, if tasked to decide most unique standout Divinity Roxx quality on ImPossible is just was how effortlessly she transitions from genre to genre in a way that feels like home to the listener. The comfort with which she fuses the multitude of genres within each other has one both cosy and content with where they are in the moment, coupled with the excitement that comes with wondering where she is going to take you next. There are successful musicians that go their whole careers without writing a bridge with the kind of grace that Divinity Roxx seems to exude with the honesty in her compositions the likes of which this reviewer has perhaps never heard prio