“Let Me Have My Way,” the second single from the forthcoming album Too Dark to Turn Back, features the ingenious collaboration of R&B and soul artist Juice Soul, rapper L.T. Terror and producer Chevalier Coleman. These gifted independent black male talents are among the best in the music industry. Without question, they will soon be household names. Last summer’s hottest song, “Tasteless,” their brainchild, put music fans in the mood for romance. With “Let Me Have My Way,” the hot, the sexy, the romance returns—just in time for summer love and lovemaking.
Trained in the Department of English and Modern Languages at the renowned Albany State University, Juice Soul masterfully wields compelling storytelling in his new single; this engrossing storytelling is a singular and characteristic element in his oeuvre. Mr. Soul’s euphonious, mellifluous vocals never disappoint, never auto-tuned, always delivering classic and disarming sounds that drive the ladies wild.
Drawing on the power of vivid, evocative storytelling, Juice takes his listeners on a journey, a love journey, one where sexual satisfaction is promised. We, the listeners, witness a cohesive and intriguing narrative, one apposite for an episode of a quality television drama.
A general proclivity in postmodernism, a historical and cultural phenomenon and the historical and cultural epoch in which we reside, as articulated by cultural critic and theorist Fredric Jameson and scholar Elizabeth Atkinson, is to welcome disorder and ambiguity. Resisting this postmodern impulse, Mr. Soul proffers a substantive story that’s logical and perspicuous and that resonates—he does not simply string some words together, as is, unfortunately, increasingly becoming the case for many popular singers and songwriters. Even some of his distinctive lyrical phrasing, where the vocal styling appears to blur or fade words intentionally for musicality purposes, still permits audiences to understand fundamentally what he attempts to convey.
The song anticipates feminist critique: both artists respectfully invite their desired women to share in an intimate experience with them. In Soul’s case, he wants it to last perpetually: “I never wanna let you go.” Sexual intercourse for him is communal, appropriately tasteful and delicate, never sacrificing, though, healthy masculine performance: “I’m going to give it to you so nice/Tell me how you feel about this?” The artist expresses a genuine interest in evaluative feedback—even during the sexual encounter, suggesting a true wish to please his woman. As artist, father, and professional, Juice Soul remains relentlessly authentic.
While L.T. Terror maintains this authenticity in the song, the rapper does it in a divergent way from Juice. The sagacious rapper, disabusing potential critics of arguments about the song being too idyllic, too mawkish (and it’s not), communicates frank intentions about his desires for the sexual experience, one ephemeral by design, yet vowed to delight. A central characteristic of postmodernism is an explicit embracing and engaging in textual fragmentation, that is, intentional textual discontinuities, and Terror’s lyrics, from a first reading, seem to represent radical textual fragmentation, especially when one juxtaposes them with Juice’s. Sex, however, does not have to be an enduring commitment; it can be a “one-time” experience, as Juice Soul intimates.
For L.T. Terror, this “one time” sexual interaction will include psychic stimulation: “My favorite position is in your mind.” Although the artist isn’t looking for a long-term physical commitment (and isn’t willing to give one), he hopes the woman will eternally remember their time together: “trying to find a home inside of your thighs.” Candid as possible, though, the rapper does not want good sex mistaken for love: “Might see love inside of my eyes/But that’s one big disguise/I’m such a horrible guy.” In other words, enjoy this magical moment, but don’t catch any abiding feelings.
Ironically, the divergences between Juice Soul’s lyrics and L.T. Terror’s form a totality, a unified whole, one reflecting real possibilities, diverse interactions and reactions, and nuanced notions of authenticity.
The track can be purchased on iTunes, and one can hear it on all digital streaming platforms, including Spotify, Apple Music, and Tidal.
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Dr. Antonio Maurice Daniels
University of Wisconsin-Madison