Cody ChesnuTT - Landing on a Hundred

The tune for today is: 

 Cody ChesnuTT - Don't Follow Me

You can follow the wind
Follow your skin
Follow a tree
That follows the sea
Follow the stars
Follow who you are

But whatever you do, don’t follow me
(Don’t you follow me, don’t you follow me, don’t you follow me)
But whatever you do, don’t baby
(Don’t you follow me, don’t you follow me, don’t you follow me)
Don’t follow me
Cause I’ve much to do years on
(Don’t you follow me)

You can follow the times
Follow a flying sht
Even follow the spark that will turn timber into ash
You followed he uh
Even follow a beast

But whatever you do son, don’t follow me
(Don’t you follow me, don’t you follow me, don’t you follow me)
Whatever you do son, don’t baby
(Don’t you follow me, don’t you follow me, don’t you follow me)
Don’t follow me
Cause I’ve much to do years on
(Don’t you follow me)

You will be in, watching every step I take and I
I want you to remember
I did what I did
Because, because I didn’t know what I know now
I didn’t know what I know now
But I, I give it all to you

Don’t follow me
(Don’t you follow me)
There’s a knife you can take if you …
(Don’t you follow me, don’t you follow me, don’t you follow me)

Review by Andy Kellman (allmusic)

Cody ChesnuTT arrived in 2002 with The Headphone Masterpiece, an eccentric and sprawling debut. He appeared to be the kind of artist who could release a bounty of scattershot but occasionally excellent material on an annual basis. As years without a proper follow-up elapsed -- past a handful of collaborations, compilation appearances, and a 2010 EP -- his enigmatic aura only swelled. It's reduced with Landing on a Hundred, a relatively straightforward second album. There are no vulgar, offhanded, eager-to-provoke moments like "Bitch I'm Broke" or "War Between the Sexes." There aren't any unvarnished edges, either, though it's all organic -- by no means is it slick. Each one of the 12 songs is fully developed, recorded in studios with a large supporting cast, including string and horn sections. The material is classicist, drawing much from socially conscious soul of the late '60s and early '70s, especially 1969-1973 Marvin Gaye. Now in his early forties, ChesnuTT's outlook is less inward. "'Til I Met Thee" opens the album by acknowledging fatherhood as salvation. Like much of what follows, it's stylish, almost extravagant soul with a dash of funk from scratchy rhythm guitar lines. Many bases are covered: Africa is honored and uplifted, a young man who disrespects his mother is chastised, romance and personal connections are placed over wealth and technology, self-reliance is promoted, temptations are combated, and global economic inequities are scrutinized. "Don't Follow Me," a bleak and heartbreaking ballad in which he offers advice to his son -- i.e., "Don't make the same mistakes I've made" -- hits hardest with slamming drums, mournful trumpet, and a great amount of reverb. That he follows with a new version of the EP track "Everybody's Brother," where he addresses the drugging, gambling, and womanizing he has left behind, makes it all the more powerful. ChesnuTT delivers everything with colorful, wise-yet-probing conviction. Compared to the debut, this is a deeper body of songs. Entertainment and enrichment are provided unsparingly.

Tune the album here

Check the Cody site for more funky shit.