Musically, the track takes several stances. Familiar ukulele chordal work sets the tone for a cheerful acoustic output. However, the accompanying percussive sequence adds a harder hitting drive more akin to left-field contemporary radio pop.
Rubbery synth bass anchors the melodic work to cadential down steps. Mimicking the kick samples and responding to the ukulele keeps the bass section pointedly pushing the track onwards.
Steel drum samples offer an alternative harmonic device. Serving as a placeholder for the ukulele in certain, sparser sections of the track gives the work a powerful sense of instrumental variance. A reception of assortment is often difficult to translate from a work that contains less commonly combined sounds. The surprising grouping often makes the listener more accepting of any other sonic occasions that may arrive. This effect is offset by the more drastic use of alternate instrumentation when replacing roles in the track, perfectly executed in the relationship between the steel and the strings.
The vocal lead is consistently filtered and sits on the edge of distortion. This effected sound is a bold approach in presenting an element so present in the work. The choice to so unabashedly present an uncommon feature as the lead is a perfect example of why this track is worth remembering.
Putting the actual musical content of the work to the side, Let’s Ride is delivered and portrayed with a tangible passion and vision for its sound. This same approach applied to any genre or form is always successful in translating the heart of a project and should not be overlooked. Camielle creates a simple composition and enhances it on every count.
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