Likewise, the shuffling and soaring “Jerk Ribs” contains no actual culinary content, rooted instead in a brilliantly drawn memory about her father, where “He said to look for melody in everything” is followed by instantly memorable horn riffs. The first line of the opening “Breakfast” - “I wanna say thank you, you’ve been more than just a man” - is more an indication of the album’s theme than its song titles. The certified chef’s references to food are abundant, but they’re all used as a way to help illustrate a set that is principally about a blossoming relationship and positive reflection. Strings, horns, and brass arranged by Todd Simon are a major part of the album and match up well with the slightly scratchy and simultaneously sportive and sincere qualities of Kelis’ voice.
label Ninja Tune, Food sports a cover that doesn’t seem nearly bright or colorful enough to reflect its sound - an eclectic and modern-sounding synthesis of classic pop and rhythm & blues with a lot of friskiness, some funk, and even a little twang. She changed course again and teamed up with TV on the Radio’s Dave Sitek, whose Los Angeles house hosted loose recording sessions with an atmosphere that, according to Kelis, was “like a freakin’ commune.” Released on U.K. garage and dubstep producers, including Skream, whose 2013 “Copy Cat” featured one of her most clever (and slightly creepy) turns.
The creatively restless singer and songwriter nonetheless quickly moved on to working on her sixth album with a handful of U.K. Flesh Tone, Kelis’ lone release through Interscope, brought about a pair of Top Five club hits.
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