Have You Lost Your Mind Yet?
Have You Lost Your Mind Yet? gives Fantastic Negrito's blues a wider setting. Funk rhythms, soul vocals, hip-hop and electronic details all play a part, with the songs moving between personal relationships and larger social concerns. His voice gives the variety a clear centre, even when the arrangements pull in several directions.
“Chocolate Samurai” makes an inviting start. Its lively rhythm and guitar parts support a melody that connects quickly, showing how accessible this mixture can be. “I'm So Happy I Cry” changes the pace, with guest singer Tarriona “Tank” Ball bringing another strong voice into the blues and soul setting. The contrast gives the opening a useful range.
“How Long?” takes a slower, more restrained approach. The vocal carries much of its feeling, and the space around it helps the song stand apart from the busier tracks. “Your Sex Is Overrated” offers another strong example of that balance. Organ, guitar and an expressive vocal give the song plenty of detail without making its relaxed movement feel crowded.
The guest rap from E-40 on “Searching for Captain Save a Hoe” extends the record's range, though the combination is less fluent than the strongest soul material. “These Are My Friends” is more direct in its appeal. Its gospel character gives the song warmth, while the singing keeps the focus on human connection rather than a display of vocal power.
The short pieces are more uneven. “Shigamabu Blues” and “Justice in America” make their points quickly, but they can interrupt the movement between the fuller songs. The album also uses more programmed beats and layered textures than a traditional blues record. Those choices are often effective, especially in “All Up in My Space”, though the constant shifts make it a less settled listen.
There is enough character and strong writing here to make that restlessness worthwhile. Negrito brings warmth to the quieter material and energy to the larger arrangements. Have You Lost Your Mind Yet? is not equally smooth from song to song, but its best moments make a persuasive case for keeping the blues open to new sounds.
