By Brian McManus
By Brian McManus
By Dan McQuade
By Dan McQuade
By Brian McManus
By Hilary Hughes
By Jena Ardell
By Brian McManus
When a perennially chart-topping r&b superstar compares his lover to a number-one hitas R. Kelly does in Number One Hit, a cut from his new Love Letterjust how psyched should the lover be? I mean, a number-one hitthats definitely good! But Kellys had, like, a zillion of em; Number One Hit isnt even his first song about a number-one hit. (Number one among those? Number One, from last years Untitled.) So doesnt that mean that Kellys metaphor says less about the lovers uniqueness than it does about how readily shell be replaced?
That may well be the singers point, of course, given the nearly philosophical aversion to monogamy depicted in his Trapped in the Closet serial. But the ambiguity sticks out on the commitment-pimping Love Letter, much of which plays like a modest about-face from Untitleds unabashed raunch. Even when Im dead and gone, he sings in the Sam Cookestyled When a Woman Loves, Im gonna love her from the sky.
Whatever the true message of Number One Hit, you cant blame Kelly for having Billboard on the brain: Musics fourth-quarter release schedule has been unusually packed with classically minded r&b albums, all of them in competition for those holiday-shopping dollars not already earmarked for Speak Now or My Beautiful Dark Twisted Fantasy. In addition to Kellys latest, new discs are out (or coming) from Ne-Yo, Jazmine Sullivan, Charlie Wilson, Faith Evans, Eric Benét, El DeBarge, Tank, Sunshine Anderson, Avant, Keyshia Cole, and Ron Isley. Even the high-minded Chrisette Michele, whose Let Freedom Reignfeatures typically brainy cameos by Talib Kweli and Black Thought, gets in on the chart-jockeying act with her own tune called Number One (which is actually about the struggle for self-empowerment, but still). Like everything else this fall, these records have been thoroughly overshadowed; their simultaneous appearance, though, seems to reflect the industrys belief in a robust soul-music market currently underserved by the fashion-forward likes of Ciara, Keri Hilson, and The-Dream.
Some of these throwback specialists throw back further than others. On Libra Scale, the follow-up to 2008s masterful Year of the Gentleman, Ne-Yo pays loving homage to vintage solo Michael Jackson, floating his meticulously multi-tracked vocals over shimmering arrangements long on creamy keys and disco-derived bass lines; sometimes, as in Cause I Said So or What Have I Done, youll hear a lick that sounds like Ne-Yo simply broke apart the notes in one of Jacksons melodies, then reassembled them in a slightly different order.
Jazmine Sullivan aims for an adjacent early-80s pleasure center in Dont Make Me Wait, a very Purple Rainish highlight from her solid Love Me Back that actually repurposes a considerable chunk of Aretha Franklins Jump to It. Ne-Yos producing partner, Chuck Harmony, shows up later for the finger-wagging Good Enough, and again you find yourself thinking about Princethough not as much as you think about Ne-Yo in U Get on My Nerves, which he co-wrote, co-produced, and hijacks for the first verse. If Michele seems in search of more modern ground in the spookily minimal So in Love, she evidently forgot to clue in Rick Ross, who peppers his guest verse with references to such icons of 80s-ness as Tony Montana and Jean-Michel Basquiat.
Ron Isley similarly hooks up hip-hops help for Put Your Money on Me, wherein T.I.s barrage of luxury-brand shout-outs confers some ostensible currency to a sad little comeback jam in need of a good deal more luxury. On Tavis Smiley last month, Isley admitted that the track was originally intended to be the first single from Mr. I, his first official solo album after decades of operation under the evolving Isley Brothers banner; alas, T.I.s recent re-incarceration left the rapper unavailable for a video shoot. (Isley had to have understood: The 69-year-old himself got out of prison earlier this year following a bid for tax-evasion charges.) Forced to improvise, Def Jam led instead with the silky No More, which presents Isley in a much more flattering light as he likens a lover to a timeless record, an old-school 64, and, perhaps most endearingly, my favorite TV show.
The songs subtext, of course, is the fortification of Isleys legend status in the Age of Auto-Tune. At one point, he sharpens the conceit to a point his old collaborator Kelly might appreciate: Just like a record in the studio/They dont make em like you no more. Demonstrably untrue, obviously. Yet Isley squeezes the sour grapes so effortlessly that youre willing to indulge his White Striped paranoia. Former Gap Band frontman Charlie Wilson seems far less worried about his legacy on Just Charlie, an appealingly breezy set that takes its old-school timelessness as a givenhe even convinces the perpetually anguished Fantasia to lighten up for a sweet, sleek rendition of I Want to Be Your Man, care of Roger Troutman, whose oft-sampled talk-box indiscretions paved the way for such robo-soul interlopers as T-Pain and Jason Derulo. Then again, maybe this G.O.O.D. Friday veteran is just more sure than Isley of his next-gen appeal.
That understated confidence also drives Faith Evanss first album in five years, which serves as her first indie release following stints with Bad Boy and Capitol. (Because its that time of year, allow me to heartily recommend the latter labels 2005 offering A Faithful Christmas, on which the former Mrs. Biggie Smalls offers up some of the most emotionally complicated holiday music Ive heard.) Something About Faith features high-wattage guest shots by Snoop Dogg and Raekwon (each of whom claims the singer as his homegirl), but with its cozy home-fire thematics and tasteful quiet-storm arrangements, the disc always feels like Evanss grown-up show. An r&b traditionalist with hip-hop history, she makes no bones about her old-fashioned value system, as she outlines in literal laundry-list fashion on Real Things: Security, serenity, stability, she sings. Loyalty, honesty, sanity. For who else would that constitute a hook?
Evans goes frothier for her own cameo on Eric Benéts Feel Good, a precisely calibrated (and thoroughly delightful) classic-Chic pastiche that proves the former Mr. Halle Berry wasnt kidding when he titled his new one Lost in Time. Elsewhere on this crafty album, Benét expertly channels the plush balladry of mid-80s Luther Vandross (Never Live Without You), the propulsive zing of early-70s Philly soul (Paid, featuring Eddie Levert himself), and the frantic cheer of last-days disco (Good Life). His most impressive trip backward, though, comes in Sometimes I Cry, which couldnt sound more like an outtake from Maxwells BLACKsummersnight if it sprouted pretty wings and flew the urban hang suite. Two years since you walked away from me, Benét falsetto-izes over a spacey electric-piano groove, since all of our scattered dreams were just thrown away. That line may or may not be Benéts attempt to claim a point of inspiration predating Maxwells 2009 return. Either way, its invocation of a powerful memory feels firmly like a product of its time.