June 24, 2008 by Willis.

“This 20-track collection is inspired by love (”Love Ultra”), women (”Travelin Girl”), sex (”Blow Your Mind”) and all the ups and downs of relationships (”Free As a Bird,” “Workin On It”), underlined by attractive production, pretty compositions and Dwele’s supple voice. The narratives break from the norm on tracks like “I’m Cheating,” where he croons about loving his partner’s reserved side as well as her kinky side, and feeling the urge to cheat on one with the other as if they were two different people. The rock-tinged “Body Rock” and “Brandi,” which features a rap verse, also stray from the typical soulful sound, but they add a welcome twist. Elsewhere, Dwele capably handles Bobby Caldwell’s tough breakup anthem “Open Your Eyes” and displays vulnerability on “A Few Reasons.” These “Sketches of a Man” are likely to be some of the most in-demand R&B tunes of the summer.—Mariel Concepcion”

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June 23, 2008 by Willis.

“This Atlanta-based singer/songwriter makes his major-label debut on India.Arie’s Soulbird Music imprint, comprising tracks from his two critically acclaimed independent releases, “Three Chords & the Truth” and “Red Clay Chronicles.” With blues as his base and guitar as his musical mate, David cultivates an engaging, mellow sound reminiscent of the fertile ’70s—but with a contemporary urban patina. His heartfelt honesty on such songs as “Cheatin’ Man,” “Cold Turkey” and “Red Clay Chronicles” evoke the rhythmic storytelling talent of Johnny “Guitar” Watson, Gil Scott-Heron and Bill Withers. Meanwhile, his husky voice paired with India.Arie (on the brand-new “Words”) and Millie Jackson’s daughter Keisha (”Lady”) recall the magical pairings of Donny Hathaway/ Roberta Flack and Marvin Gaye/Tammi Terrell. Something special. —Gail Mitchell”

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June 12, 2008 by Willis.

“Instead of standing behind dad Donny’s formidable shadow, Lalah Hathaway has resolutely sculpted her own soulful identity. That’s never been more apparent than on her fourth solo album. Working with longtime collaborators (including singer/songwriters Rahsaan Patterson, Sandra St. Victor) and newcomers (Snoop Dogg producer Terrace Martin), Hathaway presents her most personal —and stunning—project to date. She colorfully evokes her childhood on “Little Girl,” paying homage to her dad with a heart-tugging excerpt from one of his earlier interviews. Elsewhere, she brings her natural talent for phrasing and pouring a well of emotion into telling lyrics on such tracks as “Breathe,” “On Your Own,” “Let Go” and “That Was Then.” Like top-shelf cognac, Hathaway’s passionate vocals go down smooth and spread head-to-toe warmth—a fitting symbol for the next generation of Stax soul. —Gail Mitchell”

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June 10, 2008 by Willis.

“Despite great talent, few original soul artists have been able to remain busy and vital through the decades, be it from lack of interest, bad management or declining self-esteem. Solomon Burke has proved one of the few exceptions, issuing albums packed with potent performances and several discs with a twist, like the 2006 country and roots collection “Nashville.” Here, he tackles songs by the likes of Eric Clapton, Ben Harper, Jesse Harris and Keb’ Mo’, several of whom guest on their respective tracks. Burke’s voice remains mountainous, of course, and Harper’s presence seems to nudge him to roar even louder—with hair-raising effect—on his “A Minute to Rest and a Second to Pray.” But Burke does his legend just as much justice just on the talk-sung, Clapton-penned “Thank You” and Harris’ summery, midtempo, Wurlitzer-soaked “You and Me.”—Wes Orshoski”

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June 5, 2008 by Willis.

“As the title suggests, “The Declaration” is in many ways about womanhood and empowerment, which is why Ashanti chose to work with producers and collaborators outside the Inc. family. On the synthy, Darkchild-produced “So Over You,” Ashanti croons about getting past a former relationship, while the Jermaine Dupri-mixed “Good Good,” featuring elements of Michael Jackson’s “The Girl Is Mine,” finds her confidently belting about her abilities to please in bed. Ashanti continues to celebrate her femininity on tracks like the sensual, Robin Thicke-assisted “Things You Make Me Do” and the bass-heavy “Girlfriend,” where she teases about all the things she’d allow her love interest to do if they were a couple. Meanwhile, “Mother” is inspired by Ashanti’s close bond with her own mother, and “Shine” is aimed at motivating young women.—Mariel Concepcion”

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June 3, 2008 by Willis.

“Twenty-plus years later, does he still make us sweat? That’s the appropriate question to ask about “Just Me,” Keith Sweat’s first set of new material in six years. He knows how to surprise but, ultimately, chooses to do what we know him for best. The album’s fresh moment is “Somebody,” a love ballad that starts with rapper Chris “F.L.O.” Conner declaring, “By popular demand, he’s back!,” samples Blue Magic’s “What’s Come Over Me” and finds Sweat singing entirely (and out of character) in falsetto. From there, however, Sweat reverts to the languid tempos, explicit bedroom talk and layered, interwoven vocals that are the New Jack’s screed. Some reunions mark the set as well; Sweat hitmaker Teddy Riley co-wrote and produced “The Floor,” while former Kut Klose singer Athena Cage, Sweat’s duet partner on 1996’s “Nobody,” takes another turn on “Butterscotch.”—Gary Graff”

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June 2, 2008 by Willis.

“Best-known for several R&B hits in the ’90s (including “Chanté’s Got a Man”), Chanté Moore returns on new label Peak Records for her first solo album in eight years. Under the guidance of such vocal-minded producers as Warryn Campbell, Raphael Saadiq and longtime mentor George Duke, Moore’s soulful and sultry voice still shines. Steering clear of the contemporary guest-star-feature trap, Moore goes it alone to great effect as she switches gears from R&B to jazz and points in between. She’s at her most engaging on the heart-rending single “It Ain’t Supposed to Be This Way.” And while covers can be a dicey proposition, Moore puts her own resonating stamp on Minnie Riperton’s “Give Me Time” and Nancy Wilson’s signature “Guess Who I Saw Today.” —Gail Mitchell”

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June 1, 2008 by Willis.

“At this point, if you’re Al Green, messing around with your formula isn’t so much unlikely as it is pure madness; it’d be like AC/DC deciding to add bassoons. Even the highly touted input of the Roots’ ?uestlove (producing with James Poyser, both in place of Green’s longtime go-to Willie Mitchell) results more in decoration than innovation. It’s not the new-blood-fueled revelation some might have hoped for, but who cares. Green’s voice remains lithe magic, and he’s brought in such contemporary all-stars as Anthony Hamilton (on the album’s two best tracks, “You’ve Got the Love I Need” and the slinky title song), John Legend and Corinne Bailey Rae for help. ?uestlove’s drums get a little boost in the mix, and Poyser’s B3 lightly brushes each song’s cheeks. But when it comes to Green, what more needs to be said? The reverend preaches on. —Jeff Vrabel”

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May 21, 2008 by Willis.

At first i wasn’t impressed, but it’s growing on me slowly but surely.  Worth a few listens.  6/10

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May 9, 2008 by Willis.

“This London-based crooner emerged in the early ’00s as the face of Britain’s 2-step scene, but on his fourth full-length Craig David doesn’t sound tethered to any one sound in particular: In opener “Hot Stuff” he channels disco-era Michael Jackson over a sizable sample of David Bowie’s “Let’s Dance”; “Friday” has an old-school funk flavor; “Don’t Play With Our Love” rides a tasty Latin-jazz groove, in a nod to Havana, where the album was recorded. Though Martin Terefe’s production features loads of ear-tickling detail—check out the furious horn chart in “6 of 1 Thing”—David’s strongest vocal performance comes in the CD’s most stripped-down cut, “Just a Reminder.” It’s perfect for Robin Thicke fans worried that Thicke’s upcoming disc won’t include another “Lost Without U.”—Mikael Wood”

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May 9, 2008 by Willis.

“Best-known for such ’90s-era hits as “Breakin’ My Heart (Pretty Brown Eyes)” and “U Send Me Swingin’,” Minneapolis-bred Mint Condition returns with a studio follow-up to its last outing—2006’s tasty performance set “Live From the 9:30 Club.” It’s a treatise on life in the digital age with a principal lesson: The issues predating our computerized world—love, trust, family concerns—still remain. Mint Condition couches its perspectives in catchy R&B, hip-hop, funk and jazz rhythms and meaningful lyrics that resonate after the CD stops playing. A case in point is “Baby Boy Baby Girl,” an ode to fatherhood fashioned around an infectious downbeat and Anthony Hamilton’s down-home vocals. At a time when self-contained bands are a rarity, Mint Condition shows it still has the goods. —Gail Mitchell”

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May 3, 2008 by Willis.

“Like its two predecessors, “Lyfe Change” features his staple heartfelt love songs (”Never, Never Land,” “Midnight Train”) and uplifting tracks (”Warriors”). The big, well, changes this time around are the production tactics, like the “Tom’s Diner” sample on the hopeful “Keep On Dreaming” and the reggae riddims on the Wyclef Jean-assisted “You Think You’ve Got It Bad.” The hip-hop-driven “Brand New,” a collaboration with T.I., contains elements of “If I Ruled the World” by rapper Nas, an alternate rhythmic avenue for Jennings as well. Still, songs like “It’s Real,” where Jennings rhymes over thumping drums like his 2007 hit “S.E.X.,” remind us why his sound didn’t need much tweaking in the first place.—Mariel Concepcion”

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April 10, 2008 by Willis.

“Ray J opens his fourth album in refreshingly candid fashion. The former teen-star-turned-sex-tape-celeb rails about being in the spotlight, being dismissed as Brandy’s little brother and ultimately rebelling. Then for the rest of the album, he goes on to detail his favorite activities, mostly sex-related, coming off like a wannabe rapper in singer’s clothing. There’s nothing wrong with him trying to prove himself, except when he tries too hard. His macho exploits range from womanizing (”I Like to Trick”) to strip-club hopping (”Gifts”) to seducing another man’s wife (”Boyfriend”). Subject matter aside, many of the tracks are catchy and club-friendly, and a brief moment of non-horny clarity comes with the Rodney Jerkins-produced title track, a “One Wish”-esque ballad about heartache.—Clover Hope”

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April 1, 2008 by Willis.

“Certain members from Day26 clashed while on MTV’s “Making the Band,” the reality show that brought them together. But on its debut, the Sean “Diddy” Combs-chosen quintet comes together harmoniously to deliver a sultry, midtempo-driven set pleasantly suggestive of former Bad Boy group 112. There’s little doubt what’s on its mind on tracks like “I’m the Reason,” the piano-laden “In My Bed” and “Co Star” (”I just want to be a part of your show,” they sing). Luckily, a more nuanced take on physicality can be found on the Bryan-Michael Cox-produced “Are We in This Together,” which questions a lover’s loyalties over a pulsating beat, and on the regretful “Since You’ve Been Gone,” about missing a past flame.—Mariel Concepcion”

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January 9, 2008 by Willis.

Too much back and forth voices going on this track.  Lyrics are pretty terrible too.  4/10

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