KEYSHIA COLE: Just Like You (Label: Confidential, Geffen)

Wednesday, 21 November 2007 14:07 Bill Buckley E-mailPrintPDF


California's Keyshia Cole debuted in 2005 with the 'Way It Is' and that album's mix of street R&B tempered with some genuine old school soul immediately drew comparisons with the incomparable Mary J Blige. The fact's not lost on the lady's label who are dubbing her 'the Princess of Hip hop soul' and though there's many a mile to go before she ascends to a higher status, the evidence here proves that she does deserve her place in that soul/hip hop/R&B hierarchy. 'Just Like You' is a lengthy 17 tracker and its opening sequence will have real soul boys wondering why they bothered. 'Let It Go' (the first single) is a big, brash, R&B thumper with a hint of Mtume's 'Juicy Fruit' to salvage it. 'Give It To Me' has no such redeeming feature - being more of vehicle for Sean Paul than Keyshia while 'Didn't I Tell You' is one of those skittering R&B efforts that irritate. Then, things pick up with some pleasing pop-soul ballads like 'Fallin' Out', 'Give Me More' and 'I'll Remember' which features some delightful live strings. Strings are also prominent on 'Got To Get My Heart Back' which samples the O'Jays' 'She's Only A Woman'. Good though it is, it's outdone as standout by 'Losing You' - a searing duet with Anthony Hamilton. This one starts with a doctored sample from Natalie Cole's 'Sorry' before developing into one of the year's sweetest cuts on which Ms. Cole (K, that is) justifies the 'soul' tag in her billing. Hamilton's contribution adds more real soul edge, while the China White/ Ron Fair production maintains the tension. Take away some of this album's blatant R&B (like the Diddy collaboration that is 'Last Night') and you really would have a decent soul album, but I guess the lady's management team know where the potential big bucks are. So, for every soul nugget, you'll need to get past a few thumpers… C'est la vie.
(BB) 3/5


K JOHNSON: Anticipation (Label: tBMB Records)

Wednesday, 21 November 2007 14:06 Bill Buckley E-mailPrintPDF

K JOHNSON: Anticipation

K (Kareem) Johnson is the latest soul contender to emerge from Atlanta and his production people - the wonderfully named "the Big Monkey Boys" - have high hopes for him. However my initial response to the album was one of disappointment. The opener is a gratuitous heavy-breather while the second track is a pedestrian R&B thumper with a hint of gangtsa rap. About to reach for eject, my attention was caught the complexities of track 3 - a layered ballad called 'Anticipation' over which Mr. Johnson's voice floated in a Maxwell-ish kind of way. The Maxwell connection was heightened by the double kick beat while the ballad, 'Rated R' had more of that 'Urban Hang Suite' about it. Indeed the use of a cut called 'Slowly' as a prelude and an outro jam called to mind the way Maxwell topped and tailed that magical debut set. Johnson's work though is nowhere near as totally satisfying as 'Urban Hang Suite' was. There's too may nondescript and formulaic cuts (like the bumpy 'IOT') to make it stand clear of the pack, though 'Oh Lady' might appeal to those who dig second division Prince, while the vocal take on 'Slowly' has a real, simple, old school soul charm.
(BB) 3/5


VARIOUS: City Teacher OST (Label: Expansion)

Thursday, 15 November 2007 11:58 Bill Buckley E-mailPrintPDF

VARIOUS: City Teacher OST

'City Teacher' is an American movie that's yet to hit our screens and this new Expansion album is the film's soundtrack. In many ways it's a strange kind of affair and not the kind of thing you'd normally associate with the Expansion sound as typified by stuff like the Togetherness albums. What possibly attracted the Expansion team to the album are tracks from real soul stalwarts - Lenny Williams and Freda Payne. They open proceedings with 'Inner City Rainbow' and 'Welcome To The Human Race' respectively, but though both sing as well as you'd except, the songs aren't that great, though Freda's song does have a half-decent hook. Elsewhere there's some rap (Damian Deluxe's 'Piece Of Mind'), jazzy soundtrack fodder ('Love Dog, Content Prisoner'), putative inspirational ballads (Susan Therese's 'Leap Of Faith') and a selection of nondescript filler. Best cuts? Well, I believe Johnny Britt's dreamy 'In The Meantime' is play-listed on Solar - but that says more about sponsorship than song quality, while the Heatwave-sampled 'The Deeper You Go' is catchy in a quirky sort of way. Ces Tu's 'Street Light' - with its Boz Scaggs' style bass line - rides a good groove, bettered by 'Ghetto Legacy' which comes on like a David Sanborn throwback. However, the almost innocuous 'Better Than Yesterday' from Elaine Gibbs is the most rounded cut. Good song and mature vocal make it the album's soul standout.
(BB) 3/5


ROY HAMILTON: Warm Soul (Label: Poker Records)

Thursday, 15 November 2007 07:16 Bill Buckley E-mailPrintPDF


Roy Hamilton was an acclaimed church-reared vocalist who first rose to prominence in the 50s. By the early 60s he was still scoring hits as 'real' R&B began to morph into classic soul. Working with Epic, his hits included 'Unchained Melody', 'If I Loved You' and 'Ebb Tide', and on the back of that success, he signed with MGM; this new 26-track collection from Cherry Red's Poker imprint chronicles his time with that label. The set contains all the tracks from Roy's MGM 'Warm Soul' album along with both sides from his seven MGM singles and the previously unreleased 'After He Breaks Your Heart'. Sound wise, Hamilton comes on like Brook Benton with a hint of Jackie Wilson in his pre-full-on soul days and though much of the music is maybe too near the middle of the road to be classed 'classic soul', there's still plenty here to stir emotions. Working with people like Leiber and Stoller, Bert Berns, Van McCoy and (possibly) Dee Dee Warwick and Cissy Houston there are some big ballads like 'Let Go' (penned by the aforementioned McCoy) and the eminently danceable 'The Panic Is On' - rightly a Northern fave back in the day - but bear in mind it's not a frantic hurtle, more a pleasing, almost sedate groove with bags of implied soul. It's one of the album's standout cuts and though Roy Hamilton will never figure in too many of those listings of soul's all time greats, this collection should interest both serious students of the genre and anyone who digs classy mid-60s sounds.
(BB) 3/5


VARIOUS: A Cellarful Of Motown Voume 3 (Label: Universal, Motown)

Thursday, 15 November 2007 05:44 Bill Buckley E-mailPrintPDF

VARIOUS: A Cellarful Of Motown Voume 3

It's incredible how that big old Motown vault keeps turning up new finds, and though compiler Paul Nixon admits that maybe the well's about to run dry, this mighty 44 tracker is no barrel-scraping exercise. Almost all of the cuts here could have been released as singles - or at least have made it to album, but for all kinds of reasons they've stayed dust-layered, deep in the vault. This collection, like the previous two, is a comprehensive trawl through Motown's unreleased treasures and features big names, lesser luminaries and some downright oddities. Big names include Marvin Gaye, The Miracles, Gladys Knight, the Temptations, Stevie Wonder and the Four Tops whose 'Soldier Of Love' was actually recorded in 1984 - though Levi's in fine 60s form. Amongst the less-well known names there's producer Clarence Paul, the Lollipops, Debbie Dean and Mike Varo - who Gordy hoped might emulate the classic 60s Merseybeat sound! Oddities? Well what about Bobby Kayli? He was Berry Gordy's brother and his 'Love In A Movie' is a real Motown novelty. Then there's Little Miss Soul. Believed to be Patrice Jefferson, she offers a mighty version of Brenda Holloway's 'You've Made Me So Very Happy'… and speaking of Miss Holloway, she ends proceedings with a lovely demo version of Smokey's 'Going To A Go-Go' partnered by the Supremes. Best cuts? Well everyone has their own favourite Motown period/sound. Me? I'm a sucker for the early, innocent stuff - so, delighted to have the opportunity to listen to Carolyn Crawford's 'Too Young Too Long' and Brenda Holloway's 'You're Walking Out With My Heart'. Both bring back the true mod mood of the 60s, which, for me, makes a wonderful collection even more wondrous.
(BB) 5/5


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