Reviews: Anthony Hamilton - Southern Comfort, Heather Headley - In My Mind, Marques Houston - Veteran, Jaheim - Ghetto Classics, Donell Jones - Journey of A Gemini, R.Kelly - Double Up, John Legend - Once Again, Teena Marie - Sapphire, Chrisette Michele - I Am, Ne-Yo - In My Own Words, Ne-Yo - Because of You, Pretty Ricky - Late Night Special, Prince - 3121

Anthony Hamilton - Southern Comfort

Vocals: B+ Content: B+ Production: C

Originality: B Quality %: B- Bonus: N/A

Release Date: April 3rd, 2007

Overall: B- :Review by Eyecalone

Heather Headley - In My Mind

Vocals: A- Content: A Production: B

Originality: B Quality %: B- Bonus: N/A

Release Date: January 31st, 2006

As is to be expected, "In My Mind" is a very adult themed offering as Headley's themes run the gamut of thoughts going through many adult women's minds, from cheating lovers, to past flames, to breakup fantasies, family dramas, or just plain fun with the girls and time being alone.  Headley tackles the subject matter with maturity and insight, and delivers it compellingly. "In My Mind" is solid throughout featuring solid cuts such as the LPs title track, as well as "Am I Worth It", "I Didn't Mean To", and "Losing You" to name a few, the one disappointment being that the album lacks a track as defining and powerful as the "I Wish I Wasn't" track, featured on her debut LP. Overall though, "In My Mind" avoids the sophomore jinx and is another credit to Headley's short but promising music career.

Overall: B :Review by Ooh Papi

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Marques Houston - Veteran

Vocals: B Content: B+ Production: B

Originality: B- Quality %: B- Bonus: N/A

Release Date: March 20th, 2007

There was absolutely too much sex on the last album. His decision to get "Naked" on the album automatically drew comparisons to D’angelo. This time around his album is named Veteran. Its the third solo album by Marques Houston. He is also acting like a veteran. Houston describes the album as "a reflection of who I am as an artist and as a man. There's a lot that I've been through as far as relationships and just experiencing life". Marques Houston apparently realizes that you do not take him seriously. He strives to exude sensuality without the sex.

Now he is dressing in grown man clothes and acting his age. I do not mind my little nieces listening to this album because he no longer sounds like a pervert. While the lead single “Favorite Girl” is generic, marred by limp, unfocused production but self assured vocals. To paraphrase Mark Nero and the old anti-perspirant commercial, “Veteran is strong enough for a man, even though it was made for a woman". Many songs are slow- and mid-tempo ballads - since that's what his strength is - but none of the songs are so sappy that guys should be embarrassed listening to them. Veteran isn't exactly a neo-classic and probably won't turn out to be one of the best albums of the year, but Marques does a good job of solidifying his status as a sexy R&B singer in the mold of artists like Jagged Edge, K-Ci & JoJo, and Tyrese.”

Guest appearances on the album include Mýa, Shawnna and Yung Joc. There is production from The Underdogs, Cory Bold, Bryan Michael Cox, Rufus Black and Stereotypes among others. Two singles have been released from the album, "Like This" (featuring Yung Joc) and the ballad "Favorite Girl". The album release date was pushed back to give Houston time to cope with the death of his grandmother.

Overall: B- :Review by Ooh Papi

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Jaheim - Ghetto Classics

Vocals: A+ Content: B- Production: B

Originality: B Quality %: B Bonus: N/A

Release Date: February 14th, 2006

Jaheim's vocals are arguably the best of any of the mainstream, male R&B performers to come out in the last decade, though his debut was only 5 years ago. Flat out he can deliver a note with the best of them in any era. In fact his vocals along with his approach to his music are 2 things that never seem to change with Jaheim, and that for the most part is a good thing. Jaheim has been quoted as saying that he intends to have the term "ghetto" is all of his album titles, but while such descriptions have in the past been a code word for being ignorant and crass, you can't help but notice an incremental maturation process with Jaheim on his 3rd album, Ghetto Classics. Jaheim still hangs tight with the Hip-hop scene on his music, with Jadakiss offering a timely guest spot on the standout "Every Time I Think About Her" and Styles-P crashing the party on Jaheim's ode to Cannabis, "Fiend".  His song backdrops are still set against an urban landscape, and at least 2 or 3 cuts such as "125th", "Every Time I Think About Her", and "Masterpiece" rely on the lyrical setup of starting a song with his love interest' physical description, which may be a bit of an overused technique for Jaheim. However, hardly present is the use of the N-word seemingly for "street credibility" with his fans or other blatant attempts to pander to the lowest common denominator.  With standout productions such as "Daddy Thing", and "Forgetful" and production work from KayGee (Naughty by Nature) and some lesser known names, Jaheim solidifies his deservedly prominent position in contemporary R&B. He also ditches the excessive sampling and goes with some original compositions for the last 3 cuts of the album which is another positive sign. With a voice this golden, clear talent, and signs indicating he's moving steadily in the right direction, only a complete implosion or hooking up with the absolute wrong people, could dim a future and present that looks this bright. Not quite a classic, but fortunately not too ghetto, Ghetto Classics is certainly worth more than a couple of listens.

Overall: B :Review by Ooh Papi

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Donell Jones - Journey Of A Gemini

Vocals: B- Content: C Production: B

Originality: C Quality %: C+ Bonus: N/A

Release Date: June 20th, 2006

Been a long time for Donell Jones, but he’s back with a new disc, titled Journey of A Gemini and yours truly, the green elastic one, has got the listen for you. Let me start by saying my view of Donell Jones is a bit tainted. See, I’m still waiting for him to live up to the promise of 1999’s Where I Wanna Be. Granted, it wasn’t his debut, but it was such a step up musically from his first collection that I just knew he was going to be a trailblazer. At least musically if not lyrically. However, it seems that Donell Jones has fallen into the mix of making formulaic music. Maybe I’m "soap-boxing" it, but I don’t need to hear the word nigga/er melodically crooned into every verse or chorus of a song as some ill-conceived illustration of your allegiance to the ‘hood. It’s bad enough the word travels so freely in rap songs, but at least rap albums get stickered (parental advisory label) and their sale is restricted to certain consumers (in theory, anyway). The R&B thug is just a ridiculous caricature that needs to be executed by firing squad. Now, that being said, let me get back into the meat of this collection. In spite of what I’ve said so far, this is probably Jones’ best effort since Where I Wanna Be. There are some good tracks on the disc, and Donell’s crooning method works well for his material. At least he knows where he stands vocally in relation to his music and that’s a good thing. Fifteen tracks strong, the stand out cuts include, "I’m Gonna Be", "Spend The Night" (which should get some attention in clubs), "Cry" (powered by a Hall & Oates sample) and "Another Life". "Feelin’ You" seems like a track designed to do well in the clubs, but misses the mark in my estimation, falling short of the aforementioned "Spend The Night". "Lust or Love" is a middle of the road track that I found myself liking mostly because of the melody and chorus after a bunch of listens and "If U Want" is a pretty good song that could probably do without Bun B’s lyrical contribution. I cannot state enough, that MOST of the time, a song DOES NOT need a rap tied to it. It tends to weaken an otherwise good song. I am GumbyDammit, and I approve this message.

Overall: C+ :Review by Gumby Dammitt

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Double Up - R. Kelly

Vocals: N/A/ Content: N/A Production: N/A

Originality: N/A Quality %: N/A Bonus: N/A

Release Date: May 28th, 2007

Okay readers to Playahata.com know that I have been known to plagiarize a line or two but today the bulk of my reviews has been stolen from a music critic named Jim Farber, I agree with all that he said after hearing R.Kelly's latest album twice and since Playahata will not grade an R. Kelley album again until he has had his trial, I figure I might as well borrow much of this (besides after reading his story in Vibe Magazine) I doubt this case will ever get to trial.

If you tracked the moves of R. Kelly on his new album, it would form a perfect figure eight - from the club to the bedroom and back again, yielding an unending loop of lewdness. Coincidentally this is his 8th album. Pop's longest-running alleged felon has now released more music since being hit with child-pornography charges in 2002 than he did in a decade-plus of untroubled R&B thuggery.

Should we expect anything less (or more) from pop's most consistent horndog? The scores of sex-related charges still hanging over Kelly's head seem to have only emboldened him to lean even harder on his erotic muse. Sixteen of the 18 tracks on "Double Up" find Kelly chasing and bedding women, each of whom he refers to in misogynistic language. Of course there's nothing odd, or wrong, with singing often, and encouragingly, about sex. But can't Kelly be more creative about the pursuit - either in his lyrics or their tunes?

Kelly's words groan for new plot devices to spice up the same old chase. We've got a few three-way scenarios ("Best Friend" and the title track), a revelation that Kelly and his buddy, played by Usher, have been getting it on with the "Same Girl," and an ode to animal love (titled, I kid you not, "The Zoo").

The music on "Double Up" keeps dipping into the same well of half-melodies Kelly has been milking for eons. To be fair, the man does deserve credit - or blame - for pioneering the most base way to marry R&B and hip hop, by hacking down the former's melodic sense to its barest bones. The first third of his new CD goes the extra mile in that regard. It's Kelly's most hip-hop-leaning work in years. Along the way, it exploits the trendy rap sounds of Houston and St. Louis. Guest spots from stars of those cities include Chamillionaire and Nelly. But the move only makes Kelly seem like he's riding other people's coattails.

The star's most potentially creative moment comes in "Real Talk," a jealous argument blown up into an R&B opera. Unfortunately, Kelly pulled a similar trick on his last CD with his epic-length, and stupefyingly dull, operetta "Trapped in the Closet."

At the end of the CD, Kelly takes a break from his sexual pandering just long enough to lapse into offensive kitsch. He dedicated the song "Rise Up" to the survivors of the Virginia Tech tragedy and we all know this is simply a publicity stunt similar to what he did for 9/11. Not only is this pandering of the lowest order, the music is little more than a crude rewrite of the already desperate "Believe I Can Fly." At least in the rest, Kelly sings about what he knows best: sleaze.

Overall: N/A :Review by Ooh Papi

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John Legend - Once Again

Vocals: B+ Content: B Production: B-

Originality: A- Quality %: C+ Bonus: N/A

Release Date: October 24th, 2006

As an album title, Once Again, the title of John Legend's follow-up to his smash debut, Get Lifted, is more than a little misleading. For better or for worse this album is anything but a continuation of that LP, and though I didn't enjoy it quite as much and it's not chock-full-o-hits like it's predecessor, Once Again's risky approach, originality, and non-formulaic approach has given me a newfound respect for John Legend as an artist. The album's production credits feature a number of known quantities, such as Rapheal Saadiq, Will.I.Am (Black Eyed Peas), and of course Kanye West, as well as some unknowns in the world of R&B such Sa-Ra and Plant Life's Jack Splash, but the list despite it being somewhat sprawling doesn't prevent the album from having a certain cohesiveness.

Once Again's first two singles "Save Room" and "Heaven" are decent songs, "Heaven" probably being the superior of the two, but neither will likely do too much in terms of selling the album. The LP's gems come later with tunes like the sparsely arranged "Again", the Stevie Wonder-esque "Maxine" which with a little tweaking production-wise could have been a classic in my opinion, and the more up-tempo "Again" reprise "Another Again". Other cuts that may raise eyebrows are the gold-digger ode "Stereo", "Show Me" Legend's foray into psychedelic rock which reminds me of a cut from a Van Hunt album, and "PDA" where Legend tries to sell his freaky side with limited believability. "Coming Home" a heartfelt, albeit apolitical, tribute to U.S. soldiers is a solid cut and closes out the LP. Overall Once Again is a strong enough follow-up to keep the ghost of the sophomore jinx away, and it's creativity is another definite plus but with a few too many cuts that are decent but definitely not exceptional such as "Each Day It Gets Better", "Save Room", "Where Did My Baby Go", and "Slow Dance".

Overall: B- :Review by Eyecalone

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Teena Marie - Sapphire

Vocals: A Content: B+ Production: A

Originality: B+ Quality %: A Bonus: N/A

Release Date: May 9th, 2006

You know, it’s always nice to hear Teena Marie’s voice, so when I first put this disc into my laptop, I was surprised to find myself not liking it right away. So I took it out of the iBook, put it into the mini-system and gave it a lil volume. Sometimes you just can’t get the right effect of music on a computer if it doesn’t have the proper sound attached. Last go ‘round, she was La Doña and now Teena Marie is back with the disc, Sapphire, her second effort on Universal’s Cash Money Classics imprint. T’s song writing skills haven’t diminished much over the years, if at all. She still delivers nice, tight grooves but again, I cannot emphasize enough how a rap here or there can ruin a song. Collaborations are nice, but they don’t always improve things. That aside, when Teena gets into her business and starts doing her thing, she can do no wrong. This disc is packed with some luscious Lady T ballads that make you remember why this lil white woman has been around for so long. That’s not to say that T couldn’t crank out some funk, because we all know she can throw down when need be, but in my opinion, she has always excelled at those slow, smoky grooves. After some intense listens, I’ve concluded that Sapphire is a stronger release than its’ predecessor in the ballads and overall. One of my favorite tracks is the finale, Resilient, which features a mama/daughter duet with Alia Rose joining Lady T upfront, not just backing her up. Her voice is a bit huskier than her mother’s but the girl is ready. And she’s only fourteen. It’s a great touch and the song is poetic and haunting with a closing acknowledgment to the main cities in the three states touched hardest by Hurricane Katrina, New Orleans, Louisiana, Mobile, Alabama and Biloxi, Mississippi. Smokey Robinson also joins T for a pair of tracks, notably the second cut, Cruise Control. Now, NO dude can sound as good with Teena as Rick James did, but she and Smokey sound very good together, a couple of old school pros who know how to get the job done. Teena Marie can still navigate grooves, styles and genres with the deftness and ease of a skilled veteran, as exampled by the smooth dancehall inspired track Simmer Down, featuring Lady Levi (who appeared on La Doña as well). At sixteen joints deep (all MUSIC), Sapphire is stacked with strong material, but standout tracks include, the aforementioned Resilient, Cruise Control and Simmer Down along with Sleeping With The Enemy, A.P.B., You Blow Me Away, Ecstasy and Somebody Just Like You, where Lady TKO stops singing just long enough to talk some silky, sexy stuff. You know T always got a clever nickname for herself. I am GumbyDammitt, and I approve this message.

Overall: A :Review by Gumby Dammitt

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Chrisette Michele - I Am

Vocals: B+ Content: B- Production: C-

Originality: C Quality %: C- Bonus: N/A

Release Date: June 19th, 2007

Technically speaking there isn't that much wrong with Chrisette Michele's debut, I Am. She can sing, the productions is decent, and it's a fairly original album. However, if I could put my finger on why I didn't like the album that much it would have to be tied up in the album title. After listening to I Am, I am still not quite sure who Chrisette Michele is. Maybe it's her youth but I felt like a child with an adult voice was singing to me, as if she had no genuine emotional experiences of her own, good or bad to sing about. While the reviews of this LP have generally been positive I found myself thoroughly bored with the album, from the predictable song-writing to the boring arrangements there wasn't a whole lot of material that raised my eyebrows or wrinkled them for that matter.

For better or worse, "Best of Me" has stinks of Babyface, and as much as I generally like John Legend "Love Is You" has ol' Piano boy's prints all over it but not really in a good way. "Good Girl", "Is This the Way Love Feels" is what some would refer to as a "overcooked ham" with all of it's overdone vocal highs and lows. "In This For You", "Let's Rock", and "Be OK (featuring Will.I.Am)" try to get their Hip-hop appeal on but they just contribute to the generally incoherent theme of the LP and the persona of Chrisette Michele. "Mr. Radio" is a solid cut that I at least would considered listening to multiple times and the same can be said for "Best of Me" though I'm not a huge fan of Babyface's authored tunes these days. Surely many will like this LP and to them I say enjoy, but I Am is way too little imaginative and too little provocative in too many ways to hold my interest.

Overall: C :Review by Eyecalone

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Ne-Yo - In My Owns Words

Vocals: B Content: C+ Production: B+

Originality: B- Quality %: B- Bonus: N/A

Release Date: February 28th, 2006

OK, so Gumby’s back with another review for the Playahata faithful. Charlie shot me this Ne-Yo disc and asked for the super elastic green perspective of yours truly, so here it is. After the first couple of listens, I really didn’t know what to think of this dude and that’s real. He’s got decent vocal skills so he’s definitely talented enough to make it in that regard. I just wasn’t sure how I felt about the material. Not that it was negative or anything like that, just that I wasn’t feeling anything substantial from the first few tracks. Don’t get me wrong, there’s some serviceable material early on and commercial radio is already spinning two jams in "So Sick" and "When You’re Mad", but I’m up to my eyebrows in those two songs. I do like "Stay", the lead track on the disc, although I sometimes wonder, does there need to be a rapper on EVERY non slow-jam? I think Ne-Yo suffers from a slight disadvantage with his sound getting out there in the world before he could, with his work with Mario & Musiq Soulchild (among others) being evident in this collection. It kind of seems like he’s biting a style, but then when you realize he penned songs for and with those other artists, it can come off as boring. The best songs on this disc, in my humble, green elastic opinion, are "Get Down Like That" (I swear I hear a Harold Melvin & The Blue Notes kinda thing goin' on in there!) and "Sexy Love". I think Ne-Yo’s got a pretty strong future ahead of him as an R&B crooner, but I have to say, when you cite the likes of Prince, Marvin Gaye and Stevie Wonder as influences, then you need broaden the spectrum of your content because as those artists show through their catalogues, it ain’t all about sex and romance. Perhaps Ne-Yo will grow musically, lyrically, and content-wise with some maturity. Time will tell.

Overall: B :Review by Gumby Dammitt

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Ne-Yo - Because of You

Vocals: B Content: B Production: B

Originality: A- Quality %: B Bonus: N/A

Release Date: April 24th, 2007

Before his debut release as an artist a little over a year ago, Ne-Yo spent a good amount of time writing hits for others, i.e. Mario's "Let Me Love You". Perhaps labels didn't think he had "the look" or some other quality they might be looking for to maximize his marketing potential. Those fears were smashed to tiny particles of dust when Ne-Yo released his smash debut LP, "In My Own Words". Although it feels like it's only been 6-months since his last debut release it has been more than twice that long. An artist tends to seem ever-present when their debut album releases 4 successful singles, 2 of which land in the top 10 and another of which spent time in the top 20. This same artist, in addition to penning their own hits they're also penning hits for other's in the top ten: Rihanna's "Unfaithful" and Beyoncé's number one "Irreplaceable". Unlike some other recent R&B acts that leave you wondering if their music is really "worth a damn" or if you're just nodding your head because it's on the radio a lot, Ne-Yo is a special artist deserving of most of the attention he's received. He makes very commercial and radio friendly tunes, but unlike much of today's fodder, his songs aren't "throw away" music that listeners will soon forget or that should be forgotten. He's a clearly gifted song-writer and arranger who still has some class even when he gets a little raunchy, unlike an R. Kelly for instance.

This slightly more raunchy and risqué side is something Ne-Yo tries to play up on cuts like "Addicted", "Say It", and "Sex with My Ex" on his 'sophomore jinx" free follow-up, Because of You. "Addicted" and "Say It" are solid cuts but "Sex with My Ex" is something special, successfully channeling the spirit of Prince over a hard baseline and synthesized track that conjures memories of "Erotic City" or "Delirious" or more recently P. Diddy's cut "Last Night". Despite the nod to prince on "Sex with My Ex", as an artist I think it is the young adult Michael Jackson circa "Off the Wall", of whom Ne-Yo's work is most reminiscent. Clearly it's unlikely the fame, success, longevity, and musical penetration of Michael Jackson is something that may never again be duplicated but there is a quality or sound (perhaps it's the song arrangements) Ne-Yo possesses that at times reminds me of the aforementioned "King of Pop". Apparently even Jay-Z has noticed as he raps on "Crazy", which would have been just as good with a guest rapper, "Ne-Yo's like young Michael, I'm Quincy Hov". There are several tunes thrown in between the ones that really stand out such as "Leaving Tonight" which features Jennifer Hudson throwing an assist while ironically sounding like Beyonce. The lead single "Because of You" is a solid song greatly assisted by the heavy amount of airplay it has received but "Do You" is a born hit that I liked the first time I heard it. Though those who don't fully understand what we do at Playahata.com, might think there is a tendency to "throw shade" at pop acts just on GP (general purpose) we understand how to give credit where it's due even better. He might want to take a little hiatus after he rides out the success of this LP to avoid overexposure, but as far as I can tell Ne-Yo is here to stay as an artist.

Overall: B :Review by Eyecalone

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Prince - 3121

Vocals: A- Content: B Production: B-

Originality: B Quality %: B Bonus: N/A

Release Date: March 21st, 2006

The period from the 1990's until 2003 was a bit of a shaky time for his "Royal Purpleness", marked by a number of uneven albums, a decline in popularity, and by most listeners judgments, a decline in quality of work. Of course for an artist like Prince who's seen the highest level of pop fame and is undeniably a musical genius and legend, as well as being extremely prolific, it's not really possible to maintain that level of prominence. In the new millennium it appears Prince does have "his swagger" back as 2004's Musicology was generally received with high-praise and his latest release, 3121, though not as good in my opinion still falls in line with 2004's effort. If nothing else "3121" is definitely funky and seems to re-capture a vintage Prince sound. The conundrum for Prince being, to make an album that sounds like he did in the 80's without it sounding like an 80's album. Somehow, at least in stints, he manages it on the LP with funky cuts like "Black Sweat", "Love", and "Fury".  "The Dance" and "Te Amo Corazon" are also standout tracks that shine through their Latin influences. Meanwhile, "Incense and Candles" wins with it's sexiness and sensuality. That being said, though very solid, their is a little something missing from 3121, that would have taken the LP to the next level and I can't help but think it's related to Prince's most recent marriage, and his status as a Jehovah's Witness becoming more prominent in his music. Outside of maybe a couple of songs like "Dear Mr. Man" and "Cinnamon Girl" on 2004's Musicology, Prince doesn't seem to be pushing the envelope or as challenging as socially or politically as he once seemed, instead opting for veiled religious treatise like "The Word" and "Beautiful, Loved, and Blessed" (the latter of which features newcomer and latest protégé Tamara who is supposed to release her debut album in May this year). Despite it's few shortcomings though, there's more than enough good music on this LP to power a  new generation of Prince fans.

Overall: B :Review by Ooh Papi

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Pretty Ricky - Late Night Special

Vocals: B- Content: C Production: B-

Originality: C- Quality %: C Bonus: N/A

Release Date: January 23rd, 2007

Pretty Ricky's sophomore album Late Night Special, sold 132,000 units in it's first week thanks to people like my niece, who I owe thanks for letting me hear the album for this review. The number of sales is impressive considering that all of their best songs were local hits in Miami. The band is comprised of four brothers: members Slick ‘ em, Spectacular, Baby Blue, Tarris Joiel, and Josh Haynes were once known as the Maverix, alongside Prettie Rickie back in 1997. At the time, Ricky was struggling making a name for himself on his own. Due to legal disputes, Slick, Spec and Blue decided to drop the name “Maverix” and their band mate and brother, Pretty Rickie (Joseph Smith), and added their brother Ricky (Pleasure) and later called themselves “Pretty Ricky.” The music is aimed squarely at the teen girl market, Pretty Ricky has all the requirements a group of this type need: efficient vocals; luxuriant, layered harmonies; decent, if somewhat bland songs; and just the right amount of rapper attitude to confirm their street status. However, they put a twist on the boy band formula by having more rappers than singers. One question that I have is that if Pretty Rick was out in 1997, how old are they? Since they cater to a teen audience, it seems that there are some pedophilia issues going on here.

Another problem with this album is the way the group sounds. The rappers sound too similar to each other. Sometimes, the only way to tell them apart is to wait for one of them to say his name in a verse. All of their voices get annoying after a while and the album is probably a little longer than it should be. It also doesn’t help that "Pleasure" sings on every song on the album. It would’ve been nice to hear one song without singing (or even one song without rapping). There are ballads a-plenty, pop and Akon-esque sounds. What I don’t like is that today’s young boy bands sing directly about sex to young girls. Maybe I am old fashion but when you are singing it and rapping it, sometimes it is doubly wrong.

Overall: C :Review by Ooh Papi

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