Swap a CD: 15 Recently Posted CDs

A Closer Look - Babyface

Babyface — 2009-11-21T23:16:12-05:00

Babyface has established himself as both a performing and production star in the '90s. His alternately innocent, hurt, and disillusioned vocals are this decade's equivalent of the soul/love songs of the '70s and '80s. He can sing sentimental material, tender tunes, or seem angry and confused. His lyrics get overly coy, but they've struck many responsive chords among women in particular. It's not soul, but it's what many who never heard Sam Cooke think it is. ~ Ron Wynn, All Music Guide

For the Cool in You - Babyface

Babyface — 2009-11-21T23:15:38-05:00

In late 1993 Babyface, who was at the top of his game as pop/r&b's hottest writer and producer, released his acclaimed solo album For the Cool in You. The album featured four hit singles, those being the title track, "Never Keeping Secrets," "And Our Feelings," and the song that went on to become his signature tune, "When Can I See You." In early 2001, the album was reissued with three bonus tracks, which do the album a great deal of service and widely expand its musical boundaries. "For the Cool in You" is served up with two additional mixes. One is the Quiet Storm Vocal Mix, which, as the name implies, is a laid-back, mellow quiet storm groove. The other is the album's closer, the Midnight Luv Instrumental Mix, which is a fine, mellow, jazzy way to close off the album. Finally, "When Can I See You" is served up with the Urban Soul Basement Mix, which is a dance-house version of the song. This version may displease some of the song's original fans (it was an acoustic ballad in its original inception), but ultimately serves to expand the musical boundaries of the album. For a record that was originally pop/r&b, the reissue is a jazzier offering that includes house music and makes for a surprisingly good listen from start to finish. Also included are beefed-up liner notes, which include all of the original liner notes' artwork. ~ Jose F. Promis, All Music Guide

The Day - Babyface

Babyface — 2009-11-21T23:14:58-05:00

The Day was the first album Babyface released after being elevated into a virtually guaranteed hitmaker in the mid-'90s through his work with Whitney Houston, Boyz II Men, Madonna, and Mariah Carey, among many others. The album confirms his skill for subtle, inventive songwriting and accessible, polished yet soulful production. Babyface can straddle the line between hip-hop and traditional soul better than nearly any other artist, as evidenced by the hits he has orchestrated for other artists. On his own, he is still compelling -- his voice is as smooth as silk, and nearly as seductive -- but it doesn't quite have the force of personality as his greatest productions. Nevertheless, The Day qualifies as state-of-the-art mid-'90s soul, featuring a handful of terrific songs, and a lot of extremely pleasurable filler. [The 2001 CD reissue adds historical liner notes and three bonus tracks: remixes of "Everytime I Close My Eyes," "This Is For the Lover in You," and "Everytime I Feel the Groove," the last of which was previously unreleased and not found on the original album in any form.] ~ Leo Stanley, All Music Guide

As I Am - Alicia Keys

Alicia Keys — 2009-11-21T22:37:57-05:00

By now established as a major and talented force in the mainstream music world, Alicia Keys has perhaps earned the right to explore a little, to venture into new genres while still keeping a foot firmly planted in the R&B/neo-soul she grew out of. On her third full-length, As I Am, Keys takes a step closer toward the soul revival popularized by John Legend, with full-band arrangements and bright horn hooks, only occasionally falling back into the piano/melisma combination that drove the singles off her first two albums. Instead, here, as evidenced in "No One" -- which sounds all too ready to take on a "reggae dance mix" -- the guitar-driven "I Need You," "Wreckless Love," or "Where Do We Go from Here," which pays tribute to both Stax and Motown ("All I can do/Is follow the tracks of my tears," she sings, after a sample of Wendy Rene's "After Laughter [Comes Tears]" crackles through the first few bars), this is music that owes as much to pop as it does R&B, highlighted no less by the fact that the queen of radio rock herself, Linda Perry, co-writes three of the songs with Keys, including the straight-from-the-Stripped-sessions "The Thing About Love" and "Superwoman." It is on the latter, in fact, that Keys, unsurprisingly, turns furthest away from the style that brought her initial success (more so even than on the John Mayer collabo, "Lesson Learned," which is actually not bad) toward the generic-pop world, sliding in between corny and sincere, sometimes even in the same breath. "When I'm breaking down/And I can't be found/...'Cause no one knows/Me underneath these clothes/But I can fly/We can fly," she sings in the bridge, flatly. Keys has never been a brilliant lyricist, but she's always been able to write simple yet affective and honest words that don't seem trite, something that is forgotten here, and makes the track one of the weakest on the album. Fortunately, this doesn't happen too often, and as As I Am weaves its way through the drums and various keyboards and vocal harmonies that make up the backbone of her work here, punctuated by the great, hooky melodies and strings, you get the impression that this is in fact the sign of an artist who's not content to only follow the path that's brought her previous acclaim, an artist who's looking to find more, both about herself and her music, and an artist who carries these developments, these insights, with her. And so even though As I Am is a flawed work -- a little too poppy, a little too clichÉd -- it is also indicative of what Keys can and will do, and that she is someone, thanks to her curiosity, intelligence, and natural talent, who will be able to mature and grow for years to come. ~ Marisa Brown, All Music Guide

II - Boyz II Men

Boyz II Men — 2009-11-21T22:14:35-05:00

With their second album, II, Boyz II Men assured their place at the top of the charts, as well as history. "I'll Make Love to You," the album's first single, stayed on the top of the charts for over two months, only to be unseated by "On Bended Knee," the album's second single. Not surprisingly, II is a carefully constructed crowd pleaser, accentuating all of the finest moments from their hit debut. While there are some high-energy dance tracks, the album's main strength is its slower numbers, where the group's vocals soar. ~ Stephen Thomas Erlewine, All Music Guide

Mariah Carey - Mariah Carey

Mariah Carey — 2009-11-21T22:14:35-05:00

This extremely impressive debut is replete with smooth-sounding ballads and uplifting dance/R&B cuts. Carey convincingly seizes many opportunities to display her incredible vocal range on such memorable tracks as the popular "Vision of Love" (featured during her television debut on The Arsenio Hall Show, an appearance noted by many as her formal introduction to stardom), the energetic "Someday," and the moody sounds of the hidden treasure "Vanishing." With this collection of songs acting as a springboard for future successes, Carey establishes a strong standard of comparison for other breakthrough artists of this genre. ~ Ashley S. Battel, All Music Guide

The Writings on the Wall - Destiny's Child

Destiny's Child — 2009-11-21T22:14:35-05:00

With their second album, Writing's on the Wall, Destiny's Child still suffers from slightly uneven songwriting, but it's nevertheless an assured step forward for the girl group. Not only are they maturing as vocalists, they are fortunate to work with such skilled, talented producers as Kevin "Shekspere" Biggs, Rodney Jerkins, Dwayne Wiggins, Chad Elliot, Daryl Simmons, and Missy Elliott, who all give the quartet rich, varied music upon which to work their charm. So, even when the album fails to deliver memorable songs, it always sounds alluring, thanks to the perfect combination of vocalists and producers. ~ Stephen Thomas Erlewine, All Music Guide

No More Drama US Bonus Tracks - Mary J. Blige

Mary J. Blige — 2009-11-21T21:09:15-05:00

Listeners of Mary J. Blige's seasoned and confident fifth studio release will have zero problems remembering the album's title, No More Drama. An urban-sounding vocal sample that sings, "Mary J. Blige, no more drama," plays throughout the length of the 17-track disc. This very well may be the first time such a tactic has been used in contemporary music; generally a vocal sample repeats throughout the course of only one song, but because the fare on No More Drama is so good, this recurring vocal sample is as subtle and congruent as a consistent drum hit. Blige has come a long way since 1992's breakthrough, What's the 411?, and that's made very clear on this solid disc. The singer/songwriter has blossomed into an all-out r&b diva -- with a hip-hop edge -- full of soul and command. Her songs on this recording exude the wisdom of a woman who's seen it all and has found her center. And she will no longer tolerate drama, pettiness, and overall crap. In 2001's crop of r&b singers, Blige's voice was truly inimitable. It is husky, strong, soulful, and full of maturity. Make no mistake, though, this lady can still flow like no one's business; just check out the bouncy album-opener, "Love." In fact, many of the record's cuts are standout moments. For instance, only Blige has the balls to write and pull off a song called "PMS," a soulful and bluesy number that describes, in detail, this condition inherent to the female experience. And while she also explores themes of love, Blige's disc is essentially a journey through her personal evolution and spirituality. The final cut, "Testimony," best summarizes the album's theme: finding what's real in life. And for Blige, that's self-love and God. To her credit, Blige has a killer instinct for penning lyrics that people can relate to and creating gritty, thick, and soul-infused r&b fare. (She does get some help on this disc from such r&b and hip-hop heavyweights as Missy Elliot, Jimmy Jam, and Terry Lewis, among others.) Her music is more than heard, it is felt, and audiences would be hard-pressed to not surrender to her groove. Interestingly, many of Blige's peers sing about drama, but not this artist -- not anymore. [No More Drama was re-released in early 2002 with a handful of different tracks.] ~ Liana Jonas, All Music Guide

20 Golden Classics - Ray Charles

Ray Charles — 2009-11-21T20:28:40-05:00

Rhythm Nation 1814 - Janet Jackson

Janet Jackson — 2009-11-21T20:17:21-05:00

After shocking the r&b world with 1986's Control -- a gutsy, risk-taking triumph that was a radical departure from her first two albums -- Michael and Jermaine Jackson's younger sister reached an even higher artistic plateau with the conceptual Rhythm Nation 1814. Once again, she enlists the help of Time graduates Jimmy Jam and Terry Lewis (one of the more soulful production/songwriting teams of 1980s and '90s r&b) with wildly successful results. In 1989, protest songs were common in rap but rare in r&b -- Janet Jackson, following rap's lead, dares to address social and political topics on "The Knowledge," the disturbing "State of the World," and the poignant ballad "Living in a World" (which decries the reality of children being exposed to violence). Jackson's voice is wafer-thin, and she doesn't have much of a range -- but she definitely has lots of soul and spirit and uses it to maximum advantage on those gems as well as nonpolitical pieces ranging from the Prince-influenced funk/pop of "Miss You Much" and "Alright" to the caressing, silky ballads "Someday Is Tonight," "Alone," and "Come Back to Me" to the pop/rock smoker "Black Cat." For those purchasing their first Janet Jackson release, Rhythm Nation would be an even wiser investment than Control -- and that's saying a lot. ~ Alex Henderson, All Music Guide

Brother Sister - The Brand New Heavies

The Brand New Heavies — 2009-11-21T20:15:40-05:00

This album finds the BNH heading back to the groove-driven, horn-splashed, hand-clapping funk of their debut album, with N'Dea Davenport stepping back into her role as diva/lead vocalist. Following the string of distinguished rappers who made BNH's sophomore album a brave if not wholly successful attempt to infuse rap with the energy of live instruments, Davenport delivers the consistency that was missing from that effort. Repeated listens show this album to be catchier than it initially seems (as long as one avoids "Fake," tone of the most irritating songs in a long time), and when the BNH really lock into a groove, as they do on "Keep Together," the title track, and the instrumental "Snake Hips," they surely do put the funk back in it. ~ Peter Stepek, All Music Guide

Mariah Carey - Mariah Carey

Mariah Carey — 2009-11-21T20:14:37-05:00

Embrya - Maxwell

Maxwell — 2009-11-21T20:14:08-05:00

Maxwell's ambition was one of the appealing qualities of his debut, Urban Hang Suite, especially since very few of his contemporaries were attempting to expand the boundaries of contemporary r&b. On his second album, Embrya, Maxwell reveals his desire to make deep, serious music. He wants to be so much more than just another soul crooner and, to be sure, he does have a remarkable voice and can write really good modern soul songs, despite his tendency to think that's not enough. As it stands, Embrya still has its promising moments despite sometimes obscuring the singer's gifts. ~ Stephen Thomas Erlewine, All Music Guide

Blue - Diana Ross

Diana Ross — 2009-11-21T19:52:21-05:00

For soul fanatics, the Motown archives are the musical equivalent to the Wonka building in Charlie & the Chocolate Factory. Every twist and turn is filled with the possibility of resuscitation, preservation, and in some instances surprise discoveries. Such is the case with Blue, which was supposed to be the follow-up album to Diana Ross' wildly successful Lady Sings the Blues, but was shelved when Motown maestro Berry Gordy took Ross back in a more pop direction with Touch Me in the Morning. This direction, while proving successful at the time, is unfortunate, as the performances on Blue rival (and in some instances best) the performances on Lady Sings the Blues. A few of these tracks would later see the day on other albums ("Little Girl Blue" on Touch Me in the Morning and "Smile" on Diana Ross in 1976) but with alternate vocal takes and mixes. But Ross' portrayal of Billie Holiday was effective; it wasn't just a carbon copy reenactment of Holiday, but a cultivation of her essence when placed on-stage or in the studio behind a microphone. Gil Askey's arrangements are top-notch without sounding like dinner theater knock-offs. Blue is an album every bit as bold an artistic statement as her contemporaries Stevie Wonder and Marvin Gaye, who were recording the opuses Where I'm Coming From and What's Going On around the same time, and for Ross fans, Blue is every bit as enjoyable as her sultriest moments as the supreme Supreme. ~ Rob Theakston, All Music Guide

Unforgettable With Love - Natalie Cole

Natalie Cole — 2009-11-21T17:59:49-05:00

A major change of direction for Natalie Cole, Unforgettable found the singer abandoning the type of r&b/pop she'd been recording since 1975 in favor of jazz-influenced pre-rock pop along the lines of Nat King Cole's music. It was a surprising risk that paid off handsomely -- both commercially and artistically. Naysayers who thought that so radical a change would be commercial suicide were proven wrong when the outstanding Unforgettable sold a shocking five million units. Quite clearly, this was an album Cole was dying to make. Paying tribute to her late father on "Mona Lisa," "Nature Boy," "Route 66," and other gems that had been major hits for him in the 1940s and early '50s, the 41-year-old Cole sounds more inspired than she had in well over a decade. On the title song, overdubbing was used to make it sound as though she were singing a duet with her father -- dishonest perhaps, but certainly enjoyable. Thankfully, standards and pre-rock pop turned out to be a primary direction for Cole, who was a baby when the title song became a hit for her father in 1951. ~ Alex Henderson, All Music Guide