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Marques Houston – Mattress Music | Album Review by Tolu Akisanya
Read at Soul Culture
29 year old R&B singer/actor Marques Houston recently released his fifth solo effort, Mattress Music. The album is exactly what it says on the ‘tin’; a project for “serenading”, with tracks like ‘Explosion’, ‘Noize’, ‘Waterfall’ and ‘Made a Mess’… you get the drift.
Mattress Music miraculously is just a 3-man producing/writing crew; Marques Houston, Eric Cire and Chris Stokes, his team from when he released his first solo effort ‘MH’, back in 2003, and actually works pretty well for them all. However, I believe, if Marques was be more willing to work with different producers and writers, he could easily produce an album that help him achieve global/mainstream recognition and put him in the ranks with Trey Songz and Ne-Yo.
The track ‘Explosion’ is pretty basic and didn’t fully capture me on first listen, with lyrics like “lick lick lick lick lick lick lick lick lick lick you all over” you get a taste of what I mean [pun intended].
The album tries too hard to be the effortless ‘baby-making/slow-jam’ genre of music as previous albums. However, as I got further into the album, I couldn’t figure out if I was still listening to MH or if my iPod had somehow jumped to a Trey Songz single. MH seems to have developed the deep lip-pout, deep-voice, style of singing [that’s my technical term for it] that Trey does so well. It even goes as far as ‘Kicking & Screaming’ sounding like a sample of Trey Songz ‘LOL Smiley Face’ – by this point I’m fully confused.
‘Mess’ may be the most explicit track on the album; hearing it made me spit out my morning coffee. Not exactly appropriate for 8am on a Tuesday morning. While there are strong songs on the album, there are a few tracks to avoid such as ‘Swag Sex’ feat Soulja Boy Tell ‘Em.
Although not my favourite album from Mr. Houston, I do not think this album will adversely hurt career, however nor will it launch him into international stardom.
Nelly – 5.0 | Album Review by Tolu Akisanya
Read at Soul Culture
The sixth studio album by Nelly, 5.0 is probably not as strong as his debut album but is still very much enjoyable. Featuring the likes of Chris Brown, Plies, T.I., T-Pain and Akon, the album begins with Nelly once again claiming to be ‘No. 1’ – but after being away from the music scene for so long, and not having conjured up a number one hit single for several years, I find it a bit over-confident and a little delusional for him to still be trying to hold on to this title.
However, Nelly’s collaborations on the album won’t do him any harm; he reunites with Diddy on ‘1000 stacks’ and again with Kelly Rowland on ‘Gone’, which revisits the magical collaboration that worked so well with ‘Dilemma’ back in 2002. The track uses all the key elements that made the last track a hit, and does not fail. This track could easily be a chart-topper.
‘Move That Body’ could have easily been the best track on the album, however 30 seconds into it and it becomes a concoction of melodies and beats, as it tries too hard to be a club track. For me, I think that there is way too much going on here. This combination of T-Pain and Akon, who feature on the track, should have been a club dream. But sadly it fails. Similarly ‘Broke’ is not a strong track and should perhaps be avoided if possible. The track is very immature and even reflects in the production and lyrics; It took all my strength not to skip the track when Sophie Green sang “I don’t want no broke ni**rs, no, no”. It’s woeful!!!
‘Liv Tonight’, with Keri Hilson, is a super dance track, that took even me by surprise with its European dance style; sounding more like it was re-mixed for the ‘Ministry of Sound’ compilation CD, or on the Venga Boys album, instead of being produced/inspired by Will.i.Am (the pioneer of hip Hop/dance mix). A part of me feels uncomfortable that this track even features on the album, however I found that I couldn’t stop myself from bobbing my head the sound of the beat.
At 36, Nelly seems to have almost lost a part of him during the years, he will never be the same artist who once captured our hearts with his playful charm that got us hooked with ‘Country Grammar’ or trying to pulling our clothes off (not literally) with ‘Hott in Herre’, The album brings us a slightly older, maybe wiser Nelly, but at times I felt a little lost and that maybe Nelly can’t decide to be a grown up or to fall back to what is safe and re-claim former glory…
You decide... But whilst you do that, here's some good old Nelly...
Chingy – Success & Failure | Album Review by Tolu Akisanya
Read at Soul Culture
Success & Failure is the fifth studio album from the St. Louis rapper Chingy, since his debut album and hit single, “Right Thurr”, which helped put him on the musical map. Chingy has since, however, been M.I.A. His last few albums seemed to pass the music industry unscathed.
Although billed as an album, Chingy claims that Success & Failure is in fact a ‘mixtape’; a throw-together of old tracks, a taster, I guess, of what is to come. If that’s the case then be sure to be incredibly disappointed.
With this new album, I wasn’t sure if Chingy was hoping to reclaim his status as a feel-good, club-track, pop-rap artist, prove his critics and “haters” wrong about his talent or pocket some extra change since being dropped from his label, either way, I think he failed.
After listening to the first track (after the intro) I was not impressed. After so many years away from the music scene, it sounded as though Chingy hasn’t made any musical growth since his debut album. As an older artist – Chingy turned 30 earlier this year – I expected something different from him, a new direction, an insight into his ‘what makes Chingy’, but instead got exactly where we left him.
“Iced out”, featuring 8ball, is an accolade to all the jewels, girls and money he has – a track I would have expected from the likes of 20-year-old Soulja Boy, a or back during the ‘ringtone’ era of rap music. Rapping about cars, jewels and girls is a bit immature for someone who has been in the game for as long as he has.
“Thurr Dey Go”, “Git It Boy” “All I Know”, continues in equal manner; the combination of trumpets, easy beats, over use of rrr’s, and southern slang become tiresome… even repetitive. The music game has changed so much, that it is impossible for Chingy to even consider competing against modern artists such as Drake, Rick Ross, T.I. and Nicki Minaj.
The rest of the album suffers from predictability, is unimaginative, and unoriginal, as he tries to recapture the young rap audience that has moved on to other gimmicky acts, such as Flo-Rida and T-Pain.
“Anythang” may just be the best track on the entire album – that says a lot – all in all, the album is a major let down, from a former Chingy fan. die-hard fans will be pleased Chingy stayed ‘safe’ and stuck with what he knew, but five albums deep into the game, this is just not good enough.
Soooo... *cough cough* Here's so good old Chingy for nostalga sakes :)
Donell Jones – Lyrics | Album Review by Tolu Akisanya
Read at Soul Culture
Hearing that the prince of R&B, Donell Jones had released a new album, conjured up an array of emotions, that ranged from thrilled to nostalgia… and may have even created an impromptu sing-song session of his past hits; you can’t help but be taken back to classics such as ‘In The Hood’ ‘Where I Wanna Be’ and ‘You Know What’s Up’.
When listening to Donell Jones’ new album Lyrics, one of the first things you hear, is the self-titled statement of being the “rebirth of Hip Hop & R&B” …now, on listening to entire album this maybe a far cry from the truth.
Lyrics is Donell’s sixth studio album, which he wrote and produced mostly by himself, and is consistent with his previous albums; romantic and sexual circumstances and situations coupled with smooth vocals, XXX melodies and soft beats.
Some of the tracks on the album may have sat well during the turn of the millennium (late nineties to early ’00s), however 10 to 15 years later his sound is all too familiar, and dare I say it, a little dated – and may struggle to compete against the likes of Trey Songz, Chris Brown and the younger talent producing music for today’s market.
For his loyal fan base, the album gives you a sample of his musical greatness and a taste of how R&B used to be, back in its golden ages. One of my instant favourites, ‘All About Sex’, is reminiscent of the Donell we know and love, and is actually a romantic ballad, no just about sex, but admiration to the one who is mentally and physically in-tune with you, even re-hashing up the word ‘tenderoni’.
Tracks ‘What’s Next’ and ‘Can You Burn’, goes a little too far with ‘trying to keep up with the times’, sounding more like home-made European dance mixes, inspired by ’80s pop. Very different from what we are used to hearing from Donell Jones – obviously taking influence from the influx of R&B stars dipping their musical toes in to the ‘dance’ genre to expand their audience. These tracks remain ‘unclassified’ with my emotions.
Although I was a little disappointed with this album, a part of me will never always remember the great music he brought us and what he did for R&B - and hopeful he’ll bring that to us once again.
Kelly Price Returns: Interview by Tolu Akisanya
Read at Soul Culture
R&B music in the mid-to-late ’90s was heavily dominated by make-up to break-up songs with soft beats and smooth melodies by the likes of Babyface, Aaron Hall, Blackstreet and Dru Hill, with Keith Sweat, R. Kelly and Mariah Carey dominating the airwaves. Mention the name Kelly Price and expect to recall a string of hits and chart-topping singles.
“Friend Of Mine” (ft. Ronald Isley and R. Kelly), “You Should Have Told Me” and of course the R&B classic “Heartbreak Hotel,” with singing legend Whitney Houston and Faith Evans, are to name only a few of the great work done by the multi-talented mother.
With a new self-titled album on the way in 2010, Soul Culture recently spoke with Kelly on her four-year break from the charts, weight loss, her new album and her admiration for Diddy.
Born into a family of singers and Pentecostal preachers, Kelly [Cherelle] Price’s destiny seemed prematurely set out for her. Now, as an accomplished writer, actress, singer, songwriter,
producer and philanthroper, Kelly plans to make waves in the music charts once again since 2006.
“The way I was raised, we were traditionally Christian. Both my mother and father were preachers and we were always involved within the church. So even though I had always been singing, it was still a bit of a shock to the family to hear that I’d singing R&B and not gospel or something religiously related. No one saw it coming.”
Kelly grafted from a young age, lending her vocals to independent gospel projects and demos for aspiring artists and producers at no charge. By 18, Kelly landed her first major live performance, singing backing for music legend George Michael at Madison Square Garden in New York.
Thereafter Kelly would land Billboard’s top spot multiple times with many artists, including the legendary Isley Brothers, Brandy, Brian McKnight, Sean “Diddy” Combs, LL Cool J, The Notorious B.I.G, Jay-Z, Jermaine Dupree, Whitney Houston, Eric Clapton, Gospel music legends Donnie McLurkin and Yolanda Adams and the record breaking R. Kelly.
The release of her debut album Soul of A Woman (1998) boosted her to the forefront of the music industry.
“I began singing professionally around the age of 18. And this was around the same age that all my other friends were going to college and experiencing life,” Kelly explains.
“It was crazy how it all happened because I never wanted to be up front, I was always happy being the backing singer. I sang for so many people like Aretha Franklin, Mary J Blige and Mariah Carey. It was unreal but great to have been so privileged.”
“I would have been the highest paid backing singer at the time because of the reputation I had built and the passion I had for it. Mariah called me back to tour with her on several occasions whilst I was working on other projects – I mean, I also wrote music, and so it got to a point where so many people around me were constantly trying to tell me and encourage me to go forward for myself and sing my own songs.”
Kelly recalls her time on tour with Puffy (now known as Diddy), as his Assistant Musical Director, working with artists such as Lil Kim, 112 and Faith Evans, in the height of Bad Boy’s success, all whilst working on completing her own debut album, Soul of a Woman; “I enjoyed working behind the scenes, I think I learned a lot that way, especially with on the Bad Boy Tour.”
“Working with Puffy was incredible,” she says. “I learned so much from him, and I truly believe that a big part of who I am today is due to who he was behind the scenes. True he can be tyrannical, but I believe it’s for all the right reasons. He works hard, so everything that you see on his shows like Making The Band is true. It’s like he’s a perfectionist.”
Kelly’s transition from R&B to Gospel music in 2005 may have shocked many of her fans, but Gospel has always been at the heart of Kelly’s career. “It was an easy transition for me to make, because I never really stopped singing Gospel, so the switch wasn’t strange for me. Because of my upbringing, it’s always been with me – I wouldn’t have had such a great career if it wasn’t for my background.”
“I never went away from Christianity, so when I’m not performing or recording and I’m on the road I embrace my faith. This is all I know, its part of my life; it’s who I am. And because many people have seen me go from R&B to Gospel I have gotten a lot of ridicule for it – but I try to make it clear to everyone that my music career is a job that is part of my life and I cannot change it, I cannot do one without the other. It won’t work.”
Besides her music, Kelly’s weight was big news to fans and peers across the industry.
At the beginning of her career Price broke records by reaching Billboard’s top spot twice with the same song ["Friend Of Mine"], before it ever had a music video. At the time music executives told her that although she was talented and beautiful, “no one wants to look at a fat girl or buy her records, no matter how good she sounds” – and constructed a marketing campaign in which Kelly was unseen.
This did not affect Kelly and she went on to top the charts several times with many other artists over the years. However, a year later both her mother and her mother-in-law were diagnosed with breast cancer. Sadly, Kelly lost her mother-in-law in October 1999.
“It all happened around a really difficult time for me, my mother-in-law was dying of cancer and my mother was later diagnosed with cancer and I was just in a bad place, that was spiralling down to depression,” Kelly reflects. “After speaking to my mother in law for the very last time on her deathbed, I knew I had to make a change. I re-examined my life and changed my diet.”
She adds, “The weight loss was nothing to do with my image as a recording artist – the main concern was my health. I did it for me and I think it depends on who you ask as to their opinion regarding my image. Music was given to me as a gift, a blessing, and if I can do anything to prolong this blessing and continue doing what I love for longer, then it makes sense to do so.”
Within the four years Kelly was away from the music charts she branched out, expanding her talents in writing and acting and becoming author of Inscriptions of My Heart, in which she questions the “rules” of religion that lock a lot of people out of healthy Christianity and offers a contemporary approach to having a well-rounded prosperous life led by a loving and merciful God, and has starred in the stage play of Why Did I Get Married.
And now, 12 years on since releasing her first album, Kelly describes her new album as “Soul of a Woman plus twelve years.” She laughs. “Out of all my albums, this album is most similar to my first, even though so much has happened since I released my first album. It’s almost the embodying of my 23 years before my first album, and the twelve years in between.
“I’ve lived, achieved and grown up so much. It’s all the things I couldn’t be, all the decisions I was afraid to make, and a way to free myself of my hang-ups and move forward. It was me musically deciding that I want the failure, the fear [and] the depression to stop.”
“Everything I write is from the heart, I believe that I am a writer first, and with all my albums, if you have ever lived you will find a part of yourself in Kelly, because it’s completely honest; all real emotions. There is something that someone can relate to, when you want to laugh, cry, when you feel unwanted. So many things are represented in this album that can affect everyone in the world.”
“I think ‘old school’ Kelly fans would love the new album,” she says, “because I know how they felt about the first one. When I would perform tracks from the first album, it wouldn’t matter where I was, the reaction would be incredible. So with the first track from the album, ‘I’m Tired’, it’s an honest reaction to life. I’m tired! Something that people have been afraid to say but can do it by singing along.”
When asked what was in store in the future, she told me, “In the future I would like to make another Gospel album. I would like to do something for my grandparents to listen to. I’d also like to work with a string of people; Celine Dion, Eminem, Gladis Knight, Elton John, Michael Buble and so many more that people probably wouldn’t expect.”
“I may even go back to school and study for a law degree.”
Kelly Price’s new self-titled album is due for release later this year.
