Ciara

Dubbed the "First Lady of Crunk & B" by the producer who should know, Lil Jon, singer Ciara burst onto the scene with the never-gonna-get-it single "Goodies," the breathy "answer song" to Petey Pablo's "Freek-a-Leek." She was born in Austin, TX, but with her father in the Army, Ciara spent time living in Germany, New York, California, Arizona, and Nevada before landing in Atlanta. In her early teens, she got a piece of paper out and wrote down her life's goal, to become a professional singer. She joined a girl group, worked on her songwriting, left the group, landed a publishing deal, and found a "music soul mate" when she met producer Jazze Pha. With Sean Garrett, the co-writer of Usher's massive hit "Yeah!," Ciara co-wrote "Goodies," and when Lil Jon heard the demo, he knew it was going to be big. LaFace released the Lil Jon-produced track in the summer of 2004, and its quick climb to the top of the Billboard Hot 100 was remarkable. With help from Pha, Garrett, and Lil Jon, Ciara released her self-titled debut in September the same year. The follow-up singles "1, 2 Step" featuring Missy Elliott and "Oh" featuring Ludacris both broke the Top Five in the U.S. in 2005. By the end of the year she joined Gwen Stefani on tour before teaming with Bow Wow and Chris Brown for a package tour in early 2006. The Evolution, her second album, was released near the end of the year; though it debuted at the top of the R&B/Hip-Hop Albums chart and a handful of subsequent singles ("Get Up," "Promise," "Like a Boy") placed within the Top 20 of the Hot 100, it did not perform quite as well as the debut. The May 2009 release of Fantasy Ride, her third album, was preceded by a few delays, including a pre-release single that failed to catch fire. Fantasy Ride was, nonetheless, her most star-studded album to date, featuring collaborations with Elliott and Ludacris, as well as the-Dream, Young Jeezy, Chris Brown, and Justin Timberlake.

http://www.ciaraworld.com/us/home
http://www.myspace.com/ciara
http://www.youtube.com/user/CiaraTV

Jennifer Hudson

Jennifer Hudson's cd is finally here and of course the question is was it worth the wait and hype? I can say yes for the most part. 'Jennifer Hudson' offers songs that fit this woman's voice - there are no odd selections that will leave you scratching your head or have her reaching far out of her genre. Most of the songs showcase her vocal range with her hitting notes and doing runs that will have you on your feet and applauding in the privacy of your home or car. Is it perfect? Of course not, there are a few things that make it a bit drab and predictable but the good points outweigh the weaknesses and flaws.

The Good: The variety of the songs is the strength of the album. There's variety BUT her voice is never 'off' or subdued. In each song or within each style, the producers and the artist both find ways to keep things interesting and fresh. Unlike many artists, you can tell Hudson actually connected with the music and lyrics, which results in some really moving songs and fun moments. Stand-out tracks for me is the Beyoncé-esque 'If This Isn't Love' which is Hudson at her best in this pop ballad. 'Pocketbook' is also a winner with Hudson bringing out her sassy-edge that makes her endearing. Other tracks that left an impression were 'We Gon' Fight,' and 'Invisible' which contain lyrics many can relate to on some level.

The Bad: A lot of the mid-tempo or slower songs simply blend into one another. While her voice is always on spot, these songs just seem a bit boring because they sound similar. I would have liked to have heard her experiment and take a few more chances as she does on the song 'Pocketbook' but still, these seem a bit too safe and expected or predictable. While I can understand the inclusion of her song 'All Dressed In Love' from Sex and the City: The Movie, I feel like everyone in the world has heard the Dreamgirls track 'And I'm Telling You' and would have rather seen a new track entirely or a remix of the song.

A little dull and unbalanced in parts but in all, it's a good debut album that doesn't seem to be getting the 'spotlight' attention I think it should be. Check it out, you probably won't be let down.

Intuition

Cons: I loved "Unpredictable," so I was expecting that same wine and dine romance to lap dance feel, but this album was more about dancing. Foxx has a beautiful voice, but it seems like he was impersonating someone else on "I Don't Need It," which wasn't really necessary. I hate the concept for "Just Like Me" because I'm so opposed to even the idea of singing about justifying cheating, but the video is funny as hell. Taraji Henson was the best choice to do that one, so that video makes me (kinda) like the song. "Number One"s beat was kinda annoying, but I liked the clap-friendly perspective of the song. Somehow I didn't expect Jamie Foxx to work with Lil' Wayne though, so that threw me. But then I hear lines from Foxx like "Got them hundred dollar bills/Girl, I don't rain/I hurricane" and it almost sounds like a singsongy rap. Noooo! Not another one. I like R&B singers that like to do R&B. What's up with Kanye West singing most of the verse to a T-Pain track on "Digital Girl"? "Blame It" sounded like it had a vocoder, but why? Foxx is robbing us of his natural and beautiful voice. I found him using a lot of simplistic lyrics, downgrading his voice a lot on this one, and how unfortunate is that because I'd buy an album from him easy in acapella.

Pros: I would've bought this album regardless because I love "She Got Her Own" and considering that wasn't a bonus track on Ne-Yo's album (you had to buy it on iTunes to get it), I had to have it. You couldn't even buy it as a single, and that song makes my spirit happy. That is absolutely my favorite song of 2008. I gave this CD four stars though because once you got to "Intuition Interlude," then he reminded me of the songs on his last CD and this album picked up immensely. I like those Foxx tracks that make you want to just reach over and hug your man for no reason other than being happy he's there.

One month later: Now that I've gotten over the surprise of Foxx's CD having a hip hop swagger with R&B soul, I really dig "Number One," "I Don't Need It" has an easy dance feel, and "Blame It" kinda grew on me. But I still say the songs after the interlude are far better, specifically "Overdose" and "Slow."

Love vs Money

The-Dream had the misfortune of releasing his lauded, though underrated 2007 debut during the busy fourth-quarter of the year, in which debut artists normally get swallowed by big-time releases from well known artists being purchased for Christmas. That is exactly what happened, as the talented singer/producer's LOVE/HATE debuted at #30. I don't remember the numbers he posted (somewhere in the 60-70K range I'd estimate), but they weren't representative of his talent, though that could be said of so many who have come and gone in/out of the industry. Despite horrible odds stacked against LOVE/HATE, it managed to go gold after a number of strong singles including "Shawty is Da Sh**" (feat. Fabolous), "Falsetto", and my personal favorite "I Luv Your Girl". What was striking to me is how people could possibly sleep on what was one of the most unique R&B releases in some time, strung together as a narrative almost, an approach the dream would use on Mary J. Bliges's Grammy winning GROWING PAINS. But theories aside, LOVE VS. MONEY is even stronger than LOVE/HATE and has the chance to make more of an impact - if people get out and buy this fantastic album. It does something I haven't seen a contemporary R&B album do for sometimes - have a consistent album that has not one miss and I mean none. This album is nearly perfect.

I tend to favor neo-soul releases as far as R&B is concerned, but a solid contemporary R&B release like this one is again another inescapable album by The-Dream. First single "Rockin' That Thang" (or "Rockin' That Sh**") is another fine first-single for The-Dream, not dissimilar from "Shawty Is Da Sh**". In my eyes, it may be even catchier than its predecessor, despite inherent similarities in both production and conception. If The-Dream does one thing on this album that was lacking on LOVE/HATE, it is he heightens his songwriting skills while his producing buddy "Tricky" tightens up at the boards.

"Walkin' On The Moon" featuring Kanye West shows this progression. Here style/tempo changes (not-so subtle) help to show The-Dream as an innovative soul in the R&B realm, something that the style needs, particularly contemporary R&B. West sounds fine here, but The-Dream holds down this neo-disco track fine, just to show you his strength. "My Love" featuring Mariah Carey is excellent too, and could prove to be a strong hit on the Pop/R&B charts. If The-Dream makes concessions to commercialism, it is with a track like "My Love", which proves to be less conceptual than some of the more experimental, less commercial tracks from LOVE vs. MONEY. Of course LOVE vs. MONEY is a very commercial album, but it also allows for The-Dream to experiment like a rock star would. Think Prince ladies and gentlemen, only with modern-day styling.

"Put It Down" and "Sweat It Out" are by far the best tracks of LOVE VS MONEY, as hard as it is to pick when every track is strong. Here, The-Dream really stretches out and over these lengthy Tricky-helmed ditties, as an R&B listener, you truly hear different sounds than have been heard/experimented previously. Honestly, The-Dream goes above and beyond what R-Kelly does, showing how relevant The-Dream has become in urban music. "Take U Home 2 My Mama" lays just as well, while the exceptional linked "Love vs. Money" and "Love vs. Money Part 2" are both equally alluring. Production is top rate and The-Dream sounds as if his vocal chops have grown, though they were already solid.

"Fancy" plays on true minimalism with a repetitive piano loop that eventually adds sounds/instruments - brilliant. "Right Side of the Brain" doesn't live up to "Fancy", but as a 4-star track, it has no shame whatsoever in my eyes and just adds more evidence towards the true magnitude that is LOVE VS. MONEY. "Mr. Yeah" and the massively creative "Kelly's 12 Play" are superb while the banging club bonus track "Let Me See The Booty" (feat. Lil Jon) just maybe TOO COOL to appear on any R. Kelly album (not knocking Kelly, but The-Dream is quickly giving him a run for his money!). What more is there to say? LOVE VS. MONEY is by far the year's best R&B album and honestly in what has began as a stale year in many respects, this is one of the very best albums of 2009. I hope to see you nominated for Grammys Dream, it's about time.

Fantasy Ride Ciara

Multi-platinum star Ciara returns to the scene with her high energy third album, Fantasy Ride. Having sold over seven million albums with her debut, Goodies, and follow-up, The Evolution, Ciara raises the stakes with Fantasy Ride. Packed with energetic beats, dynamic production, and provocative lyrics, Fantasy Ride secures Ciara the top spot as a superstar performer. Features production by Justin Timberlake (who also appears on the single "Love Sex Magic"), Rodney Jerkins, Tricky, Polow Da Don, and Danja. Also features appearances by Missy, The-Dream, Young Jeezy, Ludacris, Chris Brown, and T-Pain.
Review:
In her third offering, Ciara takes her fans on a "fantasy ride" that hits many highs and lows. The overly hyped and continuously delayed album boosts many radio friendly songs and potential hits. One of the album's downfalls is the lack of cohesiveness. This might be attributed to the album's original formatting of having three different discs representing various musical styles, which later became scraped. The album's formatting change resulted in all concepts being placed on one disc.
Aside from the lack of fluidity, this 13-track album offers a little something for everyone. Listeners' ears will be subjected to Ciara's alter ego, "Super C" softly crooning over seductive mid-tempo ballads and heads will bob along to the album's contagious club bangers with the catchy hooks.
If listeners are looking for the growth and "evolution" with Fantasy Ride, they will be slightly disappointed.

Strongest points:
The album's aggressive and dance driven beats allow this album to standout. The album enlists production from many of the industry's "it" producers. This includes: Justin Timberlake, Tricky Stewart, The Dream, Rodney Jerkins, and Missy Elliot. In addition, the many collaborations found on the album helps to give the "swagger" Super C was aspiring for. Cameos include: Justin Timberlake (Love Sex & Magic), Chris Brown (Turntables), Ludacris (High Price), Missy Elliott (Work), Young Jeezy (Never Ever), and The-Dream (Lover's Thing).


Weak Points:
Ciara, aka Super C's vocal delivery is at most sub par. Vocally Ciara seems to exhibit a lack of growth. There is no differentiation between Ciara and Super C. Ciara's voice remains monotonous and at times is almost inaudible over the infectious production. In actuality, Ciara and Super C both become lost in the production and merely sit in the background. For the longest Ciara has been fighting for her own identity. Throughout her career she has been compared to the likes of Janet Jackson and even the late Aaliyah. Many songs throughout the album actually are very reminiscent of Janet's Discipline era. For instance, I Don't Remember is very similar to Janet's Rock With U. The lyrics at times are very superficial and lack depth and intensity--G is for Girl, Like a Surgeon, and High Price.

Highlights:
Ciara to the Stage, Love Sex & Magic, High Price (the operatic vocals gives the track an unique flair), Never Ever (possibly Ciara at her best), Work, When I (Bonus Track), and Keep Dancin' On Me.

Forever in a Day

Ever since that fateful day on August 26, 2007 when Sean "Diddy" Combs announced that Brian, Que, Mike, Willie, and Robert had "made the band," DAY26 has been making their mark on R&B. Their debut album entered the Billboard at the #1 spot, the highest entry for a debut album from a male R&B group in the 17-year history of Soundscan. And now the Bad Boys of R&B are back to reclaim their own throne with their sophomore album, Forever In A Day. With production from some of the best in the game - from Babyface to Jermaine Dupri - DAY26 has delivered another album sure to satisfy their legions of fans and elevate contemporary R&B.

I was a little concerned at the beginning of this CD because I wasn't really into the first few songs minus the club bangers "Stadium Music" and "Imma Put It On Her," which I knew about from watching the show.

"Just Getting Started": That chorus with "we win-ning" and "we just gettin' started-started" is seriously annoying.

"Shawty Wat's Up": I liked the chorus with (Mike?) but I like Mike's voice on EVERYTHING. His voice stops me in my tracks. The song was common though, the regular braggadocio about a man pursuing a woman and not having much time for anything but some sexing.

"Think of Me" was okay. I liked Q's high note at the end, and it's a pretty song, but it wasn't one of those songs I want to hear again. Neither was "Perfectly Blind," "Reminds Me of You," "Truth Is a Lie" (didn't like Will's voice on this one, or maybe it's the lyrics that didn't get me) and "Then There's You" are all rather sappy and forgettable.

"Bipolar" was entertaining for me, especially with all the craziness Day 26 had this season with one member. That's actually one of my favorite songs, and anybody who has been in a relationship has been through these up/down moments.

"So Good" is my favorite song on the entire CD, although "Babymaker" and "Stadium Music" come very close behind. I really like Will's voice on every song too. I've always thought Q's voice was cool, but I was never startled by him. On this song, Q's voice sounds at its best. I like the collaboration between Q and Will together. They definitely picked the right two for this track.

"Girlfriend" is a weird song to me because I read somewhere that Will was married, although he said he had a "girlfriend" on last night's episode. (That cat is VERY funny. "Oh my gawd" and the other impersonations always crack me up.) And Brian is married. It just seemed awkward for men at their age looking for girlfriends. Shouldn't it be wives? Dawn and Q are 2.5 seconds from a wedding aisle from what it looks like anyway, and he's the youngest member.

"Babymaker": Anytime you need someone to sing the 'sexy' part of the song, PLEASE pick Will at all times. Beautiful! The chorus made this song. I might go see them live just to see them dance to this particular cut. I really like Rob's voice when he's singing regularly, but I can't stand the runs and the almost-screaming parts. (Note: I may be alone on this one because you hear this all the time in black churches.)

"Need That" starts off cool in the chorus and Jermaine Dupri always gives the heat in the chorus. I LOVE Brian's voice, but after he stops singing, the song kinda falls off. The chorus and that electric beat aren't for me.

"Your Heels" should be the second single, especially if somebody like Tyra Banks gets her hand on it. This could easily rock out a fashion show song. I know I started switching involuntarily while listening to it walking down the street. The beat, chorus, and lyrics work so well together. Will is kinda scream-singing on this song, but for some odd reason, I like it. And Mike comes in bringing the heat again too.

In a Perfect World...

Nurtured between Timbaland's Mosley Music Group and Polow's Zone 4 Inc., IN A PERFECT WORLD . . . boasts amazing sounds from a slew of hitmakers like Timbaland, Polow, and Danja. The album features guest appearances by Timbaland, Lil Wayne, Akon, Keyshia Cole, and Ne-Yo. It's a watershed moment that meets both goals-it sounds and feels great. Speaking up for all the ladies, In A Perfect World . . . also looks to empower women to be strong, independent and determined. "No human is exempt from the realities of life- heartbreak, failure, success..." Keri comments. This takes all forms throughout the album which reveals Keri's ability to translate every day trials and tribulations into engaging music.
Hilson has received many accolades in the media, having graced the covers of Fader and Trace Magazine and has been championed in the pages of Rolling Stone, Blender, Vibe, Entertainment Weekly and Interview to name a few.
Keri Hilson proves herself a true contender in the R&B industry with her excellent debut album, IN A PERFECT WORLD. While she is sexy and makes for a "commercial" artist, she also has compelling vocals backing up her sexiness (if that makes any sense). She isn't the powerhouse of say Alicia Keys, Mary J. Blige, or even dance-pop/R&B diva Beyonce, but she has more vocal prowess than say Ciara (not knocking her). Vocally, she reminds me of Aaliyah to an extent, filling a certain sound that has been missing in R&B. She's not the second coming mind you, but she is a refreshing voice in a genre that lately has been "a bit tired" (See last years Grammy's nominees in comparison to a couple of years back). Not a perfect debut, and maybe sometimes a bit too pop-heavy, it is overall well rounded, particularly by more sensual, slower numbers and even harder hip-hop oriented tracks.

After "Intro" (cliched on every R&B/Hip-Hop album since the Ice Ages), Keri gets the party started with the hip-hop heavy hitter "Turnin' Me On", the first track to give Keri her own hit. Sure "Energy" was a fine track, but it failed at radio. "Turnin Me On" was destined to be a hit - it featured Lil Wayne. The production by Polow Da Don is exceptional here, and Keri sounds fantastic. "Get Your Money Up" keeps the momentum going hard, featuring Keyshia Cole and Trina. Catchy, stupid, and simple, it is a worthwhile listen. Production again stands out, with Hilson's somewhat skinny vocals blending well within the production. Similarly, Keri's vocals are buried within Timbaland's production work on "Return the Favor" which is nearly as good as the first two tracks if a bit long. In this instance, she sounds good mixed within the production as opposed to being on top of it- every producer's trick with dance cuts. Following "Return the Favor", one more flashy cut, though slightly slower (and the third single) "Knock You Down" features the ubiquitous 'gentleman' Ne-Yo and a rapping (can you believe it?) Kanye West. Solid in every way, Keri is at the front of the production here, letting her soprano vocals shimmer over the production work. Ne-Yo sounds as refined as ever and Kanye is Kanye - but I'm glad to hear him rapping and expect another hip-hop album from him soon.

"Slow Dance" truly allows for Keri to shine, letting her vocals run solo as opposed to collaborating with someone else - four tracks of collaborations was a bit heavy at the forefront of a solo album in my eyes. She proves she has the chops here, commanding this well-produced ditty. Even more alluring is it's stronger follow-up, "Make Love" where Hilson gets an A+ not only vocally, but for sensualness; she truly makes the song sound sexy without having to be explicit, something that used to be so easy for R&B singers. "Intuition" returns Hilson to more a more uptempo number. The production is top-rate (she is on Timbaland's label), but the song is middle-of-the-road in comparison to the best. It's average. The hip-hop cut "How Does It Feel" re-energizes IN A PERFECT WORLD with one of Hilson's best vocals and one of the most memorable productions of the album.

"Alienated" is solid, but not the best of the album. "Tell Him The Truth" is solid as well, if underwhelming compared to the best. The Akon feature "Change Me" shows why Akon may be waning the slightest bit as it comes off as only so-so. "Energy", the forgotten but polished first single from IN A PERFECT WORLD restores some lost momentum, with "Where Did He Go", the closing track, ending the album on a high note.

Again, not perfect, but a strong debut that is enjoyable. It doesn't beat The-Dream's LOVE VS. MONEY for best R&B album released in 2009 as of yet, but it does place very highly as far as I'm concerned. Keri, you are "turnin' me on" with your fine debut.