California born and bred, Robin Thicke will turn 30 this year so he has to hurry up and shine. The son of well-known TV star Alan Thicke, Robin opted to go the singing route instead and has been hailed as an incredible R&B artist by the likes of Pharrell Williams. With his latest album release in 2006, I think that The Evolution of Robin Thicke will be taking over airwaves in no time. It's already traveling by word of mouth. It has to do better than his first album, 2003's A Beautiful World, which has sold circa 55,000 copies in the US to date. It’s true, Thicke hasn’t quite evolved into the consummate R&B package, and there are a few missteps on The Evolution of Robin Thicke like “Cocaine” and the catchy but out of place Cuban inspired “Everything I Can’t Have”, but Robin Thicke has finally arrived.

He gets a little bit of help from Faith Evans on the up-tempo opener, “Got To Be Down,” with its throwback feel over up-tempo drums and soft guitar riffs. “Complicated” explores Thicke’s insecurities, where he “wishes he could stop being the same old me and stop putting my blues on you.” The soft piano projects the hurt in Thicke’s deep, emotion-filled voice. The simple, yet inviting guitar on the stunning second single, “Lost Without You,” is intoxicating in which Thicke admits, “He can’t help himself.” Pharrell lends his beat making expertise and whatever rapping skills he has to the lead single, “Wanna Love You Girl,” its not a forced connection as the rap appearance by his buddy Lil Wayne. Thicke talks about the girl “he’ll walk the earth for…her attitude is harder than the earth’s core” (probably his wife Deja Vu and Idlewild's Paula Patton). Thicke has been compared to Justin but one look and listen to Thicke and many will find him more authentic of a White soul brother than Justin Timberlake could ever be.

Overall: B :Review by Ooh Papi

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Justin Timberlake - On FutureSex / LoveSounds

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

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

Release Date: September 12th, 2006

Faring better than the other half of Nipplegate, Justin Timberlake solidifies his hold as white America's answer to Usher with this follow-up to 2002's JUSTIFIED. But he goes beyond such undemanding categorizations, thanks to go to producer Timbaland, whose sonic creativity compliments Justin's artistic daring. The Timbaland/Timberland duo gets in its zone with the deft "Let Me Talk To You" interlude conjoining the Prince-friendly "Sexy Ladies" and the infectious "My Love." "LoveStoned" is sublime, as is "I Think She Knows". In spite of the multiple genres, the serpentine, futuristic vibe of the keyboards in various songs, reminiscent of 80's-90's group Human League at its best, helps the interludes hold the project together. The result: FutureSex / LoveSounds comes correct overall with a smart, edgy and urban attitude funky enough for the occasional f-bomb here and there, yet remains cosmopolitan enough to go well with the Jello shot/Apple Martini crowd.

Overall: N/A :Review by William Ashanti Hobbs - Guest Reviewer

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Van Hunt - On The Jungle Floor

Vocals: B- Content: B Production: C-

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

Release Date: April 4th, 2006

Van Hunt’s self titled debut album, Van Hunt, enjoyed limited commercial success though it managed to earn him somewhat of a cult following. For those that were lucky enough to hear the album due to it’s poor promotion and limited airplay, they were treated to the debut of an ambitious, extremely creative and adventurous, multi-talented artist. His sophomore offering, On The Jungle Floor, does his debut LP’s lack of promotion and airplay one better as one would hardly know the album was out unless they were looking for it. It wouldn’t be fair or accurate to classify Van Hunt as a neo-soul artist, true he does some R&B soul music, but his influences and output extend far beyond what most would classify as soul or what most “neo-soul” artist would be willing to attempt, which is even more evident on this album. Depending on the song you’ll almost certainly hear some Prince such as on cuts like “If I Take You Home” or “Hot Stage Lights”, other times you may hear a little Curtis Mayfield, and at times he goes off a Lenny Kravitz-like rock tangent (minus the fact that Kravitz’s “rock tangents” are usually good). He even attempts a remake of Iggy Pop and James Williamson's "No Sense of Crime". 

Undoubtedly Van Hunt has range, musically and creatively, and his song writing should also be mentioned for its slickness and stylishness. He’s certainly shows no fear of risk on this album as he makes even less “commercial” overtures this time around as his 1970’s sensibilities are every bit as funky as his debut. But with all the risk comes the possibility that one might not be rewarded or so well received, and as a listener who liked Van Hunt’s debut LP, I’m of the opinion that far too often all of his ambition and risk taking don’t pay off on this album. Songs like “If I Take You Home”, She Knows Me To Well”, “The Thrill Of This Love”, and “At The End Of A Slow Dance” which reminds me of something Adam Ant might have done, are sure winners in my book but cuts like “Ride, Ride, Ride”, “Hole In My Heart”, “Priest Or Police”, or the “No Sense Of Crime” remake really missed the mark with me. Overall the grooves and music on this album just don’t make the cut too often as much of the production seems lackluster or just not up to the lyrics and other creative aspects of this LP. There is enough quality material on, On The Jungle Floor to warrant a purchase especially if you liked Van Hunt’s debut and I could see those who have followed his career being more in love with this album than I am, but overall  On The Jungle Floor left me a little less than satisfied.

The most introspective cat since Maxwell is back and as under the radar as ever. With "On The Jungle Floor", the second helping of the artist's ever expanding landscape, we find his lyrics and musical tastes consistently ambitious. Still quirky and distinctive, Van Hunt continues to pave his own road, passed the likes of the comparable Terence Trent D'Arby and the more polished voice of Eric Benet.

He remains endearing and reflective, as shown in jewels like "The Night Is Young", a thoughtful ode into how we evolve (hopefully) over the years. Throughout the album, Van Hunt continues his dominance over mastering contemporary melancholy in R&B with that and other offerings like "Mean Sleep." Like Curtis Mayfield, his lines reach beyond simple subject matter or basic formats of rhyme as shown in the breezy "Thrill of this Love."

The lyrics of "Character" stylishly question your soul's resilience while the groove proves it is designed for cruising through streets in the night, when the manholes spew steam and people look you in the eye only in passing. "Suspicion" (She Knows Me Too Well) and "Being A Girl" showcases Van Hunt's undeniable flair for understanding facets of the female psyche.

"Priest Or Police" has your boy delving into the sexy groove that would have required no effort to spit a Jamie Foxxx wanna-do-you-to-death steelo and call it a wrap. Instead, Van Hunt veers into a story of longing, joy and a constant quest to understand the other half. Most who go this route wind up sounding like girly boys damned to being dissed. Not this dude, Van Hunt strikes you as a true philosopher peep "Hot Stage Lights").

Van Hunt also goes deeper with the 80's rock vibe of the debut album. Reminiscent of Prince's "Dirty Mind" phase, "The End Of A Slow Dance" will make you want to wear a skinny leather tie and pull your hair over one side of your face until it blinds you in one eye. "Ride, Ride, Ride" will keep you in that vein, with a lil' late sixties, Jimmy Hendrix feel circa the Band of Gypsies period.

The understated reception to Van Hunt's sophomore offering is as wrong as XM radio's taking Channel 61's The Flow off the mainline. Late Secretary of State John W. Foster stated that "one of the strongest characteristics of genius is the power of lighting its own fire." It appears Van Hunt's authentic offerings are powered by a sense of dogged internal artistic integrity. This is fortunate, because as a busted toilet proves, you can't keep real **** down for long. 

Amy Whinehouse - Back to Black

Vocals: A Content: A Production: B

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

Release Date: December 19th, 2006