Aaliyah- Aaliyah

Release Date: July 17th, 2001

At age 22, when most artists would just be getting started, Aaliyah's career was beginning to come into full bloom. Sadly, her death just a little over a month after the release of her third album, “Aaliyah”' stilled a promising voice in R&B. “Aaliyah” is probably the perfect title for this album because it is vintage Aaliyah in many senses. It is still heavy on that difficult to classify, electronic, 'danceable' R&B that she has become famous for, and it is that sound that shines on songs like “We Need a Resolution”, “Loose Rap”, “Rock the Boat”, & “More Than A Woman”. In addition to the signature Aaliyah cuts this album does exhibit some growth as an artist. Songs like “Never No More” and “I care 4 U” appear to be forays into a more mature sound and Timbaland only having production credits on three songs seems to indicate that this was a conscious effort. The biggest problems with this LP is that although Timbaland only produces 3 songs much of the other production work on the album sounds like Timbaland could have done it and the later tracks on the album are rather average.

Bilal- First Born Second

First Jill Scott then Musiq, now this. Damn Philly got it going on right about now. This album was pushed back about 30 times but it has definitely been worth the wait. One of the first things younger listeners will probably think is, “this guy sounds a little like D'Angelo”, but those more seasoned music connoisseurs will realize that it isn't that he sounds like D'Angelo, but more that he sounds like one of the people D'Angelo sounds like; that's right that 4 foot-purple wearing-dude from Minneapolis (Prince). It's all good though because despite the vocal similarities to Prince, Bilal definitely does his own thing musically (all original songs-no samples and no remakes) and since I've seen both perform live, I would say his vocals are stronger than D'Angelo's. Also the songs run the gambit from the funky to the Bob Marley-esque “Home”. The teenyboppers may not be ready but if you were born before 1977 this should be right up your alley. Oh and for all you ladies having a problem getting a guy to make a commitment check out “Love Letter” it might offer some insight.

Cherokee- Soul Parade

On first listen, you will probably notice immediately that there is something different about this album. Now, being different isn't always a good thing, but fortunately for Cherokee it works out in the end. It may take you a couple of listens to really get into this album but many of the cuts will grow on you in a short amount of time. Cherokee's sound is somewhat rock influenced and unconventional. It's reminiscent of a female Prince (she isn't quite that gifted though) at times or Laurnea (who may be a bit unfamiliar to some because her last release was in 97' and she never really caught on in the United States). Soul Parade also manages to incorporate some guest appearances from notables like foul mouth Bilal and Andre 3000 (Outkast), which only work out moderately well, unfortunately. She also continues the undercurrent of "gheto-ized" R&B on certain tracks like "Woman" and "Daddy", where she levels a contrived and profanity laced tirade against her absentee father. Despite a couple of judgment errors the album is strong overall and cuts like "Where", "Runaway" and " I swear" will likely make the purchase or download, worthwhile.

Michael Jackson- Invincible

Release Date: October 31st, 2001

Damn, Maybe Michael Jackson really is Invincible. Just when you thought Mike's best days were behind him he has somehow done it again. Some of you may have grown a little tired of Jackson's child-like view of the world and previous attempts to regain his status as the 'King of Pop'. Others may not fall in love with some of the up-tempo songs, but you will have to at least admit some of them are decent especially the title track, “Invincible”, and “Unbreakable”. But forget about the dance tracks because the real gems on this album are the slow and mid-tempo songs which are OFF THE CHAIN! Songs like “Break of Dawn”, “Heaven Can Wait”, “Butterflies” “Whatever Happens” and “Cry” make this album a definite purchase all by themselves. Jackson enlist some of the top names in production such as Teddy Riley, Rodney Jerkins, Babyface, and R.Kelly for this album and it pays off big time. I have to give MJ his props for this one even if he did screw his appearance up with all that plastic surgery.

Jagged Edge - Jagged Little Thrill

With all fairness to J.E., there is some decent material in here amidst all of the mediocre tracks, so I guess J.E. distinguishes themselves as cream of the crop among assembly line R&B groups. Normally for a project like this I would give you the same advice I gave for 112 but despite so many of the songs being nightclub hopefuls, J.E. manages to pepper this album with a few solid slow jams like “Girl It's Over”, “Best Man”, “Without You”, and “Respect”. Jagged Little Thrill is far from the best album I have heard this year, as a matter of fact it isn't even one of the better albums I've heard this year but it's more than bearable and the under 21 crowd will probably love it; which is who it was probably intended for in the first place.

Jaheim- Ghetto Love

A wise man once said there is nothing as sad as wasted talent. That statement came to mind a couple of times when I was listening to this album. Overall the album is pretty mediocre but with Jaheim's obvious vocal skills it could have been so much more. The album title doesn't lie. In fact, calling the content of a couple of songs on this album, “ghetto” may be an understatement especially the Grandfather of ignorant R&B songs “Lil Nigga Ain't Mine”. I couldn't help but wonder at times, “who the hell is writing this stuff”? Most of the song concepts are stale and the writing on many of the ballads (slow jams) is lackluster, but Jaheim still manages to save several of them. Ghetto Love falls victim to the nowadays, common trap of attempting to be “street”, “real”, “gully”, or whatever ignorance is called nowadays, at the expense of the music. Apparently even the record label and is confused about what direction they are attempting to go in. They allow Jaheim to record an album filled with curses and use of the N- word then attempt unsuccessfully to bleep them out. Hopefully this isn't the last we will see of Jaheim because the talent is there, but he may want to enlist want some better writers, decide which direction he wants his career to go in, and what audience he wants to capture before his next effort ..... most of us won't be 16 forever.

Joe- Better Days

I'm not exactly sure what it is, but Joe doesn't seem to be getting the recognition that an artist (yes, ARTIST) of his caliber deserves. Labels have tried to hide this cat since he first popped up on the scene, yet he continues to pump out strong albums that are coherent, smooth, sexual and thoughtful. Better Days is no different. Or maybe it is, because I think it may be Joe's best effort to date. Though Joe has a more contemporary sound than many artists managed by Neo-Soul impresario Kedar Massenburg, you still feel that he is of a different sensibility than many of them. His sound is closer to a classic R&B that prospered on urban radio in years past (before the urge to blend EVERYTHING with rap music), yet he manages to maintain a fresh and up-to-date perspective. Joe sets the listener up nicely, opening with the smooth ballad "Let's Stay Home Tonight" and the title track "Better Days" before knocking you down with the thoughtful and surely controversial "What If A Woman". The question is, will Joe's male listeners get the message he's attempting to convey. Joe comes off as sort of an "everyman" in that he can even pull off material that you would probably expect from a lesser talent (plug in any contemporary "R&B thug" here). But with tunes such as "I Like Sexy Girls" and "Here She Comes", where he's on the verge of getting caught on the downstroke, he does just that. I've been something of a notorious CD borrower in the past, but after copping' Better Days, I'll have to go back and buy Joe's backlog as well. The underdog from Brooklyn has done it again.

Release Date: August 21st, 2001

There are only a couple of artist featured prominently on today's R&B seen, that I could see myself listening to when I'm 50! Maxwell is one of them. Now is another strong offering of the quality that Maxwell fans become accustomed to receiving. He definitely retains his 'No Single Status' with me -meaning I'll purchase a Maxwell album without hearing any singles from it. It's definitely 'funkier' than the last album, which will probably make many fans pretty happy (not me I liked Embrya better). I don't find Now to be spectacular (that could be because my standards for a Maxwell album are already very high) but it's definitely solid. Although my hope has wavered on many occasions, you can be confident that as long as artist like Maxwell are around there will be some quality R&B available.

112- Part III

Here is a hint: If you pick up an R&B album and the producer is talking during the intro, during songs, or at any other time then slowly back away from the stereo. If the producer is also a rap producer then turn and break into a full sprint. It's getting harder and harder to tell these 'black-boy bands' apart, although I am using the term band loosely since, to my knowledge, 112 doesn't play instruments. These guys bring absolutely nothing to today's music seen so if your looking for something artistic and refreshing you better look elsewhere! Most of the tracks seem as if they were intended for a nightclub and they are generally very mediocre. Part III, is more assembly line R&B (rap and bullshit), will the commercial forces trying to homogenize rap and R&B ever stop.

Release Date: November 20th, 2001

With the release of Experience Jill Scott, Scott has followed the successful and beaten path of other future Soul music Hall of Famers such as Maxwell & Erykah Badu, by releasing a live album to hold over restless fans after a critically acclaimed debut album. However, unlike Maxwell or Badu this album is a double album, one disc of new material and another of live performances of work from her debut album. This review is only of the new material since you probably heard the original album if you're interested in this one, and you can read the review of the original album here (besides I don't really like the live performances which seem to be from a show in D.C. and are heavily "Go-Go" influenced, plus her band doesn't impress me). Also unlike Maxwell and Badu, there is a decent amount of new material on this double album and much of it is pretty strong. Standouts include “Gotta Get Up”, “Sweet Justice”, “The Thickness”, and “High Post Brotha” and those alone make the purchase worthwhile .... just don't let some record store shake you down for like $24.99 unless you got it like that.

Release Date: November 6th, 2001

Angie Stone's latest effort Mahogany Soul is a breath of fresh air in a world of pop music, assembly line style releases. You can probably call me biased, but it's an obvious and welcome departure from the usual radio friendly material one gets bathed in. It's refreshing to hear a track like "Brother", a song that just feels good to listen to. It's not about sex, it's not about money or clothes or getting over on someone, just a heartfelt tributary to any black man out there struggling. If you can't start ya day with this tune and move forward then you got issues (which, ironically, is another track on the album). Don't get it twisted though. Angie ain't afraid to straighten a cat out either, as I discovered on the third track, "Pissed Off". Excellent duets with Musiq Soulchild and a newcomer by the name of Calvin round out a powerful effort. With crisp production, honey sweet vocals and soul by the gallon, Mahogany Soul is like a top shelf cognac.