PLAYLIST OF THE DAY: PRINCE TRIBUTE

With the disappointment of the Prince tribute at the BET awards, I decided to dedicate my radio show playlist to the music of the artist Prince this week on WPTS FM in Pittsburgh. All of the songs were either Prince originals or remakes, or songs inspired or sampled by the musical genius. Here is a finalized playlist of the Prince tribute:

1. Kiss - Prince

2. Fast Car - The Dream

3. If I Was Your Girlfriend - TLC

4. International Playboi - Teedra Moses

5. I Wanna Be Your Lover - Prince

6. Nasty Girl - Vanity 6

7. Erotic City - Prince

8. Last Night - Diddy featuring Keyshia Cole

9. Make Love - Keri Hilson

10. Do Me Baby - Mel'issa Morgan

11. Promise - Ciara

12. Do It To Me - Usher

13. 9 to 5 - Electrik Red

14. Holla If You Need Me - Trey Songz

15. Girl Tonite - Twista featuring Trey Songz

16. Like You'll Never See Me Again - Alicia Keys

17. Adore - Prince

18. Mariah Carey featuring Dru Hill - The Beautiful Ones

19. Sex Therapy - Robin Thicke

20. Until the End of Time - Justin Timberlake

21. Purple Rain - Prince

INDUSTRY NEWS: BET MJ TRIBUTE 2.0

I had plans of writing this posts sooner, but I figured I would get a fresh perspective on the tribute after discussing it on my radio show 'Love On Your Radio' on WPTS FM in Pittsburgh (stream live Tuesdays starting at 8 pm from ). Anyway, after varying points of views, I came to a conclusion about Chris Brown's tribute to the King of Pop, Michael Jackson.

All in all, I feel as though the tribute was done in bad taste on both BET and Chris Brown's part.

I feel as though Chris Brown's display of emotion at the awards was a publicity stunt. It was staged all too well with him crying during "Man in the Mirror" when he finally had to sing LIVE! (which is something he never does). His performances are like dance recitals more so than actually musical concerts if you ask me. Also, he decides cry during a song that has lyrical content related to the Rihanna situation? just too sketchy...

Don't get me wrong, the tribute visually was amazing... BET's creative department finally got something correct in terms of the visual. However, BET was wrong for trying to do a second tribute. In all honesty, the first tribute was not terrible in terms of the time BET had to prepare it. Nonetheless, I don't think it was appropriate to have a tribute with just one performer, just because that performer could not be apart of tributes last year.

Lastly, Janet should have been the last person to formally tribute her brother, and the entertainment community should have left it at that. Not only, the MJ tribute this year definitely affected the attention BET gave to Prince as the lifetime achievement winner. Therefore, If I were Stephen Hill I would have declined on a full blow MJ tribute.

I'm sure some will disagree, but that is just my take!

INDUSTRY NEWS: BET AWARDS 2010

So twitter was off the chain last night. I even got put in twitter jail from too much tweeting, and it was all because of the 2010 BET Awards. This was the tenth anniversary of the Black Award show, and it was decent. Admist the Pre-Show, all I heard was talks of "this years coonery," but I must say the show was entertaining and better than the Grammys. There were performances from Kanye West, Drake, El DeBarge, Alicia Keys, Monica, Diddy-Dirty Money, Ludacris, Nicki Minaj, and tributes to Teddy Pendergrass, Michael Jackson, and Prince.

Queen Latifah served as the host of the show, and had several costume changes as she reprised some of her most famous roles like "Cleo" from "Set It Off." She did a decent job.

Kanye West opened the show, performing his new song "Power." The tapping of the performance was cool, but the song is just okay to me. At this point, West seems washed up to me.

T.I. also gave a lacluster performance, but his music has always been hit or miss to me.

Alicia Keys performed a medley of her hits as BET made a special recognition that she was crowned Billboards top R&B and Hip-Hop artist of the millennium thus far. However, I feel like Usher would have recieved that nod. He has sold more albums and has had just as many number one hits, if not more. Nonetheless, her performance was solid, and her new single "Unthinkable (I'm Ready)" was performed in full.

B.o.B, Keyshia Cole, and Eminem performed together. At that point, I wanted to change the channel.

Diddy-Dirty Money gave an amazing performance of "Hello Good Morning." They included a never before seen strobe light effect on television which was top notch. To me, that was the most interesting and artistic performance of the night in terms of special effects.

Monica performed her hit song "Everything to Me," and brought out Deniece Williams and she flipped the song into "Silly." It was brilliant.

Usher gave a legit performance of "There Goes My Baby."

Trey Songz performed "Yo Side of the Bed," and flipped it into "Purple Rain," during the segment preceding the Prince tribute. Prince did not seemed pleased.

Following, El DeBarge performed his forth song of the night. Then, the Prince tribute began with a foreward from Stevie Wonder. Janelle Monae gave the first performance followed by another up and coming singer. Then Alicia Keys took to the stage and wowed the audience and even Prince himself. Then Patti Labelle took to the stage to perform "Purple Rain," which had already been done by Trey Songz in his performance. It's stange that Stephen Hill would have a repeat occur, considering the Prince tribute was relatively short. Production wise, most contemporary artists have a Prince-esque song so there should have been more performances. I plan on discussing the Michael Jackson tribute 2.0 at the Award show in another post but i just feel like the night was not about Prince and BET should be ashamed. Lastly, Chaka Khan presented Prince with his Lifetime Achievement Award to Prince, and he gave a heart felt speech.

Here is the winners list from last night's award show:

Centric Award: Monica

Best Female R&B Artist: Alicia Keys

Best Female Hip-Hop Artist: Nicki Minaj

Best Hip-Hop Male: Drake

Best Collaboration: Jay-Z & Alicia Keys – ‘Empire State Of Mind’

Best Male R&B Artist: Trey Songz

Humanitarian Award: John Legend

Best Video: Beyonce & Lady Gaga – ‘Video Phone’

Lifetime Achievement Award: Prince

Viewers Choice Awards / Best Song: Rihanna – ‘Hard’

ALBUM REVIEW: DRAKE

In the words of Rihanna "the wait is over." Arguably, the most celebrated rapper of 2009 finally dropped his debut studio album "Thank Me Later." A year ago, Drake's breakthrough single "Best I Ever Had" emerged onto radio and became a summer anthem, and by the Fall of 2009 he was featured on tracks from a majority of rap and R&B heavy-hitters.

Fast forward to June 2010, Drake's debut album does not fail to impress listeners. He manages to sell 447,000 copies of his album in the first week. Upon first listen, I was enamored with the project. Immediately I thought this was the album Kanye West should have made instead of "808 and Heartbreak." The album has a sound that is progressive but not too aggressive, and Drake does a great job of equally spitting rhymes and singing. The production style of this album has Jeff Bhasker written all over it, as some of the tracks would mesh perfectly with Alicia Key's "The Element of Freedom" album. Perhaps, the album's best gem is its opener "Fireworks," which features Ms. Keys on the hook. And the album's second single "Find Your Love" is a gem as well.

All in all, "Thank Me Later," is a solid, superb effort. It is contemporary and really shows Drake as a visionary. He waited patiently to release an album that was purely his sound and no one else. More than likely, Drake will win a Grammy for this release.

INDUSTRY NEWS: MARVIN ISLEY DIES

Marvin Isley of the Isley Brothers has died at the age of 56 in Chicago. He was not apart of the original Isley Brothers line-up who recorded back in the 1950's with hits like "Shout" or during the groups tenure at Motown records. He joined the group in 1973 with cousin Chris Jasper and brother Ernie during the Isley Brother's classic '3+3' era, where the group's first six member album was entitled "3+3."

There has been no word of a funeral date yet. Hopefully, Ron Isley, who is currently incarcerated because of tax issues, can attend the funeral.

NEW VIDEO: KELIS

Above is the video for Kelis' new single, "Acapella," produced by French DJ, David Guetta, who has worked extensively with Kelly Rowland on her new project. When it comes to interpreting "Acapella," I'm not gonna lie, the beat is kinda alright for a euro-pop song and the lyrics are sort of profound. However, most would probably say she's gone off the deep end with this offering. Although, Kelis' biggest songs have always been super left field, this record is not going to appear too original with GaGa mania going on.

NEW MUSIC: CIARA

With the release of the lead single and video "Ride," and the promo video "Basic Instinct (U Got Me)," Ciara is desperately trying to recapture her glory days, and make up for last year's flop album, "Fantasy Ride." Her newest track "Get It Girl," improves on its predecessor, with a sound very reminiscent of "Goodies," Ciara's 2004 chart-topping, debut single. The song goes hard, with a bombastic beat and strong vocals. Although the song does not convey much of a message, lyrically, it is evident that Ciara just wants her fans to dance. As of late, the urban market has been forced to put up with artists like Lady GaGa for their dance music fixes. The First Lady of Crunk and B is back, and ready to give the urban market a familiar style of dance music.




Here is a clip of "Basic Instict (U Got Me):

CLASSIC ALBUM: HERE WHERE THERE IS LOVE

In theory, Dionne Warwick may be the 60's most influential female vocalist. Although, most people cite Diana Ross and Aretha Franklin for their approach to popular music, more fail to realize the significance of Dionne as a musical force. She never had the press office of Motown Records to boost her image or desire to become someone she was not, or portrayed a "pro-black" image in her music (i.e. Aretha Franklin) either. Of course Dionne was a house hold name, and she had many firsts, but it seems Diana and Aretha managed to take some of her thunder in terms of mass appeal, although Dionne served as a blueprint for them, by musical style and song selection. In other words, she possessed qualities they both lacked, which mattered most. Diana would try to emulate Dionne's cool, MOR facade, and Aretha would look to Dionne's songbook for several Bacharach/David records.

Dionne is often defined as sophisticated when critics or fans try to describe her music. She fused the generes of Pop and Soul like no other, while incorporating jazz, gospel, and R&B into her music as well. "She was the Queen of Easy," and critics were unable to categorized her music. She obviously had a three to four octave voice and drew from her gospel background to give soulful performances, yet she was able to keep them sweet and refined to appeal to a broad audiences. Her voice has been described as a fine wine, peculiar and able to straddle between difficult notes easily, since Dionne had to adapt quick to difficult chord and time changes often present in Burt Bacharach's music.

She was authentically Dionne, where as entertainers like Diana Ross were not. People say Diana wanted to be the "Black Streisand," but Diana really just wanted to be like another Dionne. Yes, Motown incorporated more show tunes into Diana's work than Dionne had ever done, but Dionne recorded and performed standards at the very beginning of her career. And her own hits were created to become standards not hits, which was very anti-Motown. Streisand clearly had to respect Warwick, but she did not respect Diana, and the music-goers alike had the same sentiments. Dionne was the "first" to cross-over with the help of Burt Bacharach and Hal David, and be accepted as authentic because her approach was genuine and her songs just had mass appeal to music listeners across all genres.

Dionne's 7th studio album, "Here Where There Is Love," is a masterpiece. It encompassed the essence of her very sound. By this time, she was a bona fide Pop star, a legend of her time. She had several hit records on both the Pop and R&B Charts, bound to win Grammys, had Pop music's most esteemed writing duo producing songs tailored for her voice which would become Pop music classics, and artists clamoring to cover her songs before they were even released, which began early on in her career. Back in 1964, UK singer Cilla Black covered her classic record,"Anyone Who Had A Heart," and released it in Britain before Scepter Records could put the record out overseas. Black's version of "Anyone..." reached number one.

"Here Where There Is Love" boats multiple classics, and the album plays out like a true LP, where no track is undesirable to the ears. The album beings with a pop-soul fused track entitled "Go With Love," that features a waltz sound. The second track is the definitive offering of the Burt Bacharach and Hal David's career defining anthem, "What the World Needs Now Is Love." Although, Dionne was not the first female artist to release this song, which is a rarity, she claims she recorded the demo for the record, which was supposed to be released by a male artist. According to some accounts, claim that Dionne was officially offered the song in 1965, and turned it down, in which it was subsequently offered to Jackie DeShannon. Whatever the case may be, Dionne's rendition is the best. The vocal was clearly written for her voice and singing style. According to reports, DeShannon had extreme difficulty recording the song, and Bacharach made DeShannon record the song so many times her voice began to give out.

The third track "I Just Don't Know What To Do With Myself," was released as a single in 1966. Although, Dionne was not the first artist to release the song, she recorded the demo more than likely, and its certainly a gem. Her vocal performance is impeccable and uses falsetto and a strong head vocal. The title track of the album offers one of the team of Bacharach/David/Warwick's best records. The record is a waltz/bossa nova fusion and just impeccable. It's eclectic yet sophisticated, and Dionne offers a great vocal performance. The single "Trains, Boats, and Planes" is also featured on the album, its arguably one Dionne's most sophisticated records with a subtle social message.

The hit rendition of "Alfie," is featured on the record as well. Burt wanted Dionne to record the song, and arranged it with Dionne's voice in mind. However, record executives explained to Bacharach that he could not have Dionne record the record because she was not affiliated with the the film studio. So, the US version of the film featured Cher, and the UK version of the film featured Cilla Black, which Dionne became infuriated over. Burt wanted Dionne to record the song anyway. After 40 plus recordings from other artists, Dionne finally recorded the song, and it became a hit after Dionne performed it at the 1967 Academy Awards.

Other features on the album include a cool jazz soul record entitled "I Never Knew What You Were Up To," and and standards "As Long As He Needs Me," and "I Wish You Love," in addition to Dionne's take on the Bob Dylan classic "Blowin' In the Wind," which doesn't fit with the rest of the album, in sound, which is a characteristic motif with at least one or two songs on Dionne's previous two albums.

Here is a clip of "Here Where There Is Love":

BLACK MUSIC MONTH

Hello Everyone,

It's been forever and a day since I've updated my blog. I plan on updating it everyday from now on, especially for the month of June, being that June is Black Music Month. So stay tuned!

Best,

DJ Philly Soul.... P.S. I've started a radio show with a good friend of mine. The show is entitled "Love On Your Radio," and I can be heard playing the best mix of contemporary R&B and classic soul, quiet storm material.

You may listen at www.wptsradio.org (stream via iTunes for an optimal listening experience). If you're in Pittsburgh, you may tune in at 92.1 FM WPTS.

ALBUM PREVIEW: MONICA

After a 4 year hiatus, several push-backs, and leaks, R&B veteran Monica is finally set to release her 5th studio album, Still Standing. Since 2008, there has been buzz about this new Monica record, and now J Records is finally pulling all the stops to secure a hit album. The new disc is officially scheduled for a March 23 release. However, a preview of the album is available here.

The set features 10 tracks and definitely sounds like a solid, knockout album. Mo's last set "The Makings of Me" was a solid effort; Interesting, she does not deviate too far from that sound on this new set. I have a strong feeling "Still Standing" will resonate much better with fans for two reasons. Mainly, her BET show definitely helped generate buzz for the album and her music, and her debut single "Everything to Me" is like a breath of fresh air on the airwaves. It's one of those Monica records that people expect to hear, and its really what people want to hear - showing Monica fully understands her fans and the music buying public now because honestly bubblegum infused R&B is only a success for some but when you're actually talented and vocally gifted, people want all that you have to give! Furthermore, bubblegum infused R&B is on its way out with the likes of Chris Brown and Rihanna produces commercial flops, and it would just be nice if R&B artist that don't necessarily perform neo-soul records would just put out strictly R&B records like they did back in the 90's. Maxwell and Sade's successes are only testaments that good music from artist that stay in their lane is still appreciated and commercially viable.

PLAYLIST OF THE DAY: CONSCIOUS MINDS, CONSCIOUS LINES

In celebration of Black History Month, i figured I'd post this playlist of some of the trailblazing, conscious records of the day. Enjoy!

1. What’s Going On - Marvin Gaye

2. Curtis Mayfield - Pusherman

3. Wake Up Everybody - Harold Melvin & the Bluenotes featuring Teddy Pendergrass

4. Young, Gifted And Black - Aretha Franklin

5. A Change Is Gonna Come - Sam Cooke

6. Curtis Mayfield & The Impressions - People Get Ready

7. Mississippi Goddam - Nina Simone

8. Think - Aretha Franklin

9. Curtis Mayfield - We’re A Winner

10. Martha & The Vandellas - Jimmy Mack

11. Diana Ross & The Supremes - Love Child

12. Martha & The Vandellas - Nowhere to Run

13. Respect - Aretha Franklin

14. Everyday People - Sly & The Family Stone

15. Four Women - Nina Simone

16. Diana Ross - Strange Fruit

17. Say It Loud - I’m Black & I’m Proud - James Brown

18. Choice of Colors - Curtis Mayfield & The Impressions

19. This Is My Country - Curtis Mayfield & The Impressions

20. Ball of Confusion - The Temptations

21. We The People Who Are Darker than Blue - Curtis Mayfield

22. Inner City Blues (Make Me Wanna Holler) - Marvin Gaye

23. Living for the City - Stevie Wonder

24. Where Are We Going - Marvin Gaye

25. Keep Your Head to the Sky - Earth, Wind & Fire

26. Home Is Where the Hatred Is - Gil Scott-Heron

27. Respect Yourself - The Staple Singers

28. Love Train - The O’Jays

29. The Revolution Will Not Be Televised - Gil Scott-Heron

30. Mercy Mercy Me (The Ecology) - Marvin Gaye

31. Change Is Gonna Come - Aretha Franklin

32. Billie Holiday - Strange Fruit

AND THE GRAMMY WINNERS ARE... A JOKE!

So last night, the 52nd Annual Grammy Awards were held in the Shire Auditorium out an L.A., and from what I watched, the broadcast was a snoozer and the the Recording Academy definitely gave away some bogus wins.

For the general award category, Taylor Swift was not deserving of the 'Album of the Year' Grammy at all. Even if she had good songwriting and innovative instrumentation and production on her album, she lacks vocally in technique and flare. I really don't understand why the record buying public likes the chick. Lady GaGa or the Black Eyed Peas should have been awarded the Grammy in this category hands down.

Lady GaGa was clearly snubbed for 'Record of the Year' with "Poker Face," because the track was innovative and fresh, and in terms of technical recording it was superb.

Beyonce did not deserve to win 'Song of the Year.' The award is not supposed to be given to the person with the catchiest song. The songwriting was basic and trite. A song calling out dereon jeans needs not to ever win a Grammy. A good song, that should be worthy of this award is lyrically pleasing, yet deep. Maxwell's "Pretty Wings" should have been the obvious winner.

Best New Artist did not go to Keri Hilson, which was not a surprise.

Beyonce won 'Best Female Pop Vocal Performance,' which is not too alarming, yet I thought voters would select Adele.

The Black Eyed Peas won a trophy in the Pop category which was no surprise. Lady GaGa won awards in the Dance category which was expected.

Beyonce won 'Best Female R&B Vocal Performance' for "Single Ladies," which was clearly awarded due to her popularity. Everyone else in the category from the likes of Melanie Fiona and Ledisi have better vocals than Beyonce on any day. "It Kills Me" by Melanie Fiona should have been the obvious winner for voters.

Maxwell and Beyonce dominated the rest of the R&B category with Maxwell taking home 'Best R&B Album' and 'Best Males R&B Vocal Performance.' And Beyonce wins 'Best Traditional R&B Performance' and 'Best Contemporary R&B Album,' which should have been awarded to Trey Songz for his album 'Ready,' which contains both party records and songs with a meaning that all contain impressive vocal performances.

Jay-Z was the big winner in the Hip-Hop category. Surprising he beat out Drake with his offerings from the Blueprint 3 single "D.O.A." in 'Best Rap Solo Performance.' He also won 'Best/Rap Sung Performance' for "Run This Town." Other wins were random in this section of the awards.

All in all, Grammy is really starting to lose its credibility. I'm not saying commercial artists should not win Grammys, but when they are not pairing their commercial appeal with artistic flare it is a problem. Grammys are supposed to award artistic merit not sales at all. Perhaps the Recoding Academy needs to reiterate what a Grammy is supposed to symbolize.

Hopefully, next years show is a lot better, and the nominations and wins are on par. It will be interesting to see if Whitney Houston gets nominated after all.

Here is a concrete winners list:

Song of the Year: “Single Ladies (Put a Ring On It)” – Beyoncé
Record of the Year: “Use Somebody” – Kings of Leon
Album of the Year: Fearless – Taylor Swift
Best Pop Performance by a Duo or Group with Vocals: “I Gotta Feeling” – Black Eyed Peas
Best Pop Vocal Album: The E.N.D. – Black Eyed Peas
Best Dance Recording: “Poker Face” – Lady Gaga
Best Electronic/Dance Album: The Fame – Lady Gaga
Best Female R&B Vocal Performance: “Single Ladies (Put a Ring On It)” – Beyoncé
Best Male R&B Vocal Performance: “Pretty Wings” – Maxwell
Best R&B Performance by a Duo or Group with Vocals: “Blame It” – Jamie Foxx & T-Pain
Best Traditional R&B Vocal Performance: “At Last” – Beyoncé
Best R&B Song: “Single Ladies (Put a Ring On It)” – Beyoncé
Best R&B Album: BLACKsummers’Night – Maxwell
Best Contemporary R&B Album: I Am… Sasha Fierce – Beyoncé
Best Rap Solo Performance: “D.O.A. (Death of Auto-Tune)” – Jay-Z
Best Rap Performance by a Duo or Group: “Crack a Bottle” – Eminem, Dr. Dre, & 50 Cent
Best Rap/Sung Collaboration: “Run This Town” – Jay-Z, Rihanna, & Kanye West
Best Rap Song: “Run This Town” – Jay-Z, Rihanna, & Kanye West
Best Rap Album: Relapse – Eminem

TOP FIVE 'R&B' ALBUMS OF THE DECADE

20. Musiq - Soulstar
19. Jill Scott - Who Is Jill Scott?
18. The-Dream - LoveHate
17. Faith Evans - The First Lady
17. Corrine Bailey Rae - Corrine Bailey Rae
16. Keyshia Cole - The Way It Is
15. Ne-Yo - Because of You
14. Mary J. Blige - No More Drama
13. Musiq - Juslisen
12. Amerie - All I Have
11. Destiny's Child - Destiny Fulfilled
10. Alicia Keys - Songs In A Minor
9. Ashanti - Ashanti
8. Andre 3000 - The Love Below (of Outkast's Speakerboxx/The Love Below)
7. Aaliyah - Aaliyah
6. Mary J. Blige - The Breakthrough

5. Brandy - Afrodisiac

Brandy's 2004 LP "Afrodisiac rounds out the top 5 albums of the decade because it shows her true growth and evolution as an artist. The album is sleek and hard-hitting at times. Though a slow-burner and almost obscure, each track is hot in production and vocal performance. Comfortably singing in a velvety seasoned alto nowadays, Brandy really stepped her game up for sure.

4. Mariah Carey - The Emancipation of Mimi

The Voice returned on this commercial blockbuster of mid-tempo and ballad joints. After years of singing in a whispery falsetto, Mariah stepped her vocal game up singing a majority of the her songs with powerful full voice, displaying range and expertise, with some critics even accusing her of over-singing. Nonetheless, Emancipation was just impressive as it was original and commercially appealing.

3. Angie Stone - Mahogany Soul

With Mahogany Soul, Angie showed neo-soul does not have to be an elites sub-genre that had to overtly distance itself from mainstream R&B. Instead, the album has an organic flow that is just Angie and her old soul. Her vocals are in sync and very commanding a la Gladys Knight, and each song has something real to say. Though this album did not do astronomical numbers, its one of the decades best, hands down!

2. Teedra Moses - Complex Simplicity

Although most people may not never know who Teedra Moses may be, the album Complex Simplicity is one of the best debut albums an artist could possibly create. Each track has an original, contemporary sound, with strong melodies, and Teedra's peculiar vocals only add to the madness. Perhaps, Teedra will catch on to the masses with her follow-up album (if ever comes).

1. Usher - Confessions

Perhaps the only diamond album certified by the RIAA in the United States of the decade? With sales exceeding 10+ million copies sold in the age of heavy piracy, Usher's Confessions had the impact of Marvin Gaye's What's Going On? The
set exemplified creative freedom, vision, and artistic growth for Usher. The album incorporated a variety of R&B trends and with each track adding to Usher's definition as an artist. Confessions was no less than a masterpiece.

"MOST ANTICIPATED" OF 2010

5. Dave Young

Dave Young's powerful vocals were first heard on "Alone," a dope album cut from Mary J. Blige's "comeback LP" The Breakthrough. Since 2005, Dave Young has been signed to the Queen's imprint Matriarch Records, and Mary released two studio albums since then, and Dave has released none. Sooner than later, a debut LP should surface.

4. Marsha Ambrosius

After news circulated about Dr. Dre singing Marsha to his label, Floetry split-up immediately. Since then, Marsha has made her rounds as a featured vocalist, songwriter, producer, and even vocal producer on some of the decades' biggest R&B albums. Marsha's impressive vocals and delivery made Floetry hot, so her solo debut is certainly long overdue.

3. Johnta Austin

Producer/songwriter Johnta Austin penned some of the greatest R&B records of all time (i.e. Mariah Carey's "We Belong Together, Mary J. Blige's "Be Without You," etc.) working under super producers Jermaine Dupri and Bryan-Michael Cox. Since 2006, Johnta has been trying to bring his own project to light, and finally, his debut set Ocean Drive is slated for a tentative release. With impressive vocal chops, and an innate hit-making ability, Austin could make a strong impression amongst the masses, while music lovers and critics will be pleased with any outcome.

2. Erykah Badu

2008's New Amerykah Part One (4th World War) may have been too militant for the masses, but was a dope album nonetheless. Erykah recently disclosed in an interview that her new album New Amerykah Part Two: The Ankh is slated for a 2010 release, with a sound reminiscent of her debut set. Last time around, Erykah claims she was in a different place and very unhappy. Now things have changed for her and the joy she once had while recording her new album has been rejuvenated.

1. Fantasia

After the disappointment of her last studio effort and some personal and financial trials and tribulations, Fantasia is ready for a comeback and slated to release her third studio album in 2010. Reports suggest that Fantasia initially wanted to take a stab at recording "the vintage soul album," famously done by the likes of Amy Winehouse, Joss Stone, and most impressively Raphael Saadiq. Hopefully, she sticks with that motif. If done right, I'm imagining Fantasia giving us the 2009 version of Aretha Franklin's 1968 Lady Soul LP, or something darker in the vein of Nina Simone's civil rights period pieces.

TOP TEN ALBUMS OF 2009

10. Maxwell - Blacksummer's Night

It had been 8 years since Maxwell had released any material, and shockingly enough an Al Green tribute performance at the BET Awards reintroduced Maxwell to the world. Several months later, Maxwell took the music world by storm with the release of his break-up anthem "Pretty Wings" preceding the release of his 4th studio album, Blacksummer's Night, a throwback masterpiece embodying the elements of a classic Marvin Gaye or Curtis Mayfield classic.

9. Wale - Attention: Deficit

D.C. is finally on the map with the release of this LP. Newcomer Wale first garnered attention on the mixtape scene; with time, Hip-Hop heavyweights such as Jay-Z and Kanye West began to take notice. Without resting on their coat tails, Wale used their association to put out his almost classic debut Attention: Deficit, a unique blend of conscious rhymes fused with dope beats that incorporate a multitude of different genres, coming across as eclectic and fresh!

8. LeToya - Lady Love

Despite weak sales due to lack of promotion and support from Capitol Record's urban division, LeToya Luckett brought the heat with her sophomore LP, Lady Love. The 17 track set is one of the year's most cohesive R&B albums, and definitely doesn't fall into the sophomore slump as the album shows LeToya's growth as an artist and vocalist.

7. Ryan Leslie - Ryan Leslie

Producer and songwriter Ryan Leslie had already made a name for himself throughout the music industry for his signature production style in which he created exotic, pulsating, and cosmic songs with mass appeal. After a few set backs, He finally released his debut album during the 1st quarter of the year. Despite weak sales and lack of promotion from his label, the 12 track set is undeniably great, and further exemplifies Ryan's genius and unique approach at music. Each record has its own identity, yet still maintain the Leslie signature. Check it out!


6. The-Dream - Love V/S Money

Although The-Dream usually creates larger hits for other music heavy-hitters, he still manages to create cohesive R&B albums that keep commercial appeal, without sacrificing creative ingenuity. Some listeners and critics fault The-Dream for his limited vocal abilities and overt commercialism, no one can deny this amazing set. Dream does not despite listeners from his debut set by continuing where he left off. Lyrics filled with drama and beats heavy on synths and keys fill this cohesive set that really shows The-Dreams growth as an artist and signature style.

5. Amerie - In Love and War

As an artist, Amerie has had a few big singles like 2002 "Why Don't We Fall In Love," and the 2005 smash "1 Thing," but she always manages to fall into obscurity shortly after for no apparent reason. There is no doubt that Amerie has legit vocal chops and a great presence, key superstar attributes;yet Amerie always manages to float under the radar. In Love & War is arguably one of the best R&B albums of the year for its sheer cohesive and progressive sound, yet know one really knows that. Hopefully, Def Jam will realize this set is a true gem and really pack some might behind their promotional efforts for this album.

4. Trey Songz - Ready

Single after Single, Trey Songz has presented variety and a new confidence with his third LP, Ready. With impressive sales and increased notoriety in both the R&B world and Hip-Hop world, Trey is really transitioning into a superstar. Every rapper wants a Trey hook, and every diva with careers almost older than Trey himself (i.e. Toni Braxton, Mariah Carey, Mary J. Blige, etc.) have summoned the singer for duets. As the new decade approaches, Trey could seemingly dethrone Usher as the new R&B king-pin.

3. Electrik Red - How to Be a Lady Vol. 1

Who would have thought that The-Dream's group would release a debut album that was better than his sophomore effort in the same year? Manifested from an 80's sound reminiscent of girl groups such as Prince's Vanity 6 and Rick James' Mary Jane Girls, Electrik Red emerges as an auxiliary group with potential to stay. Their songs are catchy, fun, edgy, and fearless, touching on subjects that definitely push the envelope in a manner that does not beat around the bush, just like TLC in previous years. Vocalist Naomi Allen grunts most of the vocal work on this album with her smooth, controlled alto, giving the group's music a unique sound on every record, especially the slow jams.

2. Alicia Keys - The Element of Freedom

Just when the music world least expected, Alicia Keys dropped her fourth studio LP, The Element of Freedom, arguably the best R&B album of 2009, hands down! Alicia Keys was in love when she recording this album, without a doubt, and finally she commits 100% to every song and every lyric. In addition, her musical make-up has changed as well, sounding less urban and more alternative, creating an album that could c0-exist as the updated version of a Roberta Flack or Carol King masterpiece album from the 70's.

1. Jay-Z - The Blueprint 3

HOVA has did it once again, and cements himself as the "Greatest Rapper Alive" without fail. Few artist can deliver time and time again, and manage to keep their brand alive without conforming to every new musical trend. As Mary J. Blige has said in many interviews, "Jay-Z is truly like the Marvin Gaye of Hip-Hop." The Blueprint 3 is fresh, but still gives listeners a nostalgic feeling. Every track stands on its own as a potential single, as the album plays out in sheer cohesiveness.

ALBUM REVIEW: MARY J. BLIGE

After hearing snippets from the ninth studio album "Stronger withEach Tear" by the Queen of Hip-Hop Soul Mary J. Blige, I was almost certain that Mary was committing career suicide with its release. However, the 12-track album in sequence and entirety is not bad, not bad at all, but not great due to length and focus. The album seems like it plays out in three acts.

Act one has a very progressive R&B sound with strong New York Hip-Hop and dance elements. "Tonight" features production from The Runners, and serves as a subdue, mellow intro for "Stronger..." It almost sounds like an ode to the Trackmasters R&B work, and the vocal stylings and lyrics sound like Mary circa 1997. The album's lead single "The One" featuring Drake and production from Rodney Jerkin follows, validating the heavy New York sound. "Said and Done," featuring production from Ryan Leslie is a real banger with a unique blend of chords and synths. The vocals are classic Mary, and the record sounds like a potential single. "Good Love" featuring T.I. and production from the Stereotypes has a feel-good 80's sound with strong horn rifts and heavy instrumentation.

"I Feel Good" transitions the album as the first of a series of song created by Stargate and Ne-Yo, which just don't fit Mary aesthetically. The album's second single "I Am" with lyrics from Johnta Austin sounds like another "Be Without You." "Each Tear" has a heavy alternative pop sound, sounding more in tune with Alicia Keys new album.

"I Love You (Yes I Du)" featuring production from Polow Da Don jump starts the third wave of songs from the album. The record is fire and could easily serve as a future single for the project. It features a cosmic synth acting as a bass line with some strong percussive pairings and a great vocal performance from Mary as well. The long awaited Johnta Austin duet with Mary entitled "Hood Love" follows, however Johnta's vocals are replaced with those of R&B crooner Trey Songz. The song is just amazing. The-Dream and Tricky Stewart make an appearance on the album with just one offering "Kitchen" which takes a page from R. Kelly's book on how to create a drama filled song with a heavy piano accompaniment. Nonetheless, the record is impeccable, yet not consistent with Mary's "musical image." "In the Morning" featuring production from newcomer D. Mile and the track certainly stands out as one of the album's highlights. The track continues off where there latter portion of "The Breakthrough" left off, putting Mary back on track. And Lastly, the album's gem "I Can See In Color" featuring production from Raphael Saadiq closes the album and represents the Mary we expect to hear 100% of the time now. The track sounds like an ode to everything Mary is based from. The track is straight vocal and very vintage in all aspects.

Despite this album having some great song's appropriate for Mary, her "musical image" seems inconsistent and its very much in question in my opinion down to the title of the album. Quite frankly, the Stargate and Ne-Yo songs need to go. And the musical inconsistency of this album is the antithesis of a true Mary album. All of her previous sets have been longer in length and mesh together much better musically in terms of production. The album's earlier songs allude to the "What's the 411?" or the "No More Drama" album while the album's later songs allude more closely to the "Mary" album in song content and production style. Either musical direction would have been cool, but I wish Mary would have just stuck to one motif instead of trying to sequence randomness and give the album some arbitrary title with songs that do not associate lyrically with the title or proposed album concept. "Technical Difficulty" would have been a much better choice, of course if all the songs fit with the first portion of the album. All in all, the album has some nice album cuts and it will be interesting to see how well the album performs overall, and which tracks will be selected as future singles.

Album highlights: "Said and Done," "I Feel Good," "I Love You (Yes I Du)," "Kitchen," "In the Morning," and "I Can See In Color"

MUSIC NEWS: MARIAH CAREY REMIXING "MEMOIRS..." FOR NEW ALBUM

Several reports suggest that Mariah Carey is moving along with efforts of creating a remix album of "Memoirs of an Imperfect Angel," as it has received an official release date in the new year (February 23, 2010), and stills of remix video footage surface. Neither Mariah nor her label should be content with the commercial performance of the album, so its apparent that Mariah is trying to rectify the situation with the new remix project. She is slated to work with other producers for the project such as Jermaine Dupri and his clan, Ne-Yo, and collaborations from the likes of R&B and Hip-Hop's finest such as Trey Songz, R. Kelly, Fabolous, Snoop Dogg, KC & JoJo, Nicki Minaj, and even the Queen of Hip Hop Soul - Mary J. Blige.

The "Angels Cry Remix" featuring Ne-Yo and The "Up Out My Face Remix" featuring Nicki Minaj will be future singles. Currently, Mariah is promoting her fourth single "It's A Wrap" rather quietly.

It seems like "Memoirs..." failed because of bad decisions in single choice and lackluster promotion. "Obsessed" was the perfect summer record and it really got the ball rolling for this project. "I Want To Know What Love Is" was the worst possible lead single follow-up choice. "H.A.T.E.U" should have been the second single, as the album's buzz song it would have been huge following a smash such as "Obsessed." "It's A Wrap" could have very well been released as the album's third single or along with "H.A.T.E.U" as the song's have two very different aura, appealing to opposite audiences. Then, there would not be a need or push for a remix album, although the collaborations Mariah has set up will make for good music.

There has been word that fans blame the exclusive production motif from the-Dream and Tricky Stewart for the album's failure. However, i feel that is not why the album failed. The-Dream and Tricky did their thing for the most part with this album. Mariah clearly wanted another "Butterfly," and the duo gave her the 2009 version. I will admit, some of the songs could have been omitted from the album, and there should have been contributions from other productions outside of the The-Dream and Tricky Stewart's clan. Missy Elliott, Diddy, and Jermaine Dupri were contributors to the original "Butterfly" so I cannot understand why Mariah would not enlist their help, which would have made a lot of sense.