As popular as she is, commercially as well critically, I should not be able to say I haven’t listened to an Alicia Keys album. Subsequently, I am reviewing her second studio album from 2003. The album starts off with enjoyable, almost classical sounding piano runs. This soon gives way to a beat more indicative of hip-hop music. Over this Keys delivers her short, spoken-word intro. Track two, begins with a different, yet equally enjoyable sting introduction. Once, again a hip-hop beat comes in confirming the songs genre. The background vocals are great, but what I really enjoy about this track is the repetitive, middle-eastern sounding (defiantly modal) violin loop, which plays throughout. Three is more of a filler piece, mindless dance club music at best. Even so, Keys has an ability to draw from a multitude of genres from hip-hop to R&B to soul. Also, she sings with great confidence that almost borders on attitude similar to artists such as Mary J. Blige or Missy Elliot. Track four is definitely more urban sounding in nature. It’s because of this kind of diversity that she appeals to such a wide audience. Again she does a fantastic job of wearing her emotions on her sleeve and really putting her passion into the music. I enjoyed the background vocals on this song as well. Though this track isn’t an original, it’s a solid arrangement. Five starts out with a retro beat immediately invocative of Marvin Gaye. Again, she employs a nice, slow-jam groove reminiscent of one of the group she covered on the previous track. The song also had excellent background vocals not to mention a nice multi-octave, chromatic piano run. Two thirds of the way into the track she goes into a spoken word segment. This starts out okay, but ends up being entirely too long and almost laughably over the top. She redeems herself with her McCartney-esque string outro, however, and this ends up being one of my favorite tracks!
Track six begins with a nice, slow shuffle. Most of the songs on this album are self-written which is always respectable. As the track begins to reach it’s chorus, I suddenly recognize it. This is another one of my favorite tracks. Keys is proficient at a style I can only call modern soul and in a way I am sad that I didn’t listen to this music earlier. Seven is a little bland, sounding more like filler material. It employs a circular piano melody, which is almost hypnotic in nature. I noticed in the liner notes that Keys produced this album. This impressive given the fact that this is only her second release. Eight starts off with what sounds like the opening theme to The People’s Court. This introduction gives way to what some may refer to as ‘baby-making’ music. This song goes on a bit too long, lacking the material necessary to maintain interest for four and a half minutes. Track nine opens up with a retro string intro, which is quite enjoyable. I liked this track with its ahh-oop background vocals and slightly laid-back sound. By contrast, ten is once again more urban in nature. It is more, progressive as well, using a sped-up vocal sample. Additional vocals fill out the remaining space in between. Consequently, I liked this track even better than the last.
Track eleven sees Keys, once again, employing a relaxed 6/8 shuffle. At this point she seems to be consistently volleying between smooth R&B and up-tempo hip-hop. Unfortunately, this song isn’t one of her stronger ones. Even so, her talent as a pianist, vocalist, and songwriter is undeniable. The following track was possibly my favorite. Acting as a interlude to the album’s final three tracks, it is only about two minutes long. The song utilizes only a few synthesizes and vocals to create an outstanding sonic texture. It is a short, sweet, soulful piece that is Alicia Keys at her best! On the thirteenth track, she goes back to her smooth R&B sound. Like some of her other tracks, this one isn’t very remarkable lyrically or musically. Fourteen employs an acoustic, upright bass and has a tinge of Latin American flavor. I enjoyed it’s title (Samsonite Man) as well as the song’s background vocals. Not one of my favorites, but a solid track. The fifteenth and final track on the other hand, is one I very much enjoied. It evokes Marvin Gaye once again and employs an interesting chord progression. What is perhaps the bast part of this shorter track however, is the first time appearance of saxophone. Overall, I found this to be an enjoyable album. It isn’t anything legendary, but it is worth a listen. Still, I would have to say Ms. Keys gets more credit than she deserves. Her music is decent and well-written, but it is nothing that hasn’t already been done. I would buy one of her first two albums or a greatest hits collection, but beyond that, save your time and money. Out of five stars? I’d give it three and a half.
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