Albums : Jaheim : Appreciation Day
Albums : Jaheim : Appreciation Day
Listen To Jaheim : Appreciation Day
Who is Jaheim?
With his smooth, sonorous tone, Jaheim is the forerunner and torch-carrier of today's soul-originated R&B. A vocalist in the tradition of such greats as Teddy Pendergrass and Luther Vandross, he signed with former Naughty By Nature beat man Kay Gee's Devine Mill record label in 2000. Jaheim released three albums over five years: his 2001 debut, Ghetto Love; 2002's sophomore set, Still Ghetto – both of which reached RIAA platinum status; and 2006's Ghetto Classics. During that time, he also scored nominations for the BET and Soul Train Music Awards. In 2007, the chart-topping artist returns with his Atlantic Records debut, The Makings of a Man.
After taking time off following the release of Ghetto Classics, Jaheim returns with a renewed focus on the direction in which he wants to take his career. As he says, "I've been working in the studio over the past year on my milestone project, one that reflects the change and transition I've gone through." The past 12 months have been full of revelations. Jaheim has adopted a new lifestyle through healthy eating and exercise habits. He's purchased his first home. And for the first time in his life, he finds himself truly in love. That experience is documented on the album's first single, "Never." The track is a nod to the age-old adage, "You should never say never,"he explains. "It's about that relationship you thought you would never find." It's also the perfect record to reintroduce the originator of the genre dubbed "thug R&B." Jaheim recalls, "After we did the song, it was incredible. As a singer, I really felt it, and to come back in the ballad mode, I'm filling that gap"left by departed pioneers like Luther Vandross, Gerald Levert, and Barry White.
A personal near-tragedy helped put things in very clear perspective for the performer, who miraculously emerged virtually unscathed from a recent car accident. "You have to evaluate yourself, and that's what I did. Being a man means to walk like Christ. You have to want that change. If you sacrifice, he'll give you everything you are looking for. When you're taken through the storm, the only thing you can do is write about it… get your pain off. So I'm going to take this story and change somebody's life. There's a song on here for everybody.”
Just as his personal life has seen major changes, The Makings of a Man also marks a new phase of Jaheim's professional career. In addition to a new label home, it is notably his first project without the use of the word "ghetto"in the title. It also marks his departure from Devine Mill and is released via his own Ghetto Hoodz imprint. "We took that word and turned it around to be something colorful and positive… there is a lot of talent in the ghetto and giving back to people who never thought they would have a chance is important." Of his former musical mentor he says, "The relationship is still there and I'm still working with Kay Gee… I learned a lot from him, and I think he's one of the greatest producers." They reunite for the new disc's up-tempo "Roster."
The Makings of a Man includes tracks with some of music's heaviest hitters. Keyshia Cole turns up on "I've Changed,"a ballad that also speaks to the theme of the things we do for new-found love… and to create a winning record. Jaheim explains, "We had two different opinions of how the song should go. It had already been written and normally you stick to the script. She didn't stick to the script, but I changed it because you can't always have your way."
Jaheim honors classic R&B by paying homage to two of the genre's favorites. He puts an updated spin on the Bobby Womack classic "If You Think You're Lonely"and teams with Nat Adderley Jr., long-time producer for Luther Vandross, for a cover of a surprise Vandross classic. Jaheim cites the late velvet-voiced vocalist as his sole musical inspiration. "If it wasn't for Luther's voice, I would probably be in the hood right now. That's when I first realized God was using this man to get to me. I was a troublesome child. Who would have thought that I would be a singer, but listening to his voice saved my life." The project also sees collaborations with R. Kelly on "Hush,"and Kenneth "Babyface"Edmonds contributes "You Don't Have a Clue."
While Jaheim's talent has taken him far, he's never forgotten where he comes from. The New Brunswick, New Jersey native was raised in the city's Memorial Parkway Homes public housing project. Orphaned at 16, he was left to care for his two younger brothers. The gifted singer would also see prison time before choosing a different path and going on to achieve success in the music industry. In 2005, he established the Urban Dreams Foundation, a youth outreach initiative that also builds affordable housing in the Newark, New Jersey area. A former amateur boxer, Jaheim is also constructing a local training gym and sponsors a promising, up-and-coming adolescent fighter from the area. "Whatever the kids are into, we just try and show them they can do it. I ain't the only one. You're the future."
Appreciation Day Review
Face it, R&B has seen it’s brighter days. It’s been cooling off considerably for years and 2013 marks some of the lowest commercial numbers for one of my personal favorite genres of music. Just sad. I suppose it was a few years ago I finally came to the realization that neo-soul was dead, even if I held out hope for a resurgence. Or maybe it was when Alicia Keys’ As I Am was less retro than the Diary of Alicia Keys. I dunno. Anyways, Jaheim, one of those more ‘soulful artists’ who straddled contemporary R&B and neo-soul, finds himself fully immersed in the post neo-soul world, but still manages to remain soulful on his sixth studio album, Appreciation Day. It’s not an innovative affair, but in a time where so many R&B artists have went electro or pop (or independent), Jaheim stays true to his roots and ultimately benefits from doing so.
The fine promo single “Age Ain’t A Factor” initiates Appreciation Day, sounding quite ‘Jaheim-like’. Soulful, yet characterized by Jaheim’s ‘hip-hop’ rhythmic lyrics, the pieces all fit together satisfactorily. The most memorable lyrical moment? “The young one that I got, I’m bout to leave her / cause berries sittin’ on the vine, with time a sweeter / if I can be your man, girl, you won’t want for nothin’ / you look better the older you get – Benjamin Button.” How often you hear Benjamin Button referenced in a song, particularly an R&B song? Exactly!
“He Don’t Exist” gives Jaheim a worthwhile adult contemporary R&B ballad that is lush and well sung. The backing vocals further accentuate Ja’s soulful, smooth lead. If there is a quibble, it might be the fast-paced lyrics are, well, too fast paced. But then again, the chorus tickles my fancy: “I think you need the invisible man / so you can never see his flaws and mistakes…” “Morning” brilliantly (if obviously) samples Shirley Murdock’s “As We Lay”, providing a perfect soulful backdrop for Jaheim to paint with his nuanced vocals. Throw in those pure, urban sounding supporting vocals, and Ja is on autopilot. “Do you look fresh, airbrush, magazine? / I’m trin to see if you pretty on me / girl can you keep me callin’ / coming back for just another, another…” Seems like sound inspiration for any lady… course that’s from a man’s perspective.
“What She Really Needs” is in six eight, hearkening back to classic soul, but still embracing the trendy adult contemporary R&B. As always, Jaheim sounds superb, even if the solid, sophisticated cut isn’t his most memorable or best necessarily. “P**** Appreciation Day” is definitely an eye-catcher – at least when you scan the track list and read the title. As a song itself, it features incredibly nuanced and personality-laden vocals from Jaheim, but thematically, it’s incredibly hard to get past the oversexed ode. I mean, homeboy does everything but say what he’s appreciating… Sure, many men feel where Ja is coming from, but it is a bit overindulgent, particularly the “Krispy Kreme glazed in it…” lyric. SMH!
If “P**** Appreciation Day” was too much, the refined “Baby X3” more than atones, delivering signature, lover-man Jaheim at his best. “Baby, baby, baby I’ll do right by you / baby I’ll do right by you / Baby baby tell me what I have to do / baby I’ll do right by you…”, he sings in ultra-gentlemanlike fashion on the refrain. “Shower Scene” and “Sexting” go more overt, but aren’t deal breakers in the least because of the focus on the sensual. “Shower Scene” reminds me of what the late, great Teddy Pendergrass may have sounded like in 2013 (“Turn Off The Lights” was risqué back in 1979). “Sexting” is actually more ‘tasteful’ than expected, certainly more so than the music of Ja’s past. “Sexting” may be most notable because of its dusty drum programming and that rhythmic bass/guitar line. It’s one of the more creative production jobs of the effort.
Again atoning for getting too ‘riled up’, Jaheim throws in a big adult contemporary R&B ballad, this time via “I Found You”. On “I Found You”, Jaheim still very much comes off as an old soul, but sort of like “Hush” (from 2007 effort Makings of A Man), the sound is much more contemporary than we’re accustomed to. Does it work? By all means. “Florida” stands out amongst the best, if not the track to beat. It eschews physical love in favor of referencing the issues in Florida given the famous (or infamous) Trayvon Martin incident/case. Jaheim’s runs are incredibly impassioned, rivaling Ron Isley’s signature cues; his investment into this deep cut is obvious. Emotionally-driven over a six-eight groove propelled by a g-minor piano progression, “Florida” is easily among 2013’s most beautiful R&B numbers.
“Sticks and Stones” proceeds in relaxed tempo with lush production work. Solid as anything else, “Sticks and Stones” doesn’t supersede “Florida”. “First Time” follows with more of driven, soulful groove than “Sticks and Stones”. Something of an updated soul cut or ‘neo-soul’ via 2013, Ja performs it well. After all, he wants you to “remember [him] like [he’s] your first”. Penultimate cut “Blame Me” samples Frank Sinatra’s “It Was A Very Good Year”, which gives the cut a nice subtle, chilled out sound. The restrained palette leaves plenty of room for Ja’s warm, nuanced pipes to shine. “Chase Forever” closes the set decently, but doesn’t bring anything new to the table.
Overall, Appreciation Day is yet another consistent, well conceived Jaheim album. It doesn’t really change the formula (save for “Florida”), but for Jaheim’s most dedicated fans, this should be a pro. Could Jaheim shake up the formula more? Maybe, maybe not. He can be just as effective without the more ‘ghetto’ stylings of his past, but also a few tweaks here and there wouldn’t hurt. Still, it’s a quality R&B album and maybe most importantly is that it is a true R&B album in itself.
Contact Jaheim
Website | Twitter | Facebook | MySpace | Instagram
Contact Starpulse
Website | Twitter | Facebook | Google+ | Pinterest
Sources : Jaheim Photo | Listen To Appreciation Day | Jaheim Biography | Appreciation Day Review
Purchase : iTunes | Amazon | Walmart
Listen To Jaheim : Appreciation Day
Who is Jaheim?
With his smooth, sonorous tone, Jaheim is the forerunner and torch-carrier of today's soul-originated R&B. A vocalist in the tradition of such greats as Teddy Pendergrass and Luther Vandross, he signed with former Naughty By Nature beat man Kay Gee's Devine Mill record label in 2000. Jaheim released three albums over five years: his 2001 debut, Ghetto Love; 2002's sophomore set, Still Ghetto – both of which reached RIAA platinum status; and 2006's Ghetto Classics. During that time, he also scored nominations for the BET and Soul Train Music Awards. In 2007, the chart-topping artist returns with his Atlantic Records debut, The Makings of a Man.
After taking time off following the release of Ghetto Classics, Jaheim returns with a renewed focus on the direction in which he wants to take his career. As he says, "I've been working in the studio over the past year on my milestone project, one that reflects the change and transition I've gone through." The past 12 months have been full of revelations. Jaheim has adopted a new lifestyle through healthy eating and exercise habits. He's purchased his first home. And for the first time in his life, he finds himself truly in love. That experience is documented on the album's first single, "Never." The track is a nod to the age-old adage, "You should never say never,"he explains. "It's about that relationship you thought you would never find." It's also the perfect record to reintroduce the originator of the genre dubbed "thug R&B." Jaheim recalls, "After we did the song, it was incredible. As a singer, I really felt it, and to come back in the ballad mode, I'm filling that gap"left by departed pioneers like Luther Vandross, Gerald Levert, and Barry White.
A personal near-tragedy helped put things in very clear perspective for the performer, who miraculously emerged virtually unscathed from a recent car accident. "You have to evaluate yourself, and that's what I did. Being a man means to walk like Christ. You have to want that change. If you sacrifice, he'll give you everything you are looking for. When you're taken through the storm, the only thing you can do is write about it… get your pain off. So I'm going to take this story and change somebody's life. There's a song on here for everybody.”
Just as his personal life has seen major changes, The Makings of a Man also marks a new phase of Jaheim's professional career. In addition to a new label home, it is notably his first project without the use of the word "ghetto"in the title. It also marks his departure from Devine Mill and is released via his own Ghetto Hoodz imprint. "We took that word and turned it around to be something colorful and positive… there is a lot of talent in the ghetto and giving back to people who never thought they would have a chance is important." Of his former musical mentor he says, "The relationship is still there and I'm still working with Kay Gee… I learned a lot from him, and I think he's one of the greatest producers." They reunite for the new disc's up-tempo "Roster."
The Makings of a Man includes tracks with some of music's heaviest hitters. Keyshia Cole turns up on "I've Changed,"a ballad that also speaks to the theme of the things we do for new-found love… and to create a winning record. Jaheim explains, "We had two different opinions of how the song should go. It had already been written and normally you stick to the script. She didn't stick to the script, but I changed it because you can't always have your way."
Jaheim honors classic R&B by paying homage to two of the genre's favorites. He puts an updated spin on the Bobby Womack classic "If You Think You're Lonely"and teams with Nat Adderley Jr., long-time producer for Luther Vandross, for a cover of a surprise Vandross classic. Jaheim cites the late velvet-voiced vocalist as his sole musical inspiration. "If it wasn't for Luther's voice, I would probably be in the hood right now. That's when I first realized God was using this man to get to me. I was a troublesome child. Who would have thought that I would be a singer, but listening to his voice saved my life." The project also sees collaborations with R. Kelly on "Hush,"and Kenneth "Babyface"Edmonds contributes "You Don't Have a Clue."
While Jaheim's talent has taken him far, he's never forgotten where he comes from. The New Brunswick, New Jersey native was raised in the city's Memorial Parkway Homes public housing project. Orphaned at 16, he was left to care for his two younger brothers. The gifted singer would also see prison time before choosing a different path and going on to achieve success in the music industry. In 2005, he established the Urban Dreams Foundation, a youth outreach initiative that also builds affordable housing in the Newark, New Jersey area. A former amateur boxer, Jaheim is also constructing a local training gym and sponsors a promising, up-and-coming adolescent fighter from the area. "Whatever the kids are into, we just try and show them they can do it. I ain't the only one. You're the future."
Appreciation Day Review
Face it, R&B has seen it’s brighter days. It’s been cooling off considerably for years and 2013 marks some of the lowest commercial numbers for one of my personal favorite genres of music. Just sad. I suppose it was a few years ago I finally came to the realization that neo-soul was dead, even if I held out hope for a resurgence. Or maybe it was when Alicia Keys’ As I Am was less retro than the Diary of Alicia Keys. I dunno. Anyways, Jaheim, one of those more ‘soulful artists’ who straddled contemporary R&B and neo-soul, finds himself fully immersed in the post neo-soul world, but still manages to remain soulful on his sixth studio album, Appreciation Day. It’s not an innovative affair, but in a time where so many R&B artists have went electro or pop (or independent), Jaheim stays true to his roots and ultimately benefits from doing so.
The fine promo single “Age Ain’t A Factor” initiates Appreciation Day, sounding quite ‘Jaheim-like’. Soulful, yet characterized by Jaheim’s ‘hip-hop’ rhythmic lyrics, the pieces all fit together satisfactorily. The most memorable lyrical moment? “The young one that I got, I’m bout to leave her / cause berries sittin’ on the vine, with time a sweeter / if I can be your man, girl, you won’t want for nothin’ / you look better the older you get – Benjamin Button.” How often you hear Benjamin Button referenced in a song, particularly an R&B song? Exactly!
“He Don’t Exist” gives Jaheim a worthwhile adult contemporary R&B ballad that is lush and well sung. The backing vocals further accentuate Ja’s soulful, smooth lead. If there is a quibble, it might be the fast-paced lyrics are, well, too fast paced. But then again, the chorus tickles my fancy: “I think you need the invisible man / so you can never see his flaws and mistakes…” “Morning” brilliantly (if obviously) samples Shirley Murdock’s “As We Lay”, providing a perfect soulful backdrop for Jaheim to paint with his nuanced vocals. Throw in those pure, urban sounding supporting vocals, and Ja is on autopilot. “Do you look fresh, airbrush, magazine? / I’m trin to see if you pretty on me / girl can you keep me callin’ / coming back for just another, another…” Seems like sound inspiration for any lady… course that’s from a man’s perspective.
“What She Really Needs” is in six eight, hearkening back to classic soul, but still embracing the trendy adult contemporary R&B. As always, Jaheim sounds superb, even if the solid, sophisticated cut isn’t his most memorable or best necessarily. “P**** Appreciation Day” is definitely an eye-catcher – at least when you scan the track list and read the title. As a song itself, it features incredibly nuanced and personality-laden vocals from Jaheim, but thematically, it’s incredibly hard to get past the oversexed ode. I mean, homeboy does everything but say what he’s appreciating… Sure, many men feel where Ja is coming from, but it is a bit overindulgent, particularly the “Krispy Kreme glazed in it…” lyric. SMH!
If “P**** Appreciation Day” was too much, the refined “Baby X3” more than atones, delivering signature, lover-man Jaheim at his best. “Baby, baby, baby I’ll do right by you / baby I’ll do right by you / Baby baby tell me what I have to do / baby I’ll do right by you…”, he sings in ultra-gentlemanlike fashion on the refrain. “Shower Scene” and “Sexting” go more overt, but aren’t deal breakers in the least because of the focus on the sensual. “Shower Scene” reminds me of what the late, great Teddy Pendergrass may have sounded like in 2013 (“Turn Off The Lights” was risqué back in 1979). “Sexting” is actually more ‘tasteful’ than expected, certainly more so than the music of Ja’s past. “Sexting” may be most notable because of its dusty drum programming and that rhythmic bass/guitar line. It’s one of the more creative production jobs of the effort.
Again atoning for getting too ‘riled up’, Jaheim throws in a big adult contemporary R&B ballad, this time via “I Found You”. On “I Found You”, Jaheim still very much comes off as an old soul, but sort of like “Hush” (from 2007 effort Makings of A Man), the sound is much more contemporary than we’re accustomed to. Does it work? By all means. “Florida” stands out amongst the best, if not the track to beat. It eschews physical love in favor of referencing the issues in Florida given the famous (or infamous) Trayvon Martin incident/case. Jaheim’s runs are incredibly impassioned, rivaling Ron Isley’s signature cues; his investment into this deep cut is obvious. Emotionally-driven over a six-eight groove propelled by a g-minor piano progression, “Florida” is easily among 2013’s most beautiful R&B numbers.
“Sticks and Stones” proceeds in relaxed tempo with lush production work. Solid as anything else, “Sticks and Stones” doesn’t supersede “Florida”. “First Time” follows with more of driven, soulful groove than “Sticks and Stones”. Something of an updated soul cut or ‘neo-soul’ via 2013, Ja performs it well. After all, he wants you to “remember [him] like [he’s] your first”. Penultimate cut “Blame Me” samples Frank Sinatra’s “It Was A Very Good Year”, which gives the cut a nice subtle, chilled out sound. The restrained palette leaves plenty of room for Ja’s warm, nuanced pipes to shine. “Chase Forever” closes the set decently, but doesn’t bring anything new to the table.
Overall, Appreciation Day is yet another consistent, well conceived Jaheim album. It doesn’t really change the formula (save for “Florida”), but for Jaheim’s most dedicated fans, this should be a pro. Could Jaheim shake up the formula more? Maybe, maybe not. He can be just as effective without the more ‘ghetto’ stylings of his past, but also a few tweaks here and there wouldn’t hurt. Still, it’s a quality R&B album and maybe most importantly is that it is a true R&B album in itself.
Contact Jaheim
Website | Twitter | Facebook | MySpace | Instagram
Contact Starpulse
Website | Twitter | Facebook | Google+ | Pinterest
Sources : Jaheim Photo | Listen To Appreciation Day | Jaheim Biography | Appreciation Day Review
Purchase : iTunes | Amazon | Walmart
0 comments: