He says…

Aubrey Henry

State Hornet

Jaheim, the New Jersey R&B sensation that debuted with the album, “Ghetto Love” and hit the big time with his sophomore album, “Still Ghetto” has returned with his signature brand of urban soul in “Ghetto Classics”.

As the trilogy’s titles suggest, the themes in most Jaheim songs are straight from the streets. Ghetto Classics isn’t a classic, but it’s a solid effort showcasing the talents of R&B’s preeminent no-frills urban crooner.

The production is workmanlike, if not overly spectacular, relying mostly upon sampled strings to evoke an “old school” vibe. Some clever use of some classic R&B samples also helps emote the “classic” tone.

The album starts off wonderfully with “The Chosen One” in which Jaheim reflects on the finer points of being in love and all of the things he’s willing to give up for it, declaring ” After all of the things that I’ve been through…I’d rather be kickin’ it with my boo.”

“Daddy Thing” is the most poignant song of the album, showing Jaheim’s paternal side as he reflects on taking on the fathering responsibilities of a child with a single mother, only to see her go back to her original man. It’s well produced, well written, and a step-dad anthem if there ever was one.

“Something like a DJ” is a catchy synthesized dance track centered on the metaphorical comparison of a relationship with a woman that’s playing him like the latest club vinyl and the art of spinning records. Jaheim croons, “You fade me out, and you blend him in. I can’t get no spin unless I’m requested.” The track is fun single material, full of clever DJ metaphors within the titular metaphor.

“Fiend” is the typical R&B “She’s a dime, no she’s a dub” ode to the perfect woman, set against a nice sample from the Delfonics’ “I’m Sorry” and featuring the plainspoken rhymes of Styles P. The stylish production warrants a listen, in spite of the staleness of the theme.

“I Aint Never” is Jaheim’s second ode to love. It finds Jaheim reminiscing about his troubled past, and the hope love has brought into his life. It’s a prime example of what to expect when you listen to Jaheim. His music is roughly grounded in the world of the streets.

Sadly, after “I Aint Never” “Ghetto Classics” ventures into boredom territory. The final four tracks all have the same premise and annoyingly similar-sounding production. Obviously, Jaheim likes to talk to the ladies, but it would be nice if listeners could get some varying scenery in the album.

In the tired “125th” Jaheim spits his best game while cruising the block, and in “Masterpiece”, Jaheim again attempts to holla-holla-holla, this time running up on a dime in front of the corner store. “You’re a masterpiece from your head to your feet…I love ya’ cause your from the streets.” At this point I started wondering how Jaheim finds the time to do anything else with all the hollerin’ he’s doing.

“Conversation” and “Come Over” are essentially the same song “We pushed up in the club, ladies showing love…” starts the unoriginal “Convo” and when listeners hear “We stepped up in the club where the chicks be at, you were standing at the bar; saw you from the back…” early on in “Come Over”, they’ll probably wonder if they’re experiencing dejà vu.

At this point in his career, I’d like to think that Jaheim is confident enough to know that he’s got the whole “gangsta soul” genre sewn. However, it would be nice to see him stretch his wings and attempt to transcend his chosen “ghetto” persona.

Perhaps this is what makes him relevant to so many listeners. Although he can be repetitive, you have to give the man credit. He has his plan and he sticks to it. Jaheim simply keeps it real.

Rating: three out of five stars.

Aubrey can be reached at [email protected]

She says…

Elaine Welteroth

State Hornet

The man who first caught the attention of the ladies with R&B hits like “Put That Woman First” and “I Forgot To Be Your Lover” is back with the debut of his third album “Ghetto Classics.”

Jaheim’s smooth, melodic sound, which is reminiscent of the late and great Luther Vandross, is seasoned with his trademark urban edge and street credibility that has him standing tall in a niche all his own in today’s R&B game.

After a four-year hiatus, Jaheim returns to the scene the same way he left it, which in this case left more to be desired, served as a double-edged sword.

It’s always nice to be pleasantly reminded of why we fell in love with an artist, but this reunion turned out to be a bit droning. The album is packed with a slew of catchy, yet indistinguishable, slow tracks and lacks any standout hits.

“Ghetto Classics” opens with a slightly more mature, slow jam about settling down with “The Chosen One” which, in terms of arrangement and style, pretty much set the stage for the rest of the CD. Cathartic and emotive with a soft beat, the songs on this easy listen seem to blend together seamlessly.

In fact, if it weren’t for track five mixing things up mid-way through, I just might have fallen asleep. With a disco-esque feel, “Like a DJ” delivered the only distinct variation in terms of style. The tempo pleasantly kicked up several notches on this track and the lyrics cleverly used the motif of being ‘played like a DJ’ to describe the feeling of being in demand in the dating scene if only in the light of record success. While falling short of a single, it was still fun hearing a different angle from Jaheim.

With the lyrics in track three, Jaheim authentically returns to the rawness and depth that make him so loveable. The song sentimentally exposes the heartbreak of doing the “Daddy Thing” (for the child of his significant other) only to become estranged after a break-up. The record explores a modern issue among many young adult relationships that isn’t touched on very often in the media, helping him connect with an audience that can relate to the content.

The album rapped up with several back-to-back songs all with content driven by the experience of trying to pick up a girl on the streets, from the corner-store to the club. While this may have helped Jaheim maintain his street credibility throughout the success of his first two releases, “Ghetto Love” and “Still Ghetto,” in “Ghetto Classics” may reflect a lack of creative evolution.

The album title, “Ghetto Classics” is fitting. Jaheim stayed consistent with his down-to-earth image and stayed plugged-in to his urban roots. And, the record definitely captures the “feel good” quality only classics can. However, don’t expect to hear anything you haven’t heard before because, like most classics, there isn’t anything innovative about it.

“Ghetto Classics” falls short of memorable but reinforces his undeniable talent as a singer. It’s an easy listen best served in the stereo deck during a long nostalgic car ride, as the undertone on a romantic Sunday afternoon picnic, or as a part of a relaxation regimen during Saturday chores.

With this past Valentine’s Day release of “Ghetto Classics,” Jaheim gave the ladies just what we love about him: he is a self proclaimed romantic from the hood and indeed he is the best fusion of both worlds. But, even with an amazing voice, variation is sometimes what keeps women tuned in.

Rating: three out of five stars.

Elaine can be reached at [email protected]