Anthony Hamilton Albums (4)
What The Critics Say
Released almost exactly three years after Ain't Nobody Worryin', The Point of It All has a slightly lighter tone compared to that of its immediate predecessor and Comin' from Where I'm From. But just as Anthony Hamilton has been able to incorporate modern sounds that fit with his Southern soul throwback voice, the contrasting feel of this album comes through its subtleties. Take "Cool," the album's lead single, which parlays the stress of financial strain into a good time without resembling mindless escapism. The album's opener, "The News," is as poignant as Curtis Mayfield's "Pusherman" and Willie Hutch's "Brothers Gonna Work It Out" (the latter even quoted), but it is likewise delivered through swashbuckling blaxploitation-style funk. Vocally, Hamilton has never been as dynamic as he is on this song, switching between his grittily textured baritone and surprisingly effective upper register. As much power is leant to some of the ballads: "Please Stay" is startling in its heartfelt regret; "The Point of It All," sparse and elegant, is like the 3 a.m. version of "Can't Let Go," equally steamy and romantic. There are lulls, such as the drippy adult contemporary of "Her Heart," but they're offset (and then some) by the standouts. At least a third of the album's contents would have to be part of any representative introduction to Hamilton. In fact, this puts a cap on a three-album run as remarkable as any other in 2000s R&B. ~ Andy Kellman, All Music Guide
'Ain't Nobody Worryin''
Release Date 12/6/2005
Tracks 12
Label So So Def Records
See Album Tracklist and Review
What The Critics Say
After enduring ten years of busted label deals and other forms of neglect, Anthony Hamilton finally caught a break. Though 2003's Comin' from Where I'm From only threatened to crack the Top 30, it became a steady seller on the back of the slow and lean "Charlene" -- a risky pick for a single since it sounded nothing like "Yeah!," "Lean Back," or any of the ballads that were getting rotation on R&B stations at the time -- and eventually went platinum. A disc of previously unreleased recordings, Soulife, debuted near the Top Ten in mid-2005 and made it clear that Hamilton had become a major artist with a hungry following to prove it. Ain't Nobody Worryin' will enhance his rep. Had "Charlene" flopped, the album might've come out a little different -- perhaps a little more pop, with a couple guest MCs and some bouncier beats -- but it's even more organic and individualistic than its predecessor. It's also more poignant. Despite what it looks like, the sentiment in the album's title and song of the same name is a world apart from Bobby McFerrin's carefree "Don't Worry, Be Happy": as Hamilton lays it out, people are either too resigned to their problems or too caught up in them to worry. This seriousness transfers to "Preacher's Daughter," a criticism of preachers who are too occupied to take care of their own, as well as the opening "Where Did It All Go Wrong," a breakup song that's as stunned (and nearly as stunning) as Bill Withers' "Hope She'll Be Happier." There's also "Never Love Again," the kind of heartbroken ballad that's potent and sweet enough to sadden someone who's in a completely different situation. But all of this only covers one third of a well-rounded album that's as generous in its expressions of optimism, faith, and lasting love. With spiritual songs both personal ("Pass Me Over") and universal ("Everybody," simultaneously a convincing reggae jam), Hamilton extends his reach with confidence, and easygoing songs like "Southern Stuff," "Sista Big Bones," "The Truth," and "Change Your World" give the album more depth. Studio do-it-all Mark Batson is a regular presence again, while Dre & Vidal, James Poyser, Raphael Saadiq, Ahmir Thompson, and Kevin Wooten help out in smaller capacities, giving Hamilton more modernized '70s-soul backdrops that ideally complement the singer's ruggedly smooth voice. Regardless of the decade you're living in, this is an album to live with. ~ Andy Kellman, All Music Guide
What The Critics Say
Once 2004's Comin' From Where I'm From began to gather steam, it became common knowledge that Anthony Hamilton was no newcomer. New fans discovered that Hamilton had two other albums in his past. First, there was XTC, an album that was supposed to come out around 1995 but didn't see the light of day due the Uptown label's untimely death; MCA rescued it, released it, and were content with letting it slide into oblivion. Good luck finding a copy. Later on, Hamilton became affiliated with the family-like Soulife label, which disintegrated before he was able to release yet another album. Talk about rotten luck. The appropriately titled Soulife, released by Atlantic/Rhino in 2005, presents ten (and perhaps all) of the songs that were due for release on the album for Soulife, in addition two previously released songs, including "Love and War," from the Baby Boy soundtrack. According to the liners and credits, the material was originally laid down between 1999 and 2001, but several songs were re-recorded and tweaked, likely to make them sound a little more like 2005. As evidenced on Comin' From Where I'm From, Hamilton's voice is best suited for spare arrangements with dusty beats, sensitively played keyboards, and distant wah-wah guitars. Soulife is comparatively slick, which might throw some of Hamilton's newer fans, but there's still plenty of down-home grit to keep ears glued to the speakers, in addition to the main attraction -- the earthy, listen-to-it-all-day voice. While not as wonderful as Comin' From Where I'm From, "Georgie Parker" alone makes the album a must for anyone won over by "Charlene." The song will break your heart and sink into your subconscious with one play, even if you aren't paying any attention to the compelling lyrics. After the first listen -- one of those "Everyone I know must hear this right now" moments -- you'll feel like you've pulled up a golden truffle. ~ Andy Kellman, All Music Guide
What The Critics Say
A wonderfully talented artist who is blessed with a voice that is reminiscent of the '70s soul scene, Anthony Hamilton arrived in 1996 with an absolutely stunning debut set, XTC. The album is so consistent that there is not a single album-filler, with every track being as good as the previous. Anthony Hamilton's voice glides over each track beautifully, in a style comparable to Stevie Wonder and Teddy Pendergrass. The album demonstrates a superb fusion of '70s soul and '90s R&B. Crackling breaks, wonderfully clean backing vocals, and infectious choruses supply Hamilton with the perfect backdrop on which to display his unique vocal ability. The standout tracks would have to be "You're My Type of Woman," the duet with partner Terri Robinson, "I Will Go," and the lead single, "Nobody Else." This debut set is astonishing and comfortably fits into the bracket of a nu classic soul masterpiece. ~ Paul Clifford, All Music Guide
