Elliott Yamin Albums (4)
What The Critics Say
Part of Elliott Yamin's charm lies in how he doesn't seem to belong to his time. A disciple of Donny Hathaway (and to a lesser extent, Stevie Wonder), Yamin never felt comfortable in contemporary threads, whether it was during his time on American Idol or afterward, when he cut his eponymous first album in 2007. That record was perched between his classicism and flirtations with contemporary R&B, but its 2009 successor, Fight for Love, tips the scales decidedly in the favor of aggressive modern flavors, a shift perhaps tipped off by its combative title. Moving in this direction only makes sense -- in order to make records, he has to sell records, and to do that he has to have songs that sound like the times. Yamin remains an ingratiating presence, possessed with a natural, almost accidental charm that's so endearing that it's hard not to wish that he was in warmer surroundings than these. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The curious thing about Elliott Yamin's My Kind of Holiday is that it's not just Yamin's kind of holiday music -- it's flat-out his kind of music, an unabashed love letter to '70s soul, especially Stevie Wonder and Donny Hathaway. These were the idols he worshipped during his stint as an underdog on American Idol, but when he made his eponymous debut in 2007 he had to update his sound to fit into the marketplace, something that isn't quite as necessary to do on a Christmas record, which is meant to be a niche release in the first place. Yamin is the rare musician to understand this situation and he delivers an album that pleases his core audience instead of being a crossover attempt. My Kind of Holiday is nothing but funky '70s soul, leading off with a cover of Donny Hathaway's "This Christmas" and containing a cover of Clarence Carter's "Back Door Santa," which some latter-day listeners may recognize as the source of the horn sample that drives Run-D.M.C.'s "Christmas Time in Hollis." This makes for a holiday record that's looser and funkier than a lot of Christmas records, but there are still a few stumbles: try as he may he can't infuse "Little Drummer Boy" with soul, and when the mood gets a little quiet, his voice seems a little thin and raspy. But these are minor flaws: by and large, this is a surprisingly enjoyable holiday record and it would be nice if Yamin could get some of this vibe on his next studio album. After all, this is his kind of soul. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
In retrospect, it's hard not to wish that underdog Elliott Yamin won the fifth season of American Idol. Ever a likeable, humble soul, Yamin never had as clearly defined a personality as Taylor Hicks, the white-haired leader of the Soul Patrol who wound up besting Elliott. If Hicks seemed like a bit like a seasoned bar band pro, Elliott always seemed like the neighborhood boy made good, a guy with a cockeyed grin (sadly now corrected with veneers; thanks cosmetic dentistry for all your modern wonders!), a guy with a fixation on Donny Hathaway and Stevie Wonder who felt more comfortable slyly delivering the jazzy soul of "Moody's Mood for Love" than belting out barroom blues-rock à la Taylor. In other words, not only was he kinda shy but his gifts were subtle too -- the perfect ingredients to be a beloved underground on a televised competition, but not quite enough to push him into the winner's circle. But if he had won, he would have been well suited to the adult contemporary soul that producers would have pushed on him, the kind of soul that Taylor shunned in order to deliver a record that would have been more welcome in 1986 than 2006. Yamin, however, would have been willing to work with the powers that be, as he clearly demonstrates on this eponymous debut, which positions him as product instead of a personality. Since Elliott is a very good, very versatile singer, sounding more assured on record than Katharine and sliding into different styles with an ease that Taylor never bothers with, this is a bit of a shame. Removed from the show, he remains a sweet, soulful singer, somebody who gently draws you into a song, and he sounds equally comfortable with the jazzy R&B of "Movin' On" as he does deliberate soft rock, typified by the slow, steady "I'm the Man." He's best when there's a heavy dose of smooth soul -- the sultry, slow Hi grooves of "Train Wreck," which proves that the stuttering Usher wanna be "Alright" just isn't his style: it's too rushed, too hurried, and it doesn't showcase the rich tones of his voice to his advantage. Which only proves that he's not very contemporary unless he's adult contemporary, and the AC here is just as likely to be sleepy as it is to be appealing (the Jon Secada-styled "Find a Way" and "Free" are standouts). Unfortunately, there's just a shade too much of that calculated material here, and the production is just a bit too clean and colorless to rise above many similarly styled AC albums, but it's never Elliott's fault. He still sounds effortless and charming, which is why it's a shame he doesn't have the support he would have had if had won Idol: he would have had the biggest budget and the best collaborators, something that would help him make a record as distinctive as he is. Here, he and his producers try a little bit of everything -- a little old-fashioned soul, a little new-fashioned R&B, a lot of adult contemporary, a good cover of "A Song for You" -- in hopes that something will stick, leaving him as a singer in search of a style to call his own. ~ Stephen Thomas Erlewine, All Music Guide
'Sounds Of The Season (Target)'
Release Date 1/1/2007
Tracks 8
Label Hickory
See Album Tracklist and Review
