Gerald LeVert Albums (10)
What The Critics Say
Gerald LeVert finished working on In My Songs prior to passing away in November 2006. He was only 40, and the cause of his death -- a lethal combination of prescription and over-the-counter drugs taken for his number of ailments -- is a real shame, made all the more sad because it was an accident. Needless to say, he had a lot left to give, and if there's any indicator of that, it's this album, which sits with his first three solo albums and 2004's Do I Speak for the World as one of his best. Produced entirely by LeVert and longtime associate Edwin Nicholas, the album delivers almost exactly what any fan expects. There's something for every mood, and it's a plus that there are no guest appearances to get in the way. If there is a surprise, it's that the midtempo club cuts ("DJ Don't," "Wanna Get Up with You") and stately testimonies ("What Cha Think About That," "M'Lady") either match or beat the mostly just-fine ballads. It's too bad LeVert never made an outright classic album, but several strong albums and piles of hit singles, not to mention all the work with LeVert and LSG, amounts to a great legacy. ~ Andy Kellman, All Music Guide
'Do I Speak for the World'
Release Date 11/29/2004
Tracks 16
Label Atlantic
See Album Tracklist and Review
What The Critics Say
For almost four decades, the LeVert name has been synonymous with quality, soulful R&B. Whether it's Gerald, Eddie, or Sean, the family name never fails to live up to a higher standard than most soul families. That's why Do I Speak for the World? is a nice return to form for the LeVert (the band) frontman's glory years. Too often his releases have been plagued with inconsistency and pandering to whatever fashionable R&B formula is hip at the moment. And while there are moments of faltering and filler laced in at times and the lyrical content hasn't left its safe harbor, his performances haven't been this consistently solid since 1998's Love & Consequences. The production is polished and ideal for quiet storm formats and the guest appearances that so often saturate a record like this are noticeably absent, with the only musical cameos coming from family statesman Eddie and a new generation of LeVert children, who are guaranteed to keep the LeVert name around for decades to come. An enjoyable listen and a fine return to form. ~ Rob Theakston, All Music Guide
What The Critics Say
Stroke of Genius is separated from previous Gerald LeVert albums by its concept of painting your masterpiece with, yes, strokes of genius. Although such a slightly clever idea shouldn't be executed on a grand scale and some of the material here is underwhelming, LeVert still does convincing pillow talk and his voice is fine. ~ David Jeffries, All Music Guide
What The Critics Say
This modern R&B stalwart has always offered the perfect blend of dreamy old-school soul textures; jangly, guitar-driven atmospheres; and slick, modern funk grooves. And oh, that voice -- mellow and sexy, seductive to the core. The best "come to beddy bye" tone since Barry White, and so steeped in that era. The vibe on "Too Much Room" artfully merges all of those things and sounds like a modern twist on the O'Jays (where his dad, Eddie Levert, still holds court), but he gets a little ambitious with the sometimes-annoying scowl/screech of guest artist Mystical. "Since You Ain't Around" is all bedroom-eyes fun, his vocals almost a plea. "Wilding Me Out" has a sparse production (mostly just Fender Rhodes and a rhythm track) which allows for one of the clearest vocal tracks on the recording. Levert will hopefully educate some of his fans to the art of jazz with the inclusion of Roy Ayers' vibes on "Oh What a Night." Levert's scatting duet with Ayers is a highlight. ~ Jonathan Widran, All Music Guide
What The Critics Say
LeVert has the smooth, sweet-talkin' loverman thing down so well by now that he can practically sing an entire album without breaking a sweat or even thinking twice about what he's saying. And, on Gerald's World, he's as smooth and as sweet-talkin' as ever. But there's something automatic about it all, a sense of security with the persona and legend he's built over the years. LeVert still may have a bedroom voice, but more often than not here, he seems about ready to call it a night. Which doesn't make Gerald's World an awful album, just an uninspired one. There are moments where his sweet tenor overrides the lackluster sentiment and sound, just as there are times where he plays straight into the arms of lovers everywhere. There's no doubt that this was conceived as a bedroom album -- not one track breaks from the measured bump 'n' grind (he even gets all sentimentally squishy on "Made to Love Ya"). In other words, another Gerald LeVert album -- nothing less, nothing more. ~ Michael Gallucci, All Music Guide
What The Critics Say
Not one to remain stagnant or rely on past successes, Gerald Levert explores his vocal abilities on this set more than he has on past efforts. Outside producer Darrell Allamby captains the CD's first three tracks and stretches Gerald's voice; Allamby has him reaching for notes and provides fresh rhythms for G's soulful delivery, making the singer more acceptable to less mature ears. Gerald produces the next ten tracks and proves more adventuresome (with his voice) than Allamby by executing "Baby U Are" in falsetto. Allamby's tracks are phat, sure winners with "Application," the stronger but slower "Callin' Me," and "Nothin to Somethin." There's quiet storm fodder galore, including a smoldering duet with Kelly Price and the hitting "Mr. Too Damn Good," written with ex-Rude Boy Joe Little. ~ Andrew Hamilton, All Music Guide
What The Critics Say
On Love & Consequences, Gerald LeVert makes a few overtures to hip-hop, but he remains, in his heart, a sensitive loverman -- which is both a good and bad thing. LeVert is a powerful, soulful vocalist who can deliver love ballads as well as any of his contemporaries, but he doesn't always exhibit much musical imagination. "No Sense" may have cameos from rappers Layzie Bone and Ken Dawg, and "That's the Way I Feel About You" is a duet with Mary J. Blige, but they only illustrate that LeVert is from the old school and doesn't really have the desire to bring his music into the present. Which means, of course, that Love & Consequences isn't much different than any other LeVert album from the '90s -- it has a slight modern sheen, but it's a quiet storm album at its heart. It doesn't offer any surprises, but LeVert is a professional -- and that means there are enough solid songs here to make it enjoyable, but not quite enough to make the entire album memorable. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Father and Son is the first full-length collaboration between Gerald and Eddie LeVert, two singers who have sustained their popularity throughout the changing climate of soul and R&B for over two decades. Appropriately, the album falls into the middle ground between the heart-stopping, smooth soul of Eddie's group, the O'Jays, and the slicker, funkier LeVert, which featured Gerald. Largely produced by Gerald and his longtime associate Edwin "Tony" Nicholas -- with Eddie and Dwain Mitchell handling some of the funkiest numbers -- Father and Son showcases both of the vocalists to fine effect. Half of the album is devoted to sweeping ballads, like the single "Already Missing You" and "Don't Make Me Beg." The other half is full of funk workouts, including a smouldering cover of the O'Jays' "You Got Your Hooks in Me" featuring Walter Williams, the singer of the original, on lead. What holds Father and Son together the most is the love and respect between Gerald and Eddie LeVert, which is evident by the way the two singers play off of each other. Most duos compete for the spotlight. Here, each vocalist lets the other shine. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Gerald Levert's emotive baritone excels on Groove On. The Levert feel is evident on every side. Productions, arrangements and songs are by Gerald Levert and Edwin Nicholas, save for a couple, the most notable being "I'd Give Anything" by David Foster. "Answering Service" stands out with its opening monologue; "Have Mercy" illustrates Gerald's powerful begging style of delivery to perfection. A more even collection than his debut, Private Line. ~ Andrew Hamilton, All Music Guide
What The Critics Say
The debut solo release from the Ohio native, Private Line features a nice mixture of songs and spawned four chart singles. The vocal energy Gerald LeVert brings to his songs is revealed in each lyric. The first release was "Private Line." With a locomotive rhythm track and a churnin' horn arrangement, "Private Line" is complemented with a catchy hook. It became a favorite among many, claiming the number one spot on the Billboard R&B charts. The second release was the pop-oriented single "Baby Hold on to Me." This duet, with his father Eddie LeVert, Sr., is a splendidly arranged ballad in which father and son immerse themselves in the lyrics. Like its predecessor, it claimed the number one spot and number 37 on the R&B and pop charts, respectively. The third single was "School Me." With its teacher-student lyrics, the gifted vocalist stays near the top of the charts with this single as well; it peaked at number three after 19 weeks. LeVert's knack for laying down lead and background vocals is demonstrated on this number. As explosive as his baritone is, he is able to inject a smoothness to his delivery; this trait is admirable. The fourth single, "Can You Handle It," has LeVert combining wholesome vocals with contemporary rhythms. It too seized a Top Ten spot at number nine. Every track on this album is as appealing as the next, finding LeVert's vocals are in superb form. ~ Craig Lytle, All Music Guide
