Joe Albums (8)
What The Critics Say
Joe's second joint venture with longtime colleague Kedar Massenburg's Fontana-distributed label, Signature is a self-produced set. In that, it is a change of pace, following the Bryan-Michael Cox-produced Joe Thomas, New Man, not to mention Joe's earlier sets, which tended to feature several collaborators. Yet, it's the lecherous lyrics, more latter-day R. Kelly than Marvin Gaye (whose "Come Get to This," actually covered here, makes for one of the album's most lyrically refined moments), that distinguish Signature from the rest of Joe's catalog. When allowed to fade into the background, the album might not sound dramatically different from Joe's past few albums, but it's hard to miss lines like "I give you anything/Plus pipe I lay" and "Her body's screamin' 'Tear it up'/And them knocks like buttercups…shoot," which tend not to match up with such polite arrangements -- even when considering that Joe wasn't necessarily a perfect gentleman prior to this. ~ Andy Kellman, All Music Guide
What The Critics Say
On his seventh album, R&B crooner Joe keeps doing what he's always done best: sings sexy, woman-centric midtempo jams. There are no dramatic change-ups here -- much as the likes of Barry White, Teddy Pendergrass, and Keith Sweat before him, Joe's not even trying to cross over to any audience other than adult black women. His intense focus, however (which he's possessed for pretty much his entire career), serves him well. "Why Just Be Friends" states his case with aplomb, a sexy come-on that never feels oily; Joe knows how to sell it. The production here, mostly supplied by Brian Michael Cox, is solidly up to date, taking its cues from Ne-Yo and The-Dream without ever sounding like it's trying to be trendy. Lead single "E.R." and "We Need to Roll" are highlights, but really the best thing about Joe Thomas, New Man is its consistency, which it's got in spades. ~ Thomas Inskeep, All Music Guide
'Ain't Nothin' Like Me'
Release Date 4/23/2007
Tracks 14
Label BMG/Jive
See Album Tracklist and Review
What The Critics Say
Can you think of many R&B artists who first appeared during the new jack swing era and continued to release good, up-to-date albums on a major label throughout the first decade of the 21st century? You probably cannot. If you can, Joe is likely near or at the top of that list. His sixth album -- which went through a number of titles and projected release dates until it landed in April 2007 as Ain't Nothin' Like Me -- is up to the standard of 1997's All That I Am and 2000's My Name Is Joe. Contemporary as ever, Joe seeks production and songwriting assistance from a number of ubiquitous heavyweights and up-and-comers, including the perpetually on-the-rise Tim & Bob (who first worked with Joe on 2000's "So Beautiful"), hot Norwegian team Stargate (Ne-Yo's "So Sick," Beyoncé's "Irreplaceable"), Sean Garrett, Bryan-Michael Cox, Johnta Austin, the Underdogs, and Cool & Dre. A handful of tracks aren't all that necessary, but if you were to trim the sequence down to ten or so, you'd have a 40-minute album that is not too far from faultless. The Tim & Bob, Stargate, and Sean Garrett productions complement each other well, especially within the album's opening four-song stretch. Beats dance and skip, supported by simple and roomy but effectively layered ornamentation -- music box-like melodies, floating synthesizer accents -- that is never laid on too thick. They're ideal for a nuanced vocalist like Joe, who can affect desire, pain, and devotion with the slightest of adjustments. From there, the quality level fluctuates, and there are too many ballads, but "Let's Just Do It" (another spacious, midtempo glider) and "Just Relax" (where Joe and Cool & Dre jack A Tribe Called Quest's "Electric Relaxation" and sidestep corniness) are two other standouts. While a very basic name, a lack of flashiness, and sizeable gaps of inactivity have only gotten in the way of his popularity, Joe has maintained relevant and reliable since he debuted. ~ Andy Kellman, All Music Guide
What The Critics Say
Joe maintains his steady recording output with And Then..., another in a line of his generally solid if not overly exceptional albums highlighted by a couple standout cuts. For And Then... Joe collaborates with a few talented producer/songwriters, namely R. Kelly ("More & More," "Make You My Baby") and Roy "Royalty" Hamilton ("Sweeter Than Sugar," "And Then...," "Street Dreams"), who handle approximately half the album. Kevin "Shekspere" Briggs, another top-notch contemporary R&B songsmith, also contributes a small late-album gem, "Bedroom." As always, Joe is only as good as the songs he's singing -- he's a fine vocalist with a smooth delivery and a velvety tone, but not necessarily outstanding on his own -- and here he's in really good hands, especially on the aforementioned Kelly and Hamilton songs, which rank among the very best of his career. ~ Jason Birchmeier, All Music Guide
What The Critics Say
Better Days comes less than a year after Joe's popular breakthrough with "Stutter," the collaboration he did with Mystikal that turned more than a few rap listeners onto his style of urban soul. It's a sparse and succinct album, no doubt rushed to capitalize on the success of "Stutter" and the holiday season as well. To begin with, only two songs feature guests, and one of those songs, "Let's Stay Home Tonight," is a rather straightforward remix for the rap audience featuring Petey Pablo. The other collaboration, "Ghetto Child," is a bit more ambitious, featuring Shaggy and the Boys Choir of Harlem. Elsewhere, the emphasis is on Joe. There isn't a roll call of big-name producers here (though the Neptunes do make a showing), so Joe is left to carry much of the album's weight. He proves more than capable of the challenge on songs like the lead single, "Let's Stay Home Tonight," but too often these songs recycle the same songwriting techniques and find Joe revisiting the same motifs over and over. In sum, this plays like a pop album -- a few obvious standout singles and lots of repetitive filler. However, if you're looking for a few quality singles rather than a consistent album, you should find this to be an engaging album, even if its rushed and ultimately thin on original ideas. ~ Jason Birchmeier, All Music Guide
What The Critics Say
Joe is hardly an appropriate name for a lover man -- it seems more like a moniker for a custodian than a Casanova -- but that's exactly what Joe is. He's an old-fashioned romantic soul crooner in the vein of Al Green, Marvin Gaye, D'Angelo, and, well, Gregory Abbott. He's not as ambitious as D'Angelo is, but that doesn't really matter, since he delivers the goods on his third album, My Name Is Joe. Joe never oversings or oversells a song, he just lays back and sweetly sings. There may not be much variety or many remarkable songs on the record -- "Get Crunk Tonight" stands out with its stuttering, fade-in-fade-out intro and its stylishly funky beat -- but that doesn't matter because this is essentially a mood record, and that mood is love. And it's not a bad romantic mood-setter, either, since Joe is an appealing vocalist, the production is lush without being syrupy, and the songs are all fairly strong, even if only a handful are exceptional ("Somebody Gotta Be on Top," "Treat Her Like a Lady," "Get Crunk Tonight," the N'Sync duet "I Believe in You"). And, really, that's enough, since anyone that gets hooked by a single from My Name Is Joe just wants an assurance that the album will deliver more of the same -- and it does. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Joe's second album, All That I Am, is an entertaining collection of contemporary soul that alternates between smooth ballads and hip-hop-inflected dance-pop. At his best, Joe can make this music irresistible; at his worst, he merely makes it entertaining. There are a few slow spots on the record, but at its best, All That I Am is first-class urban soul. ~ Leo Stanley, All Music Guide
