Lalah Hathaway Albums (4)
What The Critics Say
Had Lalah Hathaway's third and fourth solo albums been separated by a gap in time equal to the one between her second and third, Self Portrait would not have come out until 2014. But it arrived six years earlier, in time for her to connect with the rejuvenated Stax label, home of Angie Stone. The set reunites Hathaway with Rex Rideout, the producer/songwriter who worked with the singer on "Forever, for Always, for Love," the title cut of the Luther Vandross tribute album that appeared in 2004. Rideout is the primary collaborator, with his input on half of the songs, while kindred spirits Rahsaan Patterson and Sandra St. Victor also contribute to a handful of tracks. More mellow and unified than 2004's Outrun the Sky, the album maintains a steady flow, whether the backdrops feature midtempo dance rhythms and horns, deep basslines and finger snaps, or acoustic guitars and glistening keyboards. Nothing is bound to jump out of the speakers and pull you around the room, but there's an unshakable lingering effect with nearly every song. More than anything, the album helps bring back the art of the subtly seductive slow jam, despite the lyrical range, which covers personal issues almost as frequently as relationships. Slowest and most stunning is the closer, "Tragic Inevitability," co-produced with Manuel Hugas, Wiboud Burkens, and Anthony Jeffries; it's a breakup song ("It hurts me so/And I will not be consoled"), but no one will be doing any kind of separating while the song is within earshot. In the liners, check the random jabs at vocalists who, unlike Hathaway herself, require studio enhancements: "Pitch is the new black"; "Auto tune this!" She uses some effects of her own here, but they are used for effect, not as a corrective device. In total control of her voice at all times, she has never been prone to showing off for the sake of it, so it is easy to not fully appreciate just how exceptional she is. ~ Andy Kellman, All Music Guide
What The Critics Say
Few mainstream artists can keep the lazy release schedule Don Hathaway's daughter does and retain a strong fan base. It's been a whole decade since Lalah Hathaway released one of her own albums and half that long since she joined Joe Sample for The Song Lives On. It's her warm voice, smooth delivery, and allegiance to fad-free R&B that keeps the faithful patiently waiting. Delivering on all counts, Outrun the Sky is a fan's dream and the singer's best showcase since her debut. While The Song Lives On was more ambitious and in turn brought more fans, Outrun the Sky is a better showcase. Not only does Hathaway cover a wider spectrum of tones and moods but she also producers and writes most of the highlights of the album. Her stream-of-consciousness lyrics for the title track give a more personal picture of the artist and paint her as an approachable dreamer who's as unsure as anyone. Hathaway's inspired writing is responsible for many of the other warm and reflective winners but it's the closing "Boston" that best illustrates how this husky voiced siren can conjure up a cosmopolitan song and deliver it with heart. Including her smoky take on Luther Vandross' "Forever, for Always, for Love" from the Forever, for Always, for Luther tribute is the icing on this cool cake. The ballad-heavy album still has its fair share of grooves that are rooted in R&B but the overall easy temperament isn't going to alienate any of Hathaway's smooth jazz converts. Nice to have her back; here's to a shorter wait next time. ~ David Jeffries, All Music Guide
What The Critics Say
Lalah Hathaway should have become as big a name in 1990s R&B as the equally talented and equally Chaka Khan-influenced Mary J. Blige, but regrettably, the singer never became as visible as she should have been. Donny Hathaway's daughter didn't record often enough (four years passed between her first album and her sophomore effort A Moment), and unlike Blige, she never provided a consistently excellent album. Like Lalah Hathaway, A Moment is a mixed bag ranging from the strong to the decent to the routine (depending on who's producing and/or writing a particular song). Hathaway is well served by Sami McKinney on "Do You Suppose" and the melancholy "Better as a Memory," and by Martyn Ware on a likable remake of Sly & the Family Stone's "Family Affair." Chuckii Booker's work on Hathaway's first album was ho-hum, but this time, he comes through for her with the angrily funky "Bad by Myself." Unfortunately, "ho-hum" describes the contributions of Brian Alexander Morgan on "Let Me Love You" and Keith Ware on "Lean on Me" (which Hathaway co-wrote), and "Separate Ways." Overall, this is a slightly weaker effort than Hathaway's debut. One hoped that eventually, she would live up to her promise and deliver a truly outstanding album, one that would become a huge name in R&B. ~ Alex Henderson, All Music Guide
What The Critics Say
When Lalah Hathaway's self-titled debut album came out in 1990, there was reason to believe that she might evolve into one of the top female R&B singers of the 1990s. Donny Hathaway's daughter certainly had a lot going for her -- not only a big vocal range, but also plenty of charisma, passion, and charm to go with it. The material on this CD ranges from excellent to routine, depending on who's writing and/or producing a particular song. Hathaway doesn't always have fantastic material to work with, but when she does, the results are quite memorable. The producers/songwriters who really do Hathaway justice include Angela Winbush on "Baby, Don't Cry" and "I Gotta Move On," and Andre Fisher on "Smile" and "Somethin'." While those selections come across as personal, Hathaway slips into a routine, less-than-memorable urban contemporary grind thanks to Chuckii Booker on "Sentimental," and Craig T. Cooper on "Obvious" and "U-Godit Gowin On." Again, not everything on the album is a gem. But when Hathaway had strong material to work with, it was clear that she had a lot of potential. ~ Alex Henderson, All Music Guide
