Lyfe Jennings Albums (3)
What The Critics Say
Lyfe Jennings' third album doesn't involve all that much change, at least not on the surface. He does do a little less of the heavy lifting, seeking out some assistance from the Underdogs, Wyclef Jean, and a couple other associates from his Jesus Swings production house, but Lyfe Change is still very much a Lyfe Jennings album -- it's not as if his label directed him away from what came natural throughout 2004's Lyfe 268-192 and 2006's The Phoenix. He continues to spin real-life tales and handle serious issues, as on the skeletal but seductive "It's Real" (where his attraction to a woman shifts from heated to cautionary), the Bob Marley-referencing "Wild, Wild, Wild" (the Wyclef collaboration, about losing your way as the exchange for the seeking of fame), and "Never Never Land" (where he sings of settling down and growing up in every sense, closing with "30 is not the new 20/It's the same old 30"). A couple cuts are lighthearted compared to what's expected from him, and a couple beats are uncharacteristically uptempo, but for the most part, this is another solid Jennings album. Nothing fancy, nothing outrageous -- just humbled, wise, thoughtful modern soul. ~ Andy Kellman, All Music Guide
What The Critics Say
What's surprising about Lyfe Jennings' career is that not only does his soulful music recall the freedom the soul genre experienced in the early '70s but how his major label, Sony, gives him that freedom in the rather stilted 21st century. Listening to his sophomore effort, The Phoenix, the question could be raised as to who is responsible for the album's heavy Kanye West and John Legend influence. Legend's emotional, piano-driven style rears its head often and West's elaborate ambition is all over the place, but a couple listens in, it's obvious that Jennings is responsible for all the unique moves and doubtful that Sony told him, "We need you to be our Kanye." The fact Sony gave the man's debut plenty of time to sink in with the public -- they worked it for an eternity by 21st century standards -- is a clue, but the proof is all over The Phoenix, a giant of an album with giant rewards, giant flaws, and grand swoops of unbridled creativity that somehow got Sony's stamp of approval. First off, there's a song-explaining interlude between practically every track, something that wears out its welcome in three listens or so. The interludes that bridge "Goodbye" (excellent and achingly poignant), "Let's Stay Together" (silky smooth), and "Biggie Nigga" (uplifting and fascinating) are especially clumsy, with Lyfe explaining how he faced the "making up is easier than breaking up" conundrum and made the more difficult choice, then made the easier choice, then dumped his lady for another girl who made him feel like the Notorious B.I.G. The chitter-chatter undermines this killer trilogy of songs, but if you want a really strange move, check out how the tougher-than-tough "Slow Down" (with G-Unit member Young Buck) uses the Gilligan's Island theme for its hook. As part of the whole, it works beautifully, as do the outlandish lyrics dropped into "Biggie Nigga" ("I was breast-fed by Godzilla") and "The River" ("I'm cursing the vagina that gave life to me"), since they're surrounded by eye-level views of Lyfe's past and his delivery is always convincing. On top of it all, he pulls off the tricky "sexual abstinence" song ("S.E.X.") without a hitch, throws out enough bold ideas and grand statements for two West records, and his raspy voice is as rich as ever. The Phoenix is a crazy, big, flawed album, but it's a trip, and a riveting one that anyone who loved his debut will want to take. ~ David Jeffries, All Music Guide
What The Critics Say
Opening with an intro and going right into a talky interlude, you just know Lyfe 268-192 is a heavy-with-message, ambitious album that's going to flirt with ponderous disaster. Quit worrying, because what Lyfe Jennings has to say is worth hearing, well presented for the most part, and you only have to excuse some overeagerness. The biggest problem with this smooth, thinking singer's debut is that there's no prologue or "hey, how ya doing?" Instead, Jennings vividly pours out his troubles with little background, assuming you're down. A couple listens later and you'll get him, but few debuts are this wandering and deep from the get-go. What makes it worth it is Jennings' honest, poignant, and warm writing, empowering at times and occasionally heartbreaking. "Made Up My Mind," "She's Got Kids," and "Must Be Nice" all display the kind of Gil Scott-Heron realism meets D'Angelo smokiness and Bilal soul-searching that had Jennings take the amateur title five times at the Apollo, but "Greedy" is the album's centerpiece. It's only one side of what is a most definitely a complicated story, but "Greedy"'s tale of being chased by the cops for child support is a chilling can of worms few artists could open so confidently. The metaphor-free track is a stark portrayal of "this crazy, lazy lady" who is using a baby for revenge, and when Jennings sings about his friends dismissing him as a worrywart, it captures with crystal clarity the isolation that so many experience when confronting a crisis. A couple tracks refuse to get to the point and too much narration gives sections of the album the repeat listening appeal of an audio book. It could have been tighter and more approachable, but few debuts hold this much promise. ~ David Jeffries, All Music Guide
