Musiq (Soulchild) Albums (5)
What The Critics Say
Four fine albums deep into a career with no Top Ten pop singles to his name, Musiq Soulchild went for broke with the single released prior to his fifth album. At least it kinda seemed that way: "Radio" sounded suspiciously like a cash-in on Atlanta snap, à la Dem Franchize Boyz's "Lean wit It, Rock wit It," or even Monica's "Everytime the Beat Drop," but it was a couple years late. It was almost shockingly out of character, if not clumsy and baffling. It appears as the last song on OnMyRadio, an album that, for the most part, sounds otherwise just like a Musiq Soulchild release. Highlights like "Until" and "So Beautiful" show that Musiq continues to thrive most when working with mellow midtempo and ballad material. The latter, a collaboration with Lee "J.R." Hutson (who played a significant role in the excellence of Jill Scott's The Real Thing), is one of the most unassumingly gorgeous cuts he has recorded, and the relatively upbeat and busy "Special" and "Money Right" deserve to be minor hits (at the least). A couple dramatic moments don't quite take full flight, and a handful of tracks are tepid and unmemorable, but OnMyRadio is mostly another set of sturdily constructed laid-back R&B. "Radio" hopefully didn't scare off anyone. ~ Andy Kellman, All Music Guide
What The Critics Say
Musiq Soulchild's fourth straight strong showing, Luvanmusiq does not veer from the steadiness of its predecessors. Even though he was involved in a label trade (!) with Fabolous, which transplanted him from Def Jam's Def Soul wing to Atlantic, there's no audible evidence of change. (He remains, in fact, under the watch of Kevin Liles, the ex-Def Jam executive who initially signed him.) The only measurable difference between this and the past albums is its significantly shorter length, which only allows each song to get the attention it deserves. This really benefits Musiq. The customary consistency of his material has been, and will likely continue to be, mistaken for lazy sameness, as if he really needs to spice things up with insincere trend-hopping or ill-fitting collaborations with hot MCs. Indeed, Luvanmusiq is just another one of his durable albums that straddles throwback soul and contemporary R&B. With the exception of lead song (and lead single) "B.U.D.D.Y.," which -- like several early rap tracks and Ini Kamoze's "Here Comes the Hotstepper" -- jacks the rhythm from "Heartbeat," Taana Gardner's early-'80s club classic, nothing is designed to pick the listener up and toss her around the room. Even the remaining uptempo songs have an easygoing disposition. Past collaborators like Ivan "Orthodox" Barrias and Carvin "Ransum" Haggins remain involved, while the Underdogs ("Today"), Raphael Saadiq ("Betterman"), and the ever-rising Ne-Yo ("Ms. Philadelphia") also contribute in important, if smaller, amounts. Hopefully some of the more "grown R&B" stations will latch onto the slow grooves and ballads here. They're neither raunchy nor drab, and they're nearly a lost art form in 2007. ~ Andy Kellman, All Music Guide
What The Critics Say
Not a whole lot has changed in Musiq's world since releasing his second album in 2002 -- if this really isn't the case, you wouldn't know it from Soulstar. He's still following in the tradition of his '70s-era idols, he's still taking liberties with the compoundwords for his song titles, and he's still making modern soul that's equally classy and absorbing. Though the steady development of Musiq's songwriting and vocal skills is a major draw as ever, his greatest charm is that he never puts on airs -- he never hides behind a persona or affectations, which gives him a sense of intimacy that many of his contemporaries lack. Perhaps that's the greatest lesson he has learned from those who paved the road he rolls down. At just over 70 minutes, Soulstar is another unnecessarily lengthy listen, but there's a great deal of depth beyond the big single picks. Sweet and laid-back from start to finish, the only bona fide boner is a cover of the Rolling Stones' "Miss You," which is detrimental to the album's flow (even if you've never heard the original). Otherwise, this is one of the finest contemporary R&B releases of 2003, with both style and substance in good supply. ~ Andy Kellman, All Music Guide
What The Critics Say
On his second album, Juslisen, Musiq -- who dropped the "(Soulchild)" surname -- delivers on the promise of his debut, turning in a slyly assured, smoothly sexy collection of neo-soul. One of the most appealing things about Musiq is that he never oversells his songs, never indulges in hyperbolic screams or exaggerated grunts and moans. He lays back on the groove but doesn't disappear into it -- he deepens it and gives it character, making this more than a supremely seductive neo-soul record. And, to be sure, it is that, a wonderfully romantic mood album, but it's more than that because Musiq has other skills besides crooning and keeping a mood. First of all, he and his collaborators are first-class writers, sustaining interest not just through the singles, but through the album tracks. Then, he and his producers know how to deliver a sound that at once hearkens back to classic '70s soul and feels lushly contemporary. Musiq doesn't hide his love for classic soul -- he's seen on the back cover digging through crates of vinyl, surrounded by eight-tracks -- but the great thing about what he pulls off on Juslisen is that this love is absorbed, ingrained in the very music, so while it's reminiscent of Stevie Wonder or Marvin Gaye at times, it never feels like a forced attempt to follow in their footsteps. Which, of course, is why it feels like a worthy heir. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
With his 2000 debut album, Aijuswanaseing (I Just Want to Sing), Musiq Soulchild is sure to make an indelible mark on the R&B soundscape. Aijuswanaseing is a remarkable collection of songs that successfully showcases Soulchild's vocal talent and versatility as he crisscrosses the analogous styles of R&B, soul, and rap. On the up-tempo track "Girl Next Door," the singer demonstrates the smooth, rich texture of his voice. "Girl Next Door" is a romantic exchange that features the vocal prowess of Ayana of the duo Aaries. Tracks like the confident and playful "Just Friends" and the indelibly funky "My Girl" pick up the pace of the album, suggesting the possibility for future dancefloor remixes. The somber, soul-searching track "Mary Go Round" and the earnest sentiments on "Love" display Musiq's mellow, sincere side. The slow-paced wonder quality of "143" echoes a snippet of the style of fellow soul sista Erykah Badu (not a surprise since Musiq lists her high on his list of influences). There is also an apparent hint of the likes of Soulchild's idol Stevie Wonder in the rhythmic finger-snapping beat and experimental vocal riffs on "143," serving as evidence that Soulchild's voice is strong enough to stand on its own. The album is a casual yet valiant excursion that mirrors the many faces of a model swooner: a calm, cool, and collected attitude, mixed with a light sense of humor and a healthy serving of poise, swank, and sensitivity. Aijuswanaseing paints an aural portrait of this model combination which is best brought to life on the slyly flirtatious "Just Friends (Sunny)," which is featured on the Nutty Professor II soundtrack (Universal, 2000). Aijuswanaseing is the perfect backdrop for an intimate candlelit evening or just a casual stroll on a sunny afternoon. ~ Kerry L. Smith, All Music Guide
