Rahsaan Patterson Albums (4)
What The Critics Say
As Christmas recordings go, The Ultimate Gift by Rahsaan Patterson is its own special animal, coming off more as a solid offering of new tracks with holiday themes than a holiday record by a great neo-soul singer. This date kicks it with solid, bright production, wonderful tunes, and Patterson in very inspired voice. Seven of these 11 cuts are originals co-written with Jamey Jaz (one of three co-producers with Patterson), though the wildly percussive and deeply funky "Christmas at My House" -- one of the best moments on this joint -- was co-written by no less than Van Hunt. There is only one traditional Christmas song on the set, which is -- thankfully -- an inoffensive and wildly innovative arrangement of "Little Drummer Boy," complete with serious breaks and slinky keys and guitars in the latter half. In addition, there is a reading of Paul McCartney's "Wonderful Christmastime" with a kickin' sax break by Derrick Edmonson. The version of the Motown classic "What Christmas Means to Me" is updated in the most ingenious and soulful way. It's light, snappy, and in the cut. The Patterson originals are all seamlessly fine, hip, and really joyful and warm. If you're looking for something new and soulful in your Christmas music, The Ultimate Gift lives up to its title. ~ Thom Jurek, All Music Guide
What The Critics Say
On his fourth album, his second independent release, Rahsaan Patterson indulges in a few whims that a sales-concerned major label would likely find problematic, but it is never at the listener's expense -- at least as long as the listener is OK with some adventurousness and a couple unexpected turns. At various points, the album is unselfconsciously funky, heart-on-sleeve lovesick, quietly distressed, loudly carefree, poignantly despairing, and guardedly optimistic. While there's really nothing wrong with the relatively straightforward and familiar-sounding songs about the joy and pain of being in love, it's the left-of-center material where Patterson seems most comfortable. One of the bigger surprises is "Pitch Black." When heard at a low volume, the song could be confused for a weary, spiritually conflicted Prince, especially during the chorus; when heard at a high volume, a bassline that sounds like a dead ringer for early Cure -- not very neo-soul of him, is it? -- bubbles up to the surface. It is easily the most bleak thing he has recorded, packed with dread: "Pitch black/Panic attacks/Lookin' over my shoulder/Wondering what's going on/Can't see the light at the end of the tunnel/Am I ever gonna see the sun?" "Oh Lord (Take Me Back)" builds on After Hours' live-and-loose sounding "I Always Find Myself," churning as heavily as the Roots' "The Seed (2.0)," albeit with much more tension and release; it's bluesy, funked-up, rocking gospel with twists, pleading not for redemption or a new lease on life but a reset button instead. The album does go in several directions and will take longer to process than Patterson's previous three (there's even a Janis Ian cover, of all things, to close), but that'll only make the wait for his fifth album a little more tolerable. More crucially, the variety of sounds and emotions is not the result of trying to see what sticks. It all seems to have come naturally. Most crucially, it all sticks. ~ Andy Kellman, All Music Guide
What The Critics Say
The follow-up to his self-titled debut album, Love in Stereo shows that Rahsaan Patterson not only overcame the sophomore slump but triumphed with a very well-crafted album that far surpasses his completely adequate first release. Slick production and strong songwriting help support Patterson's smooth, laid-back style and Stevie Wonder-like vocals. Peterson actually resembles Wonder in more ways than one -- "Friend of Mine," for instance, possesses so much early-'70s instrumentation and tone and phrasing reminiscent of his style that it sounds like a lost track from an early Stevie Wonder album. The record as a whole offers the kind of songs concerning love and faith that seem to have been lost since the Wonder era. Patterson is not only paying homage to Wonder in approach, but also in spirit. "Sure Boy" and "The Day" are only two of several other songs on the collection that are extremely well-written with an inspirational edge. Never preachy and always stylish, on Love in Stereo Patterson has managed to make an album that should appeal to a broad range of R&B fans. ~ Stacia Proefrock, All Music Guide
What The Critics Say
Greatly influenced by Stevie Wonder's recordings of the 1970s, young Rahsaan Patterson showed much promise on his self-titled debut album of 1997. While it's impossible to miss Wonder's considerable influence on slow- and medium-tempo offerings like "Tears Ago," "My Sweetheart," and "Spend the Night," the R&B singer/composer never comes across as a clone and sounds like he's intent on being his own man. One thing Patterson (who was named after jazz innovator Rahsaan Roland Kirk) won't be accused of is favoring style over substance -- when many of his contemporaries in the urban contemporary market were heavily into gimmickry, Patterson kept things honest and straightforward on a disc that isn't breathtaking, but is heartfelt and satisfying. ~ Alex Henderson, All Music Guide
