I remember when Jennifer Lopez first started calling herself J. Lo. It seemed like she wanted to be a bit more relatable and show that she was hip and fun. Fast forward to years later, and we have Jennifer Hudson doing the same thing. She’s now going by J. Hud and has changed her image to give us someone who is a bit more age appropriate. I think my initial disconnect with her, was that she was young, had this big voice, but sang adult contemporary music. Can a haircut and wardrobe refresh help redefine this super talented diva? Girl, I don’t know, but here’s my thoughts on the album, track by track.
Dangerous- The beginning of the track had me thinking she was going to do a female version of Drake’s “Hold On, We’re Going Home” I was wrong. So wrong. This song has a breezy, bounce to it. This has “roller skating music” written all over it. It’s disco tinged, but amped up a bit to make it more modern.
It’s Your World- This was written by and features R. Kelly. Dangerous may have been disco tinged, but this is full on disco. Vocally this song is not for the Rihanna’s of the world. She starts singing out the gate and never lets up. The chorus is a long, dramatic ass run done in one breath. Robert (R, to you) comes in and at first his part isn’t very impressive, but then… Lord have mercy… He gets warmed up and he starts going back and forth with her. This song plays out like a textbook on vocal stunts and shows. I tweeted this earlier today: “These R Kelly and Jennifer Hudson runs in “It’s your World” are re-damn-diculous. They are singing like the rent is PAST due” and I think that best sums up this song.
He Ain’t Goin’ Nowhere: THis is an unapologetic Pharell song. It’s alright, but it’s nothing ground breaking in my head. Sometimes P, gets in these grooves and some of the songs start just sounding so similar that they get lost. The Iggy verse is alright but somewhat forgettable and unnecessary.
Walk It Out: This was the lead single that got me excited about this project. I heard that Timbaland was executive producing this and this track sounded so promising to me. It has this sick 90s R&B knock and groove to it. It instantly took me back to Chicago stepping. The chorus is just so simple and effortless. I do enjoy the the back and forth between her and Tim. She is singing her ass off on this track, but she is showing control here, which is something over which she is often given flack. Bonus: she says “fuck” and “shit”
I Can’t Describe: Once again, Pharell is taking us back to the disco. This could easily have been a follow up to “Blow” I know Solange is somewhere shaking her fro and fanny pack to this groove. I like the T.I. verse on this better. I think his flow seems to mesh well with Pharell’s production style.
I Still Love You: This song starts out super dramatic but settles into a groove that is kind of disappoints. I think they could have taken the beat a bit harder and given us something along the lines of “Night of Your LIfe” from David Guetta’s album. She sounds like a hesitant disco diva. The chorus reminds me of of the “I’ll always love you” in “Love Child” by Diana Ross and the Supremes.
Just That Type if Girl: It has a nice bass line. This sounds like the other two Pharell songs. It’s not very interesting at all. It’s something to put on in the background, but not a song to which you’d want to really sing along.
Bring Back The Music: This would have been a fun interlude, but they decided to make it a full song. The vocals are on point and are allowed to shine over a simple, stripped down track. I just don’t love the song, as it makes me think of a Vegas lounge singer.
Say It: I think Jerry Wonda did better with this song than “Bring Back the Music” This song makes you want to snap and rock side to side. The track is kind of funk. I don’t like the bridge of the song, as it’s kind of a let down, but overall this is a decent, soulful track.
Moan: JHud slows it ALL the way down on this song. It’s just her and a piano. It’s clear that Jennifer is capable of slaying songs in this vein. This churchy, ballady, type song is where she shines. I just personally don’t usually get into slow songs of this nature. She sounds great though, and takes us all to church on this song.
Overall this album is a decent effort from JHud. It’s nice to hear her trying new things with her sound, but I wished that they producers would have been a bit more adventurous with her. The disco diva thing is fine, as older motown/disco sounds, are all the rage these days, but they could have taken it to a different level. As I’m listening to this album, I think “Walk it Out” might have been her only radio friendly track, and that didn’t even fare that well. I know Thicke’s “Blurred Lines” sounded completely different from radio and blew up, but I just don’t think Pharell blessed Jennifer with any songs that are that ground breaking/interesting to get people to stop and listen.
JHUD’s makeover and choice of producers had me thinking she was going to do a 180. I was wrong. (weird, Right?) Yes, she sped the tempo up a bit, but she is still giving us adult contemporary. The Iggy and TI appearances might get some younger kids interested, but this is definitely an album for the grown and sexy crowd. This album feels like the album Effie White would have made had Curtis not been shady and played games with her career. Did you really think I'd end this without a reference to Dreamgirls? You are dumb.
