Corporate Line: Like so many R&B crooners of the last few years, Carl Thomas is a major talent but a minor star. “Let’s Talk About It,” the Chicagoan’s sophomore effort, clearly aims to rectify this. Bad Boy Entertainment mogul Sean “P. Diddy” Combs makes an effort to inject some youth into the mannered, urban contemporary slant of Thomas’ debut album “Emotional,” and for the most part he succeeds. Showcasing a range of styles largely missing from his debut, “Let’s Talk About It” shows just how many layers bubble beneath Thomas’ tenor. The lead single “Make It Alright” is just hip-hop enough to allow Thomas’ vocal virtues to take the spotlight, and paves the way for other uptempo excursions like “She Is” (featuring LL Cool J) and “Anything.” He still hasn’t forgotten the romantic touches that brought him fame, as evidenced on “The Baby Maker” and the album closer “Work It Out.” Thomas definitely delivers.
The good:
“Make It Alright” – The perfect lead single, the track rolls along at a catchy, radio-friendly pace.
“She Is” – This song sports a dope sample of Surface’s hit “Happy” and a cameo by LL, which makes for a good marriage of hip-hop and Thomas’ overt old-school sensibilities.
“The Baby Maker”— A sly, sexy slow jam that would do Marvin Gaye proud. Thomas nestles into the lyric with true passion and intensity.
“Work It Out” – Maybe the most Bad Boy-esque of the bunch, but it still works. The more muscular musical support works with the message of he and his lady working through their relationship woes.
The average:
“Dreamer” – A rather nondescript song about being a project child with dreams–we’ve heard it all before.
“A Promise” – This just misses working, since the overly sappy sentiments are a bit much and the lackluster arrangement weighs it down.
“Rebound” – The chorus of this song is just downright annoying, even if the song itself isn’t that bad.
The bad: Thankfully nothing.
Frankly: It may be a bit more frothy than his debut, but “Let’s Talk About It” takes top honors for giving listeners a better picture of Thomas’ charms. Even with this slightly new direction, Thomas’ personality remains largely intact – a rare feat in this producer-driven era. This time around, Thomas just might step into the big leagues, which is where he belongs.
+ S. E. Flemming Jr.
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