At times, it seems like everything Alicia Keys touches turns to gold. At 27, she has accomplished more than most musicians can hope to achieve in a lifetime, including winning nine Grammys (so far) and selling over 25 million records worldwide. Her latest release, As I Am, continues the string of pitch-perfect soul/R&B albums that has defined Keys and earned her such a diverse fan base.
The first sounds that hit the ear upon listening to this album are the nostalgic sound of a needle alighting on an LP, the subsequent clicks signaling the beginning of a musical event in muc the same way as it did in a bygone era. Soon, we hear the strains of Keys\'s beloved classical piano - a haunting late-19th century melody with a dramatic gliss that acquiesces into a decidedly modern drum and synthesizer back beat that continues to expand on the classical theme, as a harpsichord completes the sound. The wordless intro (titled "As I Am [intro])" ends with applause, perhaps priming the listener for the significant achievement that awaits.
"Go Ahead," the first proper single on the album, establishes a heavily rhythmic presence, the drum beat reminiscent of Queen\'s "We Will Rock You," while drawing on modern hip-hop and R&B grooves. Keys layers harmony over harmony over harmony on the vocals, almost evoking the sound of a gospel choir at times, so full is the sound it produces. The lyrics and the vocal delivery are classic Keys, defiantly strong, powerful ("Used to look at you and see the possibilities/ I see you for who you are/ Boy, you\'ve disappointed me.")
This transitions nicely into the girl-power anthem, "Superwoman." There is less rhythm, more melody, but the strength is unquestionably consistent. This track allows Keys to showcase her impressively confident yet delicate vocal stylizations (which are best exemplified on "If I Ain\'t Got You" from 2003\'s The Diary of Alicia Keys.) In the style of modern R&B, Keys sings late on the beat, imbuing her performances with a bravado that provides interesting contrast with her beautiful vocal tone.
"No One" combines a dominant, powerful rhythm (landing squarely on the downbeats) with soaring vocals and a positive message. Keys never waivers in her surety - this track is an example of her solidity, even as it transitions into chanting that sounds almost African and tribal. "Like You\'ll Never See Me Again" is a downtempo ballad that recalls the early 1990s heyday of modern R&B ballads with its mellotron-like accompaniment. It could as easily be a cover of a lost Boyz II Men single as a modern composition, but with Keys\'s amber-tongued vocals and a spareness of production, it never sounds dated.
Keys is something of a collaboration queen, recording with everyone from Usher to Bono, but "Lesson Learned" is the only collaborative track on the album, featuring blues-pop superstar John Mayer on guitar and vocals. Perhaps unsurprisingly, Mayer\'s signature sensitivity as a songwriter softens Keys\' style considerably. This track reveals Keys at her most vulnerable, almost wailing in despair over a failed romance as Mayer\'s appealingly gentle baritone assures her "It\'s all right, it\'s all right." The addition of Mayer\'s honey-toned blues guitar adds an additional layer of softness as well, creating a track that is unlike anything else on the album, and the departure is a very successful one.
Having exposed her emotional side, Keys then returns to characteristic toughness on "Wreckless Love." The sound is exuberantly huge, a tongue-twister of lyrics about romantic desire layered over a lush sound that includes a string arrangement. As Keys climbs the scale to the triumphant chorus, you can\'t help but soar along with her. "The Thing About Love" is one of the weaker tracks on the album, a somewhat plodding cut-time ballad that at times feels disingenuous. The lyrics come out sounding slightly generic ("Everybody laughs, and everybody cries/ Sure, it can hurt you baby, but give it a little try/ That\'s the thing about love.")
"Teenage Love Affair" sounds exactly like its subject matter - bright, poppy, even a little twee, but appealingly so. The sound is purely vintage Mariah Carey, right down to the spoken bridge, and, upon reflection, "Dream Lover" was exactly the sort of thing that must have been playing during Keys\' own young teenage love affairs. Much like early Mariah Carey songs, this song is irresistible.
"I Need You" signals a return to the harder sound of modern R&B, with complex rhythms and a minor key signature (don\'t forget that Keys is a devotee of minor keys - her debut album\'s double-entrendred title was Songs in A Minor.) There\'s a horn arrangement, a rhythm guitar, and three-part harmonies, but again, this song is pure strength and again almost tribally African in its dominance, bringing to mind the starkly beautiful strength of female African singers like Angelique Kidjo.
"Where Do We Go From Here?" is a soul-drenched invocation to a lost lover. The sound is uncharacteristically retro, borrowing as much from 1970s funk and soul classics as modern R&B. That nostalgic feeling is strengthened by the use of a Hammond B3 organ throughout and a backing vocal of girl-group harmony - though the finished sound is far from sounded old-school thanks to the well-selected production (Keys co-produced the album with longtime collaborator Kerry Brothers.)
"Prelude to a Kiss" provides a sweet, acoustic interlude in the midst of a very layered album. It is just Keys and a piano, and Keys is at her absolute best when it she is left alone with a piano. The short song-lette leaves you wanting more of this simplicity, but Keys withholds it, transitioning after just one verse into the album\'s strongest track "Tell You Something (Nana\'s Reprise)." In this one track, Keys combines all of her best elements, that unique blend of strength and vulnerability, oceanic rhythm, gorgeous vocals with complex harmonies, the alternating sound of triumph and restraint, the confident delivery - it\\\'s all here, and it works together effortlessly to create one of the best songs Keys has ever written. The song builds and builds into something worthy of a Bach fugue, so complexly effective is the polyphony on this song. Every sound that hits the ear on this song is perfectly placed, no run on the piano out of place, no chord strummed on the electric guitar unnecessary, no vocal flourish intrusive. Just an absolutely perfect track.
The album closes with "Sure Looks Good to Me," a piano-based, slightly forced message of positivity. This song sound a little uncomfortably reminiscent of DesRee\'s "You Gotta Be" and the rest of the "inspiring" neo-soul that pervaded the airways about 10 years ago (think India.Arie or Alana Davis, whose cover of Ani DiFranco\'s "32 Flavors" remains one of the great travesties of the 1990s.) Still, though the track feels forced, it is a happy note to end on, and as such, it purveys a general feeling of likeability. Then, as the album fades out, we hear again the analog clicking of an LP.
Despite a few moments where it sounds as if she\'s trying just a little too hard, Keys presents another peerless modern R&B album with enough layers to withstand endless listenings, and it positions her to expand on her already-impressive collection of awards and accolades. But at its heart, this is just an eminently appealing album, one that should be on everyone\'s "to-listen" list for 2007.
"As I Am" is on sale November 13, 2007 from Columbia.
