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Soul Man – A Review of Ruben Studdard’s ‘Soulful’by Sting7 -- 12/10/2003
View Printable version of this article So far, there have been three solo albums from American Idol performers, and with that, it’s easy to think you have the formula down: they will be unassuming, unthreatening albums for the whole family to enjoy. That was true of Kelly Clarkson, Clay Aiken, and Justin Guarini. If that’s what you were expecting from the affable, 205-wearing, Velvet Teddy Bear, you may be in for a jolt. As you might expect, here in the hallowed halls of Foxes On Idol and RealityNewsOnline, we discuss reality television with all the periphery therein, and rarely do we all agree. In fact, it can be like the McLaughlin Group around here! There is a definite split among us as to what we think about Ruben’s album. The kicker seems to be whether you “get” where he’s going or not. There is an inherent risk in an album that you have to follow. Here’s what I mean. Clive Davis, as reported in my story on Soulful’s release, said that the goal was to release an R&B album that was honest to Ruben and the audience they were trying to reach. What wasn’t said was that audience was not necessarily American Idol’s core audience! While American Idol has the occasional Motown Week, it is not an R&B show! So, if you find that you don’t generally listen to R&B music, you may find yourself scratching your head. Here’s another hint, if you pop on your modern day Top 40 station, you hear plenty of R&B, plenty of hip-hop, plenty of what you will hear on Ruben’s album. If you don’t, don’t blame Ruben, you just aren’t the audience Clive was aiming for. That said, to appreciate Ruben’s album, you will have to tear yourself away from the implied notion left by Kelly, Clay, and Justin of what an American Idol album should sound like, and what you may have expected Ruben’s album to sound like. He didn’t stray very far from the course, but there is certainly an element of sexuality that may not be appropriate for younger kids (an element that the prior three avoided). But, to be fair, it is actually quite tame compared to what your kids hear on the radio every day. He hasn’t gone to Prince-level, but he goes farther than American Idol will allow to be televised. Ruben has taken a risk and there is plenty of chatter about his decision to make a R&B and hip-hop focused album. I have a little trouble with people who say, “it’s not my kind of music” and still criticize it. Folks are entitled to their opinions about a genre, but I think that’s where it should stay. If it’s not your “kind of music,” then you aren’t in a position to say whether it’s good or bad. You don’t know. What you will recognize is the lush, rich beauty of Ruben’s voice, which is consistently presented to its best advantage. What you may not recognize is the modern production of the songs. His songs sound like those of his contemporaries – a sound that an R&B and/or hip-hop audience rightfully expects to hear. There are a lot of rumors out there that Ruben is rapping on this album. He does not. Not one time. If someone says he is, they are either mistaken or flat-out lying. Soulful is modern, it is 2003, it is gritty and edgy and sexy. It is absolutely correct for what Ruben is trying to accomplish. And, what he is trying to accomplish is sending a message. That message being “the Ruben you saw grinning for you on American Idol is only a small part of who I am. Here is the rest.” Is Ruben sexual? Apparently so. Does Ruben have a street side? Yes, he does. Is Ruben a 24-year-old man who has been plunged into the spotlight and is struggling to reconcile his past with his future? Definitely. Is Ruben soulful? Damn right. Here’s what I thought about each track: “Sorry 2004” – The first song on the album, and the first single, and it’s already jarring! Simply because Ruben is singing on a contemporary-sounding track, as opposed to those lush orchestrals that the American Idol compilation albums saddle us with. This is a please-baby-please slowdance that is sure to induce some making out, falling somewhere between Gerald Levert and Craig David. The production is nice and subservient, allowing a crisp and clear sounding Ruben to make his case with that lush tenor, with some masterful highs and some belting that you may not expect. Powerful without being overpowering, a nice hook, absolutely radio-ready, this is a sure Top Ten song. “No Ruben” – This whole song could be a disclaimer for those who watched Ruben on American Idol. He says it’s time you recognized that he “was a star before the show.” It’s a homage to his life before being the American Idol, being broke in Alabama, living in the hood, eating leftovers, and bringing us “to church.” If it weren’t for those things, there would be “No Ruben.” 10-4. Performed with a track that feels borrowed from Eddie Kendrick, Ruben sounds as if he celebrates those things in his past, and he’s prepared to leave them, but not forget them. It’s got a good hook, this has a chance to be single. “How Can You Mend A Broken Heart” – Here is my favorite track on the album. This is the same number made famous by the Bee Gees, and later, Al Green. (My mother happens to be a HUGE Ruben fan, and an ENORMOUS Al Green fan. When I told her Ruben did this song, she unfurled this shriek that had dogs suicidal for miles around). Ruben’s version is closer to Al Green’s rendition with a courteous nod to the Bee Gees’. Effortlessly soulful, Ruben found a way to stamp his own identity into the song while being mindful to the originals. He gives himself a vocal workout, seeming to squeeze heartache out of every extended note. He may find himself with another Grammy nomination next year! This is the one I played over and over... and over again! 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