Toni Braxton - Pulse (2010)

Yesterday
A lone piano starts off 'Yesterday' before Toni starts singing and a strong drum beat sets the mid pace for the track. This additional force helps to convey the lyric that is about Toni being over her ex-partner, who is now Yesterday. This sounds like something that could easily feature on a Leona Lewis album and the choruses make this one of the best tracks on the album and a worthy single release.

Make My Heart
You may be forgiven for thinking that Braxton plans on easing us into the new album but she cranks it right up with 'Make My Heart': Made for the dancefloor. The video for this is on Toni's website. The song makes use of the same sample used by Mis-Teeq for 'Can't Get It Back' and the lyric is to the lover who Makes Toni's Heart 'get pumping'. After a clumsy first listen, the song rapidly grows on you.

Hands Tied
'Yesterday''s reign as top track is short-lived as track three is former Tune of the Day, 'Hands Tied'. If you have not headed over to www.tonibraxton.com to check out the seriously sexy video for this, shame on you. The title is brilliant and adds a strictly grown up twist to the playground boasts of being capable of doing something with your hands tied behind your back. This beggars the question as to what Toni Braxton is capable of doing with her Hands Tied. Answer: Loving you. The staple piano features, though there are layers to 'Hands Tied'. There's a beat and electric guitar that make this as hot a song as it is video. We see Toni up on stage with a room full of men eating out of the palm of her hand, which are tied in red silk scarves when she is not pole dancing. Thoroughly recommended and perfect for... you know.

Woman
A Coldplay introduction to a Delta Goodrem cover earns a smothering of Toni's breathlessly low vocals and guitars, which build to the self-affirming chorus sang to a lover whose heart is no longer in the relationship. Strings sound great in the second verse and introduce a pitch change and vocal that gets stronger by the second for Chorus Two. Toni needs love and simply being someone's Woman is not enough for her. The bridge highlights Toni's position as 'more than just a friend' before an Idol/X Factor break where the song comes back as the kind of thing Leona will be releasing at Toni's age, with a textbook Lewis last note. For me the song ventures into cheesey territory in the last section, where I would normally expect to see hear Braxton too cool for school: See 'Hands Tied'.

If I Have To Wait
The piano is the protagonist on another slow jam, that sounds almost country with the guitar melody in support. The western falvour dominates what threatens to be a rock ballad chorus and distracts from another smooth vocal. Braxton says that she will make do waiting until the end of time for the person to whom she sings should she need to. I can't help but ask myself what happened to the feisty Braxton that we know and love in order for her to sing about being at somebody's beck and call?

Looking At Me
The introduction to this sounds like 'Put It In A Love Song' by Alicia Keys and Beyoncé and 'Single Ladies (Put A Ring On It)' by Ms. Knowles herself. Thankfully the album increases the tempo just as 'If I Have To Wait' was in danger of becoming one ballad too many. Toni has fire in her belly once more and she is calling the shots, just as we like it! She is looking good and looking at a man who is looking at her. She gets tired of waiting, gets the drinks in and asks if her eye candy would like to take things out of the club; ordering him to not let her get away and introduce himself. Quoting Richard Vission, 'I Like That'.

Wardrobe
The album could go either way, having followed the last dance track with slow jams. The piano and acoustic guitar give little away until the beat comes in and shows that not much in the way of pace is to be lost. Toni is cleaning out her closet and the pleasingly staccato chorus reveals what she plans on filling the space in her Wardrobe with: Sombody else. She is on the lookout for someone who 'wants to hold me tight and keep me warm at night'. This is a catchy little number and easy on the ear.

Hero
This time the pace does drop back for the introduction to Hero; which, as the song progresses, morphs into Justin Timberlake's 'My Love'. The song constantly threatens to kick right off but never quite manages it, even when we hit the chorus where Braxton acknowledges that her heart has never had a Hero. Nonetheless, this is a good track.

No Way
The acoustic guitar introduces this mellow, summery track. Toni asks for a certain someone to let down their walls so that she may come inside and get the loving started. She promises not to break her partner's heart should he let down his guard. No Way. The song is a little too fast for the subject matter and I feel that a reduction in speed could have made this a real baby-maker. That said, it's the perfect speed for a slow dance at the end of the night, which leads everything in the right direction. The question on everyone's lips is, Is Toni going to make it easy on a fella with the next track or pick up the pace and ruin the groundwork that this song does?!

Pulse
A slow piano melody and violins provide the introduction to the title track, which continues in the same vain as 'No Way'. Toni is finally calling the shots again (damn her) and letting us know that we are not yet done with the romance. The vocal is slow, in keeping with the music and Toni sings how others are predicting the end of her relationship but, although she recognises that they have had problems, it's not over yet. She can still feel a Pulse in the partnership, allbeit a weak one, and is convinced that she can bring it back to life. The song builds for the choruses and falls back for each verse and, although this ballad is likeable, it is not quite up there with Braxton classics such as 'Breathe Again' or 'Unbreak My Heart'.

Why Won't You Love Me
Two songs for slow dancing appear to be enough in Braxton's book and finally we get a suitable soundtrack. She ensures a good performance by asking 'Why Won't You Love Me the way I need to be loved' but the stripped sound oozes an abundance of intimacy so as not to put anybody off their stride. The lyric is almost begging for reassurance (uncharacteristcally Toni Braxton) but, taking a step back, the minx is only manipulating us to raise our game, go that extra mile and fully deliver the goods. Hats off to the lady!! Outside of the bedroom, the song is beautiful but does get you to thinking about getting there sharpish.

Yesterday (Remix) feat. Taio Cruz
Pretty much the same version of Track Three; though this features Taio Cruz. The song does work well as a duet though, and Cruz sounds good, with the two sounding remarkably similar, sometimes making it difficult to work out who is actually singing. An improvement on the original version.

The above songs complete the tracklisting of 'Pulse', which contains songs recorded to replace the songs below that were originally picked for the project but scrapped after leaking over the internet:

Stay
Stay has an acapella start and a faster beat that 'Pulse'. The piano melody plays second fiddle to the restrained drum beat but the highlight of the track is the harmonising of the main and backing vocals during the choruses. The song never faulters, is consistent throughout and this is the key to its success. It never lacks anything, though never becomes overbearing. This helps to convey the lyric of how Toni is asking her man to Stay, realising that she can sometimes make the wrong move and push him away. The music adds a composure to the request and conveys Braxton's self-assurance in the relationship and, despite her mistakes, the fact that the man is not going to be going anywhere.

Clockwork
Heavy on the percussion, softened by the piano, this has a sexiness to it that rivals 'Hands Tied': The perfect support for the explicit lyrics. Never one to shy away from a risqué lyric (You're Making Me High for example), Toni manages to be overtly sexual whilst remaining classy; making this song another hit in the bedroom. 'Clockwork' refers to Toni's body, wanting her partner 'on the regular'. A good track.

I Hate Love
The acoustic guitar strikes up a fresh sound for another mid-paced track. Despite the title, the sound is upbeat as Toni sings how she hates being in love as it hurts when she has to say goodbye to her partner and hates wishing he were with her all of the time. She is so much in love, which feels so good when they are together, that she cannot bear to be apart and jests that she hates love. Where the lyric is misleading, the music is true to the song and stops you from wandering down the wrong path. I love this about this song.

It's You
Piano and strings are back from the word go on 'It's You'. The drum beat has you nodding your head, clicking your fingers and the tone of the pre-chorus is just great. Toni sings that everything that she never wanted to want, It's You. She never meant to feel like this and wishes that her head could rule her heart as far as her latest fancy is concerned. Christmas bells at the very end of the track are a strange choice but make the song no less-likeable.

Don't Call, Just Text
Finger snaps, the piano, car tyres screeching, a dirty laugh and the snare drum begin a soft, street track that I for one really like. An almost whispered vocal takes us through the punctuated verse and into a slurred chorus. Despite the laid-back, lazy nature of the track, Toni is living it up in the VIP of a club and telling her lover Don't Call, Just Text as she won't hear him speaking with the music of the club. What she wants is a text detailing what is so important to interrupt a night out that she has spent a week planning. Note to self, although a picture paints a thousand words, with Phone Text, less is more!

The Wave
This song is all snare and percussion. Verse One is practically acapella but come the bridge, we have more in the way of accompaniment before the chorus announces to everyone eyeing her up that she is taken, that the ring she wears is forever and that the man that gave it to her doesn't like to share. We go back to square one for Verse Two before Toni gives The Wave (of her ring) again in the banging chorus, which then too gets the acapella treatment. This song gets in your head.

Melt
Whilst the pace drops for 'Melt', the bass goes nowhere and combines perfectly with the softness in the vocal and minimal accompaniment for this track that explains how Toni's partner makes her Melt, 'like an iceberg in the sea': A fresh metaphor if ever there was one. The beat sees this song sit on the fence between baby-maker and dancefloor shaker; demanding that you listen to it. I like this one a lot.

Toni Braxton makes sexy albums and her sixth studio album, 'Pulse' is no exception. 'Hands Tied' is one of the best songs I have heard for a while and the video, as I have mentioned, is great. Although highlights of the album are real stand-out tracks, some of the songs can be easily missed and, as a whole, 'Pulse' fails to live up to the outstanding 'More Than A Woman'. There is a song for every occasion on the release however and I do like the flow of the songs and what I perceive to be Toni's true intention of the project. It is therefore not necessarily a bad thing that some of the original tracks were excluded, which may have compromised this effect. Braxton did work with some musical heavyweights during the two year period over which the album was recorded, Robin Thicke and Usher to name but two, so the album could easily have packed more of a punch had these collaborations made the final cut. The subtlety of the end package turns out to be its charm and it does catch you unaware, takes you by surprise and makes me smile. Toni always sounds great, this album is quite rightly all about the voice and gets my recommendation.

Toni Braxton's Official Website: www.tonibraxton.com

LeToya - Lady Love (2009)

Lady Love
This is the best introductory track that I have heard since 'FutureSex/LoveSounds' by Justin Timberlake. A music box melody introduces the song, with some heavy, dark strings and three harmonised vocals from LeToya that all lead to the point where the beat drops, the voices unify and the ride begins. We know we want a girl like LeToya, she sings: The 'Change your world type of girl'. The song is all about the singer; who is a lady that can cook, clean, put it down in the bedroom and make enough money to be able to invite you into her Mercedes Benz. She hits the nail on the head when she says that we can't resist this as it is very true. This is a fantastic stand alone track that is the perfect opener to Luckett's sophomore effort.

She Ain't Got...
Single Two and Track Two of the project, this is a hard track, that is just as likely to blow your speakers as to serve as warning as to what is going to happen if you are caught cheating. LeToya has been forced to wear the trousers in her relationship since her man has been up to no good and it is up to her to sort this out and 'Take out the trash, as soon as I find out who she is'. LeToya is singing about the other woman and what She Ain't Got is sh*t on LeToya. Once caught, LeToya likens her man to a 'Puppy on a leash' that she lets out to play but he 'ain't playing fair', meeting strays and bringing home fleas. Not only is LeToya going to keep her man in check, she is going to put her rival in her place and, to quote the lyric, put her 'foot down on home girl's neck'. The feistiness of the track is reflected in beats as well as the fantastic video for the song, part set in the club. The lady capable of doing everything that she said in 'Lady Love' is capable of a lot more and, oddly, given that she is about to kick some ass, you sympathise with the artist, who is still able to sound sweet, despite the threats that she is making. The song literally breaks down for the bridge in contrast to LeToya's tough exterior, when it poses the questions, 'Does she kiss like me?, Care for your kids like me? Keep a secret like me? Does she cook, clean do all the things? amongst a multitude of other rhetorical questions, the answer to all being 'No'. The song breaks down one more time before the whole thing is wrapped up and you need a sit down to get over what you have just heard.

Not Anymore
The lead single from the album has a more relaxed pace to it, all though the bass is still heavy and the message is similar to that of 'She Ain't Got...', if a little more restrained. The video (short movie would be a better description) that accompanies the track documents the cheating nature of the partner that LeToya doesn't want Not Anymore. Set in the Sixties, the video sees LeToya's rise to fame and her becoming a Number One artist and, with songs like this, art is surely going to reflect real life. Another brilliant song.

Lazy
Strings and the piano start of this song that has a spoken introduction from LeToya telling the man trying to get with her that it is not him, it is everyone that has hurt her in the past that means that she doesn't want to start anything new. Her heart is tired of opening up and tired of being hurt; the result being her heart is lazy, knowing that the only thing that it is missing by not taking part in the game of love is pain and heartache. The song is anything but Lazy, however, with a fast beat and layers of instrumentation that would have you believe attack is the best form of defence. She is making no bones about pushing this would be suitor away and making it clear that she has no intention of changing her mind.

Good To Me
This is the latest single to be chosen from 'Lady Love' and the video for this premiered last week. The song is dedicated to all of the good men and is a slow jam that lists LeToya's demands in a man: He's got to be able to cook, look good, be good in bed, go to church with his momma, not be about drama and be the kind of man that LeToya can take home to her dad. LeToya doesn't think that this is too much to ask for and, when she finds him, she is ready to give him all of her good love and blow his mind until he can't get enough. The bridge is sung directly to the 'ladies in the house tonight' who are encouraged to throw their hands in the air if they have a good man in their life or see a potential one for LeToya. The piano accents the heavy bass that means that the song does not venture into ballad territory. In interview, LeToya has said that this is her favourite song on the album and, the more I listen to it, the more this is coming true for me too. A wise choice for a later single release than the three previous cuts as this song is more of a grower but I predict big things for this track.

Over
The piano and a muted vocal from LeToya singing 'Over' begin the song about what would happen if LeToya found out that her man were cheating. Ever the straight-talker, she tells him categorically that it would be Over, with no chance for reconcilliation. The song is a slow song for nodding your head to rather than for dancing. It actually demands that you actively listen to it and appreciate the message that LeToya is sending out; something worth sitting up and listening to should you be in a relationship.

Regret feat. Ludacris
The piano and finger snaps start the third single release from the album, over which Ludacris states 'He don't deserve you, he gonna Regret that he hurt you'. The snare drum beats over the handover from Ludacris to LeToya who is singing to the partner that she had before Ludacris, who left her. The Regret that inspires the title is what this ex must be feeling since it was LeToya that made this man who he was on the scene with all of the things that she bought him. Now that they are over, his pimping isn't what it used to be and LeToya feels sorry for him. It appears that LeToya is correct when she says that her ex 'Must regret the day that you left me' as he is now 'Still trying to get back with me'. When he does, the snare drum comes in once more, which is the only instrument to feature other than the piano, tambourine, percussion and the finger snaps. The simplicity of the music is reflected in the stunning video, which has Letoya and Ludacris in front of a black screen for the most part. There is a confrontation in the club that shows when Ludacris raps how he is the new man in her life and how he treats her the way that the ex should have. After a few listens and, especially viewing the video, you cannot help but love this song, which I currently have on repeat all of the time.

I Need A U
A slower, softer sound and vocal feature on this track with brushed percussion and strings on musical duty. The chorus is sung a little stronger, where LeToya acknowledges that she Needs A U. The music and lyric are both sexy and this track can be used in the bedroom. The whole thing strips back for a spoken vocal where LeToya reveals that she doesn't like to be alone and makes it known that she has one or two tricks up her sleeve. As she does, a dirty electric guitar solo ensues that shows she means business. Another song that I like. A lot.

Take Away Love feat. Estelle
A conversation between LeToya and Estelle is used as the introduction to this track. LeToya is sick of explaining herself to somebody how she doesn't want a relationship, she is still trying to get over her ex. Estelle comes up with the solution, Take Away Love. LeToya takes this on board and then sings to the latest man how, although he says that he loves her, she can't imagine him being part of her life. It sounds as though she is using the man to get over her ex but, in the second verse, she makes it clear that the sex they were having is over for Estelle to come in with a rap to sledghammer the point home. This is a mid-paced song, with electric guitars, percussion, hand claps and a feisty Estelle who puts in a good rap and ad libs through to the end.

After Party
The beat bounces along to this, making your head do the same. The vocal is quite fast and upbeat, which would seemingly be in contrast to the lyric about the end of a relationship. Rather than focusing on the end of the partnership, LeToya looks forward to the After Party, when she is free and single. This song is a fine way to start that party.

Drained
Finger snaps and electronic beeps start this song, which build when the chorus drops and LeToya sings about Draining her ex partner's love. She recognises that she was the one that caused the breakdown of their relationship, blaming her past relationships for the pain that she caused her ex from the day that they met. The catchy song ends with her asking for forgiveness and another chance to pick up the pieces of the heart that she knows she has shattered.

Tears
Stuttered sounds begin the track, with a low, almost monotone vocal, that begins to rise, peaking in the chorus where LeToya lets the man in her life know that he has got her in Tears. In Verse Two, there is more variation in pitch, where LeToya tells how this man touches her soul and makes her lose her senses. She doesn't know what this man has that makes her so emotional, feel so warm and bring her to tears. Thankfully the tears that she cries are tears of joy rather than sorrow, which allow the listener to relax a little bit and let the song flow over them. A few listens make this a great track that could well be described as a baby maker.

Matter
LeToya is in love with a man who already has a girlfriend, who LeToya is convinced is not up to the job. The song is about LeToya convincing the man that the other woman doesn't Matter and that he should choose her. It's a mid-paced song, with some old school elements to it, which appeal to me. The frustrated beats convey how LeToya is feeling, as well as letting it be know that she means business.

Love Rollercoaster feat Mims.
Mim's rap begins the track by saying that his life is like a Rollercoaster ride. Things are moving so fast with his music, that he is able to treat Letoya to the good things in life and take her around the world, she just needs to keep her hands in the ride and go along with it. The chorus, sung by LeToya shows that she is not too happy to do this. Throughout the album, LeToya has said that she doesn't want any drama and doesn't want to go round and round, up and down in her relationships. Mims doesn't let it go and raps a second verse to say that he doesn't want this to end but the chorus comes back at him, followed by LeToya's verse confirming that, although she thought they were truly in love, she's lately seen another side to him, which brings unwanted problems and she wants to get off the Rollercoaster that has become her love life. The bass guitar and keyboards feature heavily on this track, which grows on you.

Don't Need You
Beatbox is the introduction and main accompaniment for this track, over which piano chords and a simple mid tempo drum beat support LeToya's beautiful vocal. The chorus sees hand claps and keyboards help convey the fact that LeToya Don't Need You. You being the ex that changed her from an independent woman to somebody submissive. Despite this, LeToya is going to keep smiling, keep it moving and not give up on love, making the song something positive with the focus being on the future rather than the past, which has put LeToya in the position in which we find her: Alone and lonely weighing up her options. Thankfully, she realises that she can do so much better and get through this and the song ends with laughter. I like this a lot.

Swagger feat. Bun B, Killa Kyleon and Slim Thug
The last song on the album is hard. Aggresive strings and a rap from the guests start things off and the whole thing sounds a little like Kelis' 'Bossy'. If anything, LeToya is a little overshadowed on this song, as though she is providing backing vocals for the three rappers, who take care of the verses. The jury is still out on this song for me but I have a sneaking suspicion that, with time, I will start to like this.

In a recent interview, LeToya has said that she was tricked into becoming a solo artist after leaving Destiny's Child and not quite getting Anjel off the ground. We really need to thank the tricksters as 'Lady Love' is rapidly becoming a favourite album and sales figures in the US would show that I am not the only one feeling this. Whilst appreciative of her success in her home country, LeToya has said that she would like the whole world to pick up on her music and my belief is that this is just a matter of time. 'Lady Love' is a fantastic album.

Monica - Still Standing (2010)

Still Standing feat. Ludacris
Before 'Still Standing' actually starts we get a spoken introduction to the album with some piano accompaniment. Monica says, 'Momma always told me, you gotta walk by faith and not by sight. Real talk. You Gotta Listen'. Smart words. You don't get much chance to mull these over before the drums kick in with dirty electric guitar rifts. Monica commands that she be listened to since she is still 'Champion of the Game', despite being 'Up against the ropes'. She sings how she is Still Standing, both in her professional and personal lives, despite everything that has happened to her and what has been said about her. She will never give in and show the white flag. Ludacris' angry rap affirms the fact that he too is Still Standing and that his name is going down in the history books. Monica is at a point where she knows who she is and that she can overcome anything that life throws at her. This is a great start to what promises to be a great album. Thing is, you start off strong, you've got to get stronger...

One In A Lifetime
Track Two has a softer sound, with a piano, strings and percussion holding the reins. What the song lacks in beats, it more than makes up for in lyric. The song is about only getting One love In A Lifetime and Monica has just split up from hers. She sings how she needs her man back in her life, how she is so used to being whole that it is hard being half again and that her tears have been steady falling like the pouring rain. She asks whether the forecast will change and, when she does so, we hear the desperation in her voice. The pre-chorus and chorus make the song and, if I had to find something to criticise about the song, it would be the laziness of the metaphors used in the bridge: We've heard all about walking across the desert and climbing mountains a hundred times before but the rest of the song is box fresh and more than compensates for this. This has already been Tune of the Day and is rumoured to be in the running for a single release. I am more than convinced that this is up to the job and recommend that you give this a listen.

Stay Or Go
The piano provides the only back up to Monica as she sings about how annoying her current situation is and that she would tell her partner to grow up if she thought that it would make any difference. To quote Katy Perry, her man is 'Hot N' Cold' and Monica is asking whether he plans on Staying Or Going. The beat drops and speeds up and up and up some more as she sings that she is just about getting fed up of waiting around and is about to make the decision herself. Some seriously sassy backing vocals sound great and give rise to a 33rpm harpsichord track being played at 45. The vocal remains cool and collected over the erractic, frustrated beat and the two styles marry perfectly before the whole thing winds back down to the lone piano, with us left hanging as to what decision has been taken. I like it.

Everything To Me
Fans spoke, Monica listened and has gone with 'Everything To Me' as the lead single to the album. Many have welcomed the return to Monica's former glory: Rn'B Soul, pure and simple. This is a slower song, with a fantastic vocal over a full-on orchestra. We have percussion, strings, wind and brass all on duty; demonstrating whole-heartedly that the lover to whom the song is dedicated is her Everything. She wraps things up simply by saying, 'I Need You' and it is easy to see why so many people have been taken by this song. Check out the video on Monica's Official Website and you will see that she is looking as good as she sounds.

If You Were My Man
Missy Elliot features on this and states that this is 'Hot Sh*t' and 'Eighties'. She is not off the mark. The music is heavy for the verses: synthesizers and bass and the choruses are light by comparison. The music may be a throwback but the lyrics are bang up to date, with a rap from Monica telling a man that, in no uncertain terms, she can love him better than the girl who is going to break his heart can. This does take a few more listens than the previous tracks to get into but, especially if you are from that era, you will grow to love this too.

Mirror
From the eighties urban sound of 'If You Were My Man' we move to the slowed down nineties dance sound of 'Mirror'. Out of the two, this one just about takes the edge. The start of the song is a little bit like 'Thriller' before the nineties euro dance sounds join the handclap percussion and slower vocal. Monica is singing about what means the most to her and it is not the fame, the clothes, the money or the sold out shows; it's the way that her man looks straight through her, leaving her exposed. Picking up where 'Still Standing' left off, she sings that she is comfortable with what she sees, she doesn't have to be ashamed. She sees her man with her and she is solid. So is this track.

Here I Am
A chorus of 'Yeah, yeah, yeah's' start of the song with stuttered bass and minimal musical accompaniment. Monica sings about hitting up another man whilst her own is out playing the field. Whilst he is out with another chick, Monica is packing up her shi*t and about to leave him for the man she is saying 'Here I Am' to. If 'Stay Or Go' sounds like a vinyl album being played at the speed of a single, the opposite could be said for 'Here I Am'. The sound is slow but punctuated with bass and the repeated 'Yeah, yeah, yeah's'. She leaves no doubt in neither her potential new lover's nor the listeners' minds that she means what she says and is ready to move on.

Superman
This song has a more organic sound than the rest of the album; with more live, acoustic instrumentation. Monica sings that there is no other place that she would rather be and no other face that she would rather see than that of the Superman she wakes up with each morning. This is a love song with some nice touches, such as the emphasis on the bass of the second verse; hammering home the fact that she loves this man like no other. He's her hero. Her Superman. This is a nice song.

Love All Over Me
You are smacked over the head by the agressive introduction of this song that paves the way for the opening lyric of, 'Must not have been paying attention'. The introduction serves as a wake up call and, now Monica is paying heed to what is going on around her, she has gone from the bottom straight to the top in the arms of a new man. She is surrounded by love; has it All Over her and sings that she is not about to give up on it. After the initial shock of the introduction, the sound smooths itself out into something a little more in keeping with a love song, which gives Monica the opportunity to steal the show with her voice.

Believing In Me
A slow drum beat and the acoustic guitar start of the final track of the album, which is a show stopper. Monica sings about moving on from somebody that wasn't right for her, someone who was completely wrong for her and who kept her from believing in herself. Now that she is free, she is going back to a place where she belongs and this is a fitting song with which to conclude the album. The very end of the track reminds me of Beyoncé's 'Dangerously In Love', which is perhaps the perfect description of how Monica was feeling in the relationship that has just ended. Dangerously in love, since she was at risk of forgetting herself and being trapped in a dead end relationship. I like this one a lot.

Blackberry (Bonus Track)
Missy Elliot features once again on this listed bonus track about being the kind of girl that checks her boyfriend's phone when he goes to sleep to see just what he has been up to. As you may have expected, Monica's man is up to no good and this song serves as a warning to the women that are trying to encroach on her territory. Despite the agression in the lyrics, the style is laid back, conveying the confidence that she has in her relationship and that she is the woman who is going to come out on top. This doesn't stop her giving her man a talking to in the second verse, however. Missy hits the nail on the head once again when she describes 'Blackberry' also as being 'Hot Sh*t' before Monica starts divulging that, in addition to seeing who is texting her man, she also looks through the photographs as well as listening to his voicemail. As the song progresses, she becomes more and more angry and eventually leaves her boyfriend to his playing ways. A brilliant bonus track.

'Still Standing' has debuted at Number One on Billboard's Rn'B/Hip Hop Album chart and Number Two on Billboard's Top 200 and Digital Album Chart. Such success is indicative of a good album. USA Today describes the album as a deliberate and effective revisit to the past in a 'Gimmick-free set of cool R&B tracks'. Concrete Loop describes the project as 'Real R&B' and if that is your bag, you are going to love this. To a certain degree, my initial fears of the rest of the album not living up to the explosive start are realised; though the album has no fillers and 'Still Standing' winds it back up to finish as strong as it started. Future releases have to include the title track and 'One In A Lifetime'. This is easily the best thing that Monica has recorded both pre and post 'After The Storm' and, she is far from finding herself against the ropes turning in a project of this calibre.

Monica's Official Website: www.monica.com