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When he blew out the candles on his birthday cake last July, Keith Sweat did more than just turn 50: he accomplished nearly a quarter century in the entertainment industry and remains one of the most successful artists from the New Jack Era, thanks to his seven #1 singles, twelve top ten R&B songs and 25 million albums sold. Call it what you will, but his ‘ain’t-too-proud-to-beg’ narratives have earned him a loyal fan base, a #1 syndicated radio show (“The Sweat Hotel”) and an eleventh CD, ‘Til The Morning.
When he blew out the candles on his birthday cake last July, Keith Sweat did more than just turn 50: he accomplished nearly a quarter century in the entertainment industry and remains one of the most successful artists from the New Jack Era, thanks to his seven #1 singles, twelve top ten R&B songs and 25 million albums sold. Call it what you will, but his ‘ain’t-too-proud-to-beg’ narratives have earned him a loyal fan base, a #1 syndicated radio show (“The Sweat Hotel”) and an eleventh CD, ‘Til The Morning.
Mr. Sweat’s distinctive style has been characterized as many things-----pleading, begging and even whining----but the term ‘inconsistent’ wouldn’t apply, since he knows and operates within the comfort zone of his strengths with just a few tweaks throughout to modernize his approach. Gone is the trend-chasing dominance of Auto-Tune and the “mackalicious” intent that commandeered 2010’s Ridin’ Solo, replaced by grown and sexy songs that praise monogamy and delivering as a man and a lover: “Make You Say Ooh,” a sex-centered slow burner, followed by a play-by-play intimacy itinerary (“I’ma start at your neck and move to your navel, baby be cool I got it/straight from the bedroom down to the kitchen table, who can do it like me….nobody”) on “High As The Sun” and with “Ring Size,” a song that promises a lusty marathon right after a trip to the jewelry shop to seal the deal (“We gon’ get our freak on soon as you get that ring on”).
The stronger cuts to be found are the ones about the less carnal elements of relationships: “Candy Store” is a throw-back to simpler and sweeter days, a walk down Memory Lane to revisit a youthful crush that developed into a full-grown love affair before falling apart (“I hollered at the shorty with the afro puffs/light blue halter top and the pants with the cuffs...we often fantasize about our lives/now all I left are the memories). With children’s laughter and nursery rhymes sprinkled throughout, it’s likely to become an instant fave, as is “Knew It All Along,” a duet with Johnny Gill as they portray men stepping out of ‘the friend zone’ to tell a lady that her boyfriend is a cheating poon-hound and that yes, he’s been in love all along and wants to take his place. “Open Invitation” showcases the performer at his most vulnerable, pleading for The One Who Got Away to come back home with a ticket just waiting for her say-so to fly her back into his arms.
Unfortunately, his weaknesses are just as audible: Coko of SWV adds just enough sweetness and sincerity to keep “My Valentine” from feeling too strained, but it still doesn’t evoke the heat of his previous female-featuring hits. And “To The Middle,” as danceable as it happens to be, is rendered nearly unlistenable thanks to the presence of T-Pain, who should show reverence to his stylistic mentor, but succeeds in overpowering the man instead. “Lady De Jour” and “Getaway” sound like what they are, tracks that could’ve benefited from less repetition and stronger execution to create more impact.
Til’ The Morning finds an industry vet cruising along in his established lane, not moving too fast or too slow: expanding the topics and techniques would make the ride more interesting, but in present form, it’s still a nice and smooth one. Moderately Recommended.
By Melody Charles