With the release of his follow-up to the phenomenal Coming From Where I'm From, Hamilton releases the consistent Ain't Nobody Worryin’. It is hard to make an album that is just as good as your first release, yet Hamilton does it here with flying colors presenting a soulful journey that no true R&B fan can miss. Ain't Nobody Worryin’ is even more organic and individualistic than its predecessor. It's also more poignant. In fact, Hamilton has made easily one of 2005's best and most credible R&B albums without having to conform to the contemporary R&B standards of today. With this masterpiece, he evokes what everyone loves about soul including the soulful drum grooves and the raw emotion of the lyrics. Through Anthony Hamilton, you can hear the influences of greats like Bill Withers, Marvin Gaye and Teddy Pendergrass, just to mention a few. Studio do-it-all Mark Batson is a regular presence again, while Dre & Vidal, James Poyser, Raphael Saadiq, Ahmir Thompson, and Kevin Wooten help out in smaller capacities, giving Hamilton more modernized '70s-soul backdrops that ideally complement the singer's ruggedly smooth voice.
Despite what it looks like, the sentiment in the album's title and song of the same name is a world apart from Bobby McFerrin's carefree Don't Worry, Be Happy: as Hamilton lays it out, people are either too resigned to their problems or too caught up in them to worry. This seriousness transfers to Preacher's Daughter, a criticism of preachers who are too occupied to take care of their own, as well as the opening Where Did It All Go Wrong?, a breakup song that's as stunned (and nearly as stunning) as Bill Withers' Hope She'll Be Happier. There's also Never Love Again, the kind of heartbroken ballad that's potent and sweet enough to sadden someone who's in a completely different situation. But all of this only covers one third of a well-rounded album that's as generous in its expressions of optimism, faith, and lasting love. With spiritual songs both personal (Pass Me Over) and universal (Everybody, simultaneously a convincing reggae jam), Hamilton extends his reach with confidence, and easygoing songs like Southern Stuff, Sista Big Bones, The Truth, and Change Your World give the album more depth.
Throughout the album, Hamilton keeps the soulful formula with wailing earthy organs, soulful sharp guitars, warm electric keyboards, Al Green reminiscent horns and horn synths, and acoustic piano. The tunes are strongly rooted in gospel music without being preachy or overwrought, and flash a social conscience without sounding out of their depth. Extra points awarded for the conspicuous absence of pay-the-bills guest spots from famous rappers. While it would not be fair to call Hamilton a hip-hop artist, the drum programming that hinges the arrangement is both soulful enough for the older fans and hip-hop enough for young followers of Hamilton who embrace the sanctity of his music. Furthermore, besides the brilliant production work, there is no filler material whatsoever on this album, just as it was on Hamilton's Grammy nominated Coming From Where I'm From. There is no artist out there right now that is even coming close to the kind of soul music Anthony Hamilton is making. Grammy 2007, watch out!
Back To Love
The Point Of It All
Southern Comfort
Soulife
Music For The People 2009
British indie-rock band The Enemy recorded the long-awaited second album Music For The People. On this disc, the artists made a feasible work over the sound and tried to get closer to the people in their lyrics
