As only the most cloth-eared indie die-hard would fail to understand, these are extraordinary times for R&B music. Just when it appears the genre's talent has reached saturation point, another unignorable prodigy appears: usually young and female, almost invariably self-possessed to a terrifying degree.
Welcome, then, Alicia Keys, this month's marvel off the celestial production line. Even by current standards, Keys is special: it's hard to remember a debutant making such a deserved impact since Erykah Badu emerged in the mid-'90s. 'Songs In A Minor' is, however, even better than 'Baduizm', a gorgeous and ambitious melding of classic soul structures and values to hyper-modern production technique.
Besides writing and producing most of the album herself (and sounding a little like Aretha Franklin in the process, especially on the killer finale of 'Lovin U'), Manhattan native Keys' particular twist to the formula is her piano-playing. It's her cascading theme that underpins the astonishingly cool 'Jane Doe', a collaboration with superstar songwriter Kandi Burruss (the woman behind TLC's benchmark 'No Scrubs') that's as infectious a tune bar 'Get Ur Freak On' you'll hear all year.
Then there's Keys' contact book. The presence of Kandi and producer Jermaine Dupri, who helms the punchiest track, 'Girlfriend', are predictable enough. But Prince, who writes the breathy 'How Come You Don't Call Me', and Isaac Hayes, who contributes superbly plush orchestral arrangements to 'Rock Wit U', are more surprising visitors. The old school music biz clout of J Records boss and executive producer Clive Davis undoubtedly helped pull some strings. Nevertheless, it's hard to imagine anyone Shed Seven, perhaps not wanting to be drawn into this mighty new star's sphere of influence. Great record.
