By shelz.

Lessons Learned, the previous title of Monica’s 6^th studio album, was quite the understatement.  The past few years of the singer’s life have been filled with a tumult from which many don’t recover. In her musical catharsis; she not only deals with those events but also emerges on her own two.  The album isn’t about the lessons she’s learned, it’s about using that new-found knowledge to work life and love’s logistics appropriately.  Confusion still mounts and things don’t always go her way, but it is how she sweetly and melodically traverses the storm that the album proves she is Still Standing. 

A voice cultivated in gospel, an outlook rooted in strength, and a heart still open enough to love merge for this short and very charming LP focused on the highs and lows of relationships.

The title track, “Still Standing,” is the thesis for the project. It’s an atmospheric, emotional track courtesy of Bryan Michael Cox with plunging synths, soaring strings and an ironclad declaration from the diva that she is living in the light at the end of her dark tunnel.  The powerful anthem features Ludacris co-signing the struggle.

Next is a pair of songs dedicated to relationship difficulty.  However, “One In a Lifetime” and “Stay or Go” aren’t piteous odes to pain; they don’t bemoan.  Even in struggle, there are hints of resolution.  A piano and a steady thump drive both tracks as Monica sings of love epiphanies and bittersweet endings. “Stay or Go” does have a somewhat annoying effect layered into the chorus that almost sounds like someone screaming from a distance, but it doesn’t diminish the song horribly.

Missy’s production contribution and lead single “Everything to Me,” provides an upbeat moment, tackling the easy waters of love without issue.  The interpolation of Deniece Williams’ “Silly” is lush old school soul with which Monica’s smooth delivery finds a perfect fit.

The album takes a bad turn with “If You Were My Man (Betcha).” It’s another 80’s R&B sample, courtesy of Evelyn “Champagne” King and unfortunately Monica’s remake sounds about as dated as Evelyn’s original does. There doesn’t seem to be much of an attempt to update the track except for Missy cursing on the intro.  Plus, a song about stealing another woman’s man is ill fitting for an album about mastering relationships.

Monica quickly redeems herself with “Mirror,” a spacey, futuristic track from Jim Jonsin over which she spreads a narrative about taking personal stock and defining priorities. “Here I Am,” is one of the more enjoyable tracks from Polow Da Don in minute and Monica airs her pipes out on this one, but the vocal arrangement of the verses is questionable at times. “Superman,” the second track from Bryan Michael Cox is easy on the ears, but may seem to drag after coming in 8^th on a track list full of similarly paced songs.

The album comes to a close with a pair of songs that couldn’t be more different in concept. “Love All Over Me” is a ballad that finds Monica on the sweetest of love highs while “Believing in Me” is a resolute goodbye.   Jermaine Dupri’s track for “Love..” is relatively generic, but the StarGate produced “Believing..” with its open foundation and acoustic guitar manages to be both melancholy and beautiful at the same time.  Perfect finale.

Still Standing is a statement about love and loss.  It’s about pleasure, pain, and walking the tightrope between the two.  It’s personal, introspective and easy on the ear.  Yes, there are a few missteps, but Monica’s desire to pierce the bubble that keeps mainstream R&B superficial serves her very well and her maturation as an artist is apparent.  Her choice of title is apt and hopefully (as far as her career is concerned) prophetic.

3.75 out of 5

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