By shelz.

When Ghostface Killah announced he was crafting an R&B album, the feedback was mixed.  His emotional range and honest lyricism provided more than enough depth for his past soul singles, but they were always album accents, melodic intermissions on a hardcore backdrop.   An LP full of “All That I Got is You” though, sounded like a risky move.  Could he create enough variation to keep the listeners attention?  Would he turn off his core fans by going too soft?  Was he going to sing? 

Well it’s obvious that all of those questions were considered when laying out the blueprint for this album. The central theme of relationship highs and lows gives most of the songs a tight bond, but Mr. Starks manages to tell a different story on each one and while the production primarily stays within the soulful 60’s throwback range, it pushes those boundaries in all directions. Yet, the issue still remains.  Even when the songs are dope, is love on top of love for 14 tracks simply too much of a good thing?

Yes.

The idea of using this type of song as an oasis in a Hip-Hop desert full of drugs and violence is tried and true and Ghostface is a professional at breaking down the hardcore wall for a moment to get personal with it.  So this album is full of gems dedicated to that queen of his, the one he loves with all his heart but can’t quite seem to co-exist with in harmonious bliss. 

There are songs about the upside of attraction and connection. “I’m Not Your Average Girl” with Shareefa on the hook is an upbeat trip about sifting through the unworthy throngs of chicks to find wife material. “Baby” featuring Raheem Devaughn details the joys of watching wifey carry your baby. Rubbing her belly, late night trips to Popeye’s and coaching her through delivery are presented as labors of love in the rather cutesy track. Awwww. The perfectly produced “Paragraphs of Love” is an ode to love at first site and chronicles Ghost’s random meeting of the most beautifullest queen he’s ever seen. Estelle and Vaughn Anthony’s features add a wonderful layer to the already verdant track and this may be the best Ghostdini offers.

The trying side of love is also well represented on this release. “Do Over” according to Raheem Devaughn’s opening is about kissing the girls and making them cry.  Ghostface laments about cheating on his good girl and her calling it quits.  The theme of the arduous relationship is continued with “Lonely.” The song takes “Do Over” a step further as Starks spends his evenings with his lip poked out and his head dropped because his woman has someone new in his bed, under his cover and changing his channels. Then there is “Guest House,” a somewhat amusing look at finding your wife banging the cable guy who is aptly portrayed by Fabolous. The tears normally befitting this type of tumult are replaced by Ghost pulling out the heaters as Fab attempts to talk his way out of the situation by calling Ghostface’s lady a tramp.

Of course it wouldn’t be Ghostface without his patented naughtiness and it’s on full display on “Stapleton Sex.” Not safe for children, grandparents or the easily offended, the song is a lascivious, descriptive romp through an evening behind closed doors with Starks and the misses.  It draws you in and Ghost definitely gets his point across, especially if you listen to it more than once. (Like I did)

The production on Ghostdini is solid throughout.  There’s nothing revolutionary but most of the tracks are strong soulful concoctions complete with oldies samples, moody strings, thick baselines and uplifting horns. “I’ll Be That” steps off that production path a bit with its off kilter beat and lilting flute.  Ron Browz contributes to the project with the track for “She’s a Killah.” The song is more of an updated production than most of the album, but its still okay.  

The closer, “Back Like That (Remix)” has the best feature on the album with Kanye West again showing the masses that he has the ability to hang with the best of them lyrically. Ne-Yo handles the hook as the trio let their ex-ladies know getting with some dude they have beef with after the split is not cool.

Some of the lesser songs like “Let’s Stop Playing,” while not bad, have a paint by numbers R&B sound. It’s alright, but sounds too much like many other John Legend + random rapper collaborations.  Browz’ voice, his vocoder and his “Ether Boy” exclamation could have been dropped completely.

All in all the songs on Ghostdini in their own personal vacuums or spread out over three or four different releases would be wonderful and they all stand alone as dope songs.  However, as one cohesive work this album is like a big slice of chocolate covered cheesecake.  It’s good from beginning to end, but you can’t take it all at one time because it’s just too much of one good thing.

 3.75 out of 5

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