By shelz.

We know a lot about Lyfe Jennings, maybe more than we should.  His rise from incarceration to major label presence is the stuff fairy tales are made of, at least on the outside looking in.  It’s obvious that there is more at work than his desire to leave his trying past behind when considering the issues he’s had since his first album.  His slips and falls tend to provide him with the bulk of his material and even when he appears to be at his lowest, he bravely tackles that in his writing, conjuring some really raw and honest material.

I Still Believe is reportedly his final album and per him, his magnum opus. The album is, as usual full of Lyfe’s life anecdotes, hints and suggestions.  Some even sound like they are self directives; musical post it notes to keep him on the straight and narrow once he’s from under the thumb of the label.  It is very easy to raise your eyebrow at some of his lyrics, as he is probably guilty of some of the behavior he suggests you refrain from, but who knows better than those who have been there to fight that fight.

Lyfe lessons aside, the album is sonically sturdy with a bent towards the mellow.  Some of the production turns snooze worthy, but the lackluster songs aren’t horribly tedious, especially if you buy into the Lyfe-as-teacher aspect.  The tutorial at hand may have you engrossed enough to ignore the dull tracks.

The album opens with the mid tempo piano and violins of “Statistics,” a song based on Steve Harvey’s book about proper lady etiquette.  Jennings lays down a lot of obvious on the track including staying away from men in relationships and refraining from being a hoe.  Then he gives the men a sit down with “Love,” a tune that suggests dudes should put their all into a relationship or the lady may step.  Lyrics like “I’m not trying to be a hater, but she’s going to be calling me later” fly in the face of the gems in the previous song.  Then again Lyfe may think it’s okay for a woman to contemplate cheating on her man as long as it’s with him.

The sermons continue with “It Could Have Been Worse.” Lyfe recommends that you stop with all the complaining because there are people who have really sucky lives, as opposed to yours that just sucks a little bit. The tide changes with an attempt at grown and sexy called “Spotlight.”  It’s simple thump and hazy atmospherics work, but the digital horn stabs sound like duck callers and are almost as unpleasant as Lyfe saying he wants to “fork” you.

Lyfe goes in deep with “Busy”, “Moma,” and “Whatever She Wants” exposing thoughts from all sides of his emotional makeup in regards to women.  “Busy,” with its pretty annoying dial tone chronicles the lady giving up the relationship and not being honest about it. However, “Moma” with Anthony Hamilton is a grand soulful track with live instrumentation and both singers at their best.  Lyfe makes a concerted attempt to smooth out the gravel in “Whatever She Wants.”  It’s beautifully constructed with a gorgeous chord progression on the chorus.  Digital strings, guitar and piano fill every nook and cranny and his vocal delivery is touching.

The gospel feel of the title track is warm and inspirational.  “Done Crying” is a simple keyboard, some atmospherics, horn stabs and finger snaps.  It’s a bemoaning of the end and a lot of hindsight and woulda, shoulda, couldas, but the true power of Jennings words are found at the rear of the album.

“Learn From This” is a candid look at Jennings’ relationship with his kids and their mother. He tackles the pain, the mistakes and how he wouldn’t wish it on anyone. He escapes being pathetic and comes across truly contrite. Odd digital noise filters through “If I Knew Then What I knew Now” as Jennings contemplates his responsibility for the dark parts of his life. The closer “If Tomorrow Never Comes” is an emotional apology to the women in his life.  His voice is raw and moving.  He falters on some notes, but the mistakes are almost acceptable considering the sentiment.

With I Still Believe Lyfe Jennings shows his emotional hand, drops his pride in favor of remorse and addresses many of the things that we learned about him his during his career.  There is depth to the subject matter.  The production is a bit boring at times, but when it clicks it’s splendid and Lyfe’s delivery, even when not perfect is trumped by his sincerity. Not bad sir, not bad at all.

out of 5

Lyfe Jennings – “Statistics”

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