By Odeisel

Keyshia Cole is in the middle stretch of her career, short of immortality but far past the new artist phase. With three platinum records under her belt and a revealing reality series in the rear view mirror Cole has to concern herself with satisfying her established fans while staying relevant in a fickle market. Her fourth album, Calling All Hearts, attempts to do just that.

She attempts to stay fresh by attaching herself to red-hot Nicki Mnaj for lead single and opening track “I Ain’t Thru.” The hater brush-off song plays more as a Nicki Minaj showcase with Keyshia never showing her range. She enlists the aid of the J.U.S.T.I.C.E. League on “Long Way Down” a tale of Cole in search of real love, tired of being burned by cheaters and players. Before she opens herself you’ve got to prove yourself.

Tank brings the other side of that hood love on the piano-heavy duet “Tired of Doing Me.” He’s tired of being out in the streets, she’s through with the games and they’re both tired of being alone. “If I Fall In Love Again” features hard-working Faith Evans singing over the “Warning” instrumental. Faith’s feathery voice blends well with this mixtape style track and the piano/string additions class the song up.

Cole speaks to the difficulty of faulty love on the lovely “So Impossible.” The background vocals are immaculately arranged and the track features dynamic piano work that leads the rhythm and mood. “Sometimes” is the first song on the album where Keyshia really uses her powerful voice to full effect, going from her softest whisper to her most raucous of runs of well-placed strings and a chorus of keys and soft drum-claps.

“It’s a new hit for the radio,” declares Cole on “Take Me Away” which finds her at the higher end on her range, devoid of that oomph that makes her special. The ebat-driven track has her sing-talking like T-Pain, neutralizing her biggest weapon. The radio can have this. “What You Do To Me” brings it back to earth with drums, cymbals and low-note piano providing the bed for a sensual, vulnerable Keyshia Cole.

Timbaland-produced “Last Hangover” finds Cole in the aftermath of a breakup, tired of crying herself to sleep and inbed with a bottle declaring it her last hangover over her lost love. The production is dark but pushes the song along and the lyrics are very real and have that heart that connects Keyshia to the hood. Timbo’s rap is pedestrian.

Keyshia’s adopted mother Dr. Yvonne Cole sings background on “Thank You” and ode to the healing power of the Higher Power for interceding in her life. It is secular music at its most serene and Keyshia delivers without overarching religious notes or Gospel magnamity. The album closes out with “Better Me,” a rousing, uplifting song about love at its most aspirational. Coles vocal runs possess that gripping power that separates people that sound good with autotune and loud beats from those that can actually sing. The string arrangements are well-done and the drum subtle, granting Cole center stage to show off her real talent.

Keyshia Cole is at her strongest without the the influences of radio/pop. The strongest songs on this album feature Cole, her voice, and well-composed music that control mood and allow her to be herself. If she could just focus her music on those elements and wean herself from songs like “I Ain’t Thru,” she may be able to make the leap that Mary J Blige made once she divorced herself from hood drama. Minus the radio reaches, Cole is succeeding in making that turn.

out of 5

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