Mary - Blige, Mary J. (CD 1999)

Mary J Blige returned with her fourth effort in 1999 shedding her drama-laden image. Akin to her previous albums, love is a theme that runs fervently throughout the record but her growth and maturity indicate a huge difference.

The subject matter is more varied than "My Life" as is shown on the song of unrequited love "Sexy." She uses her upper register to create an atmospheric sound and even an unnecessary appearance from Jadakiss can t disturb the easy groove. However, Mary strives for an R&B sound which is a shame considering her Hip Hop Soul expertise.

She strays from the love path to address the media and public perception of her as a person on Deep inside and employs a sample from "Bennie and the Jets" by Elton John to make the mid-tempo track impact. Elton's acoustic piano couples her voice perfectly and the conviction is reminiscent of everything we love about her voice, the jazz element is evident yet the sound is current.

"Time" is the most conscious track where she speaks directly to the listener about the bleak outlook that life can offer and how we don't have time to waste. She wisely samples Al Green and Stevie Wonder and employs trusted Chucky Thompson's production to add a throwback feel. Her vocal sound held back as she doesn t stray from the arrangement with her signature adlibs.

A constant criticism of Mary is that she doesn't sing with the same conviction when in love that she does post-betrayal or during heartbreak. Proof of this is the nauseating "I'm in love" when she sounds almost monotonous and lacks sincerity. One could deduce that the poor delivery shows a contradiction between the lyrics and her personal emotion. This notion is further perpetuated on the dreary, lifeless ballad "Give me you" courtesy of hit maker, songwriter Diane Warren. The production is lacklustre and her performance is uninteresting.

However, "As" featuring George Michael argues wholly with this perception as she croons the Babyface-produced, Stevie Wonder classic with her signature Hip-Hop Soul tones. They breathe new life to the timeless track by revamping it and omitting some verses.

"Beautiful Ones" is contains uncomplicated production by Cecil Ward as she sings over the guitar and discreet strings with an ode to being enamoured. The vocal arrangement is beautiful and the lyrics consist of a few clich s balanced out by beautiful metaphors. What works effectively are the guitar and drums with discreet strings on the instrumental. All that I can say, written, produced and arranged by Lauryn Hill, is also full of complimentary lyrics however the bridge is the only place where Mary s vocals evoke emotion. The production consists of a mid-tempo, idealistic sound created by the guitar, bass and keys however Mary s voice sounds mismatched to the track.

Rest assured troubled ones; the album is not devoid of drama as a handful of tracks document betrayal. Duetting with Aretha Franklin, "Don't waste your time" is the ultimate song for anyone who knows that they should leave that cheating partner. Babyface's "Midas touch" production is key here, as he knows how to mesh the soul divas voices together in harmony by letting the simple guitar melody (cross reference Let it flow -Toni Braxton) and lower keys to add a dramatic element to the end of the chorus. The song is a modern soul classic with the contrasting perspectives arriving at the same conclusion.

She proves that she is now a grown woman with no tolerance for disrespectful men (starkly contrasting "My Life.") Inviting ex-boyfriend from hell, K-Ci Hailey of Jodeci, she answers any man that she's not looking for (Cross reference "I'm not havin' it"- MC Lyte.) Not lookin showcases her no crap-taking attitude in comparison to K-Ci s acceptance of his own ignorance and irresponsibility. The track sounds like an Isley Brothers throwback with K-CI s Bobby Womack-esque rasp battling with Mary s vocal opposition.

Not only has Mary reached a place where she respects herself enough to be treated right, but also she uses this epiphany on "Your Child." Written, produced and arranged by Gerald Isaac, Mary sings about infidelity and coming face to face with her (ex) man's child. The violins on the track playing over the keys during the adlibs give it a subtle, dramatic edge. Her vocals are stellar and the arrangement manipulates what is strong about her voice. The track "Memories" and "No happy holidays" are open letter to her cheating exes, (emphasis on the word ex.)

All in all "Mary" is a testament to realising your self-worth as a woman. Indisputably, the great production cannot conceal lack of authenticity. When she is true to herself and lets her heart do the talking she excels. Unfortunately, the voice can't lie.