Lalah Hathaway - Where It All Begins reviews
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| Popmatters |
 On her latest album, Where It All Begins, Lalah Hathaway tries her hand at piano ballads, crunching up-tempo tracks, swaggering synthesizer tales of female empowerment and jazzy, spacey numbers. But though she tries her hand at a number of styles, her results are all similarly unimaginative. It is hard to pinpoint exactly where Hathaway goes wrong, but Where It All Begins is uninteresting. At a time when exciting new things are happening on many fronts of R&B, Hathaway offers a dull tour through the overdone and the bland.
Hathaway has a good voice. She sings low and sultry much of the time, but she is easily capable of climbing the scale. However, her low tones sometimes make it seem as if she is hiding, afraid to take a song by the throat and run with it. She’s not half as intriguing or commanding as she could – and should – be. Her lack of a commanding presence is not helped by lyrics that are often boring, filled with stock, insipid phrases. There are several moments on the album when she is singing accompanied only by piano and maybe percussion, but instead of welcoming an opportunity to explore the intricacies of Hathaway’s voice, you wish the instruments would return. Where It All Begins was released by Stax, and I expect a vocalist on Stax to grab me, pull me in and make me feel what he or she is feeling, like the Stax singers of old. Hathaway’s voice fails to establish a connection with the listener....full text |
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| Theurbanmusicscene |
| Lalah Hathaway is one of the most entrusted vocalists the music industry has ever known. While many will always recognize Hathaway as the daughter of one of soul music's classic stylists, Donny Hathaway, she has etched her own voice by successfully capturing her father’s essence with her warm alto. Her dynamics of layering jazz sensibility with pop, R&B, soul and gospel is quite impeccable; giving urban music a sometimes needed fresh injection that started with her self-titled release in 1990. Her creamy vocal tones have graced many of contemporary jazz finest players – from Grover Washington to Joe Sample. Sample & Hathaway’s 1999 project, The Song Lives On, artfully bridged a traditional acoustic trio with adult contemporary R&B/Soul and introduced Hathaway to a mainstream jazz fan base. The list of other collaborations includes gospel impresario Donald Lawrence and eclectic musician Me’shell NdegeOcello. Hathaway also has a knack for covering treasures like Luther’s, “Forever, For Always, For Love” and Earth, Wind & Fire’s, “Love’s Holiday.” The touching tribute to Mr. Vandross also hit number one on the adult R&B radio charts in 2004....full text |
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| Clatl |
| A signature voice such as Lalah Hathaway's is too classic, with its smoky, mahogany texture, to be juxtaposed against gritty, urban contemporary tracks. Her latest LP boasts a lyrical bouquet, but the radio-ready rhythmic production on such songs as "Strong Woman" pale in comparison to Hathaway taking her time with real musicians. Longtime friend and artist/producer Rahsaan Patterson breaks the urban/adult contemporary monotony with a bona-fide club-banger in "If You Want To." Graciously, the 25-year jazz and soul veteran delivers fans a balance, culminating in two flawless cuts, "I'm Coming Back" (featuring Rachelle Ferrell) and her father Donny Hathaway's "You Were Meant For Me," produced by Phil Ramone. Studio songs such as the epic "Lie To Me" and the smoldering "This Could Be Love" seem perfectly constructed for live performance, a point which further illustrates why Ms. Hathaway's legacy increasingly rivals her legendary father's...full text |
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