The G Spot

by

Gerald Levert

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On his sixth solo installment, Elektra Records' resident teddy bear, Gerald Levert welcomes loyal fans, and do drop in listeners to "The G. Spot." And it would behoove all of them to take this veteran up on his invitation. Sometimes it's a little difficult to determine just what direction Levert wants to take his sound. But it's clear that no matter where he goes, the sound is definitely his very own. Levert does a lot of live recording in Philadelphia (not his home base Cleveland) on this effort, and teams up with his longtime partner Tony Nicholas, as well as his guitarist Randy Bowland and producer, Flemuel Brown III, for some great writing and producing. Additional personnel is lighter than usual too -- just a few of Gerald's musicians and Tommy "Zero" Johnson, as his only noteable back-up singer.

On `the spot', there is a whole lot of lovin', any kind of way you lick it, I mean, like it. Levert blends "hip hop" [he does "Too Much Room" with rapper Mystikal]; a few middle of the road tracks like "Oh What a Night" with Roy Ayers, and those classic baby-making grooves, like the title track, "The G. Spot". [The latter will single-handedly increased the infant population by next summer.] Less reminiscent of Levert's gutsy vocals and preachy lyrics is his current single "Funny". It's a catchy little tune that is cute and sweet, but short on real substance. However, for a change, it's a Levert tune receiving regular airplay. Perhaps he wanted to capture that "Sound of Philadelphia" that made his father's group The O'Jays famous, or perhaps Levert is just too old school for his own good. [Thank God] To prove he's a by-product of an era less traveled; Levert gets his groove on with the tracks "Since You Ain't Around" and "Your Smile". And since he never misses an opportunity to drop some relationship knowledge, he "schools" us on "Closure", and "Catchin' Feelings", oh, oh, oh (move over Lenny Williams.)

Besides raw talent in his bloodline, a key ingredient to Levert's continued success is his ability to relate to the common man, and his ability to admit when he's [messed] up. But more importantly, Levert always gives props to the strong woman who stands by the common man when he has [messed] up. On the bluesy tune "Backbone", Levert speaks for the "down-on-his-luck brother whose woman loves him in spite of. "He says "my little boy's birthday is coming, and he wants a Play Station II, the rent is due, what am I gonna do? Yeah right, like Levert is a brother who has been in that situation. Nonetheless on some level he can relate, therefore he takes a quarter and calls his woman pleading the infectious hook, "If tonight I'm cryin'. I need you to be strong. Will you be my shoulder? Girl you are my backbone, my backbone". Now that's the Levert we know and no one hits "The G. Spot" [no matter where it is] quite like him.

A new year means a new album for Gerald LeVert. And for the most part he doesn't disappoint. Once again there are good storytelling songs like "Funny" and "Backbone". He still also has his knack for slowing things down, as proven on tracks like "Closure" and "The Top Of My Head". On these two songs he goes back to his falsetto, and it sounds better here than it did on "Baby You Are" (I know a lot of people were turned off by that song). And I don't think I have to tell you what the title track is about.

Why do I say be careful? Well, this album kind of reminds me of onetime fellow singer Keith Sweat's album Still In The Game: there are some good songs, but then there are also some out-of-place trendy songs. Such songs include "Wilding Me Out" (that title alone is questionable) and especially "Too Much Room" with Mystikal.

Gerald LeVert's new album The G Spot is by no means bad by today's standards, but I did expect a little better from him. He doesn't have to release an album every year because we know he has skills, and sometimes the end product seems a little rushed. Let's hope Gerald doesn't continue following Keith's lead and release an album like Didn't See Me Coming next year.