Kelly Rowland's "Here I Am" Album Review

Kelly Rowland has had an interesting solo career. Once removed from the confines (and sound) of Destiny’s Child, which had a clear director in Matthew Knowles, Rowland’s material has only been consistent in its inconsistency. Three albums deep, few could peg the kind of artist Rowland envisions herself being. Is she a budding dance/pop diva? An urban sex kitten? Or a hybrid of both? Her brand is ill-defined. With each new endeavor we see a different side of Rowland’s persona. But these reinventions (or jump-starts) don’t give-off artistic Madonna-vibes…they just simply look desperate. 

Rowland's first album was a mish-mash of pop and R&B, a successful debut venture by any metric, but it certainly didn't give any hints at the kind of solo artist Rowland would be. She jumped from pure pop 1st single, “Stole”, to dance, “Can’t Nobody”. It almost appeared as if she were giving up on the urban market altogether. Judging by the reception her sophomore effort got from that very audience, she may have been better off. Her second album, “Miss Kelly” (which was markedly urban and streamlined), was a certified flop (even though she scored a hit with “Like This”). With this particular album, the desperation that has sort of become the cornerstone of her career became evident. After ‘This’ failed to crossover (and the album struggled with sales), her team repeatedly tried to get her some Top-40 love to no avail (even going as far as sending her back into the studio to cut a song with One Republic and then re-release the album). Rowland’s career was salvaged a few years later by the worldwide smash “When Love Takes Over”, a monstrous dance/pop song. Well now her team is back at it again. 

"Here I Am", Kelly’s third disc, is a product of delay, repackaging, and desperation. It is her full-blown attempt at stateside super-stardom (at least in the urban markets). This isn’t an album that will appeal internationally…at all. It's surprising she would abandon her overseas fans, given they’re really the only ones who have been supporting her career over the years. But I guess these are the breaks. “Here I Am” isn’t groundbreaking…nor especially inspired…nor awful. It is your standard-fare urban effort. Truthfully, it reminds me of an album from another ‘Destiny’ alum, LeToya Luckett’s “LeToya”. 

The Good: “All of the Night” is a standout. It’s one of only two “slowish” jams on the entire album. The production is simple (gotta love the clap and snap tracks) and Rowland’s vocals are the right balance of sex and slink…“Commander” was one of my favorite songs from 2010. This song is fire! From David Guetta’s booming back beats to Kelly’s evolving and awe-inspiring vocals (she starts off the verses in a lower-register than normal for her and then spotlights her range with a wailing chorus). It’s the kind of song where she really shines because her voice isn’t hindered by bad lines and a generic beat… Mark my words; “I’m Dat Chick” will be the black, gay anthem for 2011. This thing goes hard. Everything about ‘Chick’ is right: the beat, hook, and bravado. I had to dust off my cissy strut while listening to it. I knew it was hot when it got my high-pitched “awww shit!” seal of approval… “Down For Whatever” is just further proof that Rowland is so much more credible as the dance diva and not a tired urban enchantress. She should be channeling Donna Summer, not a poor man’s Janet or *cough* Beyonce…“Keep It Between Us” is a pretty, mid-tempo, urban-pop confection that shines in its simplicity. Rowland gets to sing here. She isn’t drowned out by busy production or obvious gimmickry. When she sings “away”, you’re really swept into the mood here, it’s beautifully sung. 

The Flawed: “Feelin Me Right Now” is a passable, radio-ready track. Generic and anthemic, it’s catchy filler stuff, and I wouldn’t be surprised if it gets the single treatment…I’ll sum “Turn It Up” in one word: forgettable. You could turn that track up to the highest-decibel and it wouldn’t change a thing… “Work It Man” is more of the same, urban tripe, I was bored a minute into this thing… 

The Awful: “Motivation” may be a monster radio hit, but I truly hate it. Not just because I’m annoyed by the fact that Kelly had to go all second-rate sex kitten on us for her to score a hit worthy of the talent she possesses, but because the vehicle for said success is cheap, uninspired, and gimmicky. This song is more obvious than the broad side of a barn. It doesn’t suit her persona or voice. And Lil Wayne? Forrealz?! Since when did crispy critter-lookin’ rappers find themselves “crooning” on “sex” songs? Oh wait, I take that back, this is 2011. I guess I’ve still got 1971 musical standards (hell, 1991). If I want some ‘motivation’, Luther, Al, and Anita will do me just fine, thank you. Y’all can keep this… “Lay It On Me” continues the streak of desperate-to-please singles that don’t do Rowland or her talents any favors. In the long run, are we really going to be touting ‘Me’ as a standout from Miss Kelly? This thing will be forgotten in a year, guaranteed. It’s cookie-cutter material, totally lazy, and yet another example of why her career keeps getting stuck in auto-pilot going God-knows-where. Come on people, give this girl better material! Stop chasing radio and urban markets. Stop trying to fit her in…let folks come to Kelly, not the other way around. Or are they admitting that they don’t know what to do with her? 

“Here I Am” is clearly a product of her record label. It’s chalk-full of safe material (save perhaps “Commander”) that will play well to the audience she is trying to cultivate. It is however, emblematic of her overall problem (which is also an industry-wide issue): this isn’t an album folks will flock to purchase. Like with most of these money-chasing releases, we’re fed a collection of singles and filler. This here ain’t no “21”. But there are enough good songs that it isn’t a total waste. Had Rowland went the route she was headed into (before her first single flopped), this could have been a really good, concise dance-pop affair (a la Kelis’ “Flesh Tone”). Alas, “Here I Am” is more a statement to the confusion (and desperation) behind the Kelly Rowland brand, and less a glimpse into the woman and her vision (which the title alludes to). *** (out of 4) stars