The Point of It All (CD - 2008)

Not simply a crooner with a great voice, Anthony Hamilton is also a multi-talented songwriter, arranger, and producer in the tradition of visionary, self-directed artists like Donny Hathaway, Bill Withers, and Curtis Mayfield. THE POINT OF IT ALL is the North Carolina native's fourth proper full-length and it finds Hamilton comfortably ensconced in the same blend of organic instrumental textures, preprogrammed drum loops, and warm `70s soul signifiers that served him so well on 2005's AIN'T NOBODY WORRYIN'. The album's lead single, "Cool," is propelled by a deep bass-drum thump, supplemented by bright guitar arpeggios, an understated Fender Rhodes riff, and layer after layer of Hamilton's skillfully interwoven vocal tracks. The cumulative effect brings to mind the adventurous studio tinkering of late-period Marvin Gaye and the warm, neo-soul aesthetic pioneered by the likes of Atlanta's Organized Noize. All told, THE POINT OF IT ALL stands as another solid offering from one of contemporary R&B's most reliable craftsmen.

Released almost exactly three years after Ain't Nobody Worryin', The Point of It All has a slightly lighter tone compared to that of its immediate predecessor and Comin' from Where I'm From. But just as Anthony Hamilton has been able to incorporate modern sounds that fit with his Southern soul throwback voice, the contrasting feel of this album comes through its subtleties. Take "Cool," the album's lead single, which parlays the stress of financial strain into a good time without resembling mindless escapism. The album's opener, "The News," is as poignant as Curtis Mayfield's "Pusherman" and Willie Hutch's "Brothers Gonna Work It Out" (the latter even quoted), but it is likewise delivered through swashbuckling blaxploitation-style funk. Vocally, Hamilton has never been as dynamic as he is on this song, switching between his grittily textured baritone and surprisingly effective upper register. As much power is leant to some of the ballads: "Please Stay" is startling in its heartfelt regret; "The Point of It All," sparse and elegant, is like the 3 a.m. version of "Can't Let Go," equally steamy and romantic. There are lulls, such as the drippy adult contemporary of "Her Heart," but they're offset (and then some) by the standouts. At least a third of the album's contents would have to be part of any representative introduction to Hamilton. In fact, this puts a cap on a three-album run as remarkable as any other in 2000s R&B. ~ Andy Kellman minimize