‘Thr33 Ringz’

‘Thr33 Ringz’

T-Pain (Jive)

Grade: B

T-Pain’s latest album, “Thr33 Rings,” opens with an avalanche of ignorance.

In just the first minute and a half, listeners are greeted with 11 utterances of the N-word and multiple expletives.

But fear not — and listen on.

Yes, T-Pain may be lowbrow, even occasionally offensive — but like any good ringmaster, he knows how to entertain. And despite a few missteps, “Thr33 Ringz” gives the best evidence why T-Pain has become the most potent force in music outside of Lil Wayne. And guess what, folks — it has nothing to do with a vocoder.

While T-Pain’s crafty use of Auto-Tune has been so successful it’s been imitated by the likes of Snoop Dogg and Kanye West, reshaping the sound of urban music, the core of T-Pain’s success has more to do with his uncanny ability to create catchy hooks than the electronic amplification of his voice. Past songs like “I’m N Luv [Wit a Stripper]” and “Buy U a Drank” probably would have been hits regardless of the vocoder-effect, thanks to their crafty grooves and T-Pain’s winking humor.

T-Pain’s hitmaking knack is even more evident on “Thr33 Ringz.” “Chopped N Skrewed” is a clever, hilarious synth-groove; “Blowing Up” is a seductive club song boosted by the sexy cooing of Ciara; and “Can’t Believe It,” a hit featuring Lil Wayne, is a slow, sweet jam for the ladies, on which T-Pain’s lays on the charm.

But T-Pain shines the most when he’s injecting a comedic touch, like “Therapy,” a breakup song (with West) that has plenty of hilarious (and unprintable) moments. Much like his label-mate, R. Kelly, T-Pain has a knack for singing about the basest subjects (like the ironic “Long Lap Dance”) in a manner that makes it so appealing you can’t help but sing along.

Not so funny are the skits. Though a couple featuring comedian Eddie Griffin will crack you up, for the most part, they drag down the CD.

The CD’s most disappointing moment comes at the end with “Karaoke,” on which T-Pain slams his imitators; it’s full of anger and easy shots, an unnecessary rant that should have been left in the studio.

— Nekesa Mumbi Moody, Associated Press

‘Soul’

Seal (Warner Bros.)

Grade: A

There’s no doubt his music has always had soul, but now Seal properly covers the genre with his new aptly titled new album, “Soul.”

The 12-track collection covers some of the genre’s greatest songs. But unlike those ubiquitous “songbook” albums by some other pop stars, Seal doesn’t go through the motions; instead, he captures the emotion of the era.

His silky smooth voice cuts through the very best that the Philadelphia, Memphis, and Detroit sounds have to offer. Still, one cannot escape the political overtones that pervade a few of the tracks.

Seal opens the record with a cover of Sam Cooke’s “A Change is Gonna Come,” the song borne of civil-rights-era struggles and hopes for a better world. Written by Cooke in 1964 shortly before his untimely death, the recent election of Barack Obama to the U.S. presidency makes the song seem even more poignant. Equally relevant to the current political climate is the album’s closing track, Curtis Mayfield’s “People Get Ready.”

Between those powerful messages are classic songs including James Brown’s “It’s a Man’s Man’s World,” Ben E. King’s “Stand By Me,” and Otis Redding’s “I’ve Been Loving You Too Long.”

The record provides a contrast to Seal’s last album, 2007’s “System.” Whereas that album was beat-heavy and overproduced, this one, produced by the legendary David Foster, is subtler, paying homage not just to the music, but the period as well. Seal not only re-creates the “soul” of these songs, but also honors their relevance along the way.

— John Carucci, Associated Press

‘The Promise’

Deborah Cox (Deco Recording Group/Image Entertainment)

Grade: D

Deborah Cox should think twice about making promises she can’t keep.

Her fifth studio CD, “The Promise,” is mediocre at best and features overused lyrics and average production. Though she dabbled in jazz with a Dinah Washington tribute record in 2007, “The Promise” is the R&B follow-up to 2002’s “The Morning After,” and the new CD shows that Cox has not grown musically in the last six years.

The set of 10 tracks begin with the Jimmy Jam & Terry Lewis-produced “Love Is Not Made In Words,” a boring tune that has Cox complaining that she’s “heard it all before.” So have listeners. The 35-year-old questions her man’s love on the dragging “Did You Ever Love Me” and has her man’s back on “Down 4 U.” Even the title track, written and produced by John Legend, is dull.

What’s most disappointing though is that Cox, who once played the title role of “Aida” on Broadway, fails to utilize her trademark — her powerful voice.

Songs that are easier on the ears include “Saying Goodbye” and the upbeat “Beautiful U R,” an inspiring and fun tale about accepting yourself.

Cox’s 1998 hit “Nobody’s Supposed to Be Here” was the longest running No. 1 song on Billboard’s Hot R&B/Hip-Hop Singles chart. But Cox shouldn’t expect anything close to that decade-old success from the weak “The Promise.”

— Mesfin Fekadu, Associated Press Writer

‘David Archuleta’

David Archuleta (Jive)

Grade: F

Why do “American Idol” fans consistently reward male pop singers for being entirely sexless on the show? Pouty lips and flirty lashes are practically entrance requirements for female singers, and “rocker” guys can bellow and strut to their content. But there’s a kind of elfish contestant who always does well despite the possibility of vanishing in a cloud of unicorn glitter were he to sing something arousing.

Which brings us to the curious case of David Archuleta’s debut album. It’s an exacting distillation of a 13-year-old girl’s wholesome romantic aspirations as imagined by 50-year-old label reps. Yet the show revealed that image is actually true to Archuleta’s personality (albeit, one creepily stage-managed by his dad). It’s as if Archuleta’s influences as a singer were solely previous “Idol” contestants, and he’s a blank screen for viewers to project onto via millions of speed-dialed votes.

Archuleta has one magisterial single, “Crush,” that will smother all who encounter it with the refinement of its craft. But the record is larded with awkward modernist R&B, Christian semaphore ballads like “You Can” and warm-milk mewling that makes David Cook, Archuleta’s “Idol” foe, sound like Robert Plant.

— August Brown, Los Angeles Times

‘We Are Beautiful, We Are Doomed’

Los Campesinos (Arts & Crafts)

Grade: C+

Happily hyperactive, this gangly Welsh seven-piece is at once precise and all over the place, tossing great hooks and cute harmonies into the air while leader Tom Campesinos spins wordy tales of failed romances. He’s like a young Jarvis Cocker, funny and class-conscious, although the band sounds more like Broken Social Scene trying their hand at twee British pop. Los Campesinos happen to be signed to Broken Social Scene’s label, and this is their second album this year, after April’s punchy “Hold on Now, Youngster.” By comparison, “Doomed” feels rushed and overdone in spots, with a handful of slower songs that fans may not see coming. But when all the cylinders are firing, few pop bands can summon goofy grins so immediately.

— Doug Wallen, Philadelphia Inquirer

‘Little Joy’

Little Joy (Rough Trade)

Grade: A

If you’re like me, you regard the Strokes as a letdown and the band’s debut album, “Is This It,” as a prophetic title for a rather ho-hum career to date. New bands have since aped the Velvets with greater originality and success. Strokes lead singer Julian Casablancas, meanwhile, has made songs with Santogold, and Strokes guitarist Albert Hammond Jr. has been doing solo records. But when drummer Fabrizio Moretti gets the girl (Drew Barrymore) and makes the best non-Strokes music, there’s only one thing to say: Dang.

On the album debut of trio Little Joy, singer/ukulele-ist/guitarist Rodrigo Amarante of Los Hermanos plays frontman, and fellow Brazilian Moretti writes, sings and acts as multi-instrumentalist. Free of the Strokes’ derivative-rock confines, Moretti’s tunes are a sweet mix of Brazilian intimacy and classic ’60s AM tunesmithing. Sure, there are jittery psychedelic tracks (“No One’s Better Sake,” “How to Hang a Warhol”), but most Moretti melodies are samba-riffic — intricate, highly contagious midtempo affairs. The clicking surf sounds of “The Next Time Around” and the Neal Hefti-inspired “Play the Part” sound creamy, Brill-Building-teen-idol dreamy with a hint of bittersweet tenderness. Yum.

— A.D. Amorosi, Philadelphia Inquirer

‘Remind Me in Three Days’

The Knux (Interscope)

Grade: A

Knux is short for Knuckleheads. Brothers Kintrell and Alvin Lindsey — whose noms de rap are Rah Almillio and Krispy Kream, respectively — are hipster hip-hoppers who draw equally from Daisy Age psychedelic pop-rappers such as De La Soul and retro New Wave rock acts such as the Strokes. The Lindseys, who hail from New Orleans but have been based in Los Angeles, post-Katrina, mix up their musical ingredients with such glee they’re almost certain to be rejected by hardcore hip-hop fans. After all, there’s nothing all that “street” about name-dropping Elvis Costello or announcing yourself with a debut single called “Cappuccino,” which you insist on being served with skim milk, please. “Remind Me in Three Days” is a frenetically creative 17-song set that occasionally gets overbusy (and overlong) with its metal-edged guitar crunch and electro beats, but still stands up as the freshest (and funniest) left-field hip-hop release of the year.

— David Hiltbrand, Philadelphia Inquirer