She’s been around since 1999 and has just released her fifth studio album “Flesh Tone”. Kelis Rogers is only thirty years old and was born in Harlem, the New York City neighborhood. She got her big break when she brought all the boys to the yard with her “Milkshake”, and ever since she has had small hits such as “Bossy”, “I’m Not In Love” with Enrique Iglesias and “Trick Me”. But now she’s back with a whole new sound and it seems like It’s working.
Kelis has always been an R&B star, but this time around she’s doing it the dance way. Maybe because she thought she wouldn’t do well with R&B anymore, but I’m thinking she just made a good choice. The industry is flooded with Dance. Think about the super popular French DJ, David Guetta. He used to be known for his dance tracks, now he’s mainly known for his collaborations. And Kelis is one of them.
The quality is there, but quantity lacks. Only nine tracks to listen to. It’s true what they say though: Quality over Quantity.
The album starts with “Intro”, even though it’s a full track. As Kelis sings “You draw me in”, the song literally draws you in. It’s not quite fast, but more mysterious. Still, a good start.
From the first song, it’s clear the album goes in segues, from one song into the other, it’s like she’s telling a story. “22nd century” is the second track or the second segues. It’s a Boys Noize production, and with that, I think you know a lot already. The song is as if she welcomes you to the album, and to the club. “Welcome to the 22nd century, everybody’s dancing” is mainly the chorus, and it’s more of a calm dance song, but it still has the ability to make you dance. The song ends (or the next song starts) with a piano.
“4th Of July” is the second single, and a good choice for it, as well. The tagline goes like this: “Nothing I ever say or do, will be as good as loving you”. And because of the poetic way of preaching for love, it’s a quite a catch.
“Home” is the first real up-tempo track, but except for the beat, the song sounds quite the same. I’m not surprised though, the genre she’s approaching isn’t exactly refreshing. But: Whatever works, works.
“Acapella” is the first and leading single of the album, and it seems like she’s heading for her second big hit. But maybe it has to do with the fact David Guetta produced it. We’re used to his sound, but it still sounds very Kelis. Apparently, the song was written for her son, Knight. It’s probably a song that will get boring pretty soon, but for now on, I’m enjoying it.
“Scream”, which is not a segue, is also a David Guetta produced song, with a little help from Tocadisco. Two different producers, two different songs. It’s got highs and lows, literally. But it never really gets to the highest place, actually.
“Emancipate” is the fifth segue and it’s very monotone. The chorus is nothing more than shouting “Emancipate yourself!”, and the beat plays in that repetitive chorus.
“Brave” is the last segue, and it’s hardcore dance. But that’s not to explain, it’s a Benny Benassi (remember him from his song “Satisfaction”) production.
“Song For The Baby” is a little different, and a good ending for the short album. It’s got a little Jazz, a little flow. It’s cute, since it’s also about her child.
Flesh Tone has proven to everyone Kelis is more than a black chick that sings songs about the boys in the yard. Electronic music is hot, and she played her cards well. But the album is kind of monotone overall. Her vocals don’t go a lot further than the way we’re used to hearing her. There are only a few stand out tracks, but I can’t complain. It’s what we want right now, so we’ll get it.