Amerie got a new album

Amerie Mi Marie Rogers is in a peculiar place. Her Grammy-nominations in 2006, two gold-selling albums, and her knack for churning out dance floor mainstays have not moved her past R&B enigma. She doesn’t have Beyonce’s pipes, or the musicianship of Alicia Keys. What she does have is an ability to consistently release DJ must-haves such as “Why Don’t We Fall In Love” and  “1 Thing”. Three studio albums (one of which, “Because I Love It (2007)” only seeing international release), and a largely diverse fan base, has not made her relatively commercially viable enough to “blow up”. But with her own new label and new producers this time around, “In Love and War” could be the recipe for super-stardom that’s been so elusive for her.

“In Love…” lead single “Why R U”, contains strikingly similar elements to Amerie/Rich Harrison songs of old minus, well, Harrison.. Hip-hop sample standard “Synthetic Substitution” by Melvin Bliss provides the back-drop for what is a pulsating dance groove. The album’s highlights are the songs resembling “Why R U,” a place where Amerie shines; big percussion, big choruses, big vocals and fast tempos. Producer M-Phazes puts Amerie in her best element on the Trey Songz assisted “Pretty Brown“. Legendary new-jack swing producer Teddy Riley lends a hand for “Tell Me You Love Me,” another solid Amerie performance, but that’s where it ends.

The struggles are clearly evident when Amerie tries her hand  at the ballads, where her vocals are exposed. The lukewarm baby-maker attempt ”Red Eye,” piano-laced “Different People,” and snoozer “Flowers” prove to be the album’s stumbling blocks. When the pace lessens, Amerie’s energy and the in-your-face catchiness of her better songs are obviously missing. Lil’ Wayne makes the now radio-requisite cameo on “Heard ‘Em All” remix, where Amerie makes a futile attempt semi-Jamaican accent. Aimless efforts like this, are the one too many pitfalls of the album.

When Amerie does sing, she connects. Sticking to her strengths is definitely effective, but once she strays away into ballad-land, the results are not as interesting. She is, and always has been successful at being brash and zesty, without over doing the diva. But “In Love…” doesn’t re-create the chemistry of Amerie/Rich Harrison, and is inconsistent and unfocused for much of the listen. Even the hit-making prowess of star producers such as Bryan Michael-Cox, Teddy Riley, and Sean Garrett don’t propel this album in to greatness. Here’s to hoping that her next attempt throws caution to the wind, and focuses on what has always worked.

Rating 3/5

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