Leela James has never felt right in the current musical environment, which is more than likely why her commercial success has been pretty nonexistent. Everything about the 26 year old Californian harkens back to a time long ago; one look at any of her music videos and you could swear that you had watched that on VH1 Classic the other day or that your mom had her record in her collection. Debuting with an afro almost as big as her voice (yes, I really wrote that line and I'm sticking with it), James has since become more of an underground artist, bouncing around record labels, recording a well sang but unnecessary covers album, and eventually settling at the newly revived Stax Records for this, her third album.
The main positive about the record is that James is finally starting to sound her age; though her voice is from another time and she often carries herself differently than many other r&b females, she's never truly sounded or felt like a 20-something. I don't need her to be Beyonce (trust me, one Beyonce is plenty) but tracks like So Cold are just the right balance. A little more rough than her previous material, its blend of ominous background vocals, sharp handclaps, and distant keys is seductive and trending toward edgy. She's like a Chrisette Michele; her voice may scream classic/elegant material but set that against a grittier beat and it sounds beautiful. Though it may be a little too minimal for its own good, James gets the stage to herself, her noticeable restraint greatly appreciated. Supa Lova is another interesting listen; James always plays up her toughness and independence, but hearing her perform a honeyed slow jam surrounded by warm strings and elastic bass is another weapon in her wheelhouse. It's probably the most romantic track on the record, whispery and intelligently produced. It's not like an r&b slow jam is reinventing the wheel, but it's a new slice of vulnerability from a performer who doesn't always show her hand. It's Over leans back toward James's comfort zone, her full throated kiss off raising her guard up again and championing a life without a deceitful man. Some of the choices made are a little bit confusing (the little chipmunk noise in the background is appreciated for trying to bring something different to the table but it's more of a distraction than anything) and it feels more like stagnation than anything.
I Ain't New To This continues the trend I've been noticing of r&b albums having an opening track that's kind of half intro, half actual song. I'm not necessarily complaining, as most of them have been strong, but New isn't my cup of tea. Overly cocky (this isn't the first time) and way too vocally shouty for me (when all else fails, act a fool), it's a waste of a strong production. The track itself has such a noticeable confidence that I can see why she went this direction, but someone whose commercial success has been nonexistent doesn't need to be bragging about how experienced she is. Party All Night feels readymade for family reunions and barbecues; with its golden production and sunny 70s vibe, it's a flirty uptempo that shimmies like the rent is due tomorrow. James continues her run of strong background vocals that accompany her, as they shine against the glimmering keyboards and subtle bass. I figured this would be an embarrassing attempt at making a club track (I'm looking at you, Keke Wyatt and Angie Stone), but it fits right in with the vibe of the record. Mr. Incredible - Ms. Unforgettable finds James dueting with Raheem DeVaughn, an initially unlikely pairing that makes more sense once you hear it. DeVaughn faces the same type of dilemma that James does (how do you sound relevant and young when your vocals sound ripped from 1975?), but surprisingly it's a rather contemporary midtempo. Though it has moments of being lyrically ridiculous, it thrives off their noticeable chemistry and the pulsing piano only adds to the overall experience. The vocal theatrics are a bit much, but overall it's an enjoyable song from two underrated (and slightly misguided) artists.
The main thing that I appreciate about My Soul is that it makes James more contemporary and less of a gimmick. I had a hard time taking her seriously when she came out, due to how hard she pushed her image; I expected she was just a talented singer who had been tinkered with by a record label executive. Though her look has been refined a little and "youthed up", James is still basically the same artist she was on her debut, which is a definite compliment; she may go a little overboard with her vocals sometimes (and lyrically she can be off putting), but she's somebody who could make a seriously impactful record in the near future. My Soul is solid but far from incredible, a record that is a positive transition record but nothing that will be remembered five years from now.
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