Calvin Richardson – When Love Comes
Shanachie (5/27/08)
R&B / Soul

Calvin Richardson’s résumé reads like a road map from 15 years ago. The North Carolina-born up-and-coming soul star was influenced early on by K-Ci and Jo-Jo of Jodeci. And, if that’s not enough of a throwback for you, Richardson also appeared on the 1995 soundtrack to New Jersey Drive (with his group, Undacova). I’ll let you decide on what’s the more obscure reference—the year or the concept of an urban album soundtrack.

After an extended bout of label drama, including one shelved release and another inexplicably titled Country Boy, Richardson is going independent in an attempt to cash in on the kiddie R&B sound made popular by acts like Chris Brown.

Richardson is credited with writing and production credits (or co-credit) on every song. Quite surprisingly, he shows off a wonderful feel for capturing unique textures and styles to underline his so-so vocal work. “Sexy Love” is freshly delivered from the ’60s vault of live horns, drums and bass. “Sang No More” leans on some 1950s doo-wop, while “Holla at You” is straight from the mid-’90s R&B scene. The acoustic guitar work on “Make Friends With Love” provides a properly stripped-down context, yet seamlessly meshes with the island-infused “Give it to Me”.

That’s a lot of keystrokes without getting into Richardson’s actual calling card. Vocally, he’s good—sometimes very good—but, never great. “Fire in the Attic” reminded me of former Death Row Records whiner Danny Boy. Lyrically, it’s, uh… lacking (“I wanna play you like Santana plays the strings of a guitar”) and, more egregiously, Richardson bites the styles of a few more established acts on the song’s outro.

Richardson certainly wouldn’t be the first artist to be outshined by his own production, but it happens so consistently here that I’m certain my assessment of his pipes is accurate. He just never claims this album as his own, despite all the work he, himself, put into it on both sides of the microphone. And, the contemporary themes he tries to interject (child support on “Daddy to My Kids”, for example) sure sound like he’s dumbing things down for the ringtone teens.

Calvin Richardson definitely has a future—perhaps a long one—but, the hope here is that his music evolves with him and targets an audience that can really appreciate his all-around talent.

Rating:

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