Lyfe 268-192 is Jennings̢۪ (bka Lyfe) autobiography set to a soundtrack that recalls a bygone era in which 99% of R&B wasn̢۪t produced by the Neptunes or A Touch Of Jazz. Combine that with an earthy voice that is more Bill Withers than Marvin Gaye and the result is a refreshing opus that, like much of Nas̢۪ recent work, takes what was old and makes it new again.
More than anything else, Lyfe̢۪s willingness to readily speak on topics other than love is what separates from many of his R&B contemporaries. While the concept of a musical autobiography is certainly not a new one, the forced diversity in subject matter that comes with it is an automatic plus. Lyfe knows this and takes full advantage, tackling everything from child support (Greedy) to human vulnerability (Cry). And, of course, there is a love song (the slow burning stunner Must Be Nice), which ironically is one of the album̢۪s highlights.
Lyfe’s production skills are more than capable of matching his songwriting and topical diversity. He is an accomplished guitar player, but is as comfortable behind the boards as he is plucking the strings. The overall musical vibe of the album is a retro one that pays homage to 70s soul. And nowhere is this more apparent than on Smile, which beautifully weaves a sample of the Four Tops’Ain’t No Woman (Like The One I Got) into an inspired tale of liberation from a relationship that neither party was benefiting from. You can almost see the bonds being lifted from his arms as he sings “Today I’m living proof/Your worst fear came true/I’m doing alright without you.â€
Whether contemplating a relationship with a woman with children (She Got Kids) or taking comfort in his belief in God (Made Up My Mind), Lyfe̢۪s music and writing ring with an authenticity and accessibility that have been lacking in mainstream R&B lately. Already riddled with truckloads of acclaim, he might just be one hit away from having his commercial appeal catch up with the love he has received. One thing that has probably held him back is Stick Up Kid being released as the lead single. While it is a very good song and is a major part of the storyline of the album, it hasn̢۪t caught on, presumably because the audience his music is aimed toward isn̢۪t too receptive to songs about robbing people. A wiser choice for lead single would have perhaps been the aforementioned Must Be Nice or, in light of Jesus̢۪ newfound home on mainstream radio, 26 Years, 17 Days, in which Lyfe chronicles his journey to spiritual awareness.
Overall, Lyfe 268-192 (the number Lyfe wore while doing his bid, in which he penned much of this album) is a magnificent debut from a promising newcomer. He has a gruff voice that lends itself well to the material he sings. He is probably the closest thing to a male Lauryn Hill that we̢۪ll ever get. Their styles are very similar and the only major difference is emceeing ability. While Lauryn is one of the nicest of all time, when Lyfe drops an ill-advised 16 on the otherwise stellar My Life, he sullies what could have been an impeccably executed album. That minor error notwithstanding, this is one of the better R&B albums to be released this year, and introduces Lyfe as a producer/arranger/vocalist not to be slept on.
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