When a back-up singer breaks away from their position and tries to carry a record as the featured artist, its normally a hit-or-miss situation. Sheryl Crow parlayed her experience on the 1988 Michael Jackson tour into a still thriving solo career. Kelly Price, a former Mariah back-up vocalist, has had a much quieter career in the r&b world, garnering a few minor hits and some ok sales. But those are two of the most successful current former background occupiers. Not many have even tried to enter on their own.

Until now. Meet 20-something sisters/duo/former Ron Isley back-up singers, Kim and Kandy Johnson. Y'all probably know them better as JS. After a successful back-up career, they finally struck out on their own, releasing this record in May to lukewarm sales.

Tracklisting:
Love Angel (****)
Someone (****)
Ice Cream (***)
Bye Bye (****)
Slow Grind (**** 1/2)
Half (**** 1/2)
Ice Cream Remix (** 1/2)
Baby Come On (*** 1/2)
Interlude
Stay (**** 1/2)
Handle Your Business featuring Ron Isley (****)
Stay Right Here (**** 1/2)
Right Here With Me (**** 1/2)
Sister (*****)

Love Angel features a rhythmic claptrack, intermittent strings and warm synths; it definitely lives up to its name in its sound. The song's production is smart and allows the claptrack to keep the exotic rhythm without being swallowed up in the rest of the track. The almost breathless at times, uber sweet sounding vocals add this element of naughty girl innocence to the song that puts it over the edge. Someone is a bit more of a traditional r&b track with the striding xylophone and more unified synth work. The girls sound great, especially when the beat backs off a little bit and allows their obvious vocal talent to shine. They sometimes have an even stronger sound when the production isn't so in your face. Ice Cream is...different. The girls actually have nothing wrong with their vocals on this song, interacting with the beat in their usual flirty manner. But that's where the compliments end, kindof. Problem one- the lyrics. If your single has to mention the name of your producers record Just put the Chocolate Factory CD in and watch me lose it, there's a definite problem with the song. Also, the continuous ice cream references/entendres are cute at first but by the end are extremely frustrating. The bubbly synths and occasional electric guitar aren't that bad and create this smokey little groove to the song. The subsequent remix ('cause what would an r&b record be without a remix, huh?) is even worse, especially the shameless self promo of the distorted, highly annoying intro. The only real difference between the remix and the original is the addition of more guitars during the verses.

Bye Bye has a sound I find a bit similar to Kelly's Step In The Name Of Love. The flirty guitars combined with the fading horns and claptrack produce this track that isn't so overboard or challenging for their sometimes thin voices to handle. They use their control on the verses to really seal the deal while the Janet-esque hook is also a highlight. Slow Grind is easily the freakiest song on the record. The carnal keyboarding falls right in line with the rest of the song (and definitely sets the stage for the rest of the song) while the not-so-obvious guitars are also a strong element. This is surprisingly one of their best vocal performances, especially the gorgeous second verse that will make any man quiver. Through all the pelvic rolling and all on the lyrics, you find they really do have talent. They just need to pick the right way to show it off. Half is a quick change of tempo with some actual life being pumped into the slow jam-filled record. If you don't enjoy the spicy midtempos or emotative ballads, skip to this track right away. The slightly screeching violins mix with the stacatto bass to get this sassy little jam going that I'd like to see the duo try more of on their second record. Its not a sex song which is even more refreshing because it puts an end to the same-ness, at least for a while. They even half-rap on the bridge but its not anywhere near as annoying or horrific as you might think.

Baby Come On slowly builds into an all claptrack party anthem with a softer edge. The intro is uber cheesy while the aura around the track is contagious and you just want to listen to it continuously to get some of that energy around you. Those speaking interludes are simply horrid but this is still an enjoyable listen. Stay is the first real epic ballad on the disk. No perversion, no overproduction, no generic r&b cliches to try and make your music appeal to the dumbed down masses. (wipes imaginary tear) This slow burner with a milky hook is chock full of enough vulnerability and desperation to be believable but is still one hella cool track that isn't whiny or needy. Handle Your Business, featuring the one and only Ron Isley, ends up being more like an Isley solo track and JS as his back-up wenches...er...singers. Once you get past the creepiness (Isley is one of their..."companions", let's just say), this is a good track. The bird effects throughout the song are tolerable while the chemistry is pretty nice. The piano during the break is polished and worthy of listening to the rest of the song for while the rest of the song is just as good. I can't say much else because I would be repeating myself.

Stay Right Here is a soft (maybe even a little meek) flickering piano-lef track of desperation that manages to keep its cool, especially on the head bobbing hook. Next stop, my midnight soul hour radio show...that doesn't exist...yet. Right Here With Me is a sunny little ditty with a sweet hook complete with cascading piano and elegant strings. Sister is my favorite song on the record because they go a completely different direction than the normal break-up and make-up track while also trying to stretch their vocals a little more than usual. Everything feels much more inspired; the harmonies are more emotional, the bass seems to thump more and the lyrics are much more genuine and don't try and please the masses as much. Ladies, do this 14 more times and you'll have yourself a top notch record.

While the JS album has some obvious flaws, its a decent record that can only lead to better things. They show flashes of brilliance on their vocals; the harmonies are a pure eargasm while each is a capable soloist. While its a bit too same-y (thats why I haven't put as many details in this review as I normally do), I do recommend this record for the reasons I've mentioned. Soul fans, here's another one.

Great Music To Play While: screwing, making love, having sex, hiding the sausage, f*cking, etc.

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Recommended: Yes