By definition, Alicia Keys is a musician. This element resonates throughout her sophomore gem, “Diary of Alicia Keys.” Keys’ classical music background combined with a taste of vintage R&B, Hip Hop and street savvy style shines on her latest effort. The album serves up the perfect eclectic musical treat for the Holiday Season.

“Diary” has exceeded the expectations of most critics, debuting at #1 and striking gold with sales of 618,000 in its first week, the year’s third largest opener. Keys will indisputably have a prosperous new year. She will go into 2004 as an artist reaching platinum status and overcoming the notorious occurrence of “sophomore slump.”

The magic that embraced Keys debut, “Songs in A Minor” is still present on “Diary.” On this latest endeavor, Keys exhibits a rich and mature sound. “Diary,” as its title suggests, has songs that could easily chronicle happenings in the artist’s daily life.

Through Key’s music, a humble and thought evoking picture is painted, starting with the album’s first single, “You Don’t Know My Name.” The song depicts an innocent crush that ultimately ends in Keys requesting a date. The song clearly influenced by Doo-Wop, bridges the audience gap that many artists experience. Fans of all ages enjoy this song, especially the spoken (a la Betty Wright) segment.

“Diary” has so many intense musical arrangements including tracks that feature elaborate piano intros and tastes of the violin and cello. Although Keys is still on J records, Clive Davis is not the Executive Producer. Keys is the Executive Producer. The artist’s step toward production independence was brave. This step shows that Keys really has talent and that fans appreciate it greatly.

In 2002, Keys produced the song “Impossible” for Christina Aguilera’s widely acclaimed album, “Stripped.” The soulful ballad is one of Aguilera’s best-kept secrets. In keeping with tradition, Keys recaptures the soulful style of “Impossible” on her own ballads.

Essentially, ballads dominate “Diary,” which is a good choice for Keys. The ballads offer a better display of Keys’ musical arrangements and vocals. There are points on the album when the alto songstress stretches her vocals, causing them to sound slightly strained. Ultimately, the overall feeling generated from the album overpowers the minor flaws of Keys’ vocals.

More than 80% of the songs 15 tracks flow smoothly. A couple of the tracks seem out of place. Thankfully, they are not placed in awkward locations. They are sandwiched between potential hits.

If you think that “You Don’t Know My Name,” moves your soul, get ready for such impressive tracks as “If I Aint Got You,” “Diary,” and “Karma.”

“If I Aint Got You” is a spirited ballad in every sense of the phrase. This excellent track will likely be the first one to grab your attention. The hook, featuring some of the strongest vocals on the album, decries that fame and fortune is nothing without her significant other. On this track, she starts out singing modestly and belts out the hook like star.

“Diary” is another fine product. The song is mellow and it features harmony by Keys and later on the track a member of Tony! Toni! Tone! joins her. The singers’ voices compliment each other. Their harmony is moving. The guest singer appears out of no where on the track. His emotional riffs toward the end of the song may catch you a little off guard. It takes a few listens to get used to them.

“Karma,” an up tempo song, is a hot track. The song’s underlying beats and feature of string instruments flows nicely. On this song, Keys sings about the concept of Karma, “What goes around comes around/Now whose crying desiring to come back to me.” Most listeners will feel her emotions on this song.

Keys deserves honorable mentions for “Heartburn,” and “If I Were Your Woman.” The former, a "jam session” style track, features a catchy call and response and music reminiscent of the late great Curtis Mayfield’s classic, “Superfly.” Complete with snares and drums, “Heartburn” is a crowd motivator. Meanwhile, Keys’ cover of Gladys Knight’s “If I Were Your Woman,” has a hip-hop feel. She didn’t do a bad job. But most listeners tend to prefer Keys on original tracks.

Keys’ style may not be as sex-fueled as her other R&B cohorts. But this is okay. Her refined image is what makes her unique. She is talented, beautiful and she is sexy with her clothes on.

The success of “Diary” will likely be the impetus for loads of opportunities in 2004, hopefully a tour.

Grade: A

Music Review by
Flair Lindsey
Eclipse Magazine