Joss Stone

You may have heard it through the grapevine: the heiress to the Motown legacy has done it again. With her latest album, 19-year-old Brit Joss Stone reminds us just why we liked the ’70s so much.

Don’t let the album’s title mislead you. “Introducing Joss Stone” is in fact Stone’s third solo album.

And it shows—Stone sounds more mature than she did on either of her previous releases.

The album is ambitious; bringing soul back is a touch more difficult than bringing sexy back. And while she’s no Aretha, the CD is still an achievement.

To those who were worried Stone’s runaway success would transform her into just another run-of-the-mill female vocalist, “Introducing Joss Stone” should be a relief. Despite its title, this CD has more Soul than either of her prior efforts.

The track “Put Your Hands On Me” is a great example of Stone’s updated soul vibe. The song manages to be sultry without relying on cheap tricks—a feat that seems like a miracle in a pop world characterized by Britney’s provocative gasps and Beyoncé’s unbridled sex appeal.

“Girl They Won’t Believe It” would fit comfortably on a ’70s soul compilation: with its three-part back-up vocals it sounds like something out of “Dreamgirls.”

“Music,” which features Lauryn Hill and feels slightly more like R&B than soul, is another stand-out track, largely because its slower beat and lower range complement Stone’s rich vocals.

Even “Tell Me ‘Bout It,” the album’s poppiest song and first single, is worth a listen, as it best showcases the full range of Stone’s voice.

But the CD often tries too hard to offer meaningful insight into Stone’s psyche. It leaves this reviewer with two main complaints: the ballads and the lyrics.

“Bruised But Not Broken” is the only of the ballads that does Stone’s voice justice.

The lyrics are sub-par (“Love ripped me up and tore me down / But baby that ain’t enough to break me”), but the apparent sincerity of the sentiment makes the ballad seem less trite than most of its type.

The other ballads, though, are markedly worse. “What Were We Thinking” is just plain boring. Without a quirky beat or bouncy back-up vocals, Stone is left with just her voice and the lyrics to keep our attention, and she can’t quite pull it off.

Stone, who co-wrote all of the songs, has some work to do in the writing department. The lyrics range from the awkward (“When I’m all alone in my world / I can feel you touching me”) to the painfully cliché (“If I’m made for you / You’re made for me / It’s too good to be”).

What is most refreshing about the album, though, is how effortless Stone makes singing seem. Rarely does she strain to hit a note or force herself to hold one. And even when her vocal riffs last long enough to make your jaw drop, Stone is in complete control. Her singing on “Arms of My Baby” is playful but polished, and listening to Stone belt it out is enough to make anyone jealous.

“Introducing Joss Stone” is a modern take on a genre which has largely disappeared from mainstream media. It isn’t a classic, but the album is Stone’s best by far. Clearly, it’s a step in the right direction.