Amel Larrieux: Infinite Possibilities

In 1995, Amel Larrieux's sweet yet soulful voice hit the radio with Groove Theory's seductive hit, "Tell Me." Groove Theory's self-titled debut (and final) album was inconsistent but nevertheless significant, as it was one of the first R&B/hip-hop fusion records to keep the best aspects of both. Now, five years later, Larrieux is on her own with Infinite Possibilities, the perfect title for an album that showcases the many styles of this singing chameleon. That is, Larrieux is accomplished at borrowing vocal colors, but only sporadically at providing her own.

Larrieux is still a very talented singer, songwriter, and musician, but even from the first song of Infinite Possibilities, the jazzy "Get Up," Larrrieux sounds oddly similar to other artists—in this case, Erykah Badu. "Sweet Misery" is the sort of smoldering song of suffering that Mary J. Blige has made her career out of, while "Even If," one of the weakest songs of the album, is a Kurt Franklin-like gospel ballad. The combination of live instrumentation and Larrieux and her husband Laru's production gives the album a freshness beyond the hip-hop lite of most contemporary R&B and doesn't allow any of the 10 tracks to fail completely; it's just that gospel and suffering aren't Larrieux's strengths.

There are a few smashes here, however, which is why there's hope that Larrieux still does have possibilities (if not infinite ones). The longing in her purring voice on "Searchin' For My Soul," the sheer funkiness of "Shine," and the torch-song title track are worth the price alone. Though Larrieux is still growing into her own on Infinite Possibilities, this debut makes the prospects for her second album seem excellent. For the time being, it's something to fill the gap between the D'Angelo and Erykah Badu in your CD rack. (Sony/Epic)

—Joshua Drimmer

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