I'd like to begin this review by discussing the term RnB. Depending on how old you are, or perhaps how stuck in your ways you are if you're like me lol, you'll have different interpretations of what the genre RnB entails. Now to me, RnB means classic RnB: I'd be thinking of bands like The Stones, Cream and Fleetwood Mac, whereas others would be thinking of people such as Aaliyah, Destiny's Child and Brandy. There is nothing wrong with either understanding of the term, but I tend to call the latter artists "Modern" RnB acts, as you could hardly imagine them being capable of pulling out a guitar or drum kit could you now? This modernisation of musical terms has extended to other areas such as soul and swing and now we're in such a position where if you go into a music shop such as MVC who tend to daftly separate pop and rock and RnB and hip hop, you don't know where to look for what you want. I don't mind them separating the genres, but it's all down to your own understanding as to whether for instance Papa Roach are rock, or whether although they are rock, are they poppy enough to be put in pop? It's all getting out of hand if you ask me :).

Just when I thought all was lost and I was going to give up on last year's music, I met my mate from Barnsley last weekend. We ended up getting totally pissed and I nursed a hangover for most of the weekend after that, but a hangover wasn't the only thing I came home with. We'd been talking about music a lot as we inevitably do and I was saying how much I liked Alicia Keys single releases. A few minutes later he was delving into his bag and producing an MD with Songs In A Minor on it - I was chuffed and on the Saturday night when everyone else had gone out, I settled down in front of the stereo hoping that the diva would soothe my aching head and limbs with her vocal charms.

Luckily, the remainder of the album offers much in the realms of musical creativity and vocal ability. A swinging piano introduction with an American dial tone poses the beginning of the 3rd track until the lilting vibes of the song begin. Much more laid back and with a great display of vocal range, this moody and searching number with a gospel undertone (twangs of organ especially backing this up) is a fine cover of Prince's Why Don't You Call Me No More.

We're now coming onto my favourite area of the album - 5 or 6 superbly solid tracks in a row. Before that however, comes Jane Doo; again it's one of the more cut and thrust traditional approaches to RnB with the strident lyrics about men and love but as always Keys is tickling the classical ivories in the background - whether she's trying to make a point on culture or class remains to be seen and although this track isn't lyrically excellent it's good enough and has a strong melody and brisk feel.

The album also yields another gem, The Life, that sits back to back with the highlight of the LP Goodbye. This in my opinion has very strong routes in Latin jazz with all the appropriate Latin percussion and sweltering funky baselines. Everything about this song suggests heat and intimacy - it does have an urban feel, especially with the lyrics talking about surviving on the streets and getting by but this is a stylish 4 minutes of pure tunage. Sergio Mendez would have been proud of this one I tell you - top marks to Alicia and her accompanying guitarist for this track.

The stunning bit of virtuoso piano in the brief interlude (with the reverb and melody doing just enough to give it the solitary feel that shines through) gives way to Butterflies. This track carries on exactly where the interlude left off - you don't notice the join and the last 2 or 3 songs have indicated the sheer adaptability of Keys; as in some tracks she can sound as raunchy and ready as Whitney Houston or TLC's Lisa Left Eye whereas in others she can sound as sweet and balanced as Shola Ama. These 2 linkup tracks have no accompaniment so they do give your speakers a rest and show you Alicia's strong chilled out and classical sides.