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| 1. Harlem's Nocturne |
| 2. Karma |
| 3. Heartburn |
| 4. If I Was Your Woman / Walk On By |
| 5. You Don't Know My Name |
| 6. If I Ain't Got You |
| 7. Dairy |
| 8. Dragon Days |
| 9. Wake Up |
| 10. So Simple |
| 11. When You Really Love Someone |
| 12. Feeling U, Feeling Me (Interlude) |
| 13. Slow Down |
| 14. Samsonite Man |
| 15. Nobody Not Really (Interlude) |
Review Keys states in her accompanying notes that the 15 pieces of music here are like diary entries. They could so easily have been full of gauche heart-on-sleeve angst, but fortunately everything is kept in good measure with the listener being drawn into her world of contemporary takes on classic soul.
Lead single You Don’t Know My Name is built around a sample from the 1970s New York group Main Ingredient’s Let Me Prove My Love to You. The meshing of modern street funk with its gorgeous, string-laden predecessors is hardly the freshest concept, but the subtlety – and Keys’ stunning voice – carries it through.
With contributions from artists such as Kanye West, Timbaland and John Legend, at times this album is like an academic exercise in spotting her reference points. Titles such as Harlem's Nocturne and her cover of Gladys Knight’s If I Was Your Woman (which merges into Isaac Hayes’ version of Walk On By) make her nods to history explicit; it's like some RnB relief teacher coming in and taking the class.
But it is so much more than just that – the album is all about mood and groove. Diary, which features Tony! Toni! Toné!, is faultlessly languid late-night soul with a superb “your secrets are safe with me” hook.
There can be a level of suspicion about Grammy-gathering albums often subsequently reduced to their statistics – US No.1; 618,000 US sales in its first week alone – as this often says little, and commemorates only the commercial accomplishment. However, it is easy to hear why The Diary of Alicia Keys was so popular – well-written, well-played and, although it boasts a cast list commensurate with all urban albums of the 21st century, it is unmistakably the vision of one person. An MTV Unplugged performance, a book of poetry and an acting career was just around the corner. --Daryl Easlea
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Simply brilliant.
It's a rare thing, and it still comes out in her music - the frantic violins of 'Karma', the piano arpeggios of Harlem's Nocturne' and the dreamy, filmic theme of 'Nobody Not Really'.
She is also in touch with the classics of soul, so there is more than a hint of Stevie Wonder to her writing.
If anything, 'The Diary Of..' is a little bit more knowing about urban styles than the breathtaking debut 'Songs In A Minor'. There is more of a hip-hop undercurrent, and there's more work for your sub-woofers to do.
It's in the shadow of it's predecessor, the 5-star debut 'Songs In A Minor', in my humble opinion, but it's still a 4-star wonder, which makes you hope that Keys will not be squeezed into the destiny of just another hip hop soul singer in a crowded marketplace.
Great voice, great pianist, great album. Great!
Given the single, and given the CD cover, I had been expecting Alicia's piano to be given greater prominence in the mix, such as it is. Is it just me, or has the production of this album been a deliberately low-tech AM-friendly affair? The melody of the single harks back to Marvin Gaye's classic 'What's Going on?', and the production seems equally muffled. Another example: on track #10, 'So Simple', Alicia has added some prerequisite scratching, which has been done a thousand times since Madonna's 'Erotica'.
Alicia's band is pretty small. There does not seem to be a drummer -- despite the frequent appearance of drums on most tracks -- so we must assume that drums come courtesy of 'digital programming'. This music is far more cerebral than Beyonce, who also uses a tiny musical team. Neither, to my ear, quite approaches the standard set by Jimmy Jam / Terry Lewis for Alexander O'Neal's 'Hearsay'.
But this is a great album to end 2003 on.
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