by Darrell Holmes
Foreign Exchange is a hip hop/R&B collaborative based out of North Carolina.  Members consist of Phonte Coleman who serves as half of the hip hop duo Little Brother.  The other member is Nicolay who does most of the production along with composition and performances for the group though Phonte is the lead.  The combo met on www.okayplayer.com and began emailing thoughts, beats, vocals, and eventually, full tracks to each other.  They would eventually find a way to produce a full LP without the two meeting face-to-face (Nicolay would eventually leave his native Netherlands for North Carolina).  After critical acclaim from their debut Connected in 2004,  L.I.A.B. was released October 14, 2008.

L.I.A.B. is definitely not your mother’s R&B album (or older aunt depending on your age) as prefaced by how the album begins with it’s opening track “Daykeeper” featuring underground R&B sensation Muhsinah.  The track is purposefully heavy on the digital but still very smooth and melodic.  Phonte serves as lead vocal which may be surprising to casual Little Brother listeners but hardcore fans are very aware of his juke joint affair with harmonies as evidenced by other works like Zo! and Tigallo Love the 80s.  Similar to Andre 3000′s recent vocal departures, Phonte wittingly maintains pitch by utilizing keys and falsetto that compliment his voice throughout the album.  Muhsinah adds great compliment to Phonte with smooth background harmonies all encapsulated by Nicolay’s very simple keys and a basic beat that blends well.  A very solid opening track that stays true to the concept of the album.

The next track is “Take Off the Blues” featuring Darien Brockington.  If you’ve heard almost anything that has come out of Foreign Exchange‘s parent collective Justus League you’ve likely heard D-Brock’s work as their in-house male vocalist.  On “Take Off the Blues” he actually becomes hard to distinguish from Phonte without listening carefully. Brockington opens the track with Phonte bringing the rear with the backgrounds.  This track differs from the opener highlighting a higher tempo, a more straight forward jazz beat, and a bridge that features a 3-part trumpet solo.  If R&B made love to neo-jazz on Nicolay’s kitchen table “Take Off the Blues” would be it’s offspring.

“All or Nothing/Coming Home To You” follows third also featuring Darien Brockington.  This offering begins to hit closer to home for traditionalists as it portrays a core sound borne out of something you’d expect to find on a Carl Thomas release.  Nicolay makes it his own by adding his signature synth in the hook and Phonte does his rap thing at the bridge.

“House of Cards” featuring Muhsinah is a ballad that kicks off with an understated bassline and keys as Phonte offers up “Practiced every word.  Rehearsed every lie.  Covered all my steps.  This is why.” just before the high hat drum sequence kicks in with the chorus from Muhsinah proclaiming that Phonte’s house of cards is soon to fall.  The back-and-forth between Mushinah and Phonte as dueling lovers gives a voice to the tension produced by the drum beat Nicolay provides.

“Sweeter Than You” is much more heavily computerized than previous tracks.  The sound heavily bleeds the tech hip sound that began in Europe and England over the past 10 years but still very much falling into the R&B category in tone, tempo, and lyrics.

***  STAR TRACK  #1  ***

If you were to hang your hat on one track that the radio would consider playing from this album it would be “Something to Behold” featuring Darien Brockington AND Muhsinah.  Phonte begins the track with “You gone have to sing on this one Anna Mae” (c) Ike Turner.  The beat, chorus, vocals, and rap bridge are straight hip hop and vintage Little Brother.  Even if the entire album isn’t your forte even the most ardent LB opponent can likely appreciate this track for nothing more than its most basic, straight-forward approach to make you move your feet.

***  STAR TRACK #2  ***

The album’s last track may be it’s best because of what it’s not.  It’s not a love song, ballad, hip hop track nor is it an adventurous journey into some previously unheard of sound from overseas.  At the core, the album’s title track is a father’s sentimental ode to his son and that’s what makes it a truly remarkable song as evidenced by the lyrics:

“Hey baby boy lying sound asleep.  I hope you dream of lullabies and clowns.  The more you open your eyes the harder to believe.  So here’s a song for you when you are down.  ‘Cause only heaven knows what to make of these changing times but for the night let’s just leave it all behind.  I know this world’s so cold but don’t let tear drops change your mind.  So for the night let’s just leave it all behind”

Nicolay provides a beautiful canvas with which Phonte can paint his scene providing a Caribbean vibe that supports well the synergy of the song.

Overall, most people appreciate an album that takes them on a journey and leaves them at a different place than where they began.  That journey can be thought-provoking, awe-inspiring, provide thoughts of love and caring, or possibly even depression and sadness.  Regardless, any album with a goal of being exceptional can’t afford to be conservative in its approach.  Simultaneously, it must have a core that people can hear, recognize, and relate to.  Nicolay and Phonte achieved their goal with Leave It All Behind.  From the sound, to the lyrics, to even the album art this is a classic, well-crafted album that draws on familiar jazz and R&B cues while also sticking to what fans have become familiar with whenever Little Brother is involved.

I give this album an A rating.