Talk A Good Game
Kelly Rowland
2013
Tired of living in a shadow— especially after the monumental success of a single from her previous album— Kelly Rowland delivered an LP that would go on to be regarded a classic amongst R&B fans more than a decade after its release.
trap&B/Cloudy R&B/Hip Hop Soul
BY HARPSICHORD
JANUARY 23, 2024
In 2011, Kelly Rowland happened to strike upon her routine hit that surfaces every album cycle. For her debut solo era away from Destiny’s Child, 2002 saw her gaining an independent No. 1 before the rest of her bandmates thanks to a collab with Nelly titled “Dilemma.” 2007 introduced the world to a more sophisticated Ms. Kelly, with people bouncing along to the conga drums of “Like This.” But 2011– at the time of the release of Here I Am — seemed to be a peak that even the Houston native couldn’t top.
Radios, proms, and bedrooms had the album’s best single, “Motivation,” playing at the top of lists. Sensual in its nature, “Motivation,” had the likes of comedian and reality star, Ms. Juicy, singing to crowds that she couldn’t “feel [her] legs.” At the BET Awards during that single’s promo run, Kelly Rowland tantalized audiences with a performance that recalled her idol Janet Jackson’s spicy demeanor during “I Get So Lonely” from 1997. Although it only landed in the Top 20 of the Billboard Hot 100, “Motivation” peaked at No. 1 on the Hot R&B/Hip-Hop Songs chart. In an era filled with EDM-pop— that Kelly Rowland also participated in— “Motivation” landed at No. 2 on the year end R&B chart.
That meant that her follow up album, Talk A Good Game, had to deliver even better results. It finally felt as though Kelly Rowland would be leading her former bandmates once again. The momentum had been on her side.
When 2012 came around, Kelly Rowland attempted to replicate the success of “Motivation” with “Ice” — another midtempo, electro-pop&B romp that featured Lil Wayne. “Ice” acted as the sister single to “Motivation,” but this go round it was a bit freakier— attacking the positions of sex more head on. However, while fans appreciated the gem (some even taking a liking to “Ice” more than “Motivation”), Rowland and her label quickly learned that mainstream audiences rarely can be duped twice. The song only reached No. 88 and 24 on the Hot 100 and R&B charts, respectively. On the year-end R&B chart, it landed at No. 92. Eventually the song would be scrapped from the final cut of Talk A Good Game .
Still Rowland’s status of being a chocolate-skinned, sex icon remained. The first single from the album, levitated on the urban aerodynamic planes of “Motivation” and “Ice.” It’s as if those two songs made love to give listeners “Kisses Down Low.” “Kisses Down Low” represented evolution, defining a signature sound for Ms. Kelly, who knew better than her peers on how to blend R&B with bubblegum electropop. And although it slightly performed better than “Ice” (at No. 72 and 25 on the Hot 100 and R&B charts), in hindsight it worked as the perfect introduction to the new soundscape that would be laid out on Talk A Good Game .
If there is a R&B album released in the 2010’s decade that did a great job of aligning with traditional R&B, but advancing those techniques to the future and contemporary, that would be Kelly Rowland’s Talk A Good Game . Although it sought out the future way in advance of many others, what holds the project together is a through line of the R&B that Rowland grew up on and helped foster well into the ‘90s and early 2000’s. It feels as though when listening to Talk A Good Game, she’s in rare form.
An example of that is “Gone,” where she samples Joni Mitchell, which is a nod to Janet Jackson’s The Velvet Rope cut “Got ‘til It’s Gone.” That 1997 classic from Ms. Jackson If You’re Nasty also plays on the lyrical notion of “don’t it always seem to go, that you don’t know what you got ‘til it’s gone.” Kelly Rowland happens to sing her version in a brighter tone. And although this is usually regarded as a music critic’s dig, while shopping at a Kohl’s or TJ Maxx, “Gone” can make for a very pleasant listen around the holiday seasons.
But that’s the thing about Talk A Good Game, even the cheesier moments happen to hit the spot. And don’t get it twisted, there are rarely any of those.
What makes Talk A Good Game standout as a cult classic to R&B lovers are its deep cuts. While singles were not the era’s strong suit, fans appreciated the project for the records that didn’t cater to mass appeal. In fact, there are only two acknowledged singles from the project, “Kisses” and “Dirty Laundry.”
“Dirty Laundry” caused a stir. It had almost been unheard of for someone to speak out against Beyoncé. Almost like an industry no-no. At the time, Kelly Rowland often faced comparisons to how Beyoncé was the more commercially successful superstar of Destiny’s Child. On “Dirty Laundry” over a melodramatic piano and drum, Rowland gets candid. Yes, she admits that she envied her sister’s status in the game. But why? She dealt with domestic abuse that prevented her from seeing her worth.
Baring her soul, we experience Kelly Rowland at her bravest and most mature. Although the ladies separated and had a private falling out (“I was in her shadow/Phone call from my sister, ‘what's the matter?’), one has to wonder if that vulnerability inspired Beyoncé herself to keep the more unapologetic cuts on her self-titled surprise album. Even with addressing what the streets buzzed about, the public is graced with “You Changed,” a Destiny’s Child reunion with Michelle Williams, that witnesses women in their early 20’s on “Girl” processing relationship sh*t differently as they saunter through their 30’s. And this DC3 song around, it’s primarily Kelly singing lead…
Warpy and somber in tone, the title track continues on the notion of exposing a lover who does exactly what the title says. “I really wanna believe you,” admits Rowland in her most confident singing voice. What she excels at the most is her talk-sing vocals: “Uh uhn, no way/I prefer you keep it real with maaayyy…” During the last chorus, there is a moment of vocal stacking that flexes how well Rowland can add new life to a song just when you thought it would be done.
That rolls into the confessional “Down on Love,” where she sings “We want two different things at two different times/You know how the story goes; easy come, easy go.” After that intro, there is a brief pause, followed by a song that knocks all the way through. As a contrasting, uptempo, down-on-her-luck song, on the second hook she increases the intensity of her vocals by varying a rap-sing pace just a little more, and by the song’s end there exists a strong, guttural ad-lib sermon. Produced by The Runners, “Down On Love” felt like the magical aspects that existed on ‘Here I Am.’
The beginning portion of Talk A Good Game starts out with intimacy, then it transforms into a plea for emotional reciprocation. By the middle it displays a realization of falling for someone and believing in that truth. This is the standard fare of albums that revolve around love, but Kelly Rowland manages to go through this tried and true arc by taking risks.
“This Is Love” starts with the reverb of an organ that gives off the sound effect of wedding bells. The hook is accented by a tropical feeling as she sways along, “this is lu-uh-uh-uvee,” somehow managing diva pop of the 90s dance circuit with the currentness of trap. During the album’s roll out, Kelly Rowland mentioned how the album was inspired by the legendary work of Stevie Wonder and Whitney Houston. “This Is Love” provides that feel good, lighthearted feeling of their love manifestos. “Don't wake me/I must be dreaming/Or maybe meditating/'Cause boy, I'm levitating so high-igh-i-igh,” she stumbles through her staccato of the second verse. It’s there where listeners are blatantly given the intentions of the music choices that exist throughout the LP.
The production of Pharrell Williams closes out the standard edition: “Street Life” featuring Pusha T, gives way to the funkdafied days of the Neptunes, while “Stand In Front of Me” went the route of doo-wop, in the key of acts such as Ben E. King. The deluxe edition is the most exhilarating portion of Talk A Good Game, and actually rounds out the entire project as a better finish. The-Dream produces and features himself on “Sky Walker” which is more vulgar, floating with a high-pitched Chinese xylophone throughout and lo-fi 808s beeping like a heart machine in the background. Both artists note their hometowns, “I’m so Houston” and “I’m so ATL,” explaining the regional trap&B synergy they have just made.
“Put Your Name On It” slows down the hyperenergetic aspects experienced on “Sky Walker.” Although it still contains the upbeat, sassy, spunk of Talk A Good Game there is a jazzy, noir feeling to it, evoking the feelings of early 90s quiet storm. The track that closes everything out, “#1,” revisits the aerodynamic sharpshooter effects that graced “Kisses Down Low” and “Sky Walker.” This go round Mike Will Made-It declares himself as the curator, with his producer tag. “I promise that I won’t play second fiddle,” comes with an air of newfound confidence that sees Kelly Rowland gliding through her feelings, before a commendable ad-lib section.
The Houston living legend has not released a full length studio album up to the date of this publication. ‘Talk A Good Game’ is considered her last in over ten years. But even with that in mind, ask most R&B fans who know her body of work what their favorite song from the album is (or her entire discography) and they’re going to list “Red Wine.” Sophisticated in style, mellow by design, the midtempo love ode flows exactly how the title suggests. Minimalistic in lyrics, Kelly Rowland is her most intentionally subdued vocally– almost as if she’s scatting. “I di..sco…vered,” she drops as a staccato, before “true love exists” floats out her mouth in falsetto. It models after the vocal work of Brandy, placed perfectly over synths and a stunted radar sound effect that pushes the urgency. “La, da/Da da/Da da da/Doo doo doo,” she echoes and stacks out in the final minutes of the song— making “Red Wine” the most dreamy of them all.
Kelly Rowland attends the album release signing for ‘Talk A Good Game’ in NYC on June 18, 2013.
Talk A Good Game proved that Kelly Rowland is indeed the most underrated of not only her Destiny’s Child league, but also amongst her peers. That’s why it’s her most cherished body of work, and probably will remain so for as long as R&B is consumed.
“Down On Love” for being the most passionate and dramatic song off the album that really showcases how convincing of a storyteller Kelly Rowland can be, while also making her listeners party along during her most vulnerable times.
“You Changed” for giving fans a Destiny’s Child reunion during each lady’s varying stages of solo fame.
“This Is Love” for being a joyous affair that proves how lighthearted R&B can be just as entertaining as the more serious material.
“#1” for best representing the sing-rapping style that Kelly Rowland perfected throughout her discography, and for being all around stellar bonus track.
“Red Wine” for being one of the best R&B songs released in the 2010’s. Period.
Key Tracks
Kelly Rowland has offered her fans some of the best music known to man. With barely any skips, ‘Talk A Good Game’ elevated her own music recording brand, and shall be appreciated for the risks where things could have gone left really quickly. This is her at her most comfortable, as every decision seemed purposeful, nuanced, and intentional.