Discography Artist: Anthony Hamilton
Anthony Hamilton (born January 28, 1971) in Charlotte, North Carolina) is an American R&B, soul, and neo soul singer, songwriter, and record producer who rose to fame with his platinum-selling second studio album Comin' from Where I'm From (2003), which featured the singles "Comin' from Where I'm From" and "Charlene". Hamilton first discovered his talent while singing in his church's choir at age ten. In 1993, he left Charlotte and headed to New York City, where he signed with Andre Harrell's Uptown Records. He was first introduced to mainstream audiences with his singing of the chorus on Nappy Roots' 2002 "Po' Folks", which earned a Grammy Award nomination for "Best Rap/Sung Collaboration" in 2003. He is also featured on Jadakiss' 2004 hit "Why" (which was also nominated for "Best Rap/Sung Collaboration", in 2005) and two of 2Pac's remixed songs, 2002's "Thugz Mansion" (7 Remix) and 2006's "Dear Mama" (Frank Nitty Remix). Hamilton's first compilation album, Soulife, is composed of songs recorded during the early part of Hamilton's career and was released in June 2005. Ain't Nobody Worryin', his gold-selling third studio album, was released on December 13, 2005.Hamilton is featured on a track from The RH Factor's 2003 album Hard Groove called "Kwah/Home". He also makes a guest appearance on blues singer-guitarist Buddy Guy's 2005 album Bring 'Em In, contributing vocals to a cover of Bob Dylan's 1969 "Lay Lady Lay", which also features Robert Randolph. At the 2006 BET Awards, Hamilton won the BET J "Cool Like That" Award. Hamilton makes a cameo in the film, American Gangster as a soul singer, to which he also contributes music to the film's soundtrack. During the 2008 BET Awards, Hamilton covered/performed Al Green's "Tired of Being Alone" during a tribute to Green's career.
Anthony Hamilton - XTC (1996)
A wonderfully talented artist who is blessed with a voice that is reminiscent of the '70s soul scene, Anthony Hamilton arrived in 1996 with an absolutely stunning debut set, XTC. The album is so consistent that there is not a single album-filler, with every track being as good as the previous. Anthony Hamilton's voice glides over each track beautifully, in a style comparable to Stevie Wonder and Teddy Pendergrass. The album demonstrates a superb fusion of '70s soul and '90s R&B. Crackling breaks, wonderfully clean backing vocals, and infectious choruses supply Hamilton with the perfect backdrop on which to display his unique vocal ability. The standout tracks would have to be "You're My Type of Woman," the duet with partner Terri Robinson, "I Will Go," and the lead single, "Nobody Else." This debut set is astonishing and comfortably fits into the bracket of a nu classic soul masterpiece. © Paul Clifford, All Music GuideAnthony Hamilton - Comin' From Where I'm From (2003)
After two albums recorded in the mid-'90s went unreleased and 1999's XTC was largely overlooked, former D'Angelo backup singer Anthony Hamilton's fourth bid for solo success, Comin' From Where I'm From feels more like a hard-won debut. Featuring savvy R&B production from the likes of Cedric Solomon and James Poyser of the Soulquarians, Comin' is a solid mix of organic period keyboards, guitars, and horns and cutting-edge "beats" and synthesizers. While some traditionalists may balk at the hip-hop-friendly sounds, it serves Hamilton well. Not only does it position him squarely at the forefront of the neo-soul movement, but it also allows him the aesthetic freedom to comment on a wide breadth of social and personal issues that harken back to the glory days of '70s soul without ever feeling dated. Listen to how the choir screams against Hamilton's throaty plea on "I'm a Mess," and it's hard not to think of early-'80s Prince, another artist who balanced a classic soul style with forward-thinking production. However, it is Hamilton's soft, earthy vocal style reminiscent of Bill Withers and gritty, personal lyrics evoking his youth growing up in Charlotte, NC that really carry the album. Like a more feminine-sounding D'Angelo with an eye for personal detail that would make Terry Callier envious, Hamilton's deft combination of world-weary fighter and sensitive poet plays out with both hardcore realism as on "Mama Knew Love," where he sings, "Mama knew love like the back streets/Used to wipe pee just to make the ends meet," and then urban humor on "Cornbread, Fish & Collard Greens," in which he wryly proclaims, "If you want it (I can rock your world)/If you want it (I put the juice in Jheri Curl)." Comin' from where anybody comes from, this is a great album. © Matt Collar, All Music GuideAnthony Hamilton - Soulife (2005)
Once 2004's Comin' From Where I'm From began to gather steam, it became common knowledge that Anthony Hamilton was no newcomer. New fans discovered that Hamilton had two other albums in his past. First, there was XTC, an album that was supposed to come out around 1995 but didn't see the light of day due the Uptown label's untimely death; MCA rescued it, released it, and were content with letting it slide into oblivion. Good luck finding a copy. Later on, Hamilton became affiliated with the family-like Soulife label, which disintegrated before he was able to release yet another album. Talk about rotten luck. The appropriately titled Soulife, released by Atlantic/Rhino in 2005, presents ten (and perhaps all) of the songs that were due for release on the album for Soulife, in addition two previously released songs, including "Love and War," from the Baby Boy soundtrack. According to the liners and credits, the material was originally laid down between 1999 and 2001, but several songs were re-recorded and tweaked, likely to make them sound a little more like 2005. As evidenced on Comin' From Where I'm From, Hamilton's voice is best suited for spare arrangements with dusty beats, sensitively played keyboards, and distant wah-wah guitars. Soulife is comparatively slick, which might throw some of Hamilton's newer fans, but there's still plenty of down-home grit to keep ears glued to the speakers, in addition to the main attraction -- the earthy, listen-to-it-all-day voice. While not as wonderful as Comin' From Where I'm From, "Georgie Parker" alone makes the album a must for anyone won over by "Charlene." The song will break your heart and sink into your subconscious with one play, even if you aren't paying any attention to the compelling lyrics. After the first listen -- one of those "Everyone I know must hear this right now" moments -- you'll feel like you've pulled up a golden truffle. © Andy Kellman, All Music GuideAnthony Hamilton - Ain`t Nobody Worryin` (2005)
After enduring ten years of busted label deals and other forms of neglect, Anthony Hamilton finally caught a break. Though 2003's Comin' from Where I'm From only threatened to crack the Top 30, it became a steady seller on the back of the slow and lean "Charlene" -- a risky pick for a single since it sounded nothing like "Yeah!," "Lean Back," or any of the ballads that were getting rotation on R&B stations at the time -- and eventually went platinum. A disc of previously unreleased recordings, Soulife, debuted near the Top Ten in mid-2005 and made it clear that Hamilton had become a major artist with a hungry following to prove it. Ain't Nobody Worryin' will enhance his rep. Had "Charlene" flopped, the album might've come out a little different -- perhaps a little more pop, with a couple guest MCs and some bouncier beats -- but it's even more organic and individualistic than its predecessor. It's also more poignant. Despite what it looks like, the sentiment in the album's title and song of the same name is a world apart from Bobby McFerrin's carefree "Don't Worry, Be Happy": as Hamilton lays it out, people are either too resigned to their problems or too caught up in them to worry. This seriousness transfers to "Preacher's Daughter," a criticism of preachers who are too occupied to take care of their own, as well as the opening "Where Did It All Go Wrong," a breakup song that's as stunned (and nearly as stunning) as Bill Withers' "Hope She'll Be Happier." There's also "Never Love Again," the kind of heartbroken ballad that's potent and sweet enough to sadden someone who's in a completely different situation. But all of this only covers one third of a well-rounded album that's as generous in its expressions of optimism, faith, and lasting love. With spiritual songs both personal ("Pass Me Over") and universal ("Everybody," simultaneously a convincing reggae jam), Hamilton extends his reach with confidence, and easygoing songs like "Southern Stuff," "Sista Big Bones," "The Truth," and "Change Your World" give the album more depth. Studio do-it-all Mark Batson is a regular presence again, while Dre & Vidal, James Poyser, Raphael Saadiq, Ahmir Thompson, and Kevin Wooten help out in smaller capacities, giving Hamilton more modernized '70s-soul backdrops that ideally complement the singer's ruggedly smooth voice. Regardless of the decade you're living in, this is an album to live with. © Andy Kellman, All Music GuideAnthony Hamilton - Southern Comfort (2007)
Although musically Southern Comfort is consistent with the Anthony Hamilton formula, there are differences between the Hamilton of 2002 and 2007. Hamilton 2002’s instrument is actually more versatile and demonstrates a less hurried and smoother delivery than in his later work. There is a raw purity and soulful sincerity here that is strictly about the music. It’s content, and he’s not about impressing anyone else—yet. We get more of his pain and vulnerability in this period, before the industry gets him.“Magnolia’s Room” is a love song about regret; as much as it hurts him to beg, he would like his love to come back to her room, where he has it as it was, waiting for them to be as they were. It’s a bittersweet song, with an underlying tenderness that is different for Hamilton. “Why” is a very poignant song, one with lyrics that could be applied to Hamilton and his place in the industry: “Why do they keep judging me / Why won’t they just let me be me?” It reminds me of the soul singers of the ‘70s, with their political statements and underlying social agendas. Southern Comfort includes other songs of social commentary; “Don’t Say What You Won’t Do”, “Trouble” and “Never Give Up” all speak of prejudices and self-examination. © popmatters
Anthony Hamliton - The Point Of It All (2008)
Released almost exactly three years after Ain't Nobody Worryin', The Point of It All has a slightly lighter tone compared to that of its immediate predecessor and Comin' from Where I'm From. But just as Anthony Hamilton has been able to incorporate modern sounds that fit with his Southern soul throwback voice, the contrasting feel of this album comes through its subtleties. Take "Cool," the album's lead single, which parlays the stress of financial strain into a good time without resembling mindless escapism. The album's opener, "The News," is as poignant as Curtis Mayfield's "Pusherman" and Willie Hutch's "Brothers Gonna Work It Out" (the latter even quoted), but it is likewise delivered through swashbuckling blaxploitation-style funk. Vocally, Hamilton has never been as dynamic as he is on this song, switching between his grittily textured baritone and surprisingly effective upper register. As much power is leant to some of the ballads: "Please Stay" is startling in its heartfelt regret; "The Point of It All," sparse and elegant, is like the 3 a.m. version of "Can't Let Go," equally steamy and romantic. There are lulls, such as the drippy adult contemporary of "Her Heart," but they're offset (and then some) by the standouts. At least a third of the album's contents would have to be part of any representative introduction to Hamilton. In fact, this puts a cap on a three-album run as remarkable as any other in 2000s R&B. © Andy Kellman, All Music Guide
