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The Tufts Daily
Where you read it first | Friday, March 29, 2024

'Late Nights: The Album' Jeremih's most successful project to date

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Jeremih at the 2015 ASCAP Rhythm and Soul Awards at the Beverly Wilshire Hotel in Beverly Hills, California on June 25.

Jeremih has held a stable presence in the world of radio-friendly, sexualized R&B over the past seven years. His fame began with his breakout single, “Birthday Sex” (2009), which peaked at number four on the Billboard Hot 100 chart and immediately garnered him comparisons to R&B legend R. Kelly. Longtime Jeremih producer Mick Schultz produced the chart-topper, providing a fresh, futuristic backdrop to complement Jeremih’s endearing crooning. “Birthday Sex” is as deep as its lyrics suggest, and shouldn’t be viewed as anything other than a catchy, risqué pop cut.

His self-titled debut album, “Jeremih” (2009), achieved similar mainstream success, as did his second full-length album, “All About You” (2010).The latter featured the spectacularly terrible “Down on Me” (2010), failing in large part due to an awkward 50 Cent guest appearance and a tremendously kitschy beat. Jeremih’s sound inched closer to a caricature of club music with “Down on Me,” and Jeremih didn’t regain his footing, arguably, until his 2014 club hit “Don’t Tell Em.” “Don’t Tell Em” peaked at number six on the Billboard Hot 100 chart. The single, produced by DJ Mustard and Mick Schultz, reminded listeners of how club-friendly R&B could dominate their radios once again. Jeremih’s newest project, and first album since “All About You," titled “Late Nights: The Album," released Dec. 9, looks to build off of his past successes.

It’s immediately clear that Jeremih’s newest album is his most inventive and mature work to date. It employs the skills of a number of producers, rather than the typical singular man behind the boards, Mick Schultz. It also features the most guest spots on any Jeremih album thus far, as rising hip-hop stars J. Cole, Ty Dolla $ign, Migos, Future, Big Sean and YG, among others, lend their services. On opener “Planez,” Jeremih rides gleefully on the back of a blissful beat from Vinylz and Frank Dukes. J. Cole spits a few clunky bars toward the end, but the song ends before he can do too much damage.

“Pass Dat” is a modern R&B jam. It’s more complex than a typical Jeremih cut despite its straightforward subject matter, with a multi-layered beat that unfurls itself elegantly. “Oui” is another great track. It makes the most out of a few simple piano keys and, like most of “Late Nights,” is catchy and eminently replayable. Jeremih sings, “I think about all the time / Think you may need all of mine / Hate to say you know that love is blind / I’m bout to see, I’ll close my eyes / (Truth Is) They can’t see you in here though / Most of them need dollar signs to make / Every day your birthday / And every night your Valentine”. In an age where popular music is often vulgar and misogynistic, Jeremih is a refreshing presence.

“Don’t Tell 'Em, the first of four singles released from “Late Nights,” fits like a silver Michael Jackson glove alongside the rest of the album. It’s flashy, but not overtly bombastic. “Woosah” brings the album tempo down a notch, and the rest of the album follows suit, as the night of dancing nears its end. The final track, "Paradise,"  is the most toned-down on “Late Nights: The Album,” but it provides a great end to the 15-track project.Pitchfork’s Meaghen Garvey, who wrote a positive review of “Late Nights: The Album” spoke glowingly of Jeremih's latest work: “'Late Nights,' in its subtle seduction, feels all the more special in an era that increasingly rewards artists who shout the loudest. Jeremih makes you shut everything else out so that you can hear him whisper in your ear. It was worth the wait.”

https://play.spotify.com/album/7DMyQuDPe8xzjC0UDSDa96

Summary
4 Stars