The Singles Jukebox

Was gonna do the “not the snooker player” joke, but that’s a bit worn out now, plus no non-British people would get it. And, well, most of the British people would struggle, too…

[Video][Website]
[6.00]

Martin Skidmore: A slow and moody R&B number by someone who obviously wants to be an old-fashioned soul singer, an ambition I thoroughly endorse, but while his singing is affecting at times, it also sounds too weak on the high notes. The sparse backing is extremely well played, and I like the loud clicks, which give this smooth jam a bit of much-needed sinew.
[7]

Chuck Eddy: No personality (at least not here, though Hamilton has never grabbed me much before either), nothing especially interesting in the songwriting, not much in the way of hooks. Gets less palatable as it gets stormier. I hear a few current Southern soul singles on community radio in Austin almost every week that pull in me way more than this track does, and usually I have no idea who even sings them. (The disc jockeys tend not to back-announce, which drives me crazy.)
[5]

Alex Macpherson: One of the gentler, less demanding cuts from an album which is frequently mind-blowing. Nothing wrong with a comfort blanket as classy as this, though; the rhythm sways and lilts seductively, Hamilton’s piano wanders like fingers down your back and the ease with which his rich, creamy voice carries this standard romancing song should put several others to shame.
[8]

Al Shipley: Hamilton will probably never make another single as achingly lovely and endlessly listenable as “Charlene,” but this is probably the best attempt he’s made since then, putting a brighter melody and more uplifting sentiment to a similar tempo.
[6]

Matt Cibula: Love this so much, but had to take a point off because it’s only about the seventh best track off the album which I love more than candy or Rachel Weisz. Not just a singer, AH, but also a subtly brilliant wordsmith… except here where he just says “I love you” over and over. But he does it so beautifully!
[9]

Michaelangelo Matos: I understand loving his timbre. I understand loving his basic sound. But his material is completely uncompelling, and isn’t the whole idea with guys this old-fashioned that the material is what matters?
[5]

Martin Kavka: If a man were to have this on the stereo during foreplay with me, there would be a serious risk that I’d fall asleep under him. It does get a bit better in the third minute, though, as more and more vocal lines get tracked together.
[4]

Alfred Soto: A marvel of engineering, both vocal and instrumental. Hamilton duets with finger snaps and a reverberant electric piano line. He’s not communicating much beyond an ability to summon a Bill Withers air of sexy devotion, but for once this is a set of old-school signifiers sexy and devoted enough for me to bask in.
[8]

Ian Mathers: Is anyone else faintly distracted by the abrasive clapping sound that sounds a bit like hitting a chain link fence? It’s a nice touch, the only element of warm, throwback production that feels less than comforting, but given Hamilton’s warm, throwback vocals and the predictable “I wuv you, girl” sentiments of the track it’s a bit out of place.
[6]

Doug Robertson: He thinks he’s being sexy. Bless.
[3]

Hillary Brown: The thing about Anthony Hamilton is that, despite his pretty voice, he comes off kind of neutered. This song lacks cojones.
[4]

Rodney J. Greene: Patiently paced, with Hamilton melting like cream all over the top of it; will be danced to by brides and grooms.
[7]