R&B CROONER RAHEEM DEVAUGHN wants to get your fists up and your pants down — but not necessarily in that order — on his new album, ‘The Love and War MasterPeace.’

Obviously, the singer — who grew up in Prince George’s County and recorded most of this album there — definitely has political opinions, and he’s not afraid to talk about them. But some of the tracks here are brazenly outspoken, with DeVaughn firing off against politicians, the U.S. government and anyone with a bloodthirsty sense of patriotism.

Ultimately, though, DeVaughn is more of a lover than a fighter, and the plethora of sensual songs on this 16-track release prove that.

All the man wants to do is love a good woman, and he’s full of positive thoughts and supportive beliefs, whether he’s telling women they’re beautiful just as they are (”The Greatness“) or urging them to get away from abusive relationships and stand on their own (”Black and Blue“). In fact, DeVaughn seems more like a feminist on “The Love and War MasterPeace” than any other recent hip-hop or pop star, and yes, that includes Lady Gaga — because even though “Dance in the Dark” name-drops Sylvia Plath, GaGa also sings about taking rides on disco sticks. Fail.

But to prove his street cred, DeVaughn also brings in a whole host of collaborators, some who work and some who don’t. There’s professor and activistCornel West, dropping a few spoken-word tracks about DeVaughn’s awesomeness; rappers Ludacris and Wale, making some songs more radio-ready; and singers Jill Scott, Chrisette Michele (DeVaughn’s cousin) and Citizen Cope helping round out the song’s most political track, “Nobody Wins the War.” But most of the time, all those guest stars seem superfluous: DeVaughn does fine on his own, and though it’s understandable that some of those featured artists are needed to raise his mainstream profile, the songs would probably sound just as good without them.

Take, for example, first single “Bulletproof,” which features Luda: The track is a smooth-sounding, undeniably catchy diatribe against Uncle Sam, the U.S. military and hip-hop’s gangster mindset. With some bluesy touches and gunshot effects in the background (think “Paper Planes“), the song also features DeVaughn’s trademark falsetto as he drops ominous lines like, “Murder your sons, ravish your daughters / Here, overseas and across those waters” and “Politicians can’t help you / They’re just slaves and puppets.” In contrast to DeVaughn, though, Luda’s verse just seems weak, especially when he says, “Lord, help me please, cause I’d rather die / On my feet than live on my knees.” Real original.

Similarly forgettable is Wale’s verse on the album’s third track, “The Greatness” — DeVaughn also shines on that one, as he muses on women’s inner and outer beauty. Though the song has a more mechanical, typical hip-hop sound, it also oozes blatant sensuality, with lines like, “What lies between those jeans on your hips / Is such greatness” and “Victoria holds the secrets to your greatness.” It’s undeniably sexual, but somehow more genuine and heartfelt then your typical lustful track; no riding ponies (ahem, Ginuwine) or stripping activities (oh, Ray-J) can be found anywhere around DeVaughn’s repertoire.

And DeVaughn continues to profess his devotion to love all over the rest of the often-racy album, whether he’s ignoring haters on “I Don’t Care,” confessing his misdeeds but promising to do better on the ballad “Mr. Right” or even talking smack on a girl’s “battery-operated boyfriend” on the risque “B.O.B.” Plus, he makes the most of Malik Yusef, featured spoken-word poet, on the song “Fragile,” where Yusef breaks down his emotions for the woman he loves: “I have a special ring for you / But you should have known that the phone / Don’t have a tone that fits you … Put down our bag while I/ Investigate your swag style / You seem like you taste expensive,” he says, while DeVaughn oohs and aahs in the background. If you’re not blushing, there’s something seriously wrong with you.

The album’s only missteps come in its final two tracks, which try to make up for the former romance and bring the politics all at once. The first, “Nobody Wins the War,” is a noble diatribe against the evils and immorality of war, but the song lasts almost eight minutes and simply drags toward the end, while the second, “Revelations” featuring Damian Marley, just doesn’t match the energy and exuberance of the rest of the album. Other than that, though, the collection is a spectacularly sensual heap of tracks that cement DeVaughn’s talent and creativity.

West says on the album’s intro that DeVaughn is “the greatest soul singer of his generation” — based on “The Love and War MasterPeace,” that claim may not be too far off.

Written by Express contributor Roxana Hadadi
Photo by Nikki Kahn/The Washington Post

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