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Letters from Birmingham


Download links and information about Letters from Birmingham by Ruben Studdard. This album was released in 2012 and it belongs to Hip Hop/R&B, Soul genres. It contains 16 tracks with total duration of 45:44 minutes.

Artist: Ruben Studdard
Release date: 2012
Genre: Hip Hop/R&B, Soul
Tracks: 16
Duration: 45:44
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No. Title Length
1. Letter #1 0:35
2. Turn U Out 2:58
3. Love Skies 4:39
4. Wear Me 4:00
5. Letter #2 0:37
6. Pure Imagination 2:50
7. Do It Right (feat. Chrisette Michele) 3:31
8. Today (Hallelujah!) 3:15
9. Letter #3 0:37
10. Twisted Love 3:16
11. Rock Wit'cha (feat. K Michelle) 4:00
12. All About U 3:51
13. Letter #4 0:34
14. Her 4 U 4:03
15. What's the Reason 3:37
16. June 28th (I'm Single) 3:21



Letters from Birmingham, Ruben Studdard's fifth album — and first for Shanachie, refuge of the veteran, major-label cast-off R&B artist — isn't nearly as heavy as the historical Martin Luther King, Jr. missive its title references. The album traces the arc of a relationship, from love at first sight to "June 28th (I'm Single)," a throwback-contemporary hybrid where Studdard addresses his ex-wife and potential mates. Four brief "letter" interludes help guide the listener through the stages in the singer's relationship; without them, the album would still have a discernible linear flow. The stylistic transitions, however, are not as smooth. There's some Southern-friend funk, neo-Philly soul, alternately silky and churning adult contemporary R&B, a very slow cover of Bobby Brown's Babyface/L.A. Reid-penned "Rock Wit'cha" (featuring K. Michelle), and even a twinkling version of "Pure Imagination" (Willy Wonka & the Chocolate Factory). There is almost enough shifting to fill a season's worth of American Idol performances, and it detracts from the fact that this clearly is Studdard's most personal set of songs to date. With the right push and some open-minded radio programming, two of these songs — the Ne-Yo-worthy "Wear Me" and the Chrisette Michele-assisted "Do It Right" — could be significant hits and debunk the notion that Studdard excels only with ballads.