As I was thinking about how to characterize Mahogany Jones’ album Morphed, I told Maji jokingly it should be called Morphed: The Spiritual Education of Charyse Bailey. Even though I know that to many music lovers, even an underhanded reference to Lauryn Hill’s beloved solo debut is “blasphemy”, I think it’s an apt comparison for a few reasons, despite the fact that Mahogany doesn’t SING and Jesus is undoubtedly Lord. However, the vibe, and sound of this album is something different for Miss Jones. It’s her spiritual, musical, and emotional catharsis, and she arrives at a place it doesn’t seem many of her “emancipated” female counterparts in the industry are able to. Ahh, what a relief it is to be in Jesus!

Produced primarily by Ironic-Lee, with assists from newcomer Midi Beats, BeeLee, JR, and Temple, Morphed like the allusion it evokes, is a beautiful audio butterfly that the sonically impatient might miss. Conspicuous in his absence from a production standpoint is Maji, however, his contribution is still an important one, giving an album that is a curveball for its artist, the quality mix it needed. Morphed is mellow, and groove heavy; a mature hip-hop album that could appeal to a cross section of audiences and hopefully pave the way for wider acceptance of other Christ-centered females who spit and are undoubtedly on deck with projects. Mahogany gets her “grown woman on” with subject matter ranging from self-esteem, materialism, relationships, spiritual growth, and decision-making to name a few.

The spiritual content of Mo’s rhymes come through as sort of an implicit lyrical outworking of these issues. For example on They Say, church traditions, relative truth, morality and spiritual inquisitiveness are debated, complete with sound bytes from Oprah and others, culminating with the resolution that’s only found in Christ. On Thin Lines, arguably the most transparent relationship song HHH has seen yet, Mo attempts to rhyme her way to the peace & clarity she lacks. While on Easy, she seems to have arrived at it. Everybody’s Everything is audio self-therapy, a song that manages to evolve with Mo initially as a “spineless, people pleasing” job seeker and ends with her as an empowered resignee. Vocalist LaToya Petree nails it with her accompanying vocals, underscoring the transformation.

People who’ve heard Mahogany on past Yuinon projects such as The H.E.R. Project, Genocide, or her jaw dropping Obedient Dirt Mixtape: The Gathering, are likely to be expecting, and will probably miss, (like I did initially) the aggressive, more rugged feel of songs like Manifesto, Off the Hook, Warrior, or Raise Up, but instead they’ll get a more reflective, contemplative Mo, who has channeled her energy into a gratitude filled retrospective on her own spiritual growth path, adding gems like Keep On, and Lose Control, to a growing and diverse roster of songs that have led many to label her as one of the genre’s most diverse MCs, male OR female. Speaking of Lose Control, as the “official” album opener, this smooth mid-tempo JR produced track might throw the “casual” listener for a loop and they mistake some dude as the object of Mo’s rhyme about letting go and letting God. Wispy female vocals don’t help either. It’s an intentional “contradiction” that works.

I would have liked to have been surprised to hear this “new” Mo too for the first time, on Morphed but I’ve seen the album actually well, morph; with several incarnations of songs competing to more fully capture Mo’s artistic vision. Good art indeed takes time. A surprise I wasn’t privy to is the intro. Although it aptly sets the tone, I’m glad it’s just that, an intro, and the album doesn’t have any more bouts of the T-Pain-itis everybody and their moms in the industry seems to have at the moment.

Almost two years ago, Mahogany explained that her first solo joint would be a “concept” album where people would finally get to hear the “real her.” I was like; the other joints you’ve spit on weren’t you? She said, “No, I simply submitted to the producer’s vision for the track and gave them what they wanted.” Dag, now that’s humility. I’ve heard on more than a few occasions that often MCs, especially good ones, have a hard time being “produced.” Not to mention that those previous album joints have helped spark Mo’s buzz, and endeared her to listeners across the country, so to depart from what’s worked is brave indeed.

Perhaps it was easier because of the place she’s in. Her contentment seemingly coming from newfound clarity, Mahogany’s lyrical delivery is confident as ever, keeping you interested even as you adjust to the “new her.” A good case in point is the 2nd verse of Farewell. As track #13, it may not grab you at first listen but upon closer inspection, it’s a meaty, heartfelt goodbye to the world and unsaved loved ones that is arguably the album’s (unexpected) spiritual centerpiece. It’s a rare apocalyptic rhyme for Mo, Ironic-lee juxtaposed (literally and figuratively) with a “stroll in the park” type track that seemingly belies its content. Track #12, with Ironic-Lee’s dad playing Taps on trumpet as a prelude only makes sense after you digest this rhyme.

There are more vocal collabs than ones with MCs on Morphed, with Chris Lawson (from her mixtape) and EP (from AoN) being the “go to” favorites respectively. It seems unfair to pick “standout tracks” or singles because Morphed is to be experienced as a whole, but if I had to pick a couple that capture the overall feel and quality of the album, Lose Control, Keep On, Find a Way, & Star come to mind first.

A couple of well-placed skits provide lighthearted preparation and contrast to songs that deal with weighty issues, like self-esteem and identity. Peep this portion of the opening verse from Star.

Morphed beckons you allow yourself to be enveloped by it’s tempo and mood, if you comply, you’ll enjoy Mo’s lyrical spiritual journey all the more.

Mahogany’s come a long way from Toni Blackmon’s network of MCs and her unexpected run as a 4x winner years ago on Freestyle Fridays from BET’s 106 & Park. Her relationship with Christ changed her content from being merely positive and her foundation as a poet is evident in wordplay on Morphed that doesn’t resort to “forced rhyming.” As female MCs in general, and HHH in particular struggle to get the respect and airplay they deserve, Morphed could be the key that opens the floodgates and lets the world know there is more where she comes from. Couple this with an industry in a state of flux, let’s pray that Morphed isn’t slept on as the groundbreaking debut that it is. I’m counting it as the first must have for ’09!

- vessel (Local 313) 11.11.08