REVIEW: Victor "Transparent"

  Victor H. Nelson, Jr., better known simply as Victor, is a fourth generation talent in a family with a rich and varied background in musical performance.  Considering that his great grandfather was a jazz pianist, his grandfather a classical pianist, and his father a doo-wop singer, it is clear there was no shortage of inspiration in his household.  With producer Raye Smith and a supporting cast of talented musicians, Victor’s Transparent represents the culmination of those years not only soaking up those creative vibes, but of developing his own vocal and songwriting gifts.


As a whole, Transparent is an R&B-steeped collection mostly concerned with romantic matters of the heart like love cherished, lost and yearned for.  Possessing a soulful tenor and a refined sense of fluidity and phrasing, Victor shows himself to be a singer’s singer.  As such, he tends not to fall into the trap of overwrought embellishment which snares many capable vocalists.  In fact, though front and center, Victor reveals himself to be adept at allowing lyrics, vocals, and instrumentation all to find their rightful place within a song.  “Can’t Believe It,” with its intimate female spoken word intro, is Victor’s Latin-flavored expression of humble gratitude for the love of his dearest.  Following a nicely placed bridge, Lenny Holmes contributes a lovely guitar solo, accented by a bit of scatting ala George Benson.  A subtle shift in tempo, fueled by jazzy salsa piano, adds a fitting touch as the track approaches its conclusion.
A duet with Jamela Bullock, “Occasionally” is a confessional song, revealing the loneliness and hurt experienced by both parties after a break up.  Over an old school urban groove, augmented by pulsing bass and retro synth sounds, Victor’s and Bullock’s voices mesh perfectly.  Though they sing of it being a “rare occasion,” it is evident the pain of one another’s absence runs deeper than they would care to admit.  “To the Next” offers counsel to a female friend recently spurned by her boyfriend, and reveals an interest greater than that of platonic friendship.  “Baby, lonely one, don’t look so sad / Don’t you know you were the best thing he ever had / It’s not your fault, and this is so true / He was a fool to leave someone like you / I know it hurts, but don’t you let it cloud your view / You never know, something better may be waiting” reflect Victor’s genuine concern for his friend.  Perhaps he is thinking about what he would like to say when he sings “maybe I could be the next one,” though he knows “it takes time for the hurts to heal.” Musically, “To the Next” is a down tempo affair characterized by darker vocal harmonies and organ shadings along with sunny breaks.

“Thought You Knew” continues with the retro urban vibes, as Victor wearily tries to assure his jealous girl that he is true and committed.  Accusations of infidelity have taken their toll, but he does his best to offer reassurance, but at the same time says “I do all I can do to try and convince you that I love you / But I can’t keep subjecting myself to all this jealous behavior / No, you just can’t keep taking me through changes.” Victor’s adroitness in harmonizing is showcased nicely here over a throbbing bass and atmospheric synth flourishes; an effective combination.  “Transparent,” the title track, is a sensitive ballad that expresses his relational commitment and his inability hide how he truly feels.  Holmes adds some pleasing guitar accompaniment, but it’s not enough to offset heavy-handed synth and backing vocals that just sound too loud in the mix.

With the sophistication of smooth jazz coupled with quiet storm passion on “Clumsey,” Victor articulates the resultant pain of “falling” and “stumbling” in relationships rather than proceeding with caution.  The pensiveness that colors most of the songs on Transparent is present on “Clumsey” too, though openness and balance in the song’s arrangements prove the perfect complement for his earnest vocals.  With jazz-inflected acoustic guitar and a subtly strident groove, “Still in Love” has a distinctly Terrence Trent D’Arby feel.  Renamed “Christopher’s Sail,” Victor’s interpretation of the 1980 Christopher Cross classic “Sailing” is imaginative, refreshing and quite enjoyable.  Adding a decidedly urban sheen while incorporating the sounds of seagulls and the delightful saxophone of Gordon Jones, he does more than justice to an A/C radio staple.

Evoking the classic soul of Al Green meets Luther Vandross, Victor’s “Something About You” radiates with warmth that is countered only by lyrics of frustration and regret.  Despite knowing he needs to guard his heart, he agonizes over having feelings for someone he knows he can’t be with.  Where Victor provides most of his own backing vocals on Transparent, here Raye Smith and Samatha Miller add welcomed contrast.

“Spirit” is a gospel song in which Victor reveals his inspiration for living from day to day.  “I may stumble, may even fall, but I’m never down for long / No, I just reach out to His forgiving hand / Lift me up, restore my soul, ease the burden of this load.” The arrangement and melody are fairly pedestrian, but the subject matter, bouncy gospel tempo and additional vocals of Yvette Soul and Phil Walker bring considerable lift to the album. “Full is the heart with the blood that was shed for me / Cleansed and whole, washed in the tears He cried on Calvary,” deeply personal lyrics, sung by Soul offer insight into Victor’s motivation and values.

Because “Spirit” works so well, it might have been nice to hear more tracks in which Victor expresses his faith and perhaps family and social concerns as well. But then it’s possible that future projects may very well deliver in this regard. Apart from a bit of uneven mixing, Transparent is a solid, well-crafted album that persuasively reveals Victor’s impressive singing and songwriting abilities.

Review by Mike Roots
Rating:  4 Stars (out of 5)