Call Keyshia Cole a triple threat. Her voice has the flexible range of pop, the muscular punch of soul and the hard character of hip hop.

Small wonder Cole’s 2005 debut, “The Way It Is,” made her one of the biggest breakout stars of the year in the genre that blurs all three styles: R&B.

It didn’t hurt that Cole’s songs subverted commercial R&B’s monochromatic melodies at every turn (translation: she’s one of few genre stars who never tried to sound like R. Kelly).

On Cole’s crucial followup CD, “Just Like You,” out today, it’s less the songs that impress than the timbre and tone of her voice. Too many ballads bog things down in the CD’s midsection. And there’s no cut as instantly anthemic as early blasts of exasperation like “I Just Want It to Be Over” and “I Should Have Cheated.” Yet Cole retains a vocal sound like no other.

There’s a smoky flavor, and a husky texture, to her voice that never weighs down the melody the way darker-hued vocals can. More, there’s a bravado to her character that still leaves room for an ache.

Cole needs both sides of her character to reflect the songs’ content. Again, they’re odes to romantic ruin and psychic turbulence, drawn from Cole’s tough upbringing.

The singer grew up in the diciest part of Oakland, one of seven children born to a drug-addicted mother. After rocky experiences with the foster care system, she went to live on her own by age 17.

Luckily, Cole funneled her frustration into ambition, seeking out local stars of the time, like Hammer and Tupac, to cut various toe-in-the-water demos.

Her long-delayed debut CD earned her comparisons to a young Mary J. Blige, if only for her, shall we say, well-defended character. The role serves her well on “Just Like You.”

The scratch in Cole’s voice shows experience and edge, especially in songs like “Fallin’ Out” or “Give Me More.” The latter has a dynamic beat and a thin horizon-line of strings that suggests equal parts possibility and danger.

I wish Cole picked up the pace more, and found tunes as unbeatable as those on her debut. But the better ones have enough flair to get by.

And when Cole lets you hear the catch in her throat on “I Remember,” you’ll have one in yours, too.

Music Review by: Jim Farber