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Christina
Milian - Christina Milian
Damage - Since
You've Been Gone 
Save The Last Dance
Soundtrack 
The
Transitions - Back In Da Days
- must have album, sheer
perfection
- nearly there, definitely
worth having
- good album
- average album
- poor album, for die
hard fans only
- leave well alone, this
is dire
Christina
Milian - Christina Milian
Bursting onto the scene by accompanying Ja Rule on the released version of “Between Me And You”, Christina Milian hasn’t wasted much time exposing herself as the explosive up and coming sound of female R&B.
“AM To PM” is her hot bouncing debut single,
and starts the album off on a stunning note. It is very similar to the funky
catchy Monica tracks of old. Christina very much reminds me of an updated
version of Monica. “Somebody hit the lights, so we can rock it day and
night, people getting down that’s right, from AM to PM” she sings. This
is a totally feel good party track. Turn it up and bounce to this to get rid of
your woes. “You Make Me Laugh” from the Rush Hour 2 OST is a
fittingly giggly upbeat track. The fact that it follows on from “Am To Pm”
makes this the perfect duo for a party mood.
“Twitch” is almost a reply to Joe’s
“Stutter” - same theme, different singer. It’s a good track with a
bubbling funky melody. It generates into a funky scratchy finale. “It Hurts
When” is unfortunately and inevitably a ballad. It’s much in the same
vein as Monica’s old ballads. I guess Christina needed to prove she could sing
on slow tracks too. “When You Look At Me” contains the lyrics “dododododododo
tell me who you think you see, standing in your corner looking out at me, you
think I am so predictable…” a sassy catchy tune with an undulating
melody that almost hypnotises you into dancing with a bassy riff. This and the
other upbeat tracks add to the must have quality of this stunning debut album. “A
Girl Like Me” uses a rap-like beginning making for an urban hip-hop sound.
It’s not unlike the attempts made by Olivia on her recent debut album and
wouldn’t be out of place alongside any of her more upbeat tracks. Next comes a
female two step Craig David-esque tune called “Satisfaction Guaranteed” it’s
as catchy as they come and equally as uplifting as all the other non-ballad
tracks on here, totalling an impressive 9.
“Until I Get Over You” uses acoustic guitar and
is unfortunately another very Monica-sounding ballad. “Got To Have You”
however funks things up once again. With its springy bass mixed with strings it
is very contemporary and matches the other 9 non-ballad tracks perfectly.
Christina sings “I got to have you and I don’t know what I should do and
I’m guessing that you don’t have a clue…” Likewise, “Your Last
Call” uses a vo-coder robotic voice to accompany it on its sassy journey
through an unavoidable breakup. This sounds very Destiny’s Child in
subject and style and it works well.
“Perfect” features the albums only pseudo
interlude, which makes a refreshing change these days. It starts off gently but
rises to a fast paced rant. “dadadadadadadada spend a little time just me
and you, hang out hook up just us two, feeling me feeling you we’re perfect
for each other…” The album closes with the strong and gratifying “Thank
You” in typical R&B style.
Strong debut.
Ought to sell a few Milian!
Barely out of their teens,
New Jersey based City High bring us a remarkable self titled debut album with a
US High School flava. If you missed their first single release “What Would You
Do?” be sure to catch the follow up “15 Will Get You 20”. While the
concept of a trio with one female vocalist isn’t new (Lucy Pearl springs to
mind) the subject matters in this album are dripping in fresh youthful honesty,
and the tunes behind the lyrics are straight outta the streets in summertime. Songwriter and vocalist Ryan Toby wrote the Will Smith smash “Miami”
and Robby Pardlo sang with Whitney Houston on “My Love is Your Love”. The
female vocalist is Claudette Ortiz.
“Didn’t Ya” features the female vocalist and
is a fairly catchy track with snares and a strange frog croak loop. “Three
Way” changes pace and introduces us to both male vocalists, the “bombdiggydigbombbomb”
background of the chorus reminds me of the cheesier track by Another Level
before they split. “she’s seen me, called me up on my three way, giving
my girl the whole relay..” it’s another track about infidelity. “Why”
is a very honest song, asking “why should we screw, if we can’t get
along, what’s the point in getting it on?” It drops the tempo and
features all three vocalists. Are they singing from experience? It sounds like
it.
“Song For You” is the first where the Wyclef
charm becomes clearly visible; he even features in the intro, not content to
stick to mere production. This is definitely a love song, silky male vocals, and
a pure Fugees sound. Next comes “15 Will Get You 20”, and no it’s
not a song about buying drugs, “15 will get you 20, 16 will get you 10,
don’t think it can’t happen to you coz it happened to one of my friends” it’s
a song about the perilous consequences of underage sex. Wyclef again adds his
mellow influence to the track.
“Cat And Dogs” takes it back to infidelity in a
pulsating way. First it tells why the guy acts like a dog because he got hurt,
then shows that he’s made the girl act the same way because of the way he
treats her. “Caramel” is the female vocalist’s ode to herself “anywhere
I go I’m spotted, anything I want I got it, 5’5” with brown eyes, smile
like the sunrise”. The guys back her up giving the track a more hip-hop
flava in an unmistakably Spanish style. “Best Friends” and “Sista”
are similar in style, the first is a guy asking his best friend to call his girl
for him, little knowing his friend is the one she’s dumping him for. It’s a
tempo slow lights down low type tune. Sista is a guy telling his friend “it’s
your sister yeah Homie I’ve been with her, I’ve been with her for a while
now, and there’s nothing you can do ‘bout it”. It’s more upbeat, and
a good prelude to the next track.
“What Would You Do” is the brilliant debut single
release “what would you do if your son was at home crying all alone on the
bedroom floor, coz he’s hungry and the only way to feed him is to sleep with a
man for a little bit of money” the morally fine tale of a desperate single
mother, and the social consequences. It’s disappointingly followed by the
somewhat dull and unworthy love song “So Many Things”. “The Only
One I Trust” is a gentle and moving story about giving up your lover to
the FBI, it’s very like Montell Jordan’s “Once Upon A Time” in style and
sound. The album ends with the fiery gospel tinged “City High Anthem”
which could come straight out of an urban US High School graduation ceremony,
and “You Don’t Know Me” which goes full circle to the first track
on the album in it’s subtle catchiness.
Depressing in subject matter but uplifting in style.
Like some kind of escaped genetic experiment from Willy Wonka's Chocolate Factory (check "Booty Man", a tune based on the somewhat dubious idea of The Candyman song from that musical) - crossing a voice of pure melted chocolate with the bump 'n' grind of R. Kelly and the popular appeal of the Backstreet Boys we have Craig David's brilliant debut.
A
musical and lyrical genius as far as widespread appeal and talent are concerned,
with a future holding the likes of Sisqo and Puff Daddy collaborations: in the
words of some random crappy dance band "things can only get better"!
Choc-a-block with catchy tunes following on from the brilliant "7
Days" and "Fill Me In" this is an album filled to the brim with
potential singles.
From the classically uptempo beats of the pre-signed song written entirely by
the man himself ("Can't Be Messing 'Round") to the midtempo style of
pure unadulterated sex offered by the likes of "Follow Me" (and what
female wouldn't?) and "Rendezvous" co-written by The Artful Dodger
(Mark Hill), Craig's pure luscious vibe is apparent throughout.
His
slower tracks like "Once In A Lifetime", though not as awe inspiring
still preserve a quality feel to this disappointingly short album - we want
more!
Finally, his next single "Walking Away" borrows from light Indie music
guitar riffs and will either be a bigger hit than ever due to its cross-genre
attempt, or completely flop. Personally I love it despite despising Indie music,
so it has a good chance of selling well, as does the dancefloor stomper
"Time To Party".
A must have for those that like the more UK/garage based flava of
R&B.
Damage
– Since You’ve Been Gone
It seems Damage are constantly struggling to maintain their R&B status, while their record company wants them to embrace a boy band image, ‘coz unfortunately that’s where the money’s at people. This album is a strange mixture between the two. Where “Forever” lacked much of the funkiness but kept the credibility, “Since You’ve Been Gone” manages to create a strange concoction, which borderlines on both. This is the group that once had a B side written by a then unknown youngster called Craig David, well he’s certainly outplayed them at their own game! The boys’ new look is contemporary that’s for sure - denim everywhere - but what’s the comeback like?
Ignoring the weird,
pointless and typically annoying “Intro”, this album gets off on the
right foot with the impeccable “Ghetto Romance” which is a star track
that even the most die hard R&B hater would be pushed not to get jiggy to.
“I Don’t Know” despite featuring Emma Bunton
(a.k.a. Baby Spice) is classy and you gotta turn the bass up on this one.
Luckily her vocals don’t ruin the track at all. The lyrics aren’t
challenging but it’s catchy. The boys are Americanised to death using the word
“cute” instead of an English equivalent, but if that’s the market
they’re aiming for, good on ‘em, the UK needs a share. There’s some strong
UK based R&B out there people, and it’s about time we started supporting
it more, and competing in the world market. It’s a disgrace that lots of
artists like Shola Ama and Beverley Knight have been dropped by their record
companies. Listen to Craig David, a man who knows the score, and Buy British!
“You’re So Fly” begins with a sultry whistle;
it’s bouncy, jumpy and sexy. It may be bordering on cheesy but you just try
listening to this on a sunny day with the roof down and not feeling happy. “Better
Than” is also a nice music-box style track, featuring the very neglected
sound of the guiro, again it’s very summery, and is perfect for cruising.
“For Your Pleasure” continues this pro-women vibe, it has a sweet funky
taste to it. “Still Be Loving You” on the other hand is a mid tempo
love song, very nice in it’s own way, and more reminiscent of the old Damage
days before they had dance routines to their releases. The problem is that
it’s very forgettable and starts off the slightly weaker portion of the album.
“After The Love Has Gone” follows, and I’m sure this was originally
performed by Earth Wind & Fire, bizarre, but if you like ballads there’s
nothing especially wrong with taking it back to the oldskool like this, is
there? “Sure Nuff” although
getting back to a catchy bouncy tempo is a simple track, and
unfortunately also easily forgettable.
Back to the strong stuff, and we get “Good Folk”
- I’m definitely feeling this! You just try not laughing your head off to
these lyrics despite their Americanisation: “Have you ever had it in a
parking lot, have you ever had so much your screams can’t stop, would you ever
do it in your lover’s bed, have you ever given (oh my God)” Tell me
that’s not funny, and the track carries on much like that. “Rumours”
borders on D&B influenced ground in a radio friendly sort of way - turn it
up. It’s a classy track, about wanting someone else. “I heard a rumour
that you’re feeling me.” Americanised vocabulary is definitely the way
to go it seems, especially since R&B fans seem to refuse to follow Craig
David’s advice. Similarly “Maria”
featuring the delectable Kele Le Roc is a classic concoction of a great Spanish
sounding melody and memorable lyrics “I know you got a man but hey so what,
what’s he gonna do when he finds you’re not, keeping it real, ‘coz u like
the feel, of me when I hit your spot”.
“Tears” returns to soppy ballad
territory, something that sells well and allows Damage to keep in with their
record company. “So What If I” is simply pure feel good pop
“Since You’ve Been Gone” is quite a strong title track, more mellow
than anything, to end the album “Since you’ve been gone, I wanna know who
you’re seeing, when I’m not there for you, I feel so sad inside, it’s been
too long.” Finally, anyone with “Forever” will recognise the idea of
an exceptionally long Outro.
Not sure whether
it’s aiming at the teenybopper or R&B market. Get it sorted guys! (Worth
it for the strong tracks though.)
The
follow up to “China Doll” from 1999 might just win Foxy Brown a few new
fans; either that or it might make a few Hip-Hop fans have a greater
appreciation for West Indian music. Since then she has been through a number of
personal and criminal problems, but from the evidence of her latest album she
seems to have come through it all relatively unscathed. Her music has certainly
improved no end despite, or even because, of her troubles. From reggae beats to
ragga/dancehall verses, the West Indian influences throughout this album
perfectly compliment Foxy’s original and irreplaceable style.
After
a typically gangsta news bulletin “Intro”, dealing with
her car crash and more, the
album kicks off with “Fallin”. This borrows from male orientated rap
in a big way and sounds like a cross between a 2pac and a Dre track with a
chorus. “Oh Yeah” is reggae pop by numbers, assisted by her man
Spragga Benz. Due for release in the near future, this might blow up big time
thanks to Shaggy setting the precedent for reggae tinged No 1s. “BK
Anthem” is one big monotonous big-up to Brooklyn but very stylish in
sound. Foxy slows it down for “The Letter” which contains an
emotional apology and thank you to her mother and brother Gavin. It starts with
a piano intro and develops a reggae vibe, helped along by the legendary Ron
Isley.
On
"730" Foxy slags off her ex, Dogg Pound rapper Kurupt, and
Natina from R&B trio Blaque. It jumps out at you instantly and irritatingly
sticks in your mind. Foxy is a bit obsessed with Prada and Gucci, but I guess
most artists are, they can afford it, and have nothing better to do with their
lives. “Candy” is equally as good and memorable, but a bit weirder,
it’s another stylish track thanks to the wondrous Kelis. “Tables Will
Turn” takes it back to Foxy’s harder rap style and speeds up the tempo.
In the middle it has a nice little dancehall verse, and becomes in essence a
dancehall track with Foxy interludes. “Hood Scriptures” uses a
Spanish sounding violin and what I think is a Hindi singer, to create a very
exotic and contemporary sound. Think a sophisticated version of Missy Elliot’s
“Get Ur Freak On” and you can almost picture the belly dancing. More music
should be like this, especially in today’s multiracial society.
Finally,
“So Hot” returns to a more retro but successful Foxy sound, and “Saddest
Day” returns to the outstanding reggae vibe of the album, but this is
‘lovers reggae’ thanks to the help of Wayne Wonder. With the excellent “Broken
Silence” the album finishes on a high note. This uses the same melody as
2Pac’s recent posthumous release “Until The End Of Time”. All in all, the
featured artists make this a complete and satisfying album.
Reggae-Hop. Refreshingly hip.
This is definitely the true, not too ghetto, genuine
article, Ginuwine. But there’s something wrong. While his ex backing singer,
Tank, has brought out the impressive “Force of Nature” album, the tables
have turned on Ginuwine. There’s no “Pony”, no “What’s The
Difference”, no “How Would You Like It” and nothing even half
as strong as any of his recent collaborations.
Onto the bad stuff - “Differences” is a love
song, a nondescript soppy pinging ballad, but not as R Kelly-esque as later
efforts. “My whole life has changed, since you came in, I knew back then,
you were that special one, I’m so in love, so deep in love…” “So
Fine” is annoying and repetitive “she’s so fine fine fine, she’s
a dime dime dime” the music has bongos as a nice touch, but the lyrics are
so annoying any musical strength is soon lost. “Tribute To A Woman”
manages to be a gentle lilting ballad despite Ginuwine’s growling, but it is
uninspiring, and almost sucking up to women too much. “Why Did U Go”
is midtempo, nice and mellow, slightly repetitive, but thankfully less so than
the previous “So Fine” and less grating, it is bit too long without saying
much, however. “How Deep Is Your Love”, though unfortunately not Dru
Hill’s version, is all right. Ginuwine growls a lot as usual.
“That’s How I Get Down” attempts a hip-hop sound,
it has more contemporary bass but is still very Ginuwine in sound. It’s
funkier probably ‘coz of Ludacris. This album needs more featured artists. The
love inspired tracks are weak. This has potential but doesn’t even begin to
meet what we have come to expect from Ginuwine. “Show After The Show”
is very Mexican sounding and upbeat again, but not outstanding or memorable. “Role
Play” is another boring whiny ballad.
“Open Arms” is yet another ballad, it’s
not inspiring and consists of little music and mostly vocals a bit like a
Michael Jackson sounding poppy ballad. “Superhuman” is very
pretentiously R Kelly sounding and I hate it. “Two Reasons I Cry” is
easily the most annoying song in the history of the world, at first you feel
sympathy for the guy, but after about a minute of this just over and over,
it’s like, do we even care anymore! Finally on a better note “Just Because” is the
best track here and memorably funky with a cuckoo/hiccup riff. This album needs
more of this and fewer wallowy ballads.
It hurts me to slate
Ginuwine, but genuinely disappointing.
Janet Jackson brings out her latest album amidst a mound of
controversy. Firstly, her record company, Virgin, make Mariah Carey their new
super rich diva, and secondly there are strong rumours that her brother
Michael’s R&B tinged album will finally be released this summer.
“You Ain’t Right” sounds like it was influenced by
Prince in the days before he let insane ramblings replace a catchy tune. Next
comes the almost sickly sweet “All For You” which despite the odds is
storming the charts and dancefloors at the moment. There are bass and bongos
galore in the immensely catchy “Come On Get Up” which verges on just
the right side of pop. This almost wouldn’t sound amiss alongside Kylie
Minogue’s latest offerings, and I mean this in no bad way. This is definitely
the danciest tune on the album and easily the one that most detracts from
Janet’s usual style. If the album had more of this and less weak voiced
ballads and sickly near pop Janet might be on the verge of returning to super
diva status herself. Rejoice.
“When
We Oooo”
is on the other hand, very Janet sounding. It has a funky vibe that reminds me
of frogs, and a catchy bass, but her voice reverts back to her weaker breathy
tones. Whatever Ooooing is, Janet can’t get enough of it. Cue wind chimes,
eastern promise and bhangra sounding beats in “China Love”. This too
is typical breathy Janet vocally. Not that typical Janet is bad vocally, but
unless you play it loudly her voice has a tendency to lull you to sleep. “Love
Scene” follows on in much the same vibe. Janet’s detached herself from
the more bondage phase of The Velvet Rope and gone all sensual. From the sound
of things Janet’s been acquainting herself with many pleasurable experiences
in the last four years.
“Son of a Gun” is led superbly by Carly Simon.
It is a lengthy bouncing track, which takes an old song and spruces it up a bit
to meet contemporary standards. This track has the second unexpected, “What
About” style of swearing of this album in it. “Truth” reverts
back to standard pseudo ballad territory, and tells the standard tale of
breaking up. “Someone To Call My Lover” takes us off on a guitar
trip. Janet likes her men “Strong, smart and affectionate” maybe
that’s why there’s never enough to go around for the rest of us. Again this
is very poppy in style, but this by no means weakens the song. If anything this
kind of thing is more suited to Janet’s voice. It’s uplifting and more
likely to wake you up than lull you to sleep.
The album ends impressively enough with “Feels So
Right” which is nothing original, the album version of “Doesn’t
Really Matter” and “Better Days”, which is the only really
annoying Janet ballad on this album, borrowing heavily from the Motown era. All
in all, the girl done good.
Consistently lacking that little something something.
Despite attempts to look like Satan on the cover of this
album, Jon B sets the tone with a sultry intro, full of promises of things to
come, but as usual we’re plagued by pointless interludes at every turn. This
album is an attempt at some new flavours, and a return to those of old, but
that’s not surprising since Jon B has had at least a hand in writing every
track.
For starters we’re given the upbeat soul sound of “Finer
Things” featuring the eclectic Nas. I can’t believe they replaced one of
the intended tracks “Keep It Real” which featured JayZ and Coko. Now that
was a track set to top the charts. This one however aims at a bassier sound and
attacks you with lyrics laying down the laws of loving.
Next, we hear the strongest tracks of the album, “Don’t
Talk,” this is an unusually dance-fuelled track for Jon B.
“Don’t talk, Baby just groove with me, take a sip...” The kinda cheesy
chat up line that’d never work on a real woman in a real club, but sounds
plausible when you hear this man sing it. And pretty soon you’ll find yourself
singing it too… “Sof’n Sweet” is just too catchy. An effective
up-down tempo mixed with a playful melody never before associated with Jon B,
who tends to be more of a crooner. Beware though; it strangely integrates a sexy
version of the Hokey Cokey in the middle of the track!
Faith Evans doesn’t sound too overjoyed to be featuring
on “Overjoyed”. This is a slow tempo groove and after the previous
two tracks is something of an anticlimax. “ Boy Is Not A Man” also
returns to the crooning sounds of old, but is less effective than say for
example “They Don’t Know”. It’s the typical story of “I’m better
than the man you’ve got.” “Lonely Girl” pelts more bass, but
it’s not the kind of track that makes you feel any better when your heart is
breaking.
The second half of the album begins with the funkier
piano-laced track “All I Want Is You” with a little help from Cuban
Link. Again we hear a potentially new sound for Jon B, with a little dabbling in
the Hip-Hop genre. The jazz tinged rap makes for a fresh new sound. “Layaway”
has an interesting vibe about it too, with a cross Latin/Salsa sounding
backing and bass more associated with Drum & Base or Reggae. This time, Az
helps make this a more effective track by adding the Hip-Hop flava.
The title track “Pleasures U Like” reminds me of
something oldskool from the mid 90s, that I can’t quite put my finger on -
answers on the back of a postcard, please. The end of the album pretty much wraps up with a few more
mellow tunes that wouldn’t be out of place on any male R&B artist’s
album. “I wanna make you happy” Jon B repeats at length in “Now That
I’m With You”. “Calling On You”, “Inside” etc aren’t
remarkable in any way, but neither are they bad tracks.
Mellow with a few nice surprises.
R&B’s latest duo kicks off on a contemporary note.
This is an interesting partnership of a male and a female, hence the title of
the album - no doubt referring to the by now famous book “Men are from Mars
Women are from Venus”. Their voices meld well together, and the male-female
perspective of many of the songs make for interesting listening. The male sounds
very much like K-ci, the female like Dawn Robinson. This is Lucy Pearl but
interesting. This isn’t a new sound, but it’s definitely a fresh concept.
Male-female co-operation, what next?!
The intro states “Man: strong, protective, determined,
needed. Woman: nurturing, emotional, shapely, needed. We need to talk” Not
sure if I completely agree with those definitions. But it’s all good, coz
after all; it’s just a “Weekend Thing”. Too right, and we kick off
with a big dancefloor tune. “It’s Friday, leaving work early…”
With the bass pumpin’ at the “After Party” we’re all happy
clappers, and it’s that kind of tune, and definitely finger clicking good.
“Didn’t Mean To Turn You On”
is a classic in the making. Reminiscent of the earlier more playful Mary J Blige
songs. On a gentler note than the two openers, but equally as hard hitting. “Girl
I like the way you shake, I want a taste” – nuff said. “Chick On Da Side” slows the jams yet again.
“Said you ain’t got nobody-body… skeletons in your closet-closet”
that’s what this tune is all about. “Fingerpointing” is another
two-sides-of-the-story tale with important underlying morals about cheating.
It’s a bouncy affair with alternating accusations and excuses. “Did you
sleep with her? Did you sleep with him? He works at my job. She was just a
friend.”
On a lighter note, there are some really, erm, nice
interludes about skid marks and what bugs women about men. “Blackout”
crosses over to a rougher, more Hip-Hop sound. With a cowbell type riff it’s
another slagging off men track in the same tone that “No Scrubs” started,
but with a reply about moving people’s shit and not keeping the house clean
– revenge! “All I Need” returns to a more loving vibe. The
male-female alternations between choruses work really well and are a really
refreshing sound.
Half way through, and “All Those Fancy Things”
features just the female voice. And “Quickie” is an upbeat dance
track, definitely funky stuff. To wind up we get a couple of average sounding
cuts “I Got Love” asks “Who you calling a bitch?”
“Don’t hate the playa hate the game” - poignant lyrics. “Haters
Disease” is all about love lost. But just coz they’re not as catchy
doesn’t make them any less worth listening to.
Koffee Brown’s sound is all about the lyrics. There are
recognisable complaints for everyone, male and female, in every song. The catchy
“Qualified” - same story as usual, different double perspective.
“Forget about your ex he wasn’t good enough/ Forget about your ex she
wasn’t down for you.” Finally,
“Do You See” takes it down another level, in the form of a sweet
duet. “Do you see what I see, a future, a family, you and me, Baby.”
You might not have meant to turn it on, but you’ll leave it playing!
Brooklyn
native Olivia contributes a very contemporary and originally schizophrenic sound
to the R&B scene. It’s definitely R&B but it’s got too much swearing
to be uncut and radio friendly on the usual R&B stations.
In
“Bizounce” the first word of the first tune on this astonishingly
schizophrenic album is f**k. The chorus doesn’t ask for much interpretation
and goes “I’m about to bizounce, I can’t take this s**t no mo-ore,
picture free milking Daddy, coz I can’t trust you, I’m riding high now, so
n***a f**k you.” With its spitting snares this is by far the most
memorable track, which might explain why it was the first single, but even at
her most splendidly refreshing Olivia keeps it mid-tempo. “Are U Capable”
again starts without any attempt at tact with “Get your c**k stiff...” It’s
basically asking whether you are you capable of satisfying her. There’s even
mention of spanking, for those of a more adventurous nature! In style it is a
complete Aaliyah rip off, but at least Olivia’s been influenced by decent
artists, and this shows throughout her whole debut album.
“You
Got The Damn Thing”
is dancier in style than the previous two tracks. It sounds like any other
contemporary R&B track, no worse but no more memorable. It is clean for the
radio though if they’ll allow ‘damn’, and it wouldn’t look out of place
against any of Jennifer Lopez’s recent efforts. “Silly Bitch In Love”
slows the tempo right down and is a bizarrely produced love song. It begins with
the sultry warning intro “There’s two things you don’t f**k with: a
girls doe and her heart…” It then develops into a very gentle song,
proving that Olivia can sing as well as swear. “It’s On Again” carries
on in a very gentle manner. Maybe at this point Olivia’s grandmother was in
the recording studio; because this is so clean it sparkles. It definitely adds
to the impression that she’s suffering from schizophrenia.
Foul
mouthed entertainment v sweet balladry.This may have been produced by the once infallible Rodney
Jerkins, but if this is the standard of his album production these days, he’s
way past his best before date. The single “Satisfied” promised an album full
of uplifting sassy R&B, but what the album actually delivers is a
disappointing collection of average uptempo tracks and boring ballads.
Cunningly, the album kicks off with the promising single
“Satisfied” which is easily the strongest catchiest track and was
probably released to trick people into buying this album half filled with
uninspiring ballads. “The Best Of Me” promises more good things and
is a relatively catchy track of the average variety, and at this point it still
seems like the album is one of quality. Similarly, “Take What Comes to
You” has no obvious put off points. Neither track manages to be
awe-inspiring however.
Unfortunately the album tails off at this point into
“The First Time” which is sadly not Monica’s catchy tune of the same
name. It is a gentle barely there ballad of the worst kind. It manages to half
soar to an almost choir like religious Disney cartoon ballad. “Last
Goodbye” mixes gentle synths and blends well with the previous track. It
is more depressing though, and almost an inferior version of one of the great
Whitney Houston ballads, having completely failed to grasp their strength.
“Time Will Tell” is less upbeat than first 3 tracks and more boring in content, almost to the point of being a cross between the two styles of track already described. “Miss The Way” fringes on the Latino flava, with strings and bongo snares, but is again like the above and fails to compel. Rhona seems to be trying to sound like Whitney Houston, but completely misses the outstanding standard set by the diva, making tracks like this sound dreary and dull. “I Will” slows things down yet again and can be described by a mere symbol: L
The album peters out on a similar note with “I
Want To Know What Love Is” which is a ruined meaningless
depressing version of the original. “Look To The Sky” is slightly more uplifting with its gentle midtempo, and
the finale “The Meaning Of Love” is an out of
place gospel dance track, which wakes you up in an uninspiring way after an
album half full of drivel.
Either Rodney’s Jerkin’ us about, or Rhona’s
potential has been sorely wasted.
WARNING: If you're not an R Kelly fan you WON'T like this. Anyone who is and owns all his other albums like I do, will instantly recognise the themes from "12 Play", "R Kelly" and "R". This is a mixture of the less sexual, less gospel and less upbeat tracks from his previous three albums respectively. To name some parallel examples, think "Half On A Baby", "Down Low" and "Your Body's Calling" rather than "Only The Loot", "Hump Bounce" and "I Like The Crotch On You".
The similarity with the gentler tracks from "R" and the less sexually explicit tracks he brought out in his first three albums is haunting. During some tracks you find yourself trying to sing the chorus from his earlier songs like "Half On A Baby". Not that it's unoriginal. It's more a case of "if it ain't broke why fix it". This is not however another "R". It has no "Only The Loot", or "Did You Ever Think". If you were to erase the upbeat tracks from R and replace them with this album, no-one would even notice. Not groundbreaking or remarkable - just as smooth as R Kelly comes. It's sensual and like Joe perfect for having on whilst getting busy in the bedroom! I for one wouldn't mind at all if he 'stripped for me'.
"TP-2" is an inferior oral version of "12 Play". With "R&B Thug" the lyrics are hard, the music snuggly, which doesn't quite work. "The Greatest Sex" is excellent and the most reminiscent of "Half On A Baby" in content. The tune is catchy and instantly recognisable unlike much of the album. Every woman will recognise the sentiment in "I Don't Mean It", a story of harsh words and apologies. "A Woman's Threat" has lyrics bordering on the tale of Goldilocks which is an interesting variation on the theme of infidelity.
The best and most distinguished tracks are "Like A Real Freak" with it's guitar intro and funkier beat of 'Money-Cash-Hoes/Go Up-and Down', "Fiesta" which is backed with a piano, hypnotic bass and bongos, and the boastingly erotic "One Me". "All I Really Want" is backed by a more contemporary cheerier melody which works well and "Feelin' On Yo Booty" delivers another sense of deja vu, possibly from "Tempo Slow" with an oriental backing.
The album ends with a disney-esque gospel tinged ballad "The Storm Is Over Now" that I'm surprised hasn't already been snapped up for the latest cartoon movie. Just one question: Anyone notice any explicit lyrics anywhere?!
A 19 track fest,
possibly one for R Kelly fans only?
Save
The Last Dance Soundtrack
A very likable film, with likable characters and a likable
soundtrack. A film about a girl forced to move to Chicago when her Mum dies, and
get on in a school where white people are the exception, rather than the rule.
This is a well made film with several important racial messages. It’s all
about who you love not what colour they are. Anyone can make something of
themselves, whatever the odds, and troubling people who are in mixed race
relationships is just plain wrong.
Beginning at the end, “All Or Nothing” from the
finale of the film is contemporary and very addictive. “Bonafide” is
the kind of hip jiggling track the film is based on. R&B at it’s most
catchy. “You” is one of the more decent tracks from the Lucy Pearl
album, and “Crazy” is one of the catchiest from K-ci & Jo-Jo’s
“X”.
Pink’s latest, but not greatest single “You Make Me
Sick” is followed by the Donell Jones’ tune from way back when, “U
Know What’s Up” and “Get It on Tonite” is another bouncy
classic from last year. And talking of getting it on, they do, and it’s to
Fredro Starr and Jill Scott’s “Shining Through,” lyrically adept
and very moving - a masterpiece, and easily the best track featured. Ice
Cube’s “You Can Do It” is a close second, and the only track
relating to the more gangsta side of the film, rather than the dancing side.
True Hip-Hop flava rather than the more R&B style of the rest of this
soundtrack. By this time she can dance too, which is a relief. TUNE!
“Move It Slow” moves into a more soulful area
of the album, most of which concentrates on making your body grind. It sounds
like an oldskool New Jack Swing tune, but with worse lyrics. It’s accompanied
by the mellow “My Window” another soulful rather nondescript track,
and a typical 112 midtempo track. “Murder She Wrote” is one of the
tracks they played in the club “Steps” and a bit of an oddity, but a classic
bump ‘n’ grind sound all the same. On a final note – a personal message to all those that
think white women can’t dance – “Ha, Seen.”
Great film - go see it, worthy soundtrack
The
Transitions – Back in Da Days
In light of Jaheim’s huge impact on the R&B/Hip-hop
scene recently, it surprises me that The Transitions have not enjoyed similar
success. They are basically a group version of the ghetto R&B sound, and
deal with a number of ghetto issues in a refreshingly soulful manner. The
Transitions comprises Charles
"Gator" Moore (from Detroit), Rashawn Worthen (from Harlem), and
Balewa Muhammed (from Tampa).
“Ghetto Laws” uses an organ to take us subtly
back to the oldskool; this is the most hip-hop orientated track, but it still
obviously influenced by 70s soul music, as is the whole album. Apparently there
are some Ghetto laws that everyone’s got to “live by, die by, abide
by”. “A Rainy Night” also features an organ and is a nice
heartbreaking ballad. It is definitely the most 70s soul influenced track. “5th
Of Gin” is an outstanding track, again soulfully dealing with a ghetto
issue. “Cop a bag of smoke and a 5th of gin, my PO is coming
over to take me in, can I get some love before I head upstate, blew my court
date caught a year and a day.”
“Back In Da Days” the title track has a catchy
chorus and is still heavily based on the oldskool era. It isn’t the strongest
track on this album though, but is a good choice for a title track. “Straight
F***ing” is a very sensual, no holes barred track. It puts a ghetto slant
on a romantic love song. “Fat Ass Pam” on the other hand is a bizarre
track. It also premiers the first female input on the album.
“Off The Meter” is a funky track and a nice song
about a woman being “so fly it’s ridiculous”. The guys
definitely sing her praises. “2 Train” is another memorable track,
but is all about transportation, funnily enough. “I’m Not Crazy” is
about a man not believing his woman isn’t playing him. It’s a nice duet that
reminds me of Koffee Brown, which could never be anything but a positive point.
The finale, “New York, NY” is not the monotonous version of old,
played at the end of cheesy discos, but a fresh take on the state that only one
member of the group is from.
Can you stomach 70s soul revamped with a ghetto flava?
Usher was once the probably self proclaimed king of male soloist R&B, since his last album however, new talent has emerged onto the R&B scene. Will this album see Usher recrowned as the contemporary R&B king? I seriously doubt it.
Highlighting the good stuff
hidden in amongst the mediocre on this album, we begin with the wonderfully
chart friendly “U Remind Me”. This is Usher at his best, Usher in
“U Make Me Wanna” territory. Next we have the surprisingly sensual Craig
David sounding “Twork It Out” this is “Walking Away” revamped. It
reminded me so much of Craig David I wanted to turn off Usher and replace him
with the original Craig David. “Twork it Out” is likely to be Usher’s
second failed catchphrase of the album. “U Got It Bad” is similar to
Craig David in ballad mode, or maybe a nice slow track by Next. The Snoopesque
enhanced “Pop Ya Collar”, clearly a failed catchphrase, did well when
it was released, and it is funky, hip-hoppy and actually has a tune. It starts
the hip-hop orientated portion of this album. “If I Want To” starts
like it wants to be a 2Pac track. It isn’t though. It quickly develops into a
mid tempo very Destiny’s Child type bouncer. It features flicky snares and
it’s ok. Usher brags “If I want to I can take you from your man”. “I
Can’t Let U Go” sounds like an amazing cross between a Kelis and a Next
track. This is so similar to “Caught Out There” the lyrics even feature the
words “I hate this…” Kelis-like alien noises even feature in the
gentler “U Don’t Have to Call”. What’s to bet all these musical
influences feature in Usher’s CD collection?
Average
tracks on “8701” include “Can U Help Me” which is familiar piano
accompanied whiny ballad territory, very like the Michael Jackson ballads of
old, finger clicks and all, but without the ecological and worldly ideology. The
very contemporary “How Do I Say” features an accoustic guitar and
lots of “oohing”. In tempo, it’s very like a male version of any current
Jennifer Lopez ballad. “Hottest Thing” is meandering along the very
middle of the R&B road. Boring might be a better word for it, but on the
other hand there’s nothing wrong with the track. “Good Ol’ Ghetto”
is also quite boring, and annoying in a recent Ginuwine type way, where the same
melody-lacking words are repeated to the point of tedium as an excuse for a
chorus. “U-Turn” is almost as annoying in it’s weakness. It’s a
bit like an inferior “Pop Ya Collar” with it’s piano backing, but with a
weak rap and repetitive “ooh-we Baby”, but on the plus side an upbeat
percussion. In contrast “TTP”
is completely nondescript, uncontroversial in any way. And no, I don’t
know what “TTP” stands for. A total something or other package. Anyone feel
like enlightening me?
The
attempt at harder hip-hop “I Don’t Know” however is depressingly
dire. It features an annoyingly repetitive backing sound throughout. So the
newly (and stupidly) renamed P Diddy raps on it, so what? That doesn’t save
this track from failing to meet Usher’s potential for music making. The shouty
chorus does not become him at all, he can sing, so why doesn’t he? They’ll
probably release this as a single anyway though. Its one redeeming factor is in
the middle where Usher actually sings and manages to sound very like the
talented side of Michael Jackson. “Separated” ends the album with a
horrible soppy weak Michael Jackson type ballad hardly accompanied at all except
by a piano and finger clicking. Usher and his producers appear to have been
influenced by Michael Jackson quite a bit, making even the worst tracks on the
album better than most efforts. Some of the stronger missing tracks from the
scrapped “All About U” album wouldn’t have gone amiss.
Usher gone urban with a sprinkling of ballads
