That said, the fact that Blaque has gotten help from some of the finest minds in Atlanta's hip-hop community is undeniable. Though the trio — which consists of Shamari Fears, Brandi Williams, and Natina Reed — wrote or co-wrote five of the twelve songs on its debut, such notables as R. Kelly, "She'kspere" Briggs, and Michael Anthony loom large over the proceedings. Of the original songs, highpoints include the bubble-gum flavored "I Do" (which sports a hand-clap-fueled chorus replete with "shoo-wops"), the sprite, acoustic guitar-driven "Rainbow Drive," and the slinkily seductive "808" (which was co-penned by Reed and R. Kelly). Other fine moments include a reverential treatment of Cyndi Lauper's "Time After Time," and "Bring It All to Me," which finds the trio enlisting 'N Sync to help enact some Minneapolis-tinged funk with a keyboard-driven groove.
Its stellar cast of enablers notwithstanding, Blaque's most potent weapons are its understated vocal harmonies (and vocal arrangements) and its willingness to take stylistic risks. Indeed, in those rare instances in which the group falters, the problem usually results from steering too closely toward Mariah Carey-inspired vocal gymnastics. Still, considering that its youngest member is barely of legal driving age, such criticisms are like slapping a "B" in Phys-Ed onto an otherwise stellar report card.
— Russell Hall (Wall Of Sound)
hough publicity for Blaque has centered on the assertion that the group was conceived by TLC's Lisa "Left Eye" Lopes, in truth the trio's debut evidences the sort of charisma and radiance that can be abetted, but not imparted. Musically wise beyond their years, the teen group blends elements of hip-hop, pop, and soul into a satin-smooth concoction that goes down like an icy daiquiri. Comparisons to TLC will no doubt abound, but Blaque warrants serious consideration on its own terms. Most impressively, the trio finds countless ways to weave traditional R&B into a thoroughly modern urban sensibility.