April 2, 2002
Murder Inc. Records/ Def Jam Recordings/ UMG
1. Intro // 2. Foolish // 3. Happy // 4. Leavin (Always on Time [Part II]) (feat. Ja Rule) // 5. Narrative Call [Skit] // 6. Call // 7. Scared (feat. Irv Gotti) // 8. Rescue // 9. Baby // 10. Voodoo // 11. Movies // 12. Fight (Over) [Skit] // 13. Over // 14. Unfoolish (feat. the Notorious B.I.G.) // 15. Shi Shi [Skit] // 16. Dreams // 17. Thank You
When listening to the snippets of hit singles Ashanti was featured on prior to recording this album, on the intro, one gets the impression that Ashanti’s number-one asset, besides looking gorgeous, is her ability to peacefully co-exist with nearly any rapper on a track. Even though she always sings in key and, more impressively, never engages in Stevie Wonder-esque melisma, like Beyoncé does always, she also never was the standout thing about the song she was featured on. That’s not to say she doesn’t bring anything to the table, far from it. Classic rapped/sung collaborations such as Always on Time and What’s Luv? wouldn’t have clicked remotely as well as they did without our hostess’ presence. It’s just that she was always there in a anonymous studio singer #9205 capacity, rather than as the next big R&B diva.
Yet and still Ashanti was the beginning of a several multi-platinum album career, not by having her trying to be Beyoncé, but by using her strengths. Ashanti walks through her debut album at a steady pace without so much as breaking a sweat, showing the world that if nothing else she’s at least an unrivaled mistress of lithe. With Irv Gotti and his second-in-comands 7Aurelius and Chink Santana breaking out soul sampling productions covered in a thin layer of shimmer powder, which is blown into the athmoshere via swooshing wind-effects.
Everything is tastefully done. With the absence of useless oversinging goes a absence of useless drama. When here relationship is good Ashanti isn’t Crazy In Love, but rather she is Happy. When she’s lamenting her inability to get out of a sour relationship with clarity on Foolish you have the feeling she’s going to be alright. You are proven correct on the Biggie mash-up sequel Unfoolish, twelve tracks later. She also does sensual better than many a contemporary, on tracks such as Voodoo, Movies and Baby, simply by putting her sexual confidence casually rather than making some sort of pseudo-bold statement out of it.
Finding highlights or low points on here is hard. A high point could be Unfoolish because it makes rather clever use of two Notorious B.I.G. verses plus ab-libs previously heard on his own Fuck You Tonight. The deal is, Debarge’s A Dream, which is sampled extensively on both Foolish and Unfoolish is also used B.I.G.’s own 1994 single One More Chance [Remix]. So what you have here is vocals and instrumentals of two B.I.G. songs mashed-up with Ashanti thrown in for good measure.
A low point is when Ashanti and Ja decide to reprise Always on Time but fail to come up with something catchy, and Jeffrey’s raspy voice nearly disrupts the impeccable, rippling flow of the album, which is otherwise nearly flawless. It really says it all that if Ashanti and these producers do their thing for an entire album without missing a step, and that only guest artists can influence the quality, either positively or negatively.
Foolish, Unfoolish, Happy, Baby
If you’re looking for sparkly, slight, cute pop-R&B that evaporates from the human conscience immediately and completely when you turn it off, Ashanti is your way to go. She certainly doesn’t suck, nor does she demand a purchase. I recommend a buy, but with the lowest priority.