Tag Archives: Babyface

Bobby Brown – Don’t Be Cruel

Bobby Brown
Don’t Be Cruel
June 20, 1988
MCA RecordsUMG
080/100Bobby Brown - Don't Be Cruel

1. Cruel Prelude // 2. Don’t Be Cruel // 3. My Prerogative // 4. Roni // 5. Rock Wit’cha // 6. Every Little Step // 7. I’ll Be Good to You // 8. Take It Slow // 9. All Day All Night //10. I Really Love You Girl // 11. Cruel Reprise

Bobby Brown was once more than an ex-New Edition member and Whitney Houston’s ex-hubby (a faulty marriage well documented because Brown and Houston are ex-reality tv. stars as well as recording artists).
He was at one point R&B’s brightest young star as well as the archetypical boy band bad boy, that point was following the release of his sophomore album Don’t Be Cruel. When Robbie Williams gave Take That and Nigel Martin-Smith the finger to find bigger success solo than the group had ever had collectively he was basically following Bob’s career trajectory. When Donnie Wahlberg tried to set fire to a hotel with a Molotov cocktail… well I don’t think Bobby ever did something that fucked up, but the man has had plenty of lewd and laviscous content, driving under influence, police chase, resisting arrest and drug posession arrests on his name as well as the public image of a crackhead wifebeater. To each former teen heartthrob his own way of shedding the bubblegum pop image. Word to Justin Bieber.

Don’t Be Cruel was released at the height of the New Jack Swing era which supposedly blends old-fashioned R&B soul with old school hip-hop although acts like Guy, Al B. Sure! and Keith Sweat are simply soul singers with more electronic production than was usual in the ’80s backing them in my book with little to no hip-hop influences being noticeable, but that is just my opinion so you can ignore that if you want to.
Brown however did blur the line between soul and hip-hop rapping as much as he sings on the title track and doing an LL Cool J-esque rap on the ballad Roni and busting out a verse at the end of the video edit of Every Little Step adding hip-hop swagger to his rhythm and blues.

The producers involved L.A. Reid, Babyface and Teddy Riley had all had moderate success in the music business before Cruel (Teddy working on all those Uptown records and L.A. and Face as in-house producers for Dick Griffey’s SOLAR records.) but were to completely own mainstream contemporary R&B in the decade that was to follow this album’s release. It’s not difficult to see why, their work on this album is excellent. One could say that they kickstarted the ’90s with this and it wouldn’t be much of an overstatement.

If the first five songs following the intro aren’t the best five-song-run on an R&B album ever they’re up there with the best of them. From the title track’s slinky, sinister funk through My Prerogative‘s brassy middle-fingerfest. Roni‘s B-boy romanticism, Rock Wit’cha‘s more mature sexy business and Every Little Step‘s puppy love and pop ‘n’ lock groove. This is some terrific music making, with Bob’s charismatically gruff Rick James/James Brown-ish tenor locking tightly into the groove of the somersaulting drum machine clatter. He isn’t the best technical singer out there, having a rather limited vocal range, but he knows well how to stay in it while at the same time making full use of everything he’s got and is a born entertainer. What’s more is that his sense of rhythm is excellent and he appears to really enjoy singing these catchy songs with a natural charisma that allows him to come across as both badass and as a fun individual, a loveable rascal. It is one rather engaging, catchy affair. These songs were all in the top three of the US R&B charts, in the top ten of the US pop charts with three of them hitting #1 in the former and one, namely My Prerogative, hitting #1 on the latter and copping a Grammy. And well deserved.

If this album consisted of only these five songs Don’t Be Cruel would be a perfect ten. Following them however are four well meaning but forgettable cuts. I’ll Be Good to You is standard fare late-’80s Teddy Riley-funk. It’s not bad but it absolutely pales in comparison to his other contribution My Prerogative, the album’s biggest pop-hit and a Grammy winner. (A little bit of trivia: Boy George’s 1989 Teddy Riley-produced, hit-single Don’t Take My Mind On a Trip was originally slated to appear on Don’t Be Cruel. It’s easy to imagine Bobby perform it. I would love to hear Bob’s version if any of you readers has it on a hard drive somewhere.) And closing the album are three rather forgettable slow jams Bob himself co-produced with Cameo-frontman and King of Stage-producer Larry White that require more technical singing than Bob has to offer to bring them to life.

In short Don’t Be Cruel has a fan-fucking-tastic opening run but slightly falls apart at the end. But overall it still is a really good but somewhat forgotten album that packs more hits and more punch than you can shake a stick at and proving just why he was a thing once. It is the best New Edition album, solo or otherwise. For that it derserves to be aknowledged and revisited.

Best tracks
Don’t Be Cruel
My Prerogative
Roni
Rock Wit’cha
Every Little Step

Recommendations
Pick this up.

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Jay-Z – Chapter One: the Greatest Hits

Jay-Z
Chapter One: the Greatest Hits
March 11, 2002
Northwestside RecordsBMGSME
080/100
Jay-Z - Chapter One. the Greatest Hits
1. Hard Knock Life (Ghetto Anthem) [Radio Edit] // 2. Wishing On a Star [D’Influence Mix Radio Edit] (feat. Gwen Dickey) // 3. Sunshine [Radio Edit] (feat. Babyface & Foxy Brown) // 4. The City Is Mine (feat. Blackstreet) // 5. Can’t Knock the Hustle [Radio Edit] (feat. Mary J. Blige) // 6. Ain’t No Nigga [Original Radio Edit] (feat. Foxy Brown) // 7. Imaginary Playa // 8. Money Ain’t a Thang (Jermaine Dupri feat. Jay-Z) // 9. Can I Get a… (feat. Amil & Ja Rule) // 10. Streets Is Watching // 11. Money, Cash, Hoes (feat. DMX) // 12. I Know What Girls Like [Fly Girly Dub] (feat. Lil’ Kim & Diddy) // 13. Feelin’ I(feat. Mecca) // 14. Dead Presidents II //
bonus tracks
15. Wishing On a Star [D’Influence Mix Full Version] (feat. Gwen Dickey) 16. Can’t Knock the Hustle [Fool’s Paradise Remix] (feat. Melissa Morgan) // 17. Ain’t No Nigga [Rae & Christian Mix] (feat. Foxy Brown) // 18. Brooklyn’s Finest (feat. the Notorious B.I.G.)

Jay-Z’s first greatest hits album came to be completely without his involvement and quite possibly completely without his knowledge of it happening. Chapter One: the Greatest Hits, released in early 2002 in order to ride the success of his album the Blueprint compiles all the hits from Jigga’s first three albums Reasonable DoubtIn My Lifetime vol. 1 and vol. 2 and it wasn’t even released on Roc-a-Fella records, the label all of these songs appeared on.
I’m sure Jay was dazed and confused when he found the cheque from Sony subsidiary Northwestside Records on his doormat, a label he probably had never even heard of in his lifetime. (On a side note: I wonder if Kanye at one point held this album in his hands when he was working on launching that ‘new person’ thing with Kim Kardashian last year.)
It turns out that Def Jam, Roc-a-Fella records’ parent label was distributed by Sony Music Entertainment from 1984 to 1998, and it is probably for this reason that Sony had the rights necessary for compiling and releasing a compilation such as this one. This also helps explain the otherwise curious omission of hit singles from Vol. 3, the last album released before the Blueprint. By 1999, the year Vol. 3 was released Def Jam, and Roc-a-Fella with it had already jumped ship to the Universal Music Group.

Chapter One: the Greatest Hits  is therefore nothing but a byproduct of music industry technicalities. But it nevertheless is a nice trip through Jay-Z’s early catalog from a purely commercial point of view. These are after all Jay’s most successful singles from the 1996-’98 period, although even disregarding the bonus-tracks some curious choices have been made (I Know What Girls Like and The City Is Mine made the cut but Nigga What, Nigga Who (Originators ’99) and It’s Alright were left off? Never mind quality control, the latter respective two were higher-charting songs than the former respective two, besides being better songs by anyone’s standards except P. Daddy’s.) Keeping in mind that this amount of hits is the yield of only two years is pretty impressive in and by itself.

It is also worth noting that a lot of songs, Sunshine and Can’t Knock the Hustle in particular, sound much  better in their shortened radio edits and surrounded by their fellow hit singles than they do in their full-length incarnations on the albums on which they originally appeared. This is most likely because their instrumentals are perfectly enjoyable in measured doses but will grate on the ears when allowed to run on far beyond the three minute mark. It also helps that Can’t Knock the Hustle appears to have gotten a make over for it’s single release that has seriously tightened up the vocal production.

Hard Knock Life (Ghetto Anthem), the song that opens the album, is probably today still Jay’s biggest singular stroke of genius. Having the streets- and the pop-audiences eating from the palm of his hand in one go. It is with this song that he truly took over Biggie’s crown, speaking of which.. 
The City Is Mine
is still too polished for a proclamation of dominance over the rap-game with its rubbery Teddy Riley instrumental and its vocodered BlackStreet hook, but in retrospect the man was absolutely right in crowning himself king of New York. Looking back today it is simply a matter of fact.
Ain’t No Nigga and Sunshine are fun, fluffy ‘males vs. females’ cuts, and even Foxy Brown’s inclusion sounds logical and tolerable in these abreviated edits (Although it still remains questionable whether they were worth her having a career with solo albums and shit.)
Can I Get a… finds Jay abandoning Fox for another conventionally good-looking but not-very-talented female rapper Amil (I guess that Jay made as much money as he did because he’s a business man as much as he is an artist, and keeps in mind what appeal music video will have to whom, when selecting the line-up for the songs on his albums that are poised to be singles) and has the first appearance on a charting single by a certain Ja Rule. That’s a whole lot of poorly recieved careers launched in one song. May it be a consolation price that it is a good song largely in thanks to Irv Gotti’s lightly treading instrumental.
Money Ain’t a Thang, originally taken from Jermaine Dupri’s solo debut Life in 1472, but for this occasion redistilled from Vol. 2 on which it appeared as a bonus-track, is hands down Jay’s most balltastic song from the shiny suit era. It is also a song that other rappers haven’t stopped quoting and paraphrasing since it was released, even if few will have realised that its hook quotes from Jigga’s own Can’t Knock the Hustle.
Money Cash Hoes work despite Jay-Z, invited guest DMX and producer Swizz Beatz each doing a horrible job with their respective contributions. Somehow they all cancel each other out and leave nothing but an entertaining singalong song for the clubs.
Streets Is Watching is quintessential early Jay-Z, but it was never a single nevermind a hit. So its inclusion is curious but not unwelcome. It makes one wonder what Chapter One could’ve been if it were a compilation of rareties, pre-Reasonable Doubt singles and guest appearances, and songs that appeared on compilations such as Streets Is Watching. One could make a fantastic compilation out of I Can’t Get With That, Dead Presidents (I)In My Lifetime and Hawaiian Sophie and such. But Chapter One is a not that album, so I better stop daydreaming and get back to the review…
Imaginary Playa may very well be the exact point where where Jay-Z invented swag. It’s beat that suggest a sort of cold disaffection combined with Jay having hella fun exposing unnamed competing rappers as busters makes an underrated classic. Again: not a single. Guess we can conclude that this Greatest Hits concept is out of the window by now. It makes one wonder whether someone at Northwestside records actually knew and liked Jigga’s catalog because this is positively starting so sound like a perfectly decent, if limited, ‘best of’. (Perhaps the person compiling Chapter One disliked Memphis Bleek as much as I do and this was why It’s Alright failed to make the cut, even if it’s a pretty decent song.)
Feelin’ It and Dead Presidents II weren’t exactly big hits but they are amongst Jay’s best songs, and they are an effective introduction to Reasonable Doubt for the uninitiated, so their inclusion is warranted. It is puzzling however that the original Dead Presidents isn’t on here since that actually was a hit single, with a gold certification even. Guess nobody at Northwestside records wanted to make the call to EMI, Jay himself or whoever owns the right to that song (not Sony or Def Jam though, because it didn’t appear on the Def Jam/ Sony re-release of Reasonable Doubt), lest they risk legal action preventing this compilation from even coming out.

My favourite inclusion is Wishing On a Star [D-Influence Mix] because a) It makes the original, rather boring Trackmasters produced version (which was a UK-only bonus on In My Lifetime, Vol. 1) completely obsolete, and b) because it grants the fantastic UK acid jazz band D-Influence (calling them underrated would be the understatement of the century, even though they have four albums under their belt I’d call them undiscovered) a paycheck that was probably the biggest they’ve ever gotten. (For this reason I’ll even condone Northwestside records including it two version that are only different in that one of them is two minutes longer than the other.) This song is almost worth the price of admission alone. (Or.. you know a trip to Amazon.com or iTunes if you already own everything else. Make sure to get the long version labeled as a bonus track.)

The album closes with four bonus-tracks, the first one of which is the previously mentioned long version of Wishing On a Star. The following two are a pretty cool Irv Gotti remix of Can’t Knock the Hustle and a completely unneccesary remix of Ain’t No Nigga that removes the most fun part of the original: the “No-one-can-fuck-you-bet-ter”-chorus. These tracks neither add nor subtrackt much to the equation, which is fine and all since bonus tracks are usually there only to fill up the remaining room on the compact disc. Although it would’ve been nice if these two cuts were so polite to make room for Originators ’99 and It’s Alright. But you can’t have everything I suppose. The last one however is Jigga’s awesome collabo with the Notorious B.I.G., rightfully called Brooklyn’s Finest off Reasonable Doubt. Why wasn’t this included in the proper track listing one must ask because it is definitely one of the best things on here. Oh well, at least it’s here right?

Chapter One: the Greatest Hits is about as good a job as one could do compiling a single Jay-Z disc using only his first three albums as a source to pick songs from, trying to please everyone. And if that doesn’t sound like an ideal purchase consider this: With a combination of radio edits of hit singles, fan favourites and and even a couple of rareties thrown in, it is in fact pretty representative of what the man was doing during those early career establishing years. That’s breaking down the creation of a rap album into a scientific equation (or a ‘blueprint’ if you will): Radio and club-songs plus street songs in equal measure equals platinum record sales and charts hits. Interestingly by the time Vol. 3 dropped he had perfected the art (word to Max from hhid) and he had gotten sick of it before creating The Blueprint. So this is very much a constructive phase of Jay’s mainstream career, not that you tell that from the individual songs which all sound professionally made and pretty good with Jay-Z’s conversative flow and icy playboy persona fully formed (except I Know What Girls Like off course, which sounds like shit no matter what you release it on). And it is interesting that this album’s creators have been able to capture that process that has on occasion led him to some pretty suspect collaborators such as Babyface, Teddy Riley, Foxy Brown, Lil’ Kim, P. Daddy and Ja Rule. It is telling that most of these people have little career left while Jay keeps the his coming to this day.
More importantly though: it makes for a mostly entertaining listen from start to finish, and if that’s not a good reason to pick this up I don’t know what is. Just watch out that you don’t get a whole lot of stuff you already have because it’s a rough economy, and considering the direction Jay’s career would go following these songs there is no need to make the man richer unless you absolutely have to.

Best tracks
Hard Knock Life (Ghetto Anthem)
Can’t Knock the Hustle [Radio Edit]
Imaginary Playa
Ain’t No Nigga [Original Radio Edit]
Money Ain’t a Thang
Can I Get a…
Streets Is Watching
Feelin’ It
Dead Presidents II
Wishing on a Star [D’Influence Mix Full Version]
Brooklyn’s Finest

Recommendations
If you’re unfamiliar with Jay-Z’s first three albums this is a pretty good place to start and you should pick this up.