Tag Archives: Gene Griffin

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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Guy – Guy

Guy
Guy
June 13, 1988
Uptown Records/ MCA RecordsUMG
080/100
Guy - Guy1. Groove Me // 2. Teddy’s Jam // 3. Don’t Clap… Just Dance // 4. You Can Call Me Crazy (feat. Timmy Gatling & Al B. Sure!) // 5. Piece of My Love // 6. I Like // 7. ’round and ’round (Merry Go ’round of Love) // 8. Spend the Night // 9. Goodbye Love // 10. My Business (feat. Timmy Gatling)

Teddy’s late ’80s drum machine-‘n’-synth beats aren’t the most sophisticated instrumentals ever made and Aaron’s third rate Stevie-isms are far from original way of singing R&B music, but put them together and the resulting album is an album far funkier than it has any right to be. Guy is one of those things greater than the sum of its parts.

Guy was the brainchild of producer Teddy Riley and his childhood friend Timmy Gatling. They recruited singer Aaron Hall to join them and Guy started recording their epinomous debut album for Andre Harrell’s Uptown Records under the guidance of manager Gene Griffin who is also credited as co-producer of every track of this album. Apparently Hall and Riley didn’t get along in person despite their on-wax chemistry because right before Guy was released Gatling was so sick of their animosity he got the hell out of dodge.
It is for this reason he sings lead vocals on two of the album’s tracks and gets eight songwriting credits even though when the album dropped he was no longer officially considered a part of the group and is nowhere to be found on the album’s cover. (The guy who was called in as Gatling’s last-minute replacement for a tour Guy did with New Edition was Aaron’s brother Damion who is on the cover but did zilch in creating the music.)

Changing line-ups would be recurring thing in Teddy Riley’s performing career, especially in his second group BLACKstreet.

One thing that sets apart Guy from the other completely Riley-produced LP we had so far, Keith Sweat’s Make It Last Forever, is that the majority of the songs are uptempo where Sweat was mostly about slow jams.
Another thing that sets apart Keith Sweat and Aaron Hall is that Aaron has a far more fiery, gospel-infused vocal style.
Who says that New Jack Swing artists were passed through cookie cutter and were indistinct of one another? (Many music critics do.)

Guy marries soul vocal stylings with hip-hop production stylings the way no complete album had done before it. It also follows some hip-hop conventions of the time. For instance it has a DJ cut in the form of Teddy’s Jam.

Teddy  really did his thing with these lo fi synths and drum machines creating a slightly overcrowded, machanical variety of the funk. Hall, Gatling and Riley himself when he sings lead on Spend the Night are the humanising components. Back in 1988 this must’ve sounded pretty futuristic but today the vibe is mostly quaintly old school (or vintage as some would call it..).

Groove Me and ’round and ’round (Merry Go Round of Love) are the best things on here. They’re ballsy party jams that a lot of club DJs would do well to revisit.
Teddy’s Jam also fits that bill although because of it’s relative lack of vocals one might run the risk of partygoers believing they put on some backing music from a primitive video game.
Piece of My Love and Spend the Night aren’t the best New Jack Swing ballads by any stretch of the imagination, but they’re not bad and their inclusion helps prevent the monotony of nothing but pistoning dance beats that otherwise would’ve occured.

Overall Guy is a pretty good flagship release for the New Jack Swing genre, being pretty representative of its dance music side, with a few ballads thrown in for good measure.
The production, despite of (or because of) being rather dated, is pretty cool and Aaron Hall is a charismatic frontman who performs these songs with enough gusto to make up for his minor lackings as a singer. It’s too bad that short, high-quality R&B releases such as this, Make It Last Forever and In Effect Mode (among others) would soon be a thing of the past after the ascent of the CD and the possibility it created for artists to make their album’s twice as long as they could be in the vinyl/ cassette era (Guy’s 1990 sophomore album The Future is 72:02 minutes long compared to this one’s 44:42 which means as much as that a shitload of watered down, unfocused filler made the cut) but that makes one only appreciate releases like this that much more. Good stuff.

Best tracks
Groove Me
Teddy’s Jam
’round and ’round (Merry Go ’round of Love)
Piece of My Love

Recommendations
Buy this album.