Tag Archives: Sony Music Entertainment

Wham! – Fantastic

Wham!
Fantastic
July 9, 1983
Innervision/ Columbia/ SME
055/100
Wham! - Fantastic
1. Bad Boys // 2. A Ray of Sunshine // 3. Love Machine // 4. Wham Rap! (Enjoy What You Do?) // 5. Club Tropicana // 6. Nothing Looks the Same In the Light // 7. Come On // 8. Young Guns (Go For It!)

Fantastic, the debut album of UK-based 1980s blue eyed soul duo Wham! is one of those albums that is uniformly shitted upon, not only by music connaisseurs but especially by its creator (the guy who wrote, composed, sang and produced everything on this record) George Michael. Three of the singles released, as well as that album-title seem to indicate that it was meant to play as a sort of practical joke on the listener. Wham! Rap (Enjoy What You Do?) and Young Guns (Go For It!) appear to be a parodies of sorts of topical Kurtis Blow rap-disco songs. The former glorifies unemployment and mooching off ones parents, the latter laments the concept of early marriage. Then there’s Bad Boys which is a whiny synth-pop ditty about the joys of defying ones parents hopes and expectations of you becoming a functioning member of society, a sentiment which is also an undercurrent on the former two songs.

It’s a shame that these dated, goofy travesties of songs are the songs best remembered off Fantastic because there’s more positive, less gimmicky hedonism to be found on this record. On the one single that actually sounds like Wham! gave a fuck about what they were doing; Club Tropicana, there’s silliness a plenty, but this cheese is less stinky. And the faux-latin disco instrumental and catchy-as-ebola hook make this one a summertime jam for the ages.
A Ray of Sunshine and Come On are more generic, but no less fun in their rubbery throwaway funk-lite vapidness. The same goes for the Miracles-cover Love Machine, which sounds pretty much exactly like the original version, except caucasian. These, and especially the atmospherically hungover/blue ballad Nothing Looks the Same in the Light, in retrospect appear to indicate of Michael’s future one-hundred-million+ records sold. They also make up over half of this half hour-album’s running time, so while Fantastic is far from perfect, (even calling it good would be a bit of a stretch) it’s not complete shit as George Michael would have you believe.

Best tracks
A Ray of Sunshine
Club Tropicana
Come On
Nothing Looks the Same in the Light

Recommendations
1980s post-disco aficianados may want to give the above four tracks a spin.


Public Enemy – Fear of a Black Planet

Public Enemy
Fear of a Black Planet
March 20, 1990
Def Jam RecordingsColumbia RecordsSME
070/100
Public_Enemy-Fear_Of_A_Black_Planet-Frontal
1. Contract on the World Love Jam // 2. Brothers Gonna Work It Out // 3. 911 Is a Joke // 4. Incident at 66.6 FM // 5. Welcome to the Terrordome // 6. Meet the G. That Killed Me // 7. Pollywanacraka // 8. Anti-Nigger Machine // 9. Burn Hollywood Burn (feat. Ice Cube & Big Daddy Kane) // 10. Power to the People // 11. Who Stole the Soul? // 12. Fear of a Black Planet // 13. Revolutionary Generation // 14. Can’t Do Nuttin’ for Ya Man // 15. Reggie Jax // 16. Leave This Off Your Fucking Charts // 17. B Side Wins Again // 18. War at 33⅓ // 19. Final Count of the Collision Between Us and the Damned // 20. Fight the Power

This record has shock tactics written all over it, well compared to Public Enemy’s previous album that is, not in the grander scheme of things. It’s not as though It Takes a Nation of Millions to Hold Us Back shied away from potential controversy. It most certainly did not. But it didn’t have a song titled Burn Hollywood Burn on it either. Perhaps the absence of Rick Rubin allowed them to speak their minds in a less politically correct manner. After all, would it really be a good idea for a white guy to man the boards, recording a song called The Anti Nigger Machine, social commentary or not? It certainly was a bad idea for group member Professor Griff to make anti semitic remarks in a Washington Times interview not long before Fear of a Black Planet was to be created, publicity stunt or not. It is for this reason he was given the boot by Chuck D, albeit temporarily, and he didn’t participate in the recording either.

I don’t know why it is that Rubin left. He is jewish and Griff did say some vile shit about god’s chosen people, but like I said: that racist motherfucker was out. Maybe Public Enemy and the Bomb Squad figured that two albums into their career they had enough knowledge, experience and a sizeable enough fanbase of their own to get by without him. Fact is that Rubin did leave and the difference in sound quality is immediately noticeable. It’s not like the Bomb Squad fail to bring the noise, they certainly are competent producers. But the beats do sound somewhat less rich and polished than they did under Rubin. The difference isn’t huge or anything, but it is there.

Besides the sound being slightly less tight overall and the guys getting a little more caustic, possibly under the influence of their new friend Ice Cube who in 1990 was the agriest motherfucker on the planet, which is a story for another day, it is for the most part a continuation of the chosen direction for Chuck, Terminator X and Flav.
That “wall of noise” thing they had introduced the last time around had worked pretty well and Chuck D had always been as dope an MC as they come so why wouldn’t it be?

Fear of a Black Planet mostly concerns itself with institutional racism, which makes this album incredibly current since that discussion is very much a thing right now.
911 Is a Joke, mostly performed by Flavor Flav takes a dump on emergency help services for poorly responding to incidents in black majority neighbourhood areas.
Burn Hollywood Burn, which because of its line up is every old school head’s wet dream and rightfully so since it sounds terrific, is about negative portrayal of black people in tv. series and films. On the Incedent at 66.6FM the Beastie Boys get called out, possibly for being a white band stealing and polluting appropriating and gentrifying a traditionally black artform.
The title track goes against anti-interracial relationship bigotry, and there are many other critiques of other forms of percieved racism on here. You can agree or disagree with the points being made, but you can’t say these guys don’t make them with gusto, flair and engagement, plus it generally makes for sonically fairly enjoyable music.

All things considered Fear of a Black Planet is a good album that should satisfy fans of It Takes a Nation of Millions to Hold Us Back. Fact is that it’s not quite as good as that album is, which could be attributed to the loss of Rubin and perhaps Professor Griff depending whether he actually did anything musical in the group, but that’s not necessarily crippling the listening experience. After all lots of music is both not as good as that album and nevertheless still perfectly listenable.

Best tracks
911 Is a Joke
Burn Hollywood Burn
Fear of a Black Planet
Fight the Power

Recommendation
Pick this up.


Public Enemy – It Takes a Nation of Millions to Hold Us Back

Public Enemy
It Takes a Nation of Millions to Hold Us Back
June 28, 1988
Def Jam RecordingsColumbia RecordsSME
090/100
it-takes-a-nation-of-millions-to-hold-us-back-by-public-enemy
1. Countdown to Armageddon // 2. Bring the Noise // 3. Don’t Believe the Hype // 4. Cold Lampin’ With Flavor // 5. Terminator X to the Edge of Panic // 6. Mind Terrorist // 7. Louder Than a Bomb // 8. Caught, Can We Get a Witness // 9. Show ’em Whatcha Got // 10. She Watch Channel Zero?! // 11. Night of the Living Baseheads // 12. Black Steel in the Hour of Chaos // 13. Security of the First World // 14. Rebel With a Pause // 15. Prophets of Rage // 16. Party for Your Right to Fight

It Takes a Nation of Millions to Hold Us Back was the album that broke rapper Chuck D, hypeman flava Flav and DJ Terminator X; collectively known as Public Enemy, to the masses and showed the world that there was a market for densely produced, vigourously performed rap songs about unapologetically Afrocentric subject matter and social commentary interchanged with swaggering party tracks. It outsold their more B-boy orented 1987 debut Yo! Bum Rush the Show and went gold within a week of release. Obviously they didn’t do all this alone. They were aided by the Bomb Squad, a production crew consisting of Hank Shocklee, his brother Keith, Eric “Vietnam” Sandler, G-Whiz and Chuck D himself. They developed a new hip-hop sound that was charactarised by the intrumental being packed to the gills with samples. It was later dubbed “the wall of noise”, analoguous to Phil Spector’s revolutionary “wall of sound” in the ’60s. The impressive thing is that that is hardly an overstatement. Compare how different for instance N.W.A sounded on N.W.A and the Posse and Straight Outta Compton. Then check out It Takes a Nation Of Millions to Hold Us Back, which came out a month before the latter and try to make the case that this album wasn’t a profound influence and that it didn’t pretty much reinvent rap music, changing it forever making it more musically complex and better in general.

You can’t because it did.

Overseeing this merry band of young, ambitious whippersnappers was super producer Rick Rubin who has a career trajectory that is pretty much unrivaled both in scope and in longevity. Dude produced everyone from Johnny Cash to Eminem, started working in 1982 and show no sign of slowing down today. It Takes a Million isn’t one of his lesser achievements.

Most good hip-hop combines music that sets a mood with a rapper with a unique mic presence and persona. It Takes a Million is no exception. Its storming beats are the perfect environment for Chuck D to land his equally intense vocals onto while Flava Flav rides shotgun. It Takes a Million is via the intro and a couple of skits framed as a live album which it most certainly is not. If however any hip-hop album is so energetic you can pretty much taste the music as it plays, as though it’s being constructed right in front of you, it is this one. The album kicks off with the pumping Bring the Noise and never loses stamina. The album never goes slower than midtempo and does even that only very rarely. The late ’80s were a simpler time for rap artists. “Slow jams for the ladies” were not yet necessary inclusions for Def Jam Records to consider a project for release, let alone weird EDM-rap mutations. In stead the listener is treated to a musical firestorm. You can disagree with these guys’ politics, but even then it would be incredibly difficult to deny the infectiousness of their music. Chuck D’s rhymes about his views on Nation of Islam and opression of blacks, among other subjects, are intense and authorative-sounding throughout.

It’s difficult to choose highlights from this album because it is an integral success and this is one of those albums which one should enjoy in its entirety. Still, personal favourites of yours truly are the rambunctious opener Bring the Noise, the teapot-whistle of Terminator X To the Edge later rebooted on Rebel Without a Pause, the fast-paced funk groove of Caught, Can We Get a Witness? The ’80s-rock tinged closer Party For Your Right to Fight is dope as hell, as are the ominous piano keys of Black Steel in the Hour of Chaos. Even the tracks that aren’t complete songs work: the sax-riff looping instrumental  Show ’em Whatcha Got and the also vocal-less drum break Security Of the First World are sound music making, the latter two later served as the basis for completely different songs by other artists: Rump Shaker by Wrecx-N-Effect and Justify My Love respectively, and many other songs via those tracks getting jacked.

If you haven’t yet heard It takes a Nation of Millions to Hold Us Back I suggest you drop everything and find a way to listen to it ASAP, it’s that good.

Best tracks
Bring the Noise
Terminator X to the Edge of Panic
Black Steel in the Hour of Chaos
Rebel With a Pause
Party For Your Right to Fight

Recommendations
Buy this album.


Johnny J – I Gotta Be Me

Johnny J
I Gotta Be Me
February 10, 1994
Shade Tree Records/ SOLAR Records/ Epic RecordsSME
045/100
Johnny J - I Gotta be Me
1. Something She Can Feel // 2. Diggin Um’ Out // 3. I’m a Better Man // 4. Why You Want Me Now? // 5. Get Away From Me // 6. P.O.P. (Got Control Of Me) // 7. Better Off (feat. Mel-Low) // 8. It’s a Wonderful Day // 9. Shake That Ass // 10. Say Whatcha Gotta Say (feat. Big Syke & Y?N-Vee) // 11. Love’s the Way

The late Johnny J would become rather famous, critically acclaimed and commercially succesful not too long after I Gotta Be Me tanked. He did this by producing songs on 2pac’s Thug Life, vol. 1Me Against the World and All Eyez On Me albums. On I Gotta Be Me however he is the main attraction and gets to rap most of the time by his self, uniterrupted most of the time by anything but wimpy R&B choruses.

“If Johnny J was himself a rapper why did he never trade verses with 2pac on a track?” I hear you ask. Pac himself was hardly picky with his collaborators as most of the verses performed by his Outlawz posse demonstrate.
Well, that is a valid question, dear reader. While all of tha Outlawz, except Hussein Fatal who can be decent, suck most of the time on an acceptable conventional level Johnny J’s raps sound like they were performed by the whitest fratboy ever who decided that he would be a rapper about fifteen minutes before he started recording them and did so after having enough shots of tequila to forget that women are people and that by using the N-word he would get his ass kicked. Apparently even 2pac who normally wouldn’t give a rat’s ass who you’d throw in the studio with him as long as they had something, anything, ready to record during his infamous Death Row binge recordings realised that while good Johnny’s beats may have been, his vocal contributions sucked.

Off course using offensive racial slurs and misogyny are pretty much givens with any gangsta rap record from the 1990s, and it can serve a purpose as it does in for instance Eazy-E’s over-the-top gangsta caricatures or 2pac’s tales of ghetto misery. Johnny J appears to have neither an interesting point of view, nor any charisma behind the microphone, nor a sense of humour. This is problematic because when stripped of these things a gangsta rapper sort of automatically becomes a massive tool. Speaking of which the man appears to be obsessed with the size, texture and other details concerning Johnny junior, and how many times he can make your girl come. How every woman enjoys having sex with him and how they’re all conniving, gold digging harpies that are good for nothing but hosting his member is a theme that returns in all the songs (all) on I Gotta Be Me.
I guess one should look at the bright side of life. It’s not as though the man would’ve fared much better rapping about his career as a narcotics salesman back when he lived in a low income neighbourhood where life isn’t very pleasant, so not much is lost because of this choice in subject matter. Speaking of his income: The advance for this can’t have been that much, so why exactly Johnny J should have attracted any gold diggers remains unclear.

It is unfortunate that Johnny J was such a shit MC because the productions, credited to him and someone called Charlie Macc, are lush, groovy and bluesy. A lot of these tracks could’ve been better used by more competent rappers. In fact when other people grab the mic an inprovement is immediately noticeable, even if it is Big Syke, probably they guy who introduced J to 2pac but has done very little else of consequence in his career.
(One of these instrumentals, the one used on Better Offwas used by a better rapper, namely 2pac who used it for his Picture me Rollin’ off his All Eyez On Me, a song that while far from perfect is infinitely better than anything on here.)
In fact one could argue that this might’ve been a better album if the uncredited studio singer(s) singing the previously mentioned wimpy refrains were to have become the headlining act(s). Something She Can FeelIt’s a Wonderful Day and Better Man would’ve been perfectly functional quiet storm and Diggin Um OutWhy You Want Me Now?, Shake That AssSay Whatcha Gotta SayGet Away From MeP.O.P. and Better Off  would’ve been decent new jack swing. Proof of this is the bonus track Love’s the Way on which Johnny sings for the entire duration of a guitar strummy pop track. The dude’s singing isn’t very good and it runs for a little too long but it sure beats the songs on which he raps.

Alas, I Gotta Be Me wasn’t meant to be a success, and neither was Johnny J the rapper. But at least this horrible album wasn’t the end of this guy’s career in music, which with a little more exposure it easily could’ve been. After all some of the 2pac songs he produced proved the guy was a fine musician so long as he shut the fuck up and kept the beats coming.

Best tracks
Love’s the Way

Recommendations
Nothing on here warrants a spin, let alone a purchase.


Camp Lo – Uptown Saturday Night

Camp Lo
Uptown Saturday Night
January 28, 1997
Profile RecordsArista Records/ SME
083/100
Camp Lo - Uptown Saturday Night
1. Krystal Karrington // 2. Luchini AKA This Is It // 3. Park Joint // 4. B-Side to Hollywood (feat. Trugoy the Dove) // 5. Killin’  Em Softly // 6. Sparkle // 7. Black Connection // 8. Swing (feat. Butterfly) // 9. Rockin’ It AKA Spanish Harlem // 10. Say Word (feat. Jungle Brown) // 11. Negro League (feat. Karachi R.A.W. & Bones) // 12. Nicky Barnes AKA It’s Alright (feat. Jungle Brown) // 13. Black Nostaljack // 14. Coolie High // 15. Sparkle [Mr. Midnight Mix]

Every once in a while a piece of music enters ones conscience that makes you wonder how you got by without it all those years. Camp Lo’s Coolie High has been one of those songs for yours truly. I remember when I first heard the song at a house party some five, six years ago and unfortunately I was too far off the map and preoccupied to walk up to the desktop to find out just what exactly it was that was playing. The smooth-as-butter instrumentals and nimble flows did however leave a mark and when one of my friends casually put it on at another house party years later I immediately recognised it, had a eureka moment of sorts and managed not to forsake finding out what was that time. Coolie High has since been a favourite track of mines, kept in heavy rotation and helping me zone out for a bit at those times when life gets a little too stressful. Their other hit song Luchini AKA This Is It also turned out to be a classic and sounds like Coolie High‘s polar opposite production-wise. The beat has a cinematic horn loop among other things that doesn’t creep up your spine but grabs you by the throat in stead. Neither song has any particularly meaningful lyrics but everything the Lo say does sound cool with a poetic veneer, and their liquid flows are near perfect which puts the guys somewhere between being instruments used by Ski to complete his music and star MCs in their own right.

The duo behind these songs hails from the Bronx, New York and entered existence in 1995. Soon they hooked up with producer DJ Ski and started working on their debut album Uptown Saturday Night, the subject of today’s post, released on Profile Records, home of RUN-DMC. Unfortunately for them during the recording a young upstart who went by the name of Jay-Z came along and stole purchased the instrumental, the hook and the flow of their songs Feelin’ It (and who knows what else) wholesale from their producer Ski for his debut album Reasonable Doubt. Despite that minor setback they continued to work on their album and it dropped in early ’97. Despite not conforming to any of the dominant sounds in hip-hop of the time, those being P. Daddy’s shiny disco rap, Dr. Dre’s syrupy G-funk sound or RZA’s dusty beats, they managed to score two minor hits off their debut, the previously mentioned Coolie High and Luchini AKA This Is It. These songs introduced the world to the Lo’s confidently delivered ’70s  blaxploitation slang raps and Ski’s atmospheric, soulful and jazzy yet down to earth productions. That would unfortunately be the entirety of their commercial success as nothing they did following that charted, but that didn’t stop them from staying together, collaborating with their boy Ski and putting out albums for the decade following this album’s release so they probably have a small but dedicated cult following or so it would seem.

Nothing on Uptown Saturday Night surpasses or even matches the artistic success of the positively epic Luchini or aural relaxant Coolie Hight, but the rest of the album is still quite entertaining. Highlights include the Jamiroquai-esque piano groove of Sparkle and the smacking salsa-hop of Rockin’ It. The booming opener Krystal Karrington is also pretty awesome. The rest of the songs are fairly entertaining filler and Uptown Saturday Night as a whole is an underrated gem of an album that is deserving of every hip-hop head’s time and attention.

Best tracks
Krystal Karrington
Luchini AKA This Is It
Sparkle
Rockin’ It AKA Spanish Joint
Coolie High

Recommendations
Pick this one up.


John Mayer – Heavier Things

John Mayer
Heavier Things
September 9, 2003
Aware RecordsColumbia RecordsSME
062/100
John Mayer - Heavier Things
1. Clarity // 2. Bigger Than My Body // 3. Something’s Missing // 4. New Deep // 5. Come Back to Bed // 6. Home Life // 7. Split Screen Sadness // 8. Daughters // 9. Only Heart // 10. Wheel

Singer-songwriter John Mayer’s first full length album Room For Squares sold milions of copies and unexpectedly so. Who knew women of all ages have a soft spot for a guitar-strummy pretty boy velvettily crooning his little heart out about his feelings regarding the fairer sex and his aspirations? (Please don’t answer that in the comment section, that was a rhetorical question.)
Yes Room For Squares was aimed at the heart of the white middle aged housewife demographic adult contemporary radio, and it was incredibly dull. But it still served a purpose in being the perfect soundtrack to an hour or so spent in a Starbucks by members the then-budding hipster community. And if you paid attention to it and managed to stay awake doing so, you would discover that Mayer was a pretty good songwriter with attention to detail and has some pretty good observation skills.
I would give you a example of where Squares offers these qualities here but I cannot remember a single song off Squares beyond Your Body Is a Wonderland, which isn’t a very good example of what is good about John Mayer, despite being his signature song, well until Daughters was released as a single, which also isn’t showing Mayer’s best side, but I digress.

Heavier Things isn’t a grand departure from Squares or anything, but it does sound different enough in that the sound is beefed up justlittle bit. This upgrades Mayer’s music from the sort of adult contemporary radio music you don’t really notice being on to the sort of adult contemporary radio music that gets stuck in your head. In short Heavier Things‘ producer, Jack Joseph Puig, did something to Mayer’s music Room For Squares‘ producer, John Alagia couldn’t; make it memorable at times. Those times are the album-opener Clarity, the next song Bigger Than My Body and Come Back to Bed.
Oh and Daughters is memorable too, although it’s debatable whether it’s positive or negative for that particular song.

Clarity is relaxing and uplifting at the same time and has Mayer’s corduroy croon slide into smooth falsetto on the hook. This combined with the soulful instrumentation makes for something much richer than anything off his debut.
Bigger Than My Body is where the album really picks up steam and ups the tempo. It is unfortunate that Mayer never really comes back to it because this type of faster song (relatively speaking off course, this is still Mayer so the song is still going to be chilled enough to not disrupt a dinnertable conversation) fits him like a glove. Unfortunately the album hits snooze shortly after and never really manages to wake up on time.
On Come Back to Bed however this drowsiness is actually a good thing. On it Mayer pleads to his better half to rejoin him after she got out of the sack because of something he did or didn’t say (What exactly he did wrong he hasn’t figured out himself yet.) It’s gracious, sexy, hooky, bluesy and soulful and would’ve been a big hit if Aware Records/ Columbia had released it as a single.

Then there’s Daughters which has an inescapable hook and could be considered a Hallmark card set to wax or aural dreck leaving a slime trail depending what side of the fence you’re on. This reviewer hates it with every fiber of his body. Contained within it are all those things some wish real boyfriends knew and said, as well as sexism aimed both at women and men in several instances. It may be a well written contemporary pop-classic and all but bleh, this trifle is nauseating.

All of the other songs are alright, nothing more, nothing less. They sound more interesting than the filler off his last album but not by a wide margin. But, in combination with the stand-out songs, they sound good enough to call Heavier Things a fairly big improvement over his first album.

Best tracks
Clarity
Bigger Than My Body
Come Back to Bed
Daughters

Recommendations
Pick this one up. It’s an alright enough record for lazy sundays. Do buy a used copy though if you can find one. This album isn’t necessarily worth a lot of money.


New Kids on the Block – Hangin’ Tough

New Kids on the Block
Hangin’ Tough

September 6, 1988
Columbia RecordsSME
055/100
New Kids on the Block - Hangin' Tough
1. You Got It (The Right Stuff) // 2. Please Don’t Go Girl // 3. I’ll Be Loving You (Forever) // 4. Cover Girl // 5. I Need You // 6. Hangin’ Tough // 7. I Remember When // 8. What’cha Gonna Do (About It) // 9. My Favorite Girl // 10. Hold On

Whenever paying attention to New Kids on the Block I never cease to find amusement in the idea that this group was recruited and assembled solely for the purpose of producer Maurice Starr getting back at his former New Edition pupils for singning to MCA Records to have a succesful career, after he brought them fame by producing their debut and releasing it on his indie label, without him getting any share of the profits whatsoever.
Off course this probably is not reality, or rather it’s not the complete story: New Kids on the Block was started first and foremost to compensate Starr’s lack of said profits because the man, like anyone, enjoyed having an income, although my proposition of Starr’s reasoning is most likely not entirely without truth.

Whichever of the man’s life purposes NKotB primarily served (that’s one shitty acronym, when you pronounce it not one syllable is won from the full name) vengeance or greed, doesn’t really matter because their sophomore album Hangin’ Tough achieved them both in one fell swoop by selling over seventeen million copies worldwide, which is seven million more than New Edition’s and Bobby Brown’s 1988 albums Heart Break and Don’t Be Cruel sold combined. Add to that the three million people who casually picked up a copy of the Kids 1986 self-titled debut, which had been gathering dust on shelves for two years by the time the second one dropped, and you’ll find that the New Kids and Starr sold well over double what New Edition sold that year, despite putting out somewhat derivative, inferior product. I’m not sure what of many possible causes led to this situation but to some it would seem that Starr was willing to get his goals of being filthily rich and victorious over New Edition by any means, even if that meant riding so called institutional racism that disadvantaged other members of his own so called race.

Hangin’ Tough plays like New Kids of the Block but a bit more streamlined and a bunch less funky. It would seem that the advent of New Jack Swing didn’t go unnoticed by producer Starr. Indeed Hangin’ Tough sounds like Teddy’s tinny-drum-machine-‘n’-keyboards sound chill filtred to neutrality, with some rock-ish guitars thrown in to please white parents. The result of Maurice fucking around with this sound is some impeccably produced and sung ballads and dance numbers. Despite getting the sound down Hangin’ Tough lacks the attitude to be credible to the homeboys in the streets the way Guy or Bobby brown or the sexiness to appeal to Al B. Sure! and Keith Sweat’s ladies. That was quite alright though because Starr was aiming for an entirely different demographic, one which got their albums by whining at their parents to buy them (One of the more effective ways of marketing stuff, today as much as then).
With this in mind it was probably the right decision to strip the music of every notion of personality and settle for catchy and hollow. This album is filled to the brim with the kind of naive visions of love people in their early teens can relate to, performed confidently and quite good by five handsome boys girls in their early teens like to look at on posters on bedroom walls.

Knowing that, it is probably a moot point to call the album insincere, plastic and soulless (which off course are things this album is) but I kid you not, listening to Hangin’ Tough makes one reconsider New Kids on the Block‘s artistry because that album with it’s jingling guitars, vocoder work and funky air of 100% raw milk queso sounded a lot more fun than this pasteurised horseshit. Who knew a bunch of white kids from Boston would be better at aping the Jackson Five innocently and joyfully than they ever were at trying their hand at something slicker and tougher? (I suppose all of you are now raising your hands at their computer screen, you do realise that I can’t see you, right?)

Nevertheless I have no real issues with Hangin’ Tough I suppose. I couldn’t remember so much as a single individual song after Hangin’ Tough was through, which must mean nothing even sucked memorably about it.

Best tracks
Please Don’t Go Girl

Recommendations
Meh.