Tag Archives: Timmy Allen

Christopher Williams – Adventures In Paradise

Christopher Williams
Adventures in Paradise
July 25, 1989
Geffen RecordsUMG
060/100
Christopher Williams - Adventures In Paradise
1. Talk to Myself // 2. Sexy Sex // 3. Never Let Our Love Die // 4. (Lift You Up) Turn You Around // 5. Paradise // 6. Promises, Promises // 7. One Girl // 8. If That’s What You Want // 9. I’m Your Present // 10. Always & Forever // 11. Lover Come Back // 12. Sweet Memories

The onslaught of high-quality, moderate length R&B albums coming from Uptown records couldn’t last forever. And while Christopher Williams’ debut album Adventures In Paradise isn’t an outright failiure, and at times showcases some fairly pleasant R&B music it doesn’t have the same amout of highlights that for instance In Effect Mode and Guy had, and it runs fifteen to twently minutes longer than either of those classics, which kind of means it runs fifteen minutes too long. Besides that Williams doesn’t have Al B. Sure!’s lithe and Guy’s… well Guy’s Teddy Riley throwing him beats. (On the other hand Timmy Gatling produces three songs on here. Guess it is nice to know het got at least one more Uptown/MCA paycheque after quitting Guy right before the group dropped a platinum album and started making money.) So while this album may not exactly be where it all turnt to shit it certainly is on of the less essential recordings from the ‘New Jack Swing’ era.

Williams sounds like a more relaxedly singing Johnny Gill, which is to say he’s a fine soul singer. It is also to say he is a little bland since, hate it or love it, Gill’s strenuously ferocious vocal stylings are what set him apart from the pack more than anything else.
But Williams certainly sounds like he could be a compelling singer given the right collaborators. Teddy Riley, Babyface & L.A. Reid and Jimmy Jam & Terry Lewis come to mind.
Timmy Gatling, Nick Martinelli, Nick Matkosky, Robert Brookins, Nevelle, Joel Davis, DJ Eddie F and some guy who goes by the moniker of Wokie are what he works with here in stead. Although Andre Harrell did sign off on Gerald Levert providing a couple of songs before he left for a holiday trip to the Bahamas for the duration of this album’s recording (his name is nowhere to be found in the liner notes.) [EDIT: Which is because Adventures In Paradise  apparently was not released on Uptown Records. Apparently Williams only signed over to the label after releasing his debut to release his sophomore album Changes there. Oh well.]
To be fair this group of relative no-names and Levert churn out some perfectly adequate, impeccably produced late ’80s urban soul. There are a couple of dance numbers but Williams is mostly in quiet storm mode steering clear of hip-hop territory most of the time, which given the horrendous raps of the Guy-aping, Gatling-produced opening track Talk to Myself, which manage to rhyme ‘departed’ with ‘retarded’ may be a huge blessing. Still, for the most part the album fails to grab the listeners attention. This may make it perfect background noise for shopping malls and the like but it also makes it seriously unfit for keeping in a music collection.

Although Adventures In Paradise may not be very exciting there surely is a market for it. I can imagine your Freddie Jackson loving, fifty year old aunt just melting away listening to this album. If her birthday is coming up you might as well throw a couple of nickels over the counter at the used CD shop may you come across this there (I can’t image too many copies lying around in other places).
But for all other intents and purposes this album is probably rather useless. These days you probably couldn’t even get laid to songs like Sexy Sex anymore (Unless you’re into hotel elevator hookups). There’s nothing remotely memorable about Adventures In Paradise. I should know, I just listened to the thing and besides that sucky amateur rap at the beginning I can’t remember a specific thing about it.

Best tracks
Talk to Myself is quite good, even if the rap bits are cringeworthy. It really makes one wonder how big Timmy Gatling’s roll was in producing Guy. It must’ve been bigger than everyone thought because Talk to Myself sounds exactly like a Guy song. Either Timmy was as important to Guy as Teddy was or he decided to take one of Teddy’s spare beats with him to sell before storming out of the band’s back door never to return and that beat became Talk to MyselfThat theory was more interesting than the entirety of this album unfortunately.

Recommendations
Don’t buy this album. Or do buy it. Whatever, I don’t care. It’s your elevator.

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R. Kelly – R. Kelly

R. Kelly
R. Kelly
November 14, 1995
Jive Records/ SME
080/100
R. Kelly - R. Kelly
1. The Sermon // 2. Hump Bounce // 3. Not Gonna Hold On // 4. You Remind Me of Something // 5. Step In My Room // 6. Baby, Baby, Baby, Baby, Baby // 7. (You To Be) Happy (feat. the Notorious B.I.G.) // 8. Down Low (Nobody Has to Know) (feat. Ronald Isley & Ernie Isley) // 9. I Can’t Sleep Baby (If I) // 10. Thank God It’s Friday // 11. Love Is on the Way // 12. Heaven If You Hear Me // 13. Religious Love // 14. Tempo Slow // 15. As I Look Into My Life // 16. Trade My Life

A prime example of an album that gives you most of the kicks you get from it because it’s sort of weird is R. Kelly’s self-titled third solo album.
It manages to blur the line between earnest make out album and golden comedy record, a concept that would which would henceforth be Robert Kelly’s bread and butter.

He has matured a bit since unleashing 12 Play onto the world, this album doesn’t have any of the pimp banality that album served up on tracks like Summer Bunnies and I Like the Crotch on You. Because his rapping in particular went hand in hand with the superficiality those songs conveyed, and hopefully because he realised that he sucked at rapping coming off as some sort of generic party rapper like MC Hammer whenever he did it, all he does here is what he does best, which is sing.
And the songs he sings build on the songs off his sophomore album that were succesful. Your Body’s Callin’Bump and Grind and  Sex Me were career establishing and consolodating hits with their insidiously percolating quiet storm slow grooves combined with R. Kelly’s excellent Reese’s peanut butter cups-tenor and risqué lyrics. Lyrics that may still are as explicit and carnal as they were on the last album, but no longer as misogynic and objectifying. No longer is R. Kelly the overenthusiastic poonhound. This time around Robert plays the roll of the earnest, mature lover who worships you and whose sole life purpose is to get you in the seventh heaven with his bumpin’  and grindin’, even if he doesn’t necessarily want to stay around keeping you company forlong after the act. R. Kelly is a much less giddy album than 12 Play, but the veneer of added maturity somehow only serves to augments the comedic effect some of these songs have on the listener, the comedic effect that nobody but Robert knows to be intentional or not.

Kells liberally borrowed from soul legends such as Donny Hathaway, Barry White, Lionel Richie, Teddy Pendergrass, Stevie Wonder, Michael Jackson, Charlie Wilson, Luther Vandross, Isaac Hayes and the Isley Brothers (who appear on this album) which makes sense since arguably he was the heir to the fictional R&B throne that had been passed around between these listed names. He infuses variations of their brands of soul with Dr. Dre’s G-funk sound, which was in and by itself a dervative of some of these artists and serves up the quintessential soul record of 1995.
More than from any of these guys however Kelly appears to draw inspiration from Marvin Gaye, which draws an unfair comparison, but one that needs to be made regardless to place this album in proper context: Crafty as Robert was and still is at making sex songs, in Marvin Gaye’s league he is most definitely not, although he out of all of his contemporary peers he’s come the closest.

But still R. Kelly hadn’t yet (and still hasn’t) got anything under his belt as effortless sexy and soulful as Let’s Get It On or Sexual Healing which he probably never will either, which you shouldn’t blame the guy for since nobody but Marvin does. This is what separates pop’s craftsmen from the artists. The stars from the legends. But that didn’t stop Robert from finding his own way to create memorable classics and developing his own signature style of salacious love song, a style that may not be as beyond reproach as Marvin’s is amongst critics, but depending on your point of view is equally, if not more entertaining.
And one of the lessons he has learned from the late great one is to not be afraid to use silly metaphores. Marvin had songs with lyrics such as I’m hot just like an oven, I need some lovin’ but employed these somewhat sparingly and suptly, while mr. Kelly goes for broke with them here as is evident in the hook to his classic slow jam You Remind Me of Something.

You remind me of my jeep, I wanna ride it
Something like my sound, I wanna pump it
Girl you look just like my cars, I wanna wax it
And something like my bank account
I wanna spend it, baby
R. Kelly – You Remind Me of Something

These would be what the fuck!? lyrics are salvaged by R. Kelly’s impressive ability to sing them straightfacedly and soulfully, and by the music, which is everything these words aren’t: restrained, sexy and, dare I say it; classy.
The ensuing recordings are electrified with the tension this paradox creates, and with music lovers there is still a debate whether or not this man can be fucking serious with these songs, which is exactly what makes this man so fascinating in the first place.
Well that is an important part of it, but it wouldn’t mean anything without the fact that he’s got the musical chops to make these songs sound good, and a voice that is simply a amazing instrument.
(Also there’s his well documented personal life and legal troubles that leave a lot of room for speculation and blur the lines between his art and his reality, in the public’s perception at least, and his unwillingness or inability to alter his artistic persona to something less abiguously guilty at everything the man has been charged with in real life.)

Besides the demographic that enjoys Robert’s creations either ironically or with a large portion of good old christian guilt (another central theme to the man’s music explored on tracks like the Sermon, Thank God It’s FridayAs I Look Into My Life and Religious Love along with more random instances of other religious imagery) there are women R&B fans that couldn’t give a rats ass about all that analytic bull, and oddly enough either take songs like You Remind Me of Something at face value as a legitimately romantic song to get nasty to without minding the lyrics much because “the beats are sexy” (this is not a complaint), or on the other end of the R. Kelly spectrum flat-out refuse to listen to the man because he has been charged with (and acquitted of) statutory rape, while still being completely comfortable with Chris Brown, who is 500% more despicable and not 1/10 as talented, because smacking your bitch up in a fit of rage doesn’t count as a sexual offence.

For all these different categories of fans (and haters who hate the man for the exact same reasons his fans love him) R. Kelly has something to offer. For those who wish to sing along to quirky sex songs there’s the previously mentioned You Remind Me of Something and a jam called Hump Bounce, as well as the classic tale of love cheating and betrayal called Down Low (Nobody Has to Know), which goes to show that Robert is as good a storyteller as Slick Rick and was a precursor to his infamous Trapped In the Closet series (Down Low (Nobody Has to Know) unfortunately has only two pars of which only the first is included on this album).

For the romantics amongst us looking for the soundtrack to a long makeout session there’s those exact same songs, as well as less questionable inclusions like Love is on the Way, I Cant Sleep Baby (If I)Not Gonna Hold OnStep In My Room and Trade My Life. If you want to have a dance (at a tempo low enough to prevent you from breaking a sweat) there’s the Biggie-featuring (You to Be) Happy and the understated Thank God It’s Friday.

Everything is held together by Robert’s on-record persona and his sultry, impeccable productions. For fans of contemporary R&B and soul music; You’re hard pressed to find an a similar abum of better quality. R. Kelly is a classic in its genre, and a quantumleap forward for R. Kelly, building from 12 Play‘s hit-or-miss qualities to something consistently entertaining.

Best tracks
Hump Bounce
Not Gonna Hold On
You Remind Me of Something
(You To Be) Be Happy
Down Low (Nobody Has to Know)
I Can’t Sleep Baby (If I)
Thank God It’s Friday
Love Is on the way

Recommendations
If you’re into vintage R&B pick this up. It should teleleport you to a place that is both the sexy dimension and the uncanny valley, and make you laugh out loud in random intervals in the process. And there aren’t to many albums that can legitimately claim to do that to people.


Aaliyah – Age Ain’t Nothing But a Number

Aaliyah
Age Ain’t Nothing But a Number
May 24, 1994
Blackground Records/ Jive Records/ SME
070/100
Aaliyah - Age Ain't Nothing But a Number
1. Intro // 2. Throw Your Hands Up (feat. Second Chapter) // 3. Back and Forth (feat. R. Kelly) // 4. Age Ain’t Nothing But a Number // 5. Down With the Clique (feat. R. Kelly) // 6. At Your Best (You Are Love) // 7. No One Knows How to Love Me Quite Like You Do (feat. Second Chapter & R. Kelly) // 8. I’m So Into You (feat. Second Chapter) // 9. Street Thing // 10. Young Nation // 11. Old School (feat. R. Kelly) // 12. I’m Down // 13. Thing I Like // 14. Back and Forth [Mr. Lee & R. Kelly’s Remix] (feat. R. Kelly)

I wonder if R. Kelly regretted that album title any time during his career, like around february 2002 for instance.

Aaliyah Kelly (née Haughton) was singing for most of her life when she was signed to Blackground Records, her uncle Barry Hankerson’s Jive-distributed boutique label, by her uncle (who besides running an urban music label also managed succesful R&B singers Toni Braxton and R. Kelly at the time.) It is through her uncle that Robert got to mentor her and write and produce most of her debut album when she started recording in september 1993.

Age was a commercial success, maintaining a charts presence, spawning several hit singles, and selling five million copies worldwide by 2001 (according to wikipedia). And all was good until rumors spread that Robert and Aaliyah were maintaining a more-than-professional, more-than-friendly relationship while she was fifteen and he was twenty-seven (which is reason for scandal in America apparently.)

This would be irrelevant to the quality of this album’s music, if its content didn’t shamelessly hint at these rumors being true. Besides that title, which was supposed to be a statement of Aaliyah’s maturity for her age, R. Kelly maintains a presence on a couple of the songs in ad-lib capacity that feels as though he was breathing in her neck for the duration of the recordings. (Also allegedly a marriage certificate exists with Robert and our hostess of tonight’s names on it, and Aalyah’s contemporary age supposedly being eighteen. Getting married with a fake I.D. huh? Yeah, ain’t no way anybody is going to find out about that shit. Smart thinking Kells.)

In the interest of fairness though these suspect, conspicuous circumstances surrounding this album’s creation are going to be ignored for the remainder of the review.

Compared to R. Kelly’s latest release at the time 12 Play Age is a far more consistent, far less juvenile album. There are some ridiculous R. Kelly-isms to be found (“Now if you not down with my clique,
you can just doo-doo on a stick” – Down With the Clicque) but not a so much of them the album suffers as a whole.

On the faster cuts such as Throw Your Hands Up and No One Knows How to Love Me Quite Like You Do (long-ass song-title..) Robert supplies the same bump ‘n’ groove production that he sported on 12 Play‘s midtempo jams, but since it’s Aaliyah’s silky singing on them, rather than Robert’s blah rapped odes to your crotch, they don’t sound as wasted here. There is some wack rapping on here, courtesy of female rapper Second Chapter, who appears to have fallen off the face of the earth after recording her contributions to this album, but again it’s a lot less prominent than on 12 Play. These uptempo grooves have the girl riding these ‘beats for the jeeps’ comfortably and expertly.
On the slow jams he doesn’t seem to have learnt any new production tricks either breaking out the same nocturnal summer-breeze sound that made Your Body’s Calling such a smash hit the year before, but Aaliyah isn’t remotely a female version of Robert either vocally or persona wise, so everything is a lot less explicitly sexual than on the average R. Kelly record, while she still has her way with his production sound, on Old School and Young Nation for instance.

Aaliyah’s singing is excellent throughout. Seductive and restrained, not trying to hit every note on the ladder like poor man’s Mariah Carey or [enter your favourite the Voice candidate here], but just singing the damn songs already, putting her in the post-Sade cathegory od R&B singers rather than post-Whitney and making Age Ain’t Nothing But a Number a pleasure to the ear.

The best song on here is At Your Best (You Are Love), a song originally recorded by the Isley Brothers, affectionately and faithfully performed by Aaliyah who obviously respected the legendary group a lot (she also gives them a nod on Old School by mimicking the vocal melody of their classic song Between the Sheets and namechecks them on Young Nation, and since she covered an Isley Brothers song on her 100% R. Kelly-free sophomore we can safely assume it wasn’t just Robert trying to add some old school flava to this album, but something Aaliyah was genuinely comitted to doing).

As pleasant as Age Ain’t Nothing But a Number is, it is a rather vanilla, by-the-book post New Jack Swing urban soul record, in the vein of Mary J. Blige’s What’s the 411? doing very little to push the genre forward. And while there’s nothing wrong in particular with that, especially when it is this well executed, one would be right in believing that her best days were ahead of her and would come about only if she were paired with a more adventurous producer (Timbaland).
Still this is a satisfactory album that anyone who appreciates vintage R&B sounds should check out.

Best tracks
Throw Your Hands Up
Back and Forth
Age Ain’t Nothing But a Number
At Your Best (You Are Love)
No One Knows To Love Me Quite Like You Do
Young Nation
Old School

Recommendations
Buy this album.


R. Kelly – 12 Play

R. Kelly
12 Play
November 9, 1993
Jive RecordsSME
065/100
R. Kelly - 12 Play

1. Your Body’s Callin’ // 2. Bump n’ Grind // 3. Homie Lover Friend // 4. It Seems Like You’re Ready // 5. Freak Dat Body // 6. I Like the Crotch on You/ Intermission // 7. Summer Bunnies // 8. For You // 9. Back to the Hood of Things // 10. Sadie // 11. Sex Me [Part 1 & 2] // 12. 12 Play

Born Into the 90’s had managed to get R. Kelly’s foot in the door in the world of urban music by selling a decent number of hits and racking up a couple of hits on the US R&B charts.
But only when he came back in november ’93, three back up dancers lighter, with his high-top fade shaven cleanly off and with beats tailor made for pillow-talk, and a couple of midtempo tracks you could dance to without breaking into a sweat, thrown in for good measure, only then it seemed he had truly left the late ’80s.

To say his debut and his sophomore album are day and night would be a bit much. But this album does differ quite a bit from his debut in that Robert seems to have completely let his hair down. Not only are the instrumentals a lot more mellow the second time around, but there are only two tracks that bear the pretence that R. Kelly isn’t some sort of poonhound, hollering at your girl with strips of condoms bulging out of his pockets. In fact you could play Born Into the 90’s and 12 Play in a musical tandem of sorts. Born as the club record to show the ladies at the club your moves to (with some slow jams thrown in for breaking the ice with close physical contact) and 12 Play as the album you’d throw on as soon as you get home, as the lascivious soundtrack to hourlong sexy business. (This might only work appropriately if you live in the early-to-mid ’90s though, since Born Into the 90’s  and to a much lesser extent 12 Play haven’t aged perfectly.)

In other ways 12 Play  is a more refined version of 90’s, Robert still feels the need to rap on Freak That BodyI Like the Crotch on YouSummer Bunnies and Back to the Hood of Things. And although he isn’t completely horrible at it and switches up his delivery within the song, singing hooks and bridges, then rapping on the verses, which helps, he still would have been better off singing the damn songs already and/or outsource the rap verses to professionals. (he would get the memo before putting out his third album in ’95).

12 Play contains the post new jack swing, quiet storm-classic Bump n’ Grind and Your Body’s Callin’, probably the most unridiculous, most seductive thing the man has ever put on wax. These, coincidentally the album’s first two tracks, along with their kindred songs It Seems Like You’re Ready and the two-part Sex Me (a precursor to his 32 episodes, and counting urban-opera Trapped in the Closet?), are the best songs on here, hands down. Unlike on the tough-guy bump ‘n’ mack songs Homie Lover FriendFreak Dat Body and *gulp* I Like the Crotch on You these songs are geniunely sexy, and unlike his later balladry he doesn’t yet throw in his weird-ass imagery. It is the same lack of hilarious oddness that helps the slow jams that cripples the faster numbers. I Like the Crotch on You literally revolves around its titular mission statement and grows old rather quickly, unlike Ignition [Remix]‘s car/sex metaphores.

Besides all this carnality the unconditional love-statement For You sounds positively ungenuine and the dedication to his dead mother in a cover of the Spinner’s Sadie (that song that got jacked for its hook by 2pac on Dear Mama) sounds genuinely soulful and angelic, if completely contradictory to everything that came before it in its earnest respect for women.

This album has some songs that don’t work anymore, and may never have worked at all, but when Robert is on he’s on, which makes his missteps easy to forgive.

Taken as a whole 12 Play is only a small step forward for R. Kelly, but the songs below are are either quantumleaps or at the very least enjoyable enough to warrant a listen.

Best tracks
Your Body’s Callin’
Bump n’ Grind
It Seems Like You’re Ready
Sadie
Sex Me [Parts 1 & 2]

Recommendations
If you find this album for cheap in the used-bin go for it, otherwise buy the above tracks off iTunes.