Blackstreet Albums (4)
What The Critics Say
The title is a not-so-subtle admission that it took a little longer than expected for Blackstreet's third album to hit the shelves. Delays are commonplace in pop music, but they're not welcome, since part of the game is capitalizing on recent successes -- in this case, that would have been "No Diggity," a Teddy Riley masterpiece that broke Blackstreet big. Finally didn't arrive quickly enough to expand on that success, but it feels as if it could have followed shortly after Another Level, since Riley doesn't really expand their sound that much on the third record. That's not to say it isn't enjoyable, since Riley knows how to make infectious funk and seductive ballads. He also knows that cameos sell a record, and he's loaded this disc with appearances from celebrities like Stevie Wonder and Janet Jackson. It's fun to hear the guests appear, but it takes away from Blackstreet somewhat, especially since the guests are the only noteworthy things on a few cuts. Nevertheless, there's no discounting Riley's skills, and he delivers some dynamic grooves and soothing slow jams throughout the record. They're not radically different from those on Another Level, but in a way, they don't need to be. At their best, Riley and Blackstreet are among the best '90s new-jack soul has to offer, and there's just enough of the group at their best on Finally to make it worth the wait. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Powered by the massive hit single "No Diggity," Another Level is arguably the finest album created by Teddy Riley, the leader of Blackstreet. Riley has masterminded an album that blends street-level rhythms with urban soul and pop crossover potential, adding two new members -- Eric Williams and Mark Middleton -- to the lineup in order to position Blackstreet as an heir to the classic R&B vocal group tradition. The realignment works, since the group sounds fuller and more eclectic with the two added voices. But the key to the success of Another Level is Riley's songwriting, which is by and large catchy and inventive, whether he is writing ballads or party jams. Another Level sags a bit halfway through -- it's hard to sustain interest for a nearly 70-minute album -- but it has enough strong moments to make it an enjoyable listen. ~ Stephen Thomas Erlewine, All Music Guide
'Blackstreet'
Release Date 6/17/1994
Tracks 20
Label Interscope Records
See Album Tracklist and Review
What The Critics Say
Teddy Riley is an impeccable craftsman and genius of sorts, not to mention a trendsetter. In releasing so much product, however, his music can also occasionally descend into a pedestrian, formulaic version of new jack swing, the production style he himself invented, fine-tuned, and perfected. That pitfall plays out intermittently on Blackstreet's debut album. Some of the music and vocal harmonies blend together or sound like new jack retreads, and a handful of the songs are so commercially savvy and obviously directed toward the mainstream public that it is hard to wholly enjoy them. Some of the songs, too, are less than fully formed, consisting of just a single melody or groove that exists for the sole purpose of moving feet and/or giving the quartet an excuse to harmonize. More often, however, Blackstreet hits the spot with a sleek and inventive progression on the new jack template, sharpening and filling out the sound that Guy made famous. Riley makes sure the beats are hip-hop savvy and the bass is booming, and then slathers squealing synthesizer lines all over them. Frankly, he is not technically a fantastic singer, at least in comparison to his three harmonizing mates, but his voice has such a distinctive character that it has always been entirely ingratiating, making up in expressiveness for any lack in range or virtuosity. The songs on which he takes lead invariably stand out the most and tend to be the most appealing cuts. The glue on the album, though, is the tight four-part harmony singing of Blackstreet, and it leads to some brilliantly catchy R&B tracks, songs that easily stood out in the mid-'90s urban soul crowd. ~ Stanton Swihart, All Music Guide
