Boyz II Men Albums (9)
'Motown: A Journey Through Hitsville USA'
Release Date 11/5/2007
Tracks 13
Label Universal
See Album Tracklist and Review
What The Critics Say
Three years after the all-covers Throwback -- a release that included some pleasantly surprising choices for new looks, like One Way's "Cutie Pie" and Bobby Caldwell's "What You Won't Do for Love" -- Boyz II Men reappear not with yet another covers affair. As indicated by the title, the trio changes its focus to Motown for a set that ranges thematically and chronologically from the Temptations' "Just My Imagination" to Marvin Gaye's "Mercy Mercy Me (The Ecology)" to the Commodores' "Easy" -- and, as something of a sly acknowledgment that they were once on Motown themselves, they close out the set with an a cappella version of "End of the Road" (featuring Brian McKnight). Their backing is mostly all-star caliber, including the Dap-Kings Horns, drummer Vinnie Colaiuta, percussionist Luis Conte, and string arranger Larry Gold. The material tends to work best when they sound relatively relaxed, as opposed to when it is obvious that they are trying very hard to honor the originals while being over-demonstrative with their obviously gifted voices. It's not that the disc won't please fans, because it likely will, despite Boyz II Men's continued shortage of new songs; but it's nearly impossible at this point to add anything to the likes of "It's the Same Old Song," "Ain't Nothing Like the Real Thing," or "Money (That's What I Want)" -- no matter how well they are handled. ~ Andy Kellman, All Music Guide
What The Critics Say
In the careers of nearly all adult contemporary artists, there is almost an unspoken, obligatory feeling that compels them to pay homage to their roots and inspirations by issuing covers albums. Sometimes these approaches work wonders for a career (case in point: the rejuvenation of Michael McDonald's career courtesy of a record chock-full of Motown covers, which was the defibrillator to an otherwise pulseless career), and sometimes they don't. Thankfully, the Boyz get it right most of the time on Throwback, but not without some setbacks. The reverence that the Boyz show here is evident by their sincere performances and track selection, which obviously pay homage to the radio and records they grew up with (which is self-evident thanks to the title). However, it's the production that is the dragging anchor keeping this album from really setting sail the way it begs to. Resorting to formulaic cookie-cutter R&B beats and production deters from the group's biggest strength: their voices. Of course, there are exceptions from time to time: an all-acoustic delivery of Michael Jackson's "Human Nature," the Philly soul goodness of Teddy Pendergrass' "Close the Door," and a surprisingly faithful arrangement of the Stylistics' "You Make Me Feel Brand New" all bring their true talents to the forefront. The vocals are just as sharp as ever, especially on their stirring interpretations of Hall & Oates' "Sara Smile" and "Human Nature." It's not a watershed moment in their catalog, but for those die-hard fans who simply love the group, it's an engaging listen and a charming audio yearbook. ~ Rob Theakston, All Music Guide
What The Critics Say
Boyz II Men grew up with 2000's Nathan Michael Shawn Wanya, providing a really fine, mature urban soul album, but not many noticed, so it was time for another new start in 2002. They left Motown and signed with Arista, where Antonio "L.A." Reid had successfully set up shop, breaking new acts and re-establishing old ones -- with the latter clearly in mind when he executive produced Boyz II Men's Full Circle, with the Boyz handling production duties. Everybody involved apparently decided that the best way to bring the boyz into the 2000s is by hedging their bets: offering a little of the stilted, early-'80s funk-influenced hip-hop that marked modern soul, while offering a lot of adult contemporary balladry. Although the group doesn't delve too hard into funk, it still doesn't mesh particularly well together, especially since the material, while well-sung as ever, isn't particularly distinguished. That doesn't mean it's bad -- the album is pleasant enough as it spins -- but it's simply not that memorable, which is quite a disappointment after the very, very nice Nathan Michael Shawn Wanya. ~ Stephen Thomas Erlewine, All Music Guide
'Nathan Michael Shawn Wanya'
Release Date 9/12/2000
Tracks 14
Label Universal
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What The Critics Say
Even if Boyz II Men's third album Evolution didn't rival II in terms of commercial clout, the group was still inescapable. Every male urban vocal group that reached the pop and R&B charts were clearly indebted to the quartet's stylish blend of old-school harmony, post-Aretha hyper-vocalizing, and lite hip-hop beats. The group returned to action in the fall of 2000 with Nathan Michael Shawn Wanya, a nearly eponymous title for their first full-fledged adult album. And, as adults, they've made sure they're responsible for their own music -- at least one member (usually all) has songwriting credits for all but two of the album's 14 songs, and the group is credited with all but four of the album's productions. Usually, when a popular group seizes control of their reins in such a dramatic fashion, the result is muddled to say the least, but a remarkable thing happens here -- the group succeeds. True, they don't expand on the formula they developed on II, but they do fulfill the expectations that album set. There are no unexpected twists or turns, just the standard lush ballads and swinging hip-hop soul, but it delivers both sonically and substantively. Not every cut on the record is a standout, but even the average cuts are pleasant, and the best of the batch are either seductive or effortlessly danceable. Also, the group is beginning to cut back on their vocal histrionics, resulting in a record that is truly their most mature yet. It might not be their best -- it doesn't have the powerhouse singles of II -- but Boyz II Men make up for it by demonstrating that they can do much of this on their own, and still sound like the standard-bearers for urban soul. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Evolution is supposed to capture Boyz II Men in full maturity, but it sounds surprisingly similar to their blockbuster II. Like that album, Evolution relies on ballads, downplaying the group's dance-pop side. There are still several up-tempo numbers on the record, but it's clear that the group and their producers were more concerned with smooth ballads like "4 Seasons of Loneliness" and "A Song for Mama," which they deliver with typical grace. However, Boyz II Men's signature sound is beginning to sound like a formula, especially since the group fails to offer any new twists on their trademark hip-hop doo wop. There's enough strong material on Evolution to satisfy Boyz II Men's large fan base, but they will truly need to evolve on their fourth album in order to stay viable. ~ Stephen Thomas Erlewine, All Music Guide
'II: Yo Te Voy a Amar'
Release Date 1/1/1995
Tracks 13
Label Polygram
See Album Tracklist and Review
What The Critics Say
A Spanish version of their blockbuster second album, Yo Te Voy A Amar is necessary for Boyz II Men's Spanish-speaking fans, since it loses none of the lush, seductive qualities of the original English version and is filled with winning performances by the group. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
With their second album, II, Boyz II Men assured their place at the top of the charts, as well as history. "I'll Make Love to You," the album's first single, stayed on the top of the charts for over two months, only to be unseated by "On Bended Knee," the album's second single. Not surprisingly, II is a carefully constructed crowd pleaser, accentuating all of the finest moments from their hit debut. While there are some high-energy dance tracks, the album's main strength is its slower numbers, where the group's vocals soar. ~ Stephen Thomas Erlewine, All Music Guide
'Christmas Interpretations'
Release Date 10/5/1993
Tracks 10
Label Motown
See Album Tracklist and Review
What The Critics Say
Boyz II Men followed their hugely successful debut, Cooleyhighharmony, with Christmas Interpretations, which is a pretty intelligent choice, given that Christmas albums by established artists tend to sell year after year, while pop albums tend to sell mostly at the time of their popularity. So this album of all new Christmas material (written by the Boyz themselves) certainly helped the Boyz flesh out their catalog. There aren't any interpretations of Christmas classics to be found on this record, save for their a cappella rendition of "Silent Night." This album is pure, lushly produced quiet storm and, because of the lack of traditional favorites, could be played at any time of year. This set differs from typical Boyz II Men albums in that it's very subdued, and vocal histrionics are kept at a minimum. This set also differs from traditional Christmas albums in that the songs generally deal with more melancholy subject matter, such as depression and suffering ("Why Christmas") and loneliness and poverty ("Cold December Nights"). It's also balanced with songs about the joys of giving (the elegant "Share Love," "Do They Know") and, of course, love ("You're Not Alone," "Who Would Have Thought"). This set also features "Let It Snow," a Top 40 duet with maestro Brian McKnight, who co-produced nearly every song on this album (it should have been titled Boyz II Men featuring Brian McKnight). This set is a cozy, velvety, and hip quiet storm Christmas album with touches of jazz, nostalgia, and melancholy but, at times, one yearns to hear the Boyz' lush harmonies wrapped around traditional favorites. Nonetheless, a nice chapter in the saga that is Boyz II Men. ~ Jose F. Promis, All Music Guide
What The Critics Say
No mere breakthrough, 1991's Cooleyhighharmony was one of the decade's biggest debuts, setting Boyz II Men well on their path to becoming what the RIAA certified the most successful R&B group of all time. Their sound, dubbed "hip-hop doo-wop" and aided in large part by the productions and arrangements of Dallas Austin, was a shrewd and flexible mix of contemporary and throwback elements. Fully exploiting the members' stunning vocal chops on ballads as a close harmony group, while hardly washed out when matched with densely layered upbeat material (new jack swing was still in full flight), the group put a mature collegiate spin on what were, at the time, the last two New Edition albums, updating the techniques reminiscent of the doo wop covered on Under the Blue Moon within a set that was as modern-sounding as the singles off Heart Break. It contains that rare mix of hot singles with several album cuts that could have just as easily been hits, the ultimate measure of a release that is both commercially and creatively successful. While the album was carried by four Top Ten R&B singles, two of which -- the swinging, anthemic "Motownphilly" and an a cappella version of the Cooley High soundtrack's "It's So Hard to Say Goodbye to Yesterday," the tear duct activator of 1991/1992 -- went Top Five on the pop chart, there is substantial depth. The non-single highlights include the sweet slow jam "This Is My Heart," sonically somewhere between Gwen Guthrie's "Outside in the Rain" and an organic Babyface ballad, and the frantic new jack swinger "Under Pressure," perhaps too much like "Motownphilly" or Dallas Austin's most chaotic Bomb Squad-inspired productions. In its original ten-song form, in fact, Cooleyhighharmony is a brisk 40-minute set built for front-to-back listening, though the sequencing is more natural with the "adagio" and "allegro" halves switched up. For many of those responsible for its multi-platinum status, it is the album of the early '90s, "Uhh Ahh"'s amusing libidinal melisma notwithstanding. ~ Andy Kellman, All Music Guide
