Diddy Albums (4)
What The Critics Say
Diddy spent the five years since the release of his previous solo album making (and shelving) a gospel album, dabbling (or flailing) in dance music, running in the New York City Marathon, developing a perfume called (almost unbelievably) Unforgivable, and undoubtedly doing many other important things. His Bad Boy empire settled into a severe lull until the summer of 2006, when Yung Joc's "It's Going Down," Cassie's "Me&U," and the Danity Kane album revived the label. Press Play is well timed, and it's also well endowed: the roster of collaborators and guests is both extensive and impressive enough to entice the severely Diddy-resistant. Peculiarly enough, Diddy's practically the opening act on his own album. During the first several tracks, he's the dominant voice, dishing out the expected variations on his wildly hubristic boasts of old, and that includes a baffling gritted-teeth threat like "America, fall back, you can't stop me/Got a thing for pigeon-toed chicks who walk knock-kneed." On his own, he does not deliver. Around track six, the guests begin to take over the 80-minute program, and the album morphs into a theatrical examination of love and romance that is partly randomized but mostly tremendous. Apparently inspired by his relationships with ex-girlfriend Jennifer Lopez and his wife, Diddy and his shifting cast of fellow songwriters/producers pen a series of songs -- you could almost call it a suite -- emboldened by a round of knockout performances from several women. Multi-threat up-and-comer Keri Hilson (watch for her), Brandy, Keyshia Cole, and Mary J. Blige all take lead roles and make up the heart of the album. This last half-hour of the album, with the exception of a couple instances where Diddy could've left everything in the hands of the vocalists, teeters on the edge of brilliance. Timbaland (with partner Nathanial "Danja" Hill) and Mario Winans (with Diddy) deliver robust, imaginative productions that lay the majority of modern-day R&B tracks to waste (glints of left-field dance music and the new wave that inspired it are incorporated to great effect), while Rich Harrison expectedly and thrillingly blends the blaring with the lush behind Blige. The rest of the album is worth talking about, as it involves noteworthy appearances from Christina Aguilera, Ciara, Nas, Big Boi, Cee-Lo, and several others, but it's less risky and not nearly as remarkable as the closing stretch. All told, the number of memorable hooks on display here is surprising. ~ Andy Kellman, All Music Guide
What The Critics Say
A lot happened to Sean Combs during the two-year gap between Forever and The Saga Continues. Besides the obvious name change to P. Diddy and his daily appearances in the news, the overdramatic rap artist saw his popularity drop considerably during those two years -- a serious issue for someone as attention-hungry as Combs. So The Saga Continues signals to everyone that his Bad Boy empire is in fact still an empire. "Bad Boy for Life," the album's big, opening anthem, perhaps sums up the situation best: "We ain't going nowhere/We can't be stopped." It's a fairly simple claim, but this pretension towers largely over every single second of this album. Combs isn't just trying to make great music anymore; he's trying to reclaim his credibility. In his mission to do so, he has recruited the latest roster of Bad Boy talent, anchored by two stellar rappers, Black Rob and G. Dep, who are to be viewed as the successors to the departed Biggie Smalls and Shyne. Combs gives these two plenty of time in the spotlight here -- as much as himself -- and they definitely showcase their talent commendably, as do many of the other Family members. It's nice to see Combs stay in-house for this album rather than assembling a disparate best-of-the-best roster like he did on Forever. This decision helps give the album more of a cohesive feel, as these Family members, and also the often daring production, make this an impressive album at times. It's Combs himself, though, who mars what could be a solid album with his rhetorical swagger. When he's surrounded by his crew, he's fine, though you wish he could rap as well as he can present the talent of others. Rather, it's when Combs steps into the spotlight, particularly during the numerous interludes, that his swaggering often goes too far, teetering on the fine line between self-assurance and unintentional farce. ~ Jason Birchmeier, All Music Guide
What The Critics Say
It was never much of a contest, but with his second solo album, Puff Daddy retains his crown as the biggest ego in hip-hop, if not popular music. It's an arrogance that asserts itself in the over 20 pictures included in the album booklet (all with different poses and outfits) and in the opening track -- "Forever (Intro)" -- that updates listeners with all the sordid details of Puffy's personal life. With all this ego strutting around, Puffy's sizable production talents have consistently been underrated. The truth is, he's been one of the best hip-hop producers of the '90s, creator of countless solid party jams, heavy on the groove and quite creative for their crossover potential. Though most of the tracks on Forever are co-productions with young lieutenants from his Bad Boy organization, Puffy's productions shine through. And he's downplayed sampling obvious pop hits for the main groove of his songs, perhaps a response to the constant criticism of hip-hop fans. Puffy's also a better rapper than he used to be, almost up to the level of the MC superstars guesting here. There are no tracks as propulsive as the hits from No Way Out ("It's All About the Benjamins," "Been Around the World"), and the ballad track "Best Friend," which samples Christopher Cross' "Sailing," is a lame rehash of the Biggie tribute "I'll Be Missing You." The final track (and first single), the Public Enemy-sampling "P.E. 2000," is an apt metaphor for Puff Daddy's second album; it's a solid production, not quite as exciting as it should be, informed by a mindset that uses hip-hop as a ladder to pop success and wealth. ~ Keith Farley, All Music Guide
What The Critics Say
Before releasing his first solo album, Puff Daddy (aka Sean "Puffy" Combs) was famous as the producer of the Notorious B.I.G., Junior Mafia, Craig Mack, Lil' Kim, and many other rappers. As he was making his solo debut, the Notorious B.I.G. was murdered, and that loss weighs heavily on Puff's mind throughout No Way Out. Even though the album has some funky party jams scattered throughout, the bulk of the album is filled with fear, sorrow, and anger, and it's not only evident on the tribute "I'll Be Missing You" (a duet with Faith Evans and 112 that is based on the Police's "Every Breath You Take") but also on gangsta anthems like "It's All About the Benjamins." That sense of loss makes No Way Out a more substantial album than most mid-'90s hip-hop releases, and even if it has flaws -- there's a bit too much filler and it runs a little long -- it is nevertheless a compelling, harrowing album that establishes Puff Daddy as a vital rapper in his own right. ~ Leo Stanley, All Music Guide
