The Fat Boys Albums (5)
What The Critics Say
The Fat Boys were past their prime both creatively and commercially when Mack Daddy was recorded in 1991. Down to a duo consisting of Kool Rockski and Buff Daddy, the group significantly changes its style to appeal to early-'90s hip-hop tastes. The result is an album that isn't in a class with 1984's The Fat Boys or 1985's The Fat Boys Are Back, but isn't anything to be ashamed of either. Gone are the comic elements that had characterized them in the past, and none of the material is very pop-influenced. Numbers like "Fly Car," "You're Da Man," and "Mack Daddy" sound the work of a group that had been listening to a lot of Public Enemy (along with some Ice Cube), although none of the lyrics are sociopolitical. And the influence of new jack swing is hard to miss on "Tonight" and "Whip It on Me." But as likable as the CD is, this new version of the Fat Boys failed to take off commercially. ~ Alex Henderson, All Music Guide
What The Critics Say
The Fat Boys enjoyed their biggest year in 1987. Their film Disorderlies proved much more commercially resilient than anticipated, and this LP earned their only platinum certification, while becoming the lone Fat Boys album to make the pop Top 10 (peaking at #8). They also landed a Top 20 single with an updated version of "Wipeout." ~ Ron Wynn, All Music Guide
What The Critics Say
One of the things that people in the music world have come to fear is the infamous sophomore slump. But there were no signs of a sophomore slump on the Fat Boys' second album, The Fat Boys Are Back. The Brooklyn trio showed a great deal of promise on its self-titled debut album of 1984, and this LP is also excellent. Because the Fat Boys acted like buffoons, some people dismissed them as a mere novelty act. But for all their clowning, the Fat Boys had impeccable rapping technique -- the skills that they bring to "Yes, Yes Y'all," the title song, and other wildly infectious offerings are first rate. Much to their credit, this album is fairly unpredictable; The Fat Boys Are Back finds them rapping to everything from sleek urban contemporary ("Pump It Up") to hard rock ("Rock-N-Roll") and reggae ("Hard Core Reggae"). The latter, in fact, is one of the most impressive examples of hip-hop/reggae fusion to come from rap's second generation. But the Fat Boys don't need real instruments to bust a rhyme; on the a cappella "Human Beat Box, Part II," their only "instrument" is the voice of the late Darren Robinson, aka the Human Beat Box, who used his voice to simulate instruments. Arguably, Robinson and Doug E. Fresh were the closest thing that 1980s hip-hop had to Bobby McFerrin. As time passed, the Fat Boys started sounding like a caricature of themselves. But when The Fat Boys Are Back came out in 1985, they were still among the most exciting groups in hip-hop. ~ Alex Henderson, All Music Guide
What The Critics Say
Because of their comic image, some hip-hoppers dismissed the Fat Boys as a novelty act -- some, but not many. The fact is that they were among the best and most popular rappers of the mid-1980s. Along with Run-D.M.C., L.L. Cool J, and Whodini, the Fat Boys were the finest that hip-hop's "Second Generation" (as it was called) had to offer. After making some noise as the Disco Three, the rotund Brooklynites changed their name to the Fat Boys in 1984 and hit big with this excellent debut album, which is humorous, wildly entertaining, and unapologetically funky. Everything from "Fat Boys" to the amusing "Jailhouse Rap" proves that their rapping skills were first-rate. One of the group's strongest assets was Darren Robinson, aka the Human Beat Box, who was known for making percussive sounds with his voice. A celebration of his talent, "Human Beat Box" uses no actual instruments -- only Robinson emulating them. This album is a true hip-hop classic. ~ Alex Henderson, All Music Guide
