Kelis Albums (4)
What The Critics Say
"That milkshake song" ("Milkshake") brought Kelis to the mainstream for a couple months during 2003 and 2004. The singer's follow-up -- Kelis Was Here, her fourth album -- bears no retreads. Though lead single "Bossy" makes lyrical references to her number three hit and the moderate breakout "Caught Out There," the song is as distinct as anything she has done before, featuring another variation on her don't-give-a-damn assertiveness, this time over an ornamental and plinky production from Shondrae. The album, like the others before it, deals a number of stylistic curveballs, all of which are handled by the singer like lobs down the middle of the plate. What makes it less successful than 1999's Kaleidoscope and 2003's Tasty is that it's extremely choppy and excessively long, and it doesn't have the range of emotions to match the varied backdrops. There is too much and not enough Kelis; too much material is second rate, and the tougher sides of her character dominate the album -- there are too few equivalents to the softer likes of "Get Along with You," "Flash Back," and "Protect My Heart." Minus the intro, there are 17 songs, which are sequenced in a way that snags any sense of momentum. "Bossy" leads into the plodding and brainless "What's That Right There," an inert club track that relies far too much on an overused Funkadelic song and a tossed-off call-and-response nonsense initiated by producer will.i.am. "Blindfold Me"'s anthemic kink drops directly into a misty-eyed ballad, one of a few instances where Kelis' collaborators ape old Neptunes moves (such as the ones made on Kelis' first three albums), though Scott Storch deserves a commendation for his clone job on "Trilogy." While Kelis Was Here cannot be disregarded, it's more like a lot of songs thrown onto a disc at random than an album. It's more demanding of your deleting and resequencing skills than any other Kelis release. Beware the baffling three-minute jam that ends "Have a Nice Day" and stay for the untitled bonus track, actually titled "F*ck Them Bitches," which continues to prove that any Kelis song involving cursing and putdowns is a brilliant Kelis song. ~ Andy Kellman, All Music Guide
What The Critics Say
Kelis has shown how deviating from the norm can get you pegged falsely -- in her case, as an extraterrestrial being the Neptunes had beamed down from another planet. Maybe the orange-hair-and-body-paint photo on the cover of Kaleidoscope didn't help. And it's safe to say that none of her contemporaries would've ever thought of screaming something like "I hate you so much right now -- uuuugh!" for the chorus of a debut single. Otherwise, Kelis is as down-to-earth as they come; she just doesn't fit the mold of what has been expected in a female R&B artist the past few years (or ever). From a commercial standpoint, this has worked to a disadvantage: Wanderland, her second album, wasn't even released in the U.S. by Virgin, even though it was every bit as fresh and rainbow-dappled as her debut. Just before slipping completely out of view, the Neptunes set her up with Star Trak and dusted off Wanderland's "Popular Thug" -- with Pusha T wiped off in favor of new verses from new fiancé Nas -- for their Clones compilation. That set the table for Tasty, which actually involves less Chad and Pharrell, who produce only five tracks this time around; Dame Grease, Dallas Austin, Raphael Saadiq, Rockwilder, and Andre 3000 pick up most of the production duties. Despite all the new assistance, Tasty is formatted much like Kaleidoscope and Wanderland, constantly swinging back and forth between bouncy pop and laid-back (not throwback) soul. Just the same, the favorable quality level is another recurring characteristic, with only a couple miscues thwarting perfection (you're hereby advised to skip past "In Public"). Lead single "Milkshake," a coquettish playground tease, is the brightest moment of all; built around blaring synth-funk stun riffs, pitter-patter hand percussion, and a singalong taunt of a chorus, it's every bit as suggestive as Vanity 6's "Nasty Girl," the Mary Jane Girls' "In My House," and Monifah's "Touch It," with all three serving as musical -- not just lyrical -- points of reference. On some other planet, at least ten other songs here hit the Top Ten. Regardless of whether or not Kelis is one of us, we clearly don't appreciate her enough. ~ Andy Kellman, All Music Guide
What The Critics Say
Wanderland unfortunately didn't build on the promise Kelis showed throughout 1999's Kaleidoscope, and it was a commercial disappointment in the States, but quickly dismissing it as a sophomore slump would be rash. In fact, the album's first three songs -- �Young, Fresh �n' New," �Flash Back" and �Popular Thug" -- are on an even standing with the best of the singer's debut. "Young, Fresh �n' New" is particularly stunning, a buzzing grind with a chaotic loop that could've been lifted from a pinball machine. As a song, it doesn't have much grounding, yet the Neptunes cast their disorienting eccentricities all over it and come up with a production that could've only been suited for Kelis. After that solid beginning, the album continually loses steam and gains it back. The revolving door of guests hinder the album more than they bolster it; �Perfect Day," for instance, sounds more like a No Doubt album cut with a guest appearance from Kelis than the other way around. Despite the album's bumpiness, it proves that Kelis and the Neptunes should remain paired together. Until the third album, let's hope for two things: a more consistent batch of songs and assistance from those who live outside their world. ~ Andy Kellman, All Music Guide
What The Critics Say
This release showcases the development of a great talent. The album's flaws stem from steps taken backward toward what one could call "mainstream" R&B. It's when Kelis and her production team create tracks that best fit her voice and uniqueness that the end results are outstanding. Although comparisons to Neneh Cherry are inevitable, she does carve out a niche for herself, armed with undeniable talent. Kaleidoscope starts out strongly enough with standouts such as "Caught out There," "Get Along with You," and "In the Morning." Sadly enough, the focus seems to lose its footing midway and from there on out, the remaining songs run from average to good. As an artist who could become, with the proper guidance, a prominent figure for years to come, Kelis is one not to dismiss. ~ Jaime Ikeda, All Music Guide
