Nelly Albums (6)
What The Critics Say
Release date delays and hype that just doesn't pan out are nothing new or rare in the world of urban music, but Nelly's 2008 release could be the quintessential result. Fitting squarely in the middle of the "troubled album" spectrum, Brass Knuckles is neither a disaster nor a brilliant mistake. It's an album where the forgettable lows marginalize the towering highs, while the feeling that something is missing covers it all. Maybe it's Nelly's dream collaboration with Bruce Springsteen that never happened or the lack of any fresh, breakthrough number, but this parade of mostly unsurprising pop-rap tracks has no anchor. Still, there are plenty of winners, as the macho thug anthem "U Ain't Him" with Rick Ross kicks open the door with proper swagger. Snoop and Nate Dogg dominate with their G-funk memories on the very good "LA," while both the Akon vehicle "Body on Me" and the Jermaine Dupri production "Stepped on My J'Z" are great singles, polished to perfection with hooks that last. On the other hand, the single "Party People" with Fergie feels like a dull outtake from either of Nelly's 2004 albums Sweat or Suit, while the Neptunes production "Let It Go Lil' Mama" ruins its wicked beat with clichéd lyrics from both Nelly and Pharrell. While the LL Cool J and Chuck D appearances are worth hearing, they fail to pull the ambitious, loud, and cocksure Brass Knuckles out of its three-star, been there, done that rut. ~ David Jeffries, All Music Guide
What The Critics Say
Nelly's decision to release his Sweatsuit project as two respective albums, Sweat and Suit -- the former clubby and insincere, the latter refined and mannered -- is somewhat of a mixed blessing. On the one hand, it's nice to pick whichever side of Nelly's persona you prefer, whether in general or at any particular moment; on the other hand, the separate-album concept makes for two very one-dimensional albums that begin to sound formulaic by their respective conclusions. The thing is, Nelly has plenty of great songs here on these two albums. Quality certainly isn't an issue -- he works with a who's who of pop-rap circa 2004, from the Neptunes to Christina Aguilera to Snoop Dogg to Missy Elliott, and ends up with a wealth of certified and could-be hits. Yet by sorting them into two different categories and then lumping them together onto two separate CDs, the diversity at hand is nullified. Granted, this two-styles, two-discs approach worked well for OutKast on Speakerboxxx/The Love Below (and less well, but well nonetheless, for R. Kelly on Happy People/U Saved Me), but it doesn't work so well for Nelly. His Sweatsuit recordings are diverse, for sure, but OutKast he isn't, nor is he the Pied Piper. Rather, Nelly is essentially a pop star who happens to rap, and as such, he specializes in calculated pop formulas -- namely clubby, cocky party songs (previously "Hot in Herre," presently "Flap Your Wings") and sweet, sultry love songs (previously "Dilemma," presently "My Place"). And by sorting those two formulas into respective albums, the calculation becomes overt and comes across as formulaic to discerning listeners. The key, then, is to not be a discerning listener: it's best to just let these songs play and take them for what they are -- well-done popcraft. The Suit disc is by far the more interesting disc of the two. There are only 11 songs here, but thankfully they're relatively diverse compared to those of Sweat. All except three of them are collabos, and often the collaborators steal the show, reducing Nelly to guest status on his own album. "Play It Off," a tiptop-shelf Neptunes joint boasting a great Pharrell vocal contribution, kicks off the album marvelously, and the next two tracks -- "Pretty Toes" and "My Place" -- are top draws also. The former is a fun Jazze Pha song toasting fly girls, and the latter is a "Dilemma" retread -- where that song had aped Patti LaBelle's "Love, Need and Want You" for its hook (to much success), this one apes yet another Philly soul classic, Teddy Pendergrass' bedroom ballad "Come Go With Me" (again, to much success). Another highlight is "She Don't Know My Name," a Speakerboxxx-like Big Boi (of OutKast) production where Ron Isley and Snoop Dogg steal the show, leaving Nelly only a 45-second verse for himself. Most of the other songs have their virtues: for instance, "N Dey Say" appropriates Spandau Ballet's timeless 1983 Top Ten hit "True"; "Woodgrain and Leather Wit a Hole" is a laid-back ode to smoking and driving (hydro smoking, that is); "It's My Life" marks the return of (...drum roll, please) Mase; and "Over and Over" includes an overdubbed hook by country star Tim McGraw that works much better than it should. All of this amounts to a brief album with absolutely no filler. Granted, Nelly's rapping here is more restrained and insubstantial than ever, but when you have a cast of collaborators like this, the actual rapping is beside the point -- these are fun songs, plain and simple, and wonderfully catchy to boot. This makes for a great album. Had Nelly combined the 49-minute Suit with the half-dozen highlights from Sweat, however, he'd have a really great album. (Doing just that on your PC or Mac is highly recommended, by the way, and quite fun.) ~ Jason Birchmeier, All Music Guide
What The Critics Say
Nelly's decision to release his Sweatsuit project as two respective albums, Sweat and Suit -- the former clubby and insincere, the latter refined and mannered -- is somewhat of a mixed blessing. On the one hand, it's nice to pick whichever side of Nelly's persona you prefer, whether in general or at any particular moment; on the other hand, the separate-album concept makes for two very one-dimensional albums that begin to sound formulaic by their respective conclusions. The thing is, Nelly has plenty of great songs here on these two albums. Quality certainly isn't an issue -- he works with a who's who of pop-rap circa 2004, from the Neptunes to Christina Aguilera to Snoop Dogg to Missy Elliott, and ends up with a wealth of certified and could-be hits. Yet by sorting them into two different categories and then lumping them together onto two separate CDs, the diversity at hand is nullified. Granted, this two-styles, two-discs approach worked well for OutKast on Speakerboxxx/The Love Below (and less well, but well nonetheless, for R. Kelly on Happy People/U Saved Me), but it doesn't work so well for Nelly. His Sweatsuit recordings are diverse, for sure, but OutKast he isn't, nor is he the Pied Piper. Rather, Nelly is essentially a pop star who happens to rap, and as such, he specializes in calculated pop formulas -- namely clubby, cocky party songs (previously "Hot in Herre," presently "Flap Your Wings") and sweet, sultry love songs (previously "Dilemma," presently "My Place"). And by sorting those two formulas into respective albums, the calculation becomes overt and comes across as formulaic to discerning listeners. The key, then, is to not be a discerning listener: it's best to just let these songs play and take them for what they are -- well-done popcraft. The Sweat disc in particular features, at least, a half-dozen songs that could be smash hits, whether on radio, on MTV, or in clubs: "Na-Nana-Na," "Flap Your Wings," "Tilt Ya Head Back," "Grand Hang Out," "Playa," and "Boy" are all first-rate party rap, on a par with anything else out there on the market in 2004. The others are above average also, resulting in a damn impressive lineup of songs. But they're all distinctly clubby and therefore get a little tiring after a while. It'd be nice to have some of the steamy slow jams from Suit interspersed throughout, if only for the sake of variety, not to mention an occasional (heavy) breather. Still, good music is good music, and Nelly comes up a winner here on Sweat. In no shape or manner is this disc a disappointment -- it lives up to its billing and then some. Had Nelly blended these songs with those of Suit into a double-disc buffet or, better yet, cherry-picked them for a single-disc bouquet, he'd have a truly amazing album. (Doing just that on your PC or Mac is highly recommended, by the way, and quite fun.) ~ Jason Birchmeier, All Music Guide
'Da Da Derrty Versions: The Reinvention'
Release Date 11/24/2003
Tracks 16
Label Universal Island
See Album Tracklist and Review
What The Critics Say
Even considering the sudden proliferation of excellent rap remixes no doubt prompting its release, Nelly's Da Derrty Versions: The Reinvention was a questionable undertaking from a listener standpoint. After all, it's no secret that by and large there are two kinds of remix albums: those that are intended to showcase production genius, often expanding upon a given popular artist's work creatively, and those that are intended to cash in, often recycling a given popular artist's work commercially -- and while the former albums are generally interesting complements (think underground dance music), the latter ones are generally throwaway stopgappers (think Bobby Brown's Dance!...Ya Know It!). Nelly's venture into the remix arena aims to be an interesting complement to his canon -- an album that is intended to showcase the production genius of his right-hand man, Jason "Jay E" Epperson, and expand upon big hits like "Country Grammar (Hot Shit)," "Hot in Herre," and "Dilemma" with new beats and guest rappers. For instance, Nelly even narrates the album in an interviewer/interviewee format that is intended to shed light on his creative process (and also showcase his cooler-than-thou fronting). However, whether the overall intentions here are sincere or not, Da Derrty Versions ends up playing like a cash-in. The main problem is that Nelly seemingly put more effort into the album's narration than its actual music -- his raps and hooks are pasted as is, for the most part. Epperson ends up carrying most of the weight, producing pretty much everything here (the Jermaine Dupri remix of "Dilemma" and a pair of David Banner remixes being notable exceptions). Of course, when you let a producer remix his own songs, within a strictly commercial context with few liberties, the output isn't going to be vastly different from the input, and that's most certainly the case here. Thankfully, there's an ace new song, "Iz U," and a couple good third-party contributions: E-40's typically E-40 lacing of "Country Grammar (Hot Shit)," and David Banner's remix of "Air Force Ones," which also features Eightball. It's also a pleasure to hear Ron Isley's timeless crooning on the "Pimp Juice" remix. ~ Jason Birchmeier, All Music Guide
What The Critics Say
Nelly's debut album, Country Grammar, was a left-field surprise smash hit, racking up a number of hits and turning the Midwestern pop-rapper into an overnight superstar. It's perhaps little surprise then that his follow-up, Nellyville, sticks to the script. Like Country Grammar, it's produced almost entirely by newcomer Jason "Jay E" Epperson, and it too relies on catchy, singalong hooks that are more pop than rap. Moreover, there are some clear, clever rewrites here, with "Pimp Juice" in particular relying on the same slow-grooving rhythm that made "Country Grammar" and "E.I." such jams two summers earlier. Nelly also retains his tough-guy posturing here -- he's no gangsta, nor is he an outright thug, but he is awfully damn cocky and a lot gruffer than your typical teen pop star. All of this makes Nellyville just as good as its predecessor. What makes it two or three notches better, however, are the few occasions where Nelly tries something new -- namely on "Hot in Herre," "Dilemma," and "Rock the Mic," three well-calculated, standout moments. The first is a trademark Neptunes production with an infectious hook, tailor-made for radio and club play; the second is a straight, saccharine interpolation of Patti LaBelle's 1983 hit "Love, Need and Want You" that features a duet with Destiny's Child singer Kelly Rowland, and is as likely to appeal to those who are old enough to know the original as those who are too young to realize how much of a straight cover this is; and the third is a remix of Beanie Sigel and Freeway's previously released hit for Roc-a-Fella, and is one of the only pure hip-hop moments here, and a welcome one at that. All of this amounts to a sure-fire pop-rap album that should not only please anyone who enjoyed Country Grammar; it should also attract yet more fans who will be drawn in by the few aforementioned standout moments of pop calculation. And that's not even mentioning the Justin Timberlake feature, which should be a draw in itself for many teen pop fans. ~ Jason Birchmeier, All Music Guide
What The Critics Say
By the time of Country Grammar's release in summer 2000, the album's title track had become a major hit single for the previously unknown St. Louis rapper Nelly, who was making his national debut. In particular, the song's tongue-twisting chorus is downright infectious: "I'm goin down down baby, yo' street in a Range Rover/Street sweeper, baby, cocked ready to let it go/Shimmy shimmy cocoa what? Listen to it pound/Light it up and take a puff, pass it to me now" -- or something like that. There are many more tongue-twisting singalong moments like this on Country Grammar, such as "Ride wit Me" and "E.I.," enough to make the album an engaging overall listen, despite some pedestrian rapping at times. More than anything, Nelly's knack for writing -- and singing -- such infectious hooks makes Country Grammar an exceptional album for its time, one that transcends regional styles like Dirty South and is universal in its (Midwestern?) pop-rap appeal. Some of the credit should go to producer Jason "Jay E" Epperson, who showcases a lot of talent over the course of Country Grammar. ~ Jason Birchmeier, All Music Guide
