Robin Thicke Albums (3)
What The Critics Say
Looking like a Europop album from 1997 or 1998, Something Else's sleeve design would be much more indicative if it grafted a bunch of little Robin Thicke heads onto each dancing and playing body in Ernie Barnes' Back to Sugar Shack, the painting used for Marvin Gaye's I Want You. Not only would it be apt, it would play to Thicke's predilection for populating his covers with several images of himself. But it would obviously cause some problems. While a few songs do modernize the sound and feel of Gaye's steamy 1976 classic -- filled as they are with serene sexual energy and lush, impeccably layered arrangements built on rolling bongos, liquid basslines, and Thicke's acutely Gaye-indebted upper register -- there are several inspirations floating throughout, including indications that Thicke has a deeper understanding of Brazilian music, correctly believes that Philadelphia International did not flame out in the mid-'70s, and has transitioned into doing rocking R&B à la Van Hunt (cool, relaxed, natural) rather than pre-New Radicals Gregg Alexander (forced, awkward, unintentionally seriocomic). Following The Evolution of Robin Thicke, which went to the top of the R&B/Hip-Hop Albums chart and reached number five on the Billboard 200 (there was an Oprah appearance), Something Else features improvements in every aspect. From the tropical serenade opener to the album's quietly dazzling true close (the somber Lil Wayne collaboration "Tie My Hands" is really a bonus cut, having already appeared on Tha Carter III), Thicke has shed his affectations to the point where it's much easier to detect the sincerity he once obscured with hubristic tendencies. No longer a show-off, he sounds much more sure of himself; he would not have been able to pull off a socially conscious Southern-styled ballad like "Dreamworld," whether from a writing or singing standpoint, in 2003. Though his sources remain numerous, this is his most focused, least scattered, and least dilettantish set, and it benefits greatly from its brevity relative to The Evolution. That means everything has a deeper resonance -- especially the ballads, of which there are several. The man does know his audience. ~ Andy Kellman, All Music Guide
'The Evolution of Robin Thicke'
Release Date 2/7/2006
Tracks 16
Label Interscope
See Album Tracklist and Review
What The Critics Say
The story goes that the very happening Pharrell Williams asked music mogul and Interscope president Jimmy Iovine about his plans for Robin Thicke and then quickly snatched the artist up for his Star Trak imprint. Pharrell's enthusiasm for Thicke -- suave son of squeaky-clean celebrities Alan Thicke and Gloria Loring -- suggests he's one of the few who purchased his Interscope debut, 2002's Cherry Blue Skies, which was relaunched a year later as Beautiful World before fading into obscurity. While Thicke returned to his successful career as a songwriter and producer -- Christina Aguilera and Usher are just two of his many clients -- a cult formed around his debut. In 2005, there was both the Star Trak announcement and Lil Wayne's reinterpretation of Beautiful World's "Oh Shooter" for his 2005 release Tha Carter, Vol. 2, but the promised Thicke album that would reap the benefits was delayed, then delayed some more, and the cult got worried. Finally landing almost a year after originally promised, The Evolution of Robin Thicke is flawed with too much softness upfront, a lazy flow that takes some getting used to, and a downright awful track called "Cocaine," where style trumps substance, something that nearly happens the whole album through. Still, none of this means Thicke's sophomore effort shouldn't be embraced by those who appreciate his slightly eccentric take on slick blue-eyed neo-soul, because he's still mostly Timberlake for the skeptical set, or Prince for those who pine for the Purple One's over-stylized side project, the Family. Like old-school Prince, Thicke replaces every "you" with a "U," every "for" with a "4," and peppers his dreamy, sensual seduction numbers with brash and horny stingers. The bossa nova noir "Teach U a Lesson" feels comfortable and safe before Thicke's professor character explains how his student can "earn some extra credit," while "All Night Long" with Lil Wayne escalates from "All night long I wait 4 your lovin' babe" to "All night long I wait 2 tear U 2 pieces." Hardcore Southern baller Lil Wayne's two appearances -- the other being the return of his great "Shooter" -- are just one of the oddball genre-jumps the mostly neo-soul album makes, with Latin congas spicing up "Everything I Can't Have" while fingersnaps and jazzy arrangements play a big role in the sophisticated "Complicated." Over-indulgence and whims are all over the album, but perfectly polished pop tracks like "Wanna Love U Girl" and the surprisingly straightforward, empowerment-minded ballad "Can U Believe" succeed without any quirks. There isn't anything as instantly gripping as his debut single, "When I Get You Alone," and this fascinating effort just isn't tight enough to be called a classic, but with a little editing, rearranging, and forgiveness, his rabid following can sure love it like one. ~ David Jeffries, All Music Guide
What The Critics Say
Beautiful World marks the debut from one of Alan Thicke's sons, Robin. Like Morrissey, Thicke rides his last name, but musically he's on track with Jamiroquai and Justin Timberlake. He comes up with a delectable pop mix that's part Motown and part funk, giving Beautiful World a wide musical palette of sensuality and color. Thicke sets things up to be an emotional roller coaster that is self-searching and hungry for love, and such a move is impressive, but from the album opener, "Oh Shooter," one can sense the album struggling to develop into a full, solid set. Lyrically, Thicke is a little green, and as a singer his angel-like falsetto doesn't stretch far enough. He's riding the neo-soul/blue-eyed soul wave of the new millennium, which is definitely a welcomed effort inside the world of radio-tailored pop music. Unfortunately, that poses Beautiful World to get lost in the shuffle. Those who will take the time to really listen to Thicke's sweet stories will find Beautiful World to be enjoyable. "Brand New Jones" is a sunshiny groove layered in golden, synth hooks. "Flowers in Bloom" and the title track swoon with a springlike appeal; quick electronic beats soar throughout the latter, making for a feel-good moment. "When I Get You Alone" samples Beethoven's Symphony No. 5 for a funky R&B cut, and Thicke is stylishly slick throughout this sexy romp until the words, "Baby girl, you the sh*t/That makes you my equivalent" cheese things out. "I'm 'a Be Alright" doesn't do much better, for Thicke's vocals are hushed for some added sexual appeal, Lenny Kravitz-style, but it's already been done before. "Cherry Blue Skies" allows the album to bounce back just a bit before coming to a close. It's too bad Thicke didn't make Beautiful World as strict and raw as this perfect smooth soul standout, but it's safe to say that it's a sign of good things to come. Thicke has potential and Beautiful World is real, but much too focused on being a hardcore soul thing. Remy Shand pulled it off, but Thicke tried too hard. ~ MacKenzie Wilson, All Music Guide
