Shaggy Albums (9)
What The Critics Say
Shaggy's 2005 effort Clothes Drop was widely ignored in the States and only semi-accepted in the U.K. and Europe. In Jamaica and Japan, however, the album had serious legs, carrying the dancehall singer's career all the way to 2007 and the release of the "Church Heathen" single. Seeing as how his most supportive territories were Jamaica -- the home of it all -- and Japan -- where they'll take their dancehall straight, no R&B chaser required -- it made perfect sense for Shaggy to deliver a JA flavored tune featuring Jamaican Patois and references for the dancehall literate. That tune, "Church Heathen," took the dancehall world by storm, re-established the singer's footing in the U.K., and began to make an impact in the States towards the end of the 2007. That the U.S. would even pay attention is the biggest surprise since insider lyrics like "She a do the dutty dance to the Matterhorn song/And a say she get the ting them from Baby Cham" are hardly the stuff of "It Wasn't Me" or even his breakthrough hit "Oh Carolina." Still, the single has a riddim that's infectious, a Gregorian chant inspired chorus that's very clever, plus Shaggy in top form, pointing out all the pious church-goers he deals with back home with his usual crafty slang and humor. While the album his worldwide comeback hit lands on isn't totally without its crossover material -- "What's Love" with Akon being the best example -- Shaggy is more discerning than ever and makes sure the radio-friendly material is right in line with his skill set. The breezy "Bonafide Girl" with Rik Rok brings welcome reminders of their "It Wasn't Me" interplay, and while "Out of Control" could have come straight from the house of Jermaine Dupri, it's R&B-meets-dancehall stance feels natural, not forced. Even better are the tracks that fall firmly in the dancehall category. Besides the glorious "Heathen" there's the opening "Can't Hold Me," which finds the gruff vocalist working his quick delivery over a wonderfully crooked ragga beat. Conscious reggae, Sizzla, Shaggy, and Collie Buddz all make "Mad Mad World" a standout while "Wear di Crown" with Mischieve boldly declares itself "Big Yard Music" at the start and then delivers. With Intoxication, Shaggy has once again found that perfect balance of slick and streetwise, and added career-defining single number three as the cherry on top. ~ David Jeffries, All Music Guide
What The Critics Say
Trying to please everyone, Shaggy knocks an excellent album down to just a very good one by overstuffing the otherwise inspired Clothes Drop with bland filler. An hour plus, the album contains 40 to 50 minutes of inspired Shaggy with the swashbuckling singer dividing his time between swaggering business as usual and surprisingly non-pop, non-slick numbers that are welcome reminders of how deep he can go. The polished boasting and bragging on the opening "Clothes Drop" is no big surprise, but the minimal and bubbly production from Sly & Robbie is fresh and exciting. The pace is kept up with some raw dancehall -- the pounding "Broadway" with its brittle Barrington Levy sample is especially tasty -- before things get much slicker. "Wild 2Nite" takes the singer into the perfect-fitting world of G-Unit with special guest Olivia, and "Supa Hypnotic" is the first of two stylish winners with the Pussycat Dolls' Nicole Scherzinger, the saucy "Don't Ask Her That" being the second. Up to this point, Clothes Drop juggles the crossover and the genuine well, but generic concessions to bedroom R&B and a empty collaboration with the Black Eyed Peas' will.i.am are forgettable and have no place on this otherwise excellent album. That two of the most heartfelt and poignant numbers from the artist close the album makes this all the worse, but you only have to do a little trimming to make Clothes Drop one of his best. ~ David Jeffries, All Music Guide
What The Critics Say
Both commercially and creatively, Hot Shot was a tough act to follow. That 2000 release boasted some of Shaggy's best work (including the naughty smash "It Wasn't Me"), and it sold an impressive ten million units internationally. So when the time came to record a follow-up, Shaggy no doubt felt the sort of pressure that Janet Jackson felt when she recorded a follow-up to Control. This October 2002 release is Shaggy's first album of new material since Hot Shot, although MCA did release an album of Shaggy remixes in early 2002. And even though Lucky Day isn't quite in a class with Hot Shot, it is still an enjoyable follow-up. The album is full of the type of congenial, good-natured crossover dancehall that Shaggy is best known for; those who don't mind the fact that Shaggy is very much a crossover artist won't be disappointed to learn that infectious ditties like "Get My Party On" (which boasts a cameo by guest Chaka Khan) and "Shake Shake Shake" have a lot of pop and urban contemporary appeal. But Lucky Day doesn't come across as formulaic, and Shaggy -- for all his commercial moves -- isn't afraid to offer some surprises. "Hey Sexy Lady" successfully fuses dancehall and funk with Spanish flamenco; it's an unlikely combination, but one that works. And Shaggy, who specializes in lighthearted fun, brings a surprisingly serious tone to "Lost" (a warning against the dangers of crime and street life) and "Walking in My Shoes" (which is about persevering despite challenges and adversity). Although not Shaggy's most essential album, Lucky Day is a rewarding effort that takes its share of chances -- both musically and lyrically. ~ Alex Henderson, All Music Guide
'Hot Shot Ultramix'
Release Date 2/4/2002
Tracks 12
Label Universal/MCA
See Album Tracklist and Review
What The Critics Say
Like bootlegs and collections of outtakes, remix albums are not meant to convert non-believers; they make money by preaching to the choir. And in the case of Hot Shot Ultramix, the choir is Shaggy's hardcore fans -- people who bought 1997's Midnite Lover and 2000's Hot Shot the minute they came out. The primary focus of this 2002 release is remixes of songs from Hot Shot, a risk-taking album that, like previous efforts from the artist, successfully avoided dancehall's limitations by having a lot of urban, hip-hop, and pop appeal. Arguably, Shaggy is to dancehall what the late Grover Washington, Jr. was to jazz: a charismatic crossover artist who has no problem winning over those who have only a casual interest in his type of music. Washington won over a lot of people who had never listened to Charlie Parker, Sonny Stitt, or John Coltrane, and, similarly, Shaggy has attracted many listeners who don't necessarily have a lot of Shabba Ranks or Ninjaman in their CD collections (which isn't to say that some of them haven't gone on to explore more hardcore dancehall just as some of Washington's devotees went to on explore straight-ahead bop). Whether or not one needs to acquire Hot Shot Ultramix depends on how much of a fan they is. Although not essential, this CD is enjoyable if you have more than just a casual interest in his work. Shaggy's most obsessive followers are the ones who will have fun checking out remixes of songs that range from the playful "Chica Bonita" to the naughty hit "It Wasn't Me" (which gets two very different remixes; one is skeletal, while the other is slick and elaborate). But casual listeners can safely pass on Hot Shot Ultramix, which is only recommended to completists. ~ Alex Henderson, All Music Guide
What The Critics Say
Shaggy's fourth album is a classic hybrid of reggae, R&B, and pop. Following duets with Maxi Priest ("That Girl") and Janet Jackson ("Luv Me, Luv Me"), the Jamaica native teams up with master producers Jimmy Jam and Terry Lewis and a myriad of talented guest vocalists who complement his personality on each track. Coming with the minor hit "Hope" from 1999's For Love of the Game soundtrack, the first couple of singles, "Dance and Shout" (featuring a Michael Jackson sample) and "It Wasn't Me," show the strengths of this album -- they are smart, warm, and playful. Shaggy's persona is hard to not like. On "It Wasn't Me," a friend laments being caught by his girl with another woman; Shaggy continually advises him to flatly deny it. To be able to use that sentiment and still seem likable is a gift. There are such heavy samples, some of the tracks almost sound like remakes at points, but there is such originality and gifted wordplay that the combination works as opposed to seeming unoriginal -- something most rappers can't seem to accomplish. Each song on Hot Shot from the opening title track on is different, inviting, and infectious. ~ Bryan Buss, All Music Guide
What The Critics Say
Midnite Lover, the follow-up to Shaggy's career-making Boombastic, doesn't have anything as memorable as that album's title track or his dancehall reworking of "Oh Carolina," but that hardly makes the album a failure. It's a consistently entertaining collection of ragga from one of the leaders of the genre. There is a bit too much sexism for some, but even "Sexy Body Girls" has one of the best beats on the record, and the title cut has a supremely funky hip-hop rhythm. It's hard to excuse the ridiculous cover of Janis Joplin's "Piece of My Heart," but his version of Bob Marley's "Thank You Lord" (featuring vocals by Ky-Mani Marley) shows that there's more to Shaggy than bumping and grinding. ~ Leo Stanley, All Music Guide
What The Critics Say
Boombastic confirmed Shaggy's status as one of the most popular dancehall acts of the '90s, and for good reason -- the record is an infectiously entertaining collection of deep, funky grooves that celebrates good times. Featuring the major hit title track, the album also sports a great guest appearance by Grand Puba on "Why You Treat Me So Bad," as well as a hot duet with singer Wayne Wonder on "Something Different." Despite a silly cover of "Day Oh," Boombastic keeps the funky reggae coming and is Shaggy's best album to date. ~ Stephen Thomas Erlewine, All Music Guide
'Original Doberman'
Release Date 1/1/1994
Tracks 13
Label Blood & Fire/Greensleeves
See Album Tracklist and Review
What The Critics Say
Shaggy's debut album, Pure Pleasure, has been described as a dancehall album for those who generally don't care for dancehall and, to be sure, the CD managed to reach a lot of listeners who find dancehall limited and one-dimensional. The toaster accomplished this by striving for variety and being more musical than a lot of dancehall artists. Plus, the fact that he is fairly recognizable doesn't hurt; when other 1990s dancehall upstarts were becoming Shabba Ranks clones, Shaggy combined dancehall aggression with such influences as Yellowman. Pure Pleasure has its share of conventional, sexploitive dancehall, but Shaggy takes some chances on conscious numbers like "It Bun Me" and "Give Thanks and Praise" as well as his infectious interpretation of Prince Buster's "Oh, Carolina." Pure Pleasure isn't a gem, but it's an often enjoyable album that has some variety and does its part to broaden dancehall. ~ Alex Henderson, All Music Guide
