Will Smith Albums (4)
What The Critics Say
You can't help but respect Will Smith for continuing to make Will Smith albums -- street cred be damned -- and maintaining a semi-frequent release schedule, despite his more lucrative and demanding movie career. More than ever, despite all the hits he has racked up since the late '80s, it seems like Smith is an actor who happens to record every now and then, rather than a rapper who acts or even an actor/rapper. His previous album, 2002's Born to Reign, fell short of gold-level sales by some distance. That disappointment, combined with some blows he has taken from harder rappers and radio personalities, has made him a little bitter. This is one of the factors that makes Lost and Found the least party-oriented album Smith has made, despite a generous supply of the lighthearted, humorous songs you're accustomed to hearing from him. On "I Wish I Made That," he jokes about adopting more of a street persona in order to gain some respect ("Just ig'nant, attackin', actin' rough/I mean, then, will I be black enough?"), knowing full well that he'll always be thought of as, well, Will Smith. Smacks are dealt to a hypocritical (but not hypothetical) born-again Christian, as well as pretty much any larger than life MC riding high on the charts. "Tell Me Why" -- in the vein of Jadakiss' "Why," only far more dramatic, with Mary J. Blige on board to expected good effect -- is the most sobering song he has written, expressing how difficult it can be to explain the ugly aspects of the world to a child. Some of the playful songs are as joyously boisterous and willfully corny as anything in Smith's past, making Lost and Found an entertaining and thoughtful album for young kids and their parents to listen to and talk about. ~ Andy Kellman, All Music Guide
What The Critics Say
It'd be inaccurate to call Will Smith's third album the musical equivalent of Ali -- a bid for artistic credibility from an artist so assured and smooth, it's been easy to pigeonhole him as merely a pop artist -- but given the range and harder edge on Born to Reign, it's hard not to think of it at first. Make no mistake, this is not as serious as Ali, nor is it a record whose first intent is to enlighten and educate (this is not a KRS-One or Wyclef Jean project). It's a fun, pop-leaning record, much like his first two records, and never is it afraid to return to the sounds and styles that brought the former Fresh Prince (deserved) big hits, but among comfortably familiar jams, Smith stretches his legs. Some of the hip-hop hits harder; there's a touch of reggae; he even appropriates a bit of a Ricky Martin vibe on "I Can't Stop." It's a small but significant change, and while it doesn't result in a record that flows as effortlessly, or giddily, as Willennium, it's easy to appreciate the effort to stretch, because even if all the experiments aren't necessarily successful (sometimes, the idea is better than the execution), it does reinvigorate the Smith signature pop-rap sound (apart, oddly, from the theme for Men in Black 2, "Black Suits Comin'," the only cut in this vein to fall flat), and results in another solid record from Smith. Maybe not as consistent as its predecessors, but still enjoyable in its familiar turf, while provoking admiration for its ambition, even when it's not always satisfying. Not a bad way to stretch. [This is a copy-protected disc, which on the average computer doesn't mean that you simply can't copy the disc -- it means that it will freeze your computer if you just want to listen to it via your CD-Rom. Not realizing this, I lost work when trying to write and listen at the same time, so buyer beware.] ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
By the time Will Smith released Willennium in November 1999, it was fashionable to put him down, especially since he was recovering from his first major stumble, the overblown Wild Wild West. Probably just the fact that he was everywhere made certain spoilsports long to take him down a notch, but Wild Wild West wasn't a mess because of him; in fact, he provided the only glimmers of fun in the whole misguided mess, through sheer star power. And that star power drives Willennium, turning it into a bold, brassy delight. Smith just doesn't care what anyone thinks; he knows he's a superstar, and he revels in his status. He likes to make fun music, and he likes to make it on a grand scale. Furthermore, he has no shame about entertaining. Consequently, Willennium is a gonzo pleasure in the way only a handful of big-budget pop albums can be: gaudy, giddy, infectiously silly, and proudly over-the-top. Case in point, its de facto title track, "Will 2K." Smith and his producers picked the Clash's "Rock the Casbah" as the foundation for an end-of-the-century party jam, a move so mind-bogglingly unpredictable that it's hard not to smile. And that spirit carries throughout the album, as Smith drops lyrical and musical allusions that are at once well-known and totally out of left field. All of this is done to bright, joyful party music that celebrates its big beats and big hooks. Smith isn't quite as convincing when it comes to slow jams, but still his charm shines through. But the heart of the album lies in the up-tempo dance numbers, since they're what make Willennium irresistible. And this is one of the rare times that an abundance of cameos enhances the spirit of an album, making Willennium feel like a Y2K blowout where everyone is invited. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Will Smith wisely decided not to change his style too much on Big Willie Style, the first record he released since becoming a major movie star with appearances in Independence Day and Men in Black. Instead of trying to toughen his image, Smith continued with the friendly, humorous pop-rap that has been his trademark since He's the DJ, I'm the Rapper. Of course, he gives the music a glossy modern sheen (ironically based on early-'80s funk) in order to prove that he's still hip -- and it works. Sure, there's filler scattered all the way the through the album, but the best moments -- the disco-thumping "Gettin' Jiggy Wit It," the Larry Blackmon duet "Candy," the ballad "I Loved You," and the riotous "Men in Black" -- rank among his best singles. ~ Stephen Thomas Erlewine, All Music Guide
