22 December, 2010@10:00 am
Regardless of how you feel about his music, nobody can deny the business man and walking promotion machine that is Diddy. Truth of the matter is, many out there don’t really love Diddy musically, beyond the original Biggie Bad Boy era, but we follow him regardless to see if he will strike gold once again. Not to sound cliche, but he can’t stop, won’t stop.
With his latest LP, Last Train To Paris, Diddy attempts to create a concept album, a sort of off-the-beaten path musical experiment similar to Kanye’s 808 & Heartbreaks, with the mellowed out vibe of Drake’s Thank Me Later. That being said, he still subscribes the usual Diddy formula – getting top tier talent to write and produce most of the album for him – which ends up with mixed results. The main difference this time around that this is a collaborative effort with R&B duo, Dirty Money.
At times, they completely nail it. We saw this on the group’s breakout single, “Angels”, which took the early 90′s Bad Boy formula of rocking over a classic instrumental, in this case Jay-Z’s “Where I’m From”, with added verses from Rick Ross and B.I.G. The same could be said for their second single, “Hello, Good Morning”, the up-tempo club-knocker with T.I. where Diddy almost plays hype man to his guests. On some of the album’s mellower selections, he also prevails, such as the piano driven “I Hate That You Love Me”, which is only missing a verse from Common, or the bedroom-ready “Shades” (feat. Lil Wayne, Justin Timberlake, Bilal, & James Fauntleroy), that could have easily been on J.T.’s Futuresexlovesounds.
Granted, drawing on the strengths of his collaborators his always been his downfall, making this record – like many of his others – sound like a compilation. “Your Love” could have easily been Trey Songz single, “Loving You No More” Drake’s, or “Someone To Love Me”, Usher’s, as each sound like bonus tracks from their respective LP’s. Other times, things just come off as plain corny, such as the introspective “Coming Home” or the over-”motherfucker”-ed “Ass On The Floor”. Diddy’s contributions to any of the above mentioned songs show his limits as both a performer and a lyricist.
Despite this not being the best album of the year, Diddy tried, making this his most ambitious LP yet. It’s no fault of Dirty Money (there’s some talent there) or any of the producers/ghost-writers involved, as Diddy has the resources to get the best production money can buy. But at the end of the day, we all know how these things are put together, and just can’t be fooled.
Leave a Reply
- Raekwon Sets A Release Date For “F.I.L.A.” Album
- BUSH: A Snoop Odyssey Produced By Pharrell Williams [Preview]
- Drake – “If You’re Reading This It’s Too Late” Surprise Album on iTunes Now
- Action Bronson “Mr. Wonderful” Cover Art and Tracklist
- Juicy J “Blue Dream & Lean 2″ Mixtape Cover Art & Release Date Revealed
- MF Grimm “MF Love Songs” Cover Art + Tracklist
- Lord Hakim – “Brass Knucklez” (feat. Vast Aire & Phizz Ed)
- IAMSU! – “Hella Good” (feat. Tyga)
- DJ Kay Slay – “I Declare War” (feat. Styles P, Sheek Louch, Vado, Raekwon, & Rell)
- Maverick Sabre – “We Don’t Wanna Be” (feat. Joey Bada$$)
- Cannibal Ox – “Blade: Art of Ox” (feat. Artifacts & U-God; prod. Black Milk)
- Asher Roth – “Blow Your Head” (prod. Nottz)