The Bottom Line
If you're a Kelis fan, you might as well stop reading this review right now, 'cause it ain't gonna be pretty.
Kelis Was Here is a mess. Kelis has never been a very strong singer, but on this album she actually seems to have gotten worse. The throaty, half-rapping, half-singing vocal style she uses on much of the album just doesn't work.
She may be great at making novelty songs like "Bossy" (from earlier this year) and "Milkshake" (from her 2003 album Tasty) but Kelis can't carry a full album.
Kelis Was Here is a mess. Kelis has never been a very strong singer, but on this album she actually seems to have gotten worse. The throaty, half-rapping, half-singing vocal style she uses on much of the album just doesn't work.
She may be great at making novelty songs like "Bossy" (from earlier this year) and "Milkshake" (from her 2003 album Tasty) but Kelis can't carry a full album.
Pros
- Too $hort
- Will.I.Am
- Cee-Lo Green
Cons
- Kelis' 'singing'
- Kelis' 'rapping'
- The sound of Kelis' voice
Description
- Hip Hop-flavored R&B
- Sonically eclectic and adventurous
- Shallow and lacking substance
Guide Review - Kelis: 'Kelis Was Here'
If there's one thing that Kelis' fourth album, Kelis Was Here excels at, it's being eclectic. Kelis definitely deserves kudos for going in so many different musical directions, something she's done her entire career.
Throughout the album, there's many flavors: like the Hip-Hop cockiness (on "Bossy") the dance club track "Weekend," the easy-going pop of "Lil Star," a Spanish guitar-laced track called "Have a Nice Day" and even a bluesy/gospel-ish track, "Appreciate Me."
And if there's anything that makes the album worth getting, it's Kelis' strong personality and attitude. On numerous songs, she's brash and brassy, like on the aforementioned "Bossy" and "Appreciate Me," as well as "Handful" and other tracks.
But nearly every song is empty inside: there's no substance, no meaningful lyrics, almost no live instumentation. It's lifeless, meaningless R&B sung by a meagerly-talented 'singer.'
Her singing voice is all over the place; sometimes it's throaty, like an emotionless Toni Braxton, mixed with a restrained Macy Gray; sometimes it's high pitched, like a tone-deaf Gwen Stefani.
The production on nearly every song is excellent, thanks to producers like Raphael Saadiq, Scott Storch and Swizz Beatz, among others. But their efforts are pretty much wasted because of the awkward vocals.
So in a nutshell, if you're looking for personality, attitude and tight beats, this album may be for you. But if you're seeking good, quality, on-key singing and substantive lyrics, look elsewhere.
Throughout the album, there's many flavors: like the Hip-Hop cockiness (on "Bossy") the dance club track "Weekend," the easy-going pop of "Lil Star," a Spanish guitar-laced track called "Have a Nice Day" and even a bluesy/gospel-ish track, "Appreciate Me."
And if there's anything that makes the album worth getting, it's Kelis' strong personality and attitude. On numerous songs, she's brash and brassy, like on the aforementioned "Bossy" and "Appreciate Me," as well as "Handful" and other tracks.
But nearly every song is empty inside: there's no substance, no meaningful lyrics, almost no live instumentation. It's lifeless, meaningless R&B sung by a meagerly-talented 'singer.'
Her singing voice is all over the place; sometimes it's throaty, like an emotionless Toni Braxton, mixed with a restrained Macy Gray; sometimes it's high pitched, like a tone-deaf Gwen Stefani.
The production on nearly every song is excellent, thanks to producers like Raphael Saadiq, Scott Storch and Swizz Beatz, among others. But their efforts are pretty much wasted because of the awkward vocals.
So in a nutshell, if you're looking for personality, attitude and tight beats, this album may be for you. But if you're seeking good, quality, on-key singing and substantive lyrics, look elsewhere.
