[ history ]
Don’t get mad at me, I’m just the messenger. I realize many people probably love Shaggy -- Orville Richard Burrell -- and this album. I’ve tried to be fair to help those people on the fence. Listen to some samples online before buying. While the production value of the record itself is high, I don’t believe the decent production has made a memorable record. Maybe you will listen to it for a month, but I suspect the novelty will wear thin after a short-while. Remember this is not intentionally a comedy album. If you want clever writing, stick with Johnny Cash, Primus, Eminem, Weezer, Blink 182, even the Presidents of the United States. They have all carried it off better on their records.

To be honest, I came to this album (via Napster) with the desire to bash Shaggy. Although I’m know many people like it, whenever I hear his song “It Wasn’t Me” on the radio I’ve wanted to break it (only “Who Let the Dogs Out” irks me more). When I realized he was also responsible for “Bombastic” a few years back I began to sharpen the ax. With a deep history of listening to Reggae and Dance Hall Music, I came to this album with very low expectations. Don’t expect Gregory Isaacs, Steel Pulse, Black Uhuru, Bob Marley or even Third World. This ladiesman pulls off some songs but in the process makes me think of Tim Meadows Saturday Night Live "Ladies Man" skit if he had been given the voice of a deep Bass singer. That is Shaggy in a nutshell.

[ general overview ]
Shaggy, with his blend of styles (Reggae, Dancehall, R&B, Caribbean) is unable to bring anything original to mix anymore that Jennifer Lopez expands Latin music. That doesn’t, in itself, mean it is bad. In fact, the music isn’t bad. Shaggy has a deep, thick voice that can be employed well although it can be a bit wearing (like a favorite of mine, Crash Test Dummies). Shaggy’s unusual voice is both a strength and weakness, but the problem of the album is more about how safe and sterile the album is. The product value is high, a few songs are strong, but it feels very formulaic. Although Shaggy tries to be clever, honestly his tries usually come off as amateurish. I find I like the songs best when he doesn’t have too many lyrics or I can’t understand him. In terms of spontaneous moments, there are no more spontaneity here than a Bon Jovi album. Where is Tom Waits and Neil Young when you need them?

Regardless, this self-professed playboy and player is an the enigma to me. Why do we make someone like this rich? Maybe I’m just envious, eh? The arrangements are well-done but few are memorable. It is only satisfying, if at all, for the moment you listen to it. It is very transient. And those times something interesting is going on, Shaggy will often shoot himself in the foot by sticking in his tired, Casanova lyrics or pulling out words from his adolescent lexicon. If all else fails, a cliché here and there is used.

[ songs ]
The following are my comments on the songs:

01 - HOTSHOT: Arguably the most reggae sounding song on the album, Shaggy rub-a-dubs his way through this fairly catching, well-produced tune. Somehow he works the word “discombobulate” into the song, although I could do without his creepy laugh in this song -- or anywhere on the album.

02 - LONELY LOVER: Mister Lover is in town, but his low voice doesn’t seem to work as well here as elsewhere. In this attempt at a suave song, there are too many clichés. My favorite word worked into the song: “smooch”. When is the last time you’ve heard THAT word in a song, eh?

03 - DANCE & SHOUT: Disco? Shaggy does Michael Jackson a disservice here by borrowing is riff “Let’s Dance, Let’s Shout, shake your body down to the ground” from "Don't Stop 'Til You Get Enough.” The song goes nowhere and depends for its appeal on the classic Jackson tune.

04 - LEAVE IT TO ME: Overall this is a very listenable, slower song with a lot of R&B Elements. Shaggy tends to sing more that rap in this song, which isn’t so bad. Again Shaggy’s unreliable ability to write decent lyrics (beyond his unsophisticated player ways) yields some odd moments: “I want you to feel good inside, explode like a land mine”? Shaggy, this is a love song? How bizarre…

05 - ANGEL: You will recognize this tune. Remember Chip Taylor's classic hit, "Angel of the Morning”? Shaggy raps over this pleasant chorus and melody. Unfortunately I feel it takes more away from the song than it adds despite the pleasant background singers. Boo Hiss. Nice try. Thanks for playing. Favorite line: “mission completed”. I suspect that in general the general public will enjoy it this tune (subconsciously due to the distant memories of the original).

06 - HOPE: This song drives ahead quite well. It is very upbeat and feels somewhat like a Jimmy Cliff song. Here a minimal set of lyrics serves Shaggy much better. Keep the man from overwriting, please! This is a catchy and compelling song. Good for driving and sunny days.

07 - KEEP'N IT REAL: Do we have two inspirational songs in a row? While Shaggy sings “don’t worry just push on through”, this is not Bobby McFerrin's “Don’t Worry, Be Happy.” I’m sure some listeners will enjoy this song. The chorus of “Keep’n It Real” is compelling enough, but if you want a classic you will have to look elsewhere.

08 - LUV ME, LUV ME: This song does nothing for me and is NOT the version where Janet Jackson sings the chorus. It feels very sterile to me. But it is upbeat and will appeal to a number of listeners. And the song does provide a good line: “step in the caravan of love.”

09 - FREAKY GIRL: This is the song for those looking for some “kinky” stuff -- at least with mass appeal. Talk about sweat, handcuffs, whips and chains, all with Shaggy and his laugh.The lyrics are out of some B-grade movie. This is the musical equivalent of the movies “9 1/2 Weeks” or “Wild Orchid” (any Mickey Rourke movie for that matter other than “Diner”). This song goes NOWHERE.

10 - IT WASN'T ME: This is what people buy the album for, right? I’m sure you know this one with all the air-play it has received. This is a huge hit, but just because a song is a hit DOESN’T make it good. Although this is supposed to be funny, I find it, well…dumb. I don’t even find the music compelling. This is probably the second worst song on the album. But if you like it, don’t expect to find songs of the same style. This is truly one-of-a-kind.

11 - NOT FAIR: This is a very conscious song -- it is trying too hard to be clever. When it comes to being clever, please keep it to yourself Shaggy. The faint phone ringing in this song keeps me looking around from my phone. Beware: “Mister Lover is in town.” He is not doing his duties as a lover, but you know, “that is just how rude boys play.” This song will get ignored after a few listens. It is probably the low-point of the album.

12 - HEY LOVE: This time our hero raps on the classic topic: not getting married yet because Shaggy needs to steal a few more hearts. Taking a trick out of Sting’s book, Shaggy sneaks a little bit of Arabic/Indian singing in this song -- although it isn’t as prevalent as Sting’s “Desert Rose”. The rhythm is actually very infectious and exotic (with a repetitive guitar single string riff and a slick bass line), and the melody is pleasant. Pretend you can’t understand the lyrics and this is a winner! My favorite line in this one: “Now I’ve got models in bed knocking boots.”

13 - WHY ME LORD?: Stop the laughing Shaggy -- it is CREEPY! Once again Shaggy is getting caught by his woman with another girl. Imagine that. This is NOT the Kris Kristofferson song, thankfully. While the production value again is good, the song is boring and uninspired. Wallpaper music! I want to turn this song off but felt compelled to take the shrapnel for others thinking of buying this album. Classic line: “she asked me if I can spell the word EVICT”.

14 - CHICA BONITA: Dipping into the pool of Latin music? Not quite. I guess you can applaud or despise the attempt at something different here, but it comes off as repetitive and sterile.


Recommended: No

Great Music to Play While: Cleaning the House