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So Addictive

So Addictive

a review by david m of
release format So Addictive by Missy Elliot (CD Album)

text

The production on Missy Elliot's third album does deviate from just using "double beats" (as Missy herself calls them). Timbaland was apparently annoyed (rather than flattered) when every hip-hop of r'n'b producer adopted his micro beat rhythmic style, but 'So Addictive' proves that he's through with the whinging and ready to prove that he isn't a one-trick-pony.

This album sees Timbaland exploring new sounds, some dance-orientated, others more organic and traditional, backing Missy with everything from a 4/4 house groove ('For My People') to an old school disco-funk stomp ('Old School Joint'). In fact, the 4/4 rhythm is used more commonly than the usual syncopated clicks and ticks.

For Missy, this album represents her discovery of ecstasy/club culture and a greater willingness to delve into her sexuality and gender politics. (The promotional interviews and videos clearly show her trying to shed her sexless cartoon image).

Missy raps in a southern drawl over traditional Timbaland beats on the new single 'Lick Shots', Ludacris is brought in to "represent the guys" on 'One Minute Man' and dares to spend too much time thinking about his own fun and failing to dedicate sufficient time to Missy's! 'Slap Slap Slap' sees Missy paired with the audacious Da Brat and Jade over one of many Timbaland productions on here that have some cute casio-synth tinkerings (in an 80s stylee). While '4 My People' has an excellent house groove - which I notice hasn't been taken too kindly to by US rap reviewers.

The albums weaker moments are where Missy and Timbaland look to a Erykah Badu / Jill Scott retro / organic sound - 'X-stasy' and 'Take Away' are examples of the purity ballad that doesn't really suit Missy.

Another minus is all the ecstasy evangelism spouted by Missy, which, to these ears, is a tad quaint (and I'm being generous). 'X-stasy' asks us 'to read between the lines' then proceeds to tell it as it is without cloaking anything in metaphor or innuendo.

So, perhaps, the bad news for people who have only heard the incredible 'Get Ur Freak On' and are expecting more of the same on the album, is that this is by far the best track on here and it sticks out as much on the album as it does on the radio and all the other places I've heard it.

The track seems to have been made specifically to seduce the London's garage massive where its ragga bass mixed with bhangra beats mixed with ethnic shrieks and cheeky lyrics have already led to the inevitable 2-step bootlegs and ragga production rip-offs. Although other tracks on the album fail to match 'Get Ur Freak On' for its sheer innovation, there is plenty of quality on offer here. And of Missy's three albums, this one has the greatest musical variation. Posted by david m at 00:00, 14 Jun 2001