Customer Reviews

Press Play

5 star:		(23)
4 star:		(22)
3 star:		(12)
2 star:		(17)
1 star:		(25)

 

 

Ok you already know, this album is full of collabos from Twista to my main girl Keyshia Cole. But this cd sucks. Yeah he got some tight beats to rock in the club to but thats it. My favorite track is LAST NIGHT feat. KEYSHIA COLE, That girl can blow, and thats makes the song tight, not Diddy. And like others have been saying, Yeah Diddy is a great business man and thats it. In my opinion he should just stay behind the scene's. Hang up the rapping Diddy, cause you are not it.

I truly do despise Diddy. Sean Puff Daddy Puffy P. Diddy Diddy Combs has grated my nerves for well over a decade, since he was whispering "I like that" in the background of all B.I.G.'s hits on Ready to Die, and making an appearance in every Bad Boy video. His swagger is corny, his delivery is wack, and his income in a day is more than most men will make in a lifetime. Diddy's got a lot of haters, and he's warranted all the criticism he's received. But this album, simply put, is fun.

Diddy literally bought a hot album for himself. He rounded up an entourage full of a-list producers and writers, and virtually had everyone make this album for him. The only thing he does on this album is rhyme; and let's not get it twisted, his delivery is still as mush-mouthed, and unpolished as it's ever been. However, the rhymes, written by everyone from Monch to Tip, are still hot, the all-star cast of guests deliver, and the production is handled magnificiently. If anyone but Diddy was delivering these rhymes, it's hard to say that this wouldn't be an album of the year contendor; it's got all the elements of a perfectly formulated album, with the exception of Diddy himself.

Unlike virtually everyone else, I didn't come into this album looking for Diddy. I didn't acquire this album because I wanted to bash Puffy, or because I saw the "Come to Me" video on MTV, and felt inspired to rush to the record store, and pick it up. I purchased this album because emcees like Big Boi, Nas, T.I., and Pharoahe Monch contributed to it, and producers like Kanye and Havoc provided beats. This is more of a compilation than it is a solo release; Diddy maybe all over the release, but he's spitting other's writtens. He also isn't 'producing' any of the beats on this album, so you don't get any ganked "Kashmir" riffs, or Grandmaster Flash-backs. You get an entirely original hip-hop release, that is remarkably fresh coming from someone like Diddy.

The only thing Diddy deserves credit for on this release is shelling out the cash for it. Otherwise, nothing on this album portrays Diddy as an artist; something he most definitely isn't. It may not be cool to support Diddy, but this album is definitely worth checking out. Just don't go into expecting anything other than tight rhymes over dope production, unfortunately performed by a man with a disgustingly bad flow; because then, and only then, will you be dissapointed.

Let's be honest: was anyone really checking for a new Diddy album? We all know that he was never really the best lyricist, but he still shined when he wanted to ("Diddy", "It's All About the Benjamins"). But his latest album Press Play will have you doing everything BUT that.

Now, Diddy has been known for bringing a slew of guest stars on his albums, especially since his first and third releases credit some variation of "and the family". At first glance, it appears that he is trying to roll for dolo this time around (although that didn't work on Forever), but in actuality, this album is also littered with guest stars, and their performances really aren't that great. And as far as the Bad Boy influence, I can conversely compare this release to posthumous Biggie releases: Biggie was paired with artists he'd probably never work with if he were alive, while here, you'll find people that normally wouldn't be paired with Diddy, like Nas ("Everything I Love") and Big Boi ("Wanna Move").

There are a few tolerable tracks like "After Love" and the necessary song with Mary J. Blige on the hook, "Making It Hard". The best songs, though, would have to be "Come to Me" (with Nicole Scherzinger -- I don't know WHY I like that song so much) and the latest single, "Last Night" featuring Keyshia Cole (but it should really say Keyshia Cole featuring Diddy because Diddy is only on the chorus). But other singers seem to make bad songs even worse, like Brandy ("Thought You Said") and, unsurprisingly, Mario Winans ("Through the Pain"). And if 2006 wasn't such a bad year for collabos, the Christina Aguilera-assisted "Tell Me" would have easily been in the running for my most hated collaborations.

That song also suffers from a hectic beat, which points out another downfall on the album: the production. The beat from the aforementioned "Wanna Move" sounds like it came straight from a Yamaha drum machine, and "Special Feeling" sounds like it was made with a My First Sony. But other songs are just garbage, like "The Future" and especially "Diddy Rock" (and that's also a wack title). Also skippable is "Hold Up", which features Diddy saying that when it comes to foes: "They disturb me, but it's love like tennis." What?

And this damn album is 79 minutes long, too. Basically, as other reviewers have said, the only button you'll really be pressing after listening to Press Play is STOP/EJECT.

Anthony Rupert

I admit had Diddy released this album with just himself rapping or musing I would never have purchased it(even with the top producers crafting the beats) yet the guest star talent is what reels you in. And like a true business man Diddy knows how to get you in his domain then the album takes over. Its fresh, lyrically and musically diverse so the album feels so much bigger than the 15 or 16 full tracks on it. From the Ciara Big boi collab, to the Nas, to the Christina Aguilera to Keyshia Cole theres so much to enjoy. I'm not saying the album is classic but I feel that it is the best hip pop cd to come out this year. I think fans of this genre won't be disappointed

Don't press play with this CD in your stereo. In fact, don't even think of buying this CD. Sean-John-Puff-Puffy-Daddy-Diddy-can't keep a proper nickname to save his life-Combs is best known for exploiting hip-hop and making it become something that is what it was not intended to be. And he does it again with this waste of silicone. You have what your average mainstream rap disc has: lyrics that make no sense, stolen beats, and the lack of thought. Just like his previous works!

Boycott this garbage and everything else he has done, whether it's Puff Daddy, P. Diddy, Sean Combs, whatever! It's all trash! Go for A Tribe Called Quest or Wu-Tang Clan if you want quality rap.

How many of us remember the concept of personal best? That no matter how excellent what the next person does, you really can't compare yourself to that because your circumstances and abilities are entirely different? I believe Mr. Sean John Combs has reached for his personal best with this album. This album is one that attempts to display a much larger range of musical influence than so-called "hip hop", which has been stagnant for at least ten years now. I feel like Diddy has finally made the album he alway's wanted to make. In a sense I think hip hop has finally caught up with him. This is Diddy's awnser to the charge that "hip hop" is dead. Include other music genre's. Hip Hop's musical bed was alway's laced with sheets from other genre's anyway. This is Diddy's attempt for "Speakerboxx/Love Below" type artistry. This is the voice of a 37 year old black man. How many times do we hear a mature black male voice in music today?

My favorite cut is most defiently 'Special Feeling", and anybody who's a fan of Prince will recognize the style.Synthesizer chord stabs on beat one, simple uptempo two and four drumbeat that comes from Gospel music, funky ghost notes on the bass guitar that add to the groove, and a snare drum playing rhythmic accents on the upbeats and ran through a phaser, vintage 84 Prince as heard on "1999", "Erotic City", and other Minneapolis sound records like "What have you done for me lately".Will I Am even includes a nice Rhodes solo on the breakdown, probably done on a Yamaha Motif. Princes current drummer JOHN BLACKWELL actually plays on this cut! John plays on tracks 1,2, and 3 as well. On the overall that's what I love about this album. Not too many black stars today would have that sensibility to them. Why doesen't Beyonce go and get Herbie Hancock to accompany her singing on a ballad? Diddy went and got John Blackwell, and the Tower of Power Horn Section, who play on several cuts. That's a Quincy Jones move: get the best people to come in and do their thing. When Diddy does it, we consider it buying a hit. WTF?

Diddy is part of a long tradition of black entertainers whose main providence is feel. George Clinton? Couldn't read music, write music, or play an instruement, but he created a vibe for his band to create out of. James Brown? Couldn't play an instrument either, but he produced off vibe. Quincy Jones could play trumpet and write, but if you look at Michaels albums, he never wrote the big hits. His greatest musical asset was often his Rolodex. Anybody who criticizes Diddy for having so many guest artists or creating a "compilation" must have never listened to "The Dude", must have never got "Back on The Block", and certainly never been to no "Juke Joint". Quincy Jones won grammies for albums that were compilations. One of the advantages of the large funk bands were they contained gruff voices, falsetto singers, all kinds of instrumenalists, they were self contained. For a solo artist to fulfill all of their artistic initiatives today, they need multiple guests. Diddy only features guest rappers on three songs on the album, making his by far the most prominent voice on the album. If you think that's the pits, it's the pits, but you must admit the mans goin for self on this one.

"Last Night" with Keyeisha Cole also displays a heavy Prince influence in it's huge drum sounds. Pharrell expands on the chord changes and rhythms he used on Omarions "Touch" on "Partners for Life." The beautiful jazzy interlude "Crazy Thing" hints at the bass line of Miles Davis "All Blues". There is MUSIC ON THIS ALBUM, Not just beats, MUSIC. Several cuts feature nice B-3/ Rhodes type solos. It's not Thelonius Monk, but who knows how much hearing a solo on a pop rap album might inspire the next generation.

Diddy raps better than he ever has, effecting several different flows, and his lyrics are more personal, talking about his family, girlfriend, and other quirks like "you're now rocking to the sounds of the BBE." How many folks dig what a crazy hip hop reference that is? That's a reference to the legendary DJ Gary Byrd, and the GBE. Gary's a father of rap through his radio style and wrote two songs on Stevie's "songs in the key of life" (the lyrics to village ghetto land and black man) all in all, despite having a lot of different producers, there is a unity of sound to the album, probably due to the ubiquitous synthesizer arpeggios. Interludes, spoken pieces, tempo changes, dropping the beat out, Diddy uses a wide variety of techiniques to heighten the emotion of every song. The lyrics try to tell you something about Diddy such as, "I extend credit to a vagabond." Who but a hip hop entreprenuer from the hood would pay attention to some old black bum on the street (who might have a college degree) Basically this album is the future,proving theres room in hip hop for MEN, not thugs, gangstas, but simply grown MEN. Diddy's provided an initiative that more dedicated, more gifted performers can take and run with. I love him for that

the Production on here ain't bad,but when Puffy's attempt at rapping&also singing,then the results aren't gonna be good. Puffy is a better talent scout&also at putting folks together,but as a Artist he leaves alot to be desired. this album is only half way worth listening because of some of the guests,but then again there is nothing here that is memorable. Puffy should have stopped a long time ago trying to make records.it's one thing behind the scenes or in the background,but on the mic dude is still wack.

After waiting for 5 years for new music from Diddy, I was really looking forward to grabbing this cd. I like it, but it's lacking a little something. It's choc full of great artists that sing along with him and it's come at a perfect time considering his record label has just recovered from it's lull by bringing out Danity Kane, Cassie and Young Juc. This is a cd with appeal to non Diddy fans even, purely based on the extensive list of artists. There is Jamie Foxx, Brandy, Mary J Blige, Twista, Big Boi and Christina Aguilera to name a few.
To me, the stand out songs are Tell Me, Through The Pain (She Told Me), Special Feeling and Come To Me. The something that is lacking, picks up again from song number 7 (Tell Me) onwards. That's where all the other singers come into it and give it a pop.
This cd is worth listening to - it is good - but I think it wouldn't have been all that without a little help from his friends.

Maybe I'm giving my age away but the CD reminds me of some of the artist in the 80's....even the CD cover resembles something from the 80's as well. The CD is ok but not great. To keep it real some of the tracks have potential to be heard over the radio air waves. The CD has to grow on you as someone else put in an earlier review.

I enjoy listening to this cd. The different styles of music is intriguing and inviting. Last Night is outstanding...Keisha Coles is sanging that song! Diddy is no rapper, that we can all agree. However, the production on this cd is top notch. Tell Me, Come to Me, Wanna Move, Last Night and After Love are my favs so far. I believe Sean Combs did an outstanding job of trying to bring various forms of music to the mainstream.