Media response to Big Willie Style was mixed. Stephen Thomas Erlewine of website AllMusic awarded the album four out of five stars, praising Smith's "trademark ... friendly, humorous pop-rap" style, which he pointed out had been modernised since his releases with DJ Jazzy Jeff.[1] In particular, Erlewine highlighted the songs "Gettin' Jiggy wit It", "Candy", "I Loved You" and "Men in Black" as "among his best" songs.[1] Rolling Stone writer James Hunter was similarly positive, describing the album as "wickedly well-conceived", praising the album's "delicious party jams" and noting "Gettin' Jiggy wit It" and "Yes Yes Y'All" as particular highlights.[4] He concludes by praising the lyrical themes of the album, dubbing Big Willie Style "an exceptional megacelebrity album".[4]
Will Smith Big Willie Style Full Album Zip
Entertainment Weekly writer Jim Farber, however, slated the album, describing it as being full of "nonstop pop-rap clichés" and claiming that "The musical world suffered no great loss when Will Smith ditched rapping for acting".[24] Village Voice critic Robert Christgau categorised the singles "Gettin' Jiggy wit It", "Just the Two of Us" and "Miami" as "good [songs] on an album that isn't worth your time or money".[23] NME writer Andy Crysell also gave the album a negative review, calling Will Smith "the Cliff Richard of rap", as well as saying that the album was "explicitly awful" with "nary a redeeming feature on show".[26]
Regardless if it's been 25 days or 25 years since 112 dropped "Cupid," the evergreen, harmonic R&B ballad that had pop-level reach. From their stellar 1996 self-titled debut album, "Cupid" landed at No. 13 on the Hot 100 and obtained Platinum status . While Kim Kardashian and Kanye West's marriage has dissolved, West's 2019 gesture to have 112 sing "Cupid" for Kardashian serves as further proof that the song will never die.
In October of 1965, I received orders for assignment to the 69th Signal Battalion at Fort Eustis, Virginia and found myself, once again on the way to Oakland, California. The battalion was being prepared for its operational commitment in Vietnam. We departed the United States from Oakland, Ca. on board the USN Upshur. The unit landed off Tau, Vietnam in November 1965. When we arrived at Long Bien, the combat engineers was still clearing the jungle where we were to setup. When I say setup, I mean the whole unit setup in two man pup tents, with duffel bag and weapons, with no ammo initially, c-rations daily and bathing buddy style. Fifty gallon drums of water heated by the sun during the day, your buddy used his helmet to pour water from the drum down a trough for you to wear your body and then to rinse of the soap, sorry no privacy. So many memories to talk about, I will finish here.
Conor Oberst: Conor Oberst (Merge)It's official. Forget Shins guy James Mercer, Spoon guy Britt Daniel,even Arcade Fire fraterfamilias Win Butler--this vibrato-proneromantic is the greatest melodist in contemporary mega-indie. Whateverhis adult solo debut portends for once and future arranger Mike Mogis,the Saddle Creek cartel and his latest girlfriend(s?), its meaning istunes, with beat enough to carry them forward and no other musicaldistractions. Unlike Mercer and Daniel, he's about flow--intricacy isan occasional afterthought. Once in a while a guitar part backs up atasty phrase, and when the time comes, someone in Bright Eyes willgracefully provide it. And oh yeah--the best song here, quite possiblythe best song of his life, is basically a rocking refrain: "I DontWant to Die (In the Hospital)."A
Stew, Rodewald and Various Artists: Passing Strange(Ghostlight)Always impressed and never bowled over by the auteur's albums, I onlycaught his musical after this original cast recording hit me like noStew or Negro Problem CD ever had. Two clues emerge in the guitared-up"Prologue": first "If you're ever not sure what I'm all about/Just askthe song," then "Since it's my job I'ma set the scene." Music assurrogate self, music as daily occupation--if Stew never shone asbrightly as he had to on his own records, his craftsman's approach tohis lifework was why. But these limitations feed into this amusing,moving, sophisticated, less than profound Broadway show about racialidentity and art for art's sake. Stew the narrator expresses himselfmore subtly and forcefully than he ever did as mere persona--thedistance frees him up. Similarly, two songs that satirize themselves,the Afro-hardcore "Sole Brother" and the Euro-anarchist "What's InsideIs Just a Lie," pack straightforward power. But in the end, there'sonly one standard: "Keys," a celebration of the occasional kindnessesof the bohemia where this 47-year-old African-American has spent hisadult life.A MINUS
He therefore took advantage of the moonlight to point the gun carefully so as exactly to cover the entrance to this narrow path, a precaution which, as will be seen, stood him in good stead before the night was out.
It was on this spot, it will be remembered, that the young laird had carefully levelled the gun that surmounted the great gate. Everything depended now on the skill with which he had aimed it. He gave the foe a minute or two to fix and point their weapon, and once more carefully calculated the poise of his own. Then, just as they were proceeding to load, and the horsemen were preparing to follow up the attack on the gate, he applied the match, and with a mighty roar the piece discharged. 2ff7e9595c
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