Kelis Was Here CD

On the basis of her association with production superstars the Neptunes and her 2003 smash single "Milkshake," Kelis became one of contemporary R&B's hotter commodities, so the artist's third album, 2006's KELIS WAS HERE, was met with great anticipation. Fans certainly weren't left wanting for length or variety: there are 17 tracks (plus a Neptunes-produced bonus track) and a host of producers (including Scott Storch, Will.i.am, and Raphael Saadiq) lending their craft.
Kelis's distinctively sassy singing is the glue that holds it all together. The album's lead-off single, "Bossy," featuring veteran rapper Too $hort, provides plenty of chant-along, head-bouncing groove, as does "What's That Right There," which employs a classic P-funk sample. "Trilogy" shows off Kelis's skill with ballads, which is sadly underrepresented on KELIS WAS HERE, one of the album's few drawbacks. Nonetheless, the album holds up, delivering a potent dose of attitude-heavy, hip-hop-flavored, female-fronted urban soul and funk.
"That milkshake song" ("Milkshake") brought Kelis to the mainstream for a couple months during 2003 and 2004. The singer's follow-up -- Kelis Was Here, her fourth album -- bears no retreads. Though lead single "Bossy" makes lyrical references to her number three hit and the moderate breakout "Caught Out There," the song is as distinct as anything she has done before, featuring another variation on her don't-give-a-damn assertiveness, this time over an ornamental and plinky production from Shondrae. The album, like the others before it, deals a number of stylistic curveballs, all of which are handled by the singer like lobs down the middle of the plate. What makes it less successful than 1999's Kaleidoscope and 2003's Tasty is that it's extremely choppy and excessively long, and it doesn't have the range of emotions to match the varied backdrops. There is too much and not enough Kelis; too much material is second rate, and the tougher sides of her character dominate the album -- there are too few equivalents to the softer likes of "Get Along with You," "Flash Back," and "Protect My Heart." Minus the intro, there are 17 songs, which are sequenced in a way that snags any sense of momentum. "Bossy" leads into the plodding and brainless "What's That Right There," an inert club track that relies far too much on an overused Funkadelic song and a tossed-off call-and-response nonsense initiated by producer will.i.am. "Blindfold Me"'s anthemic kink drops directly into a misty-eyed ballad, one of a few instances where Kelis' collaborators ape old Neptunes moves (such as the ones made on Kelis' first three albums), though Scott Storch deserves a commendation for his clone job on "Trilogy." While Kelis Was Here cannot be disregarded, it's more like a lot of songs thrown onto a disc at random than an album. It's more demanding of your deleting and resequencing skills than any other Kelis release. Beware the baffling three-minute jam that ends "Have a Nice Day" and stay for the untitled bonus track, actually titled "F*ck Them Bitches," which continues to prove that any Kelis song involving cursing and putdowns is a brilliant Kelis song. ~ Andy KellmanSpin (p.106) - 3 stars out of 5 -- "[H]er most streamlined effort yet....[With] sleek slow jams..."
Entertainment Weekly (p.85) - "On the will.i.am-produced 'Till The Wheels Fall Off,' a slinky homage to early-'70s funk, Kelis sounds huskily terrific..." -- Grade: B
Q (p.143) - 4 stars out of 5 -- "Kelis is blessed with a unique voice.....KELIS WAS HERE is chock-full of surreal soul diamonds."
Mojo (Publisher) (p.101) - 3 stars out of -- "There's plenty of quality material here, such as the vulnerable 'Appreciate Me', the cute 'Bossy' and unrepentant 'I'm A Handful'..."