don't you tell me how i feel.

Diddy issues by Steele
January 11, 2011, 1:00 am
Filed under: comeback?, New music, who cares 2010

So, Diddy’s back with another moniker, recording this time as Diddy Dirty Money. Judging by the title of the album – the hilariously named Last Train To Paris – he’s in reinvention mode. Last Train To Paris? I’m sorry, are we talking about a Coldplay record here?

Against all odds and a plethora of evidence, Diddy persists in believing that he is a hip-hop/pop performer. I don’t think he’s ever been truly comfortable in that role, a conclusion I draw from the fact that he’s changed his stage name about five times (hint: IDENTITY CRISIS). His true talents lie in his skills as a producer, executive, talent seeker, fashion designer, thrower of parties and general all-around rich dude. He’s written some decent hooks and pop songs, and his acting was hilarious in Get Him To The Greek. So basically, he can probably do anything except what he’s been trying to sell himself as for the last 15+ years.

But continue he will, and as he has threatened in the past, he won’t stop. “Coming Home,” the leadoff single from the new album, is overwrought, overproduced, melodramatic and completely ridiculous. It’s also classic Diddy, by which I mean self-conscious, wimpy and desperate to be taken seriously. He’s barely rapping, and as always, his timing is awkward and his voice slightly off-key. He acts like he’s a relevent conversation piece in today’s music scene, which is a pretty audacious assumption. He also references Biggie, which is a little absurd at this point. Would a teenager know who that is? Now that I think about it, would a teenager know who Diddy is? Does Lil Wayne even really know who Diddy is?

The reviews suggest that most of the album is made up of well-crafted party jams, chock-full of famous guest spots. This brings me to what is possibly Diddy’s greatest skill of all: the sleight of hand. Get a famous person to guest on the song, throw in a familiar sample or two, polish it up and before you know it, people will be dancing to it at the club and no one will even notice there’s barely any Diddy in the song. It’s a weird thing to be known for, but it’s his prerogative, I guess. Welcome home, Puff Daddy/Puffy/P.Diddy/Diddy.


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I wish this guy would go away. He always struck me as an empty gesture. What songs of his have achieved classic status (WITHOUT the aid of Biggie)?


Comment by Lehtola

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