Robert Christgau: Dean of American Rock Critics

Consumer Guide:
  User's Guide
  Grades 1990-
  Grades 1969-89
  Expert Witness
Books:
  Going Into the City
  Consumer Guide: 90s
  Grown Up All Wrong
  Consumer Guide: 80s
  Consumer Guide: 70s
  Any Old Way You Choose It
  Don't Stop 'til You Get Enough
Writings:
  CG Columns
  Rock&Roll& [new]
  Rock&Roll& [old]
  Music Essays
  Music Reviews
  Book Reviews
  NAJP Blog
  Playboy
  Blender
  Rolling Stone
  Billboard
  Video Reviews
  Pazz & Jop
  Recyclables
  Newsprint
  Lists
  Miscellany
Bibliography
NPR
Web Site:
  Home
  Site Map
  What's New?
Carola Dibbell:
  Carola's Website
  Archive
Venues:
  Noisey
CG Search:
Google Search:
Twitter:

Guy

  • Guy [Uptown/MCA, 1988] A-
  • The Future [MCA, 1990] A-

Consumer Guide Reviews:

Guy [Uptown/MCA, 1988]
Until you absorb the beats and focus in on Aaron Hall, Teddy Riley's main band sound like almost arrogantly anonymous light funksters. Riley would always rather insinuate than overwhelm, and Hall lacks the chops and the inclination to soul anybody out--learned his main shit from the Gap Band and Stevie Wonder. He often sounds like he's winging it. But where Bobby Brown and Al B. Sure! play the love man falsetto straight, Hall adds depth by straying toward the manly emotionalism of the church. And unlike most light funksters, Riley doesn't aspire to slow ones. A-

The Future [MCA, 1990]
As is only natural, I have as much trouble relating personally to Aaron Hall's woo-pitching Wonderisms as to, I don't know, Keith Sweat's tender Teddyisms. But I do appreciate them, and if forced to a choice I'd definitely rather suck him off than Dr. Dre. At long last male soft-core--moved, appreciative, desperate for more. Elsewhere it's the present of the funk--Prince here, Imagination there, both as new as jack can be. Plus a kissoff to Gene Griffin doubling as a get-yours-from-the-man cheer. A-