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It’s one of those nebulous spoken word-ish rapping an album intro over an interpolation of a loop from the (classic) Tears for Fears song “Head Over Heels”-type things that the kids seem to enjoy. Which is to say, everyone who ever purchased this one is at fault and should be ashamed of themselves.Īnd I say that even though there is at least one song on here I think everyone reading this will enjoy. Press Play sold over one million units in the United States alone, so his gamble ultimately paid off, which is how we ended up with that Diddy Dirty Money project four years later. Press Play’s loose narrative following the lifespan of a relationship, one which only really seems to kick in during the final third of the album, allows our host to narrow the subject matter down to something that could be considered “relatable” to a broader audience, although he certainly lends a healthy dose of shit-talk and materialism to his verses. And there are plenty of R&B verses and hooks to go around here, although Diddy’s focus, again, was elsewhere. Puffy also secured beats from A-list producers such as Just Blaze, Kanye West, Timbaland, Danja, The Neptunes, and Havoc, any one of whom would be a pretty big get for your average rap artist. As mentioned above, Puffy raps during every performance he provides here, and those raps are written by some pretty huge names in the rap world. To be fair, Press Play still wears its hip hop credentials proudly on its sleeve, because there isn’t any way a label such as Bad Boy, one whose storied history relies on our chosen genre, could ever ignore it outright. Combs also commissioned musical backing that was more in line with the dance-pop offerings played on the radio at the time, which makes it even more obvious what kind of audience he was chasing here. Names such as Christina Aguilera and Nicole Scherzinger don’t tend to come up often in hip hop discussions. Both of those genres are certainly represented, obviously – Puff raps during every performance he gives here, as his attempts at singing would happen later in his career – but Press Play is a pop album with rap undertones, which is easily seen during a cursory glance at the guest list. Press Play is notable for two additional reasons – it’s Puffy’s first album not primarily produced by his Hitmen production team (although a few of them pop up at times, they were already on the payroll, Sean isn’t stupid), and it’s his first project that wasn’t really aimed at the hip hop/R&B audience. It was also the first Bad Boy Records release under their new distribution deal with Atlantic Records, a fact most of you two won’t give much of a shit about, which is likely the same way you feel about a review of Press Play in general, but I implore you, click through and keep reading, you will enjoy this one, if only so you’ll never have to actually listen to it. Like his sophomore album Forever, Press Play is not credited to the Family or the Bad Boy Family, implying that this is, in fact, a true solo effort, underscored by the fact that almost none of the members of Bad Boy’s label roster even bother appearing, a stark contrast to everything else Puffy had released up to this point. Diddy release, thanks to a copyright infringement settlement with a London-based artist that had already staked his claim on that stage name).
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Diddy”, “Puffy”, “Puff the Magic Daddy”, or “MC Shaughnessy” (although his UK fans had to put up with this being a P. For starters, it was his first project officially released under the newer “Diddy” moniker, as opposed to “P. The fourth solo album from Sean “Puffy” Combs, Press Play, marked a number of firsts in the lengthy career of the entrepreneur/”producer”/”rapper”/mogul.