When Terius "The-Dream" Nash released his first album, during the third-to-last week of 2007, the Top 30 of the Hot R&B/Hip-Hop Songs chart contained five songs he co-wrote, only one of which was credited to him as a performer. Four of these singles -- Mary J. Blige's "Just Fine," J. Holiday's "Suffocate" and "Bed," and his own "Shawty Is da Sh*!" -- were on their way to the Top Five. Six months earlier, another song involving his input, Rihanna's "Umbrella," hit number one on the Hot 100. For Love/Hate's duration, Nash sticks with close associates Christopher "Tricky" Stewart and Carlos "L.O.S." McKinney. Not only does it lend the album a unified sound unlike most modern R&B albums, but it has the effect of a suite, with common elements shared between tracks; some of the transitions would make any album sequencing assistant deeply envious. When it comes to the songs he keeps to himself, the persona maintained is closer to the one within "Bed." He is a lecherous braggart, albeit one with a slightly chirpy voice who is ultimately a charmingly vulnerable romantic, which brilliantly offsets the chumpishness. Hubris peaks in "Falsetto," where Nash not only has the nerve to work up an impression of a conquest hitting the high notes, but makes it the hook of the song -- and yet, it comes off as the harmless kid brother of Ginuwine's "Pony." There's the gently booming sleazeball doo wop of "I Luv Your Girl," where he pulls another man's girl but cannot help himself, simultaneously brutish and lovestruck. Then, in "Playin' in Her Hair," he involuntarily drops the Lothario act entirely, reduced to awe: "It ain't about the Benz or the money/She's my bee, I'm her honey." From a purely sonic standpoint, it's all state-of-the art pop circa 2007-2008. The sound of the album is resolutely luminescent, its rubbery rhythms -- sometimes colored by those swishing, panning effects heard in "Bed" and its many imitators -- accompanied by layers of components that include twinkling keyboards, rippling synths, and baroque touches like synthetic strings and harpsichords. Love/Hate is, undoubtedly, a post-Timbaland/post-Neptunes pop album, but neither one of them has put together something as consistent or tautly constructed, simultaneously single-oriented and album-oriented, as this.
- Release Date:
- Def Jam
Performance CreditsThe-Dream Primary Artist
Julio Miranda Acoustic Guitar,Soloist
Angie Romasanta Background Vocals
Technical CreditsJ. Peter Robinson Art Direction
Christopher "Tricky" Stewart Composer,Director,Producer,Audio Production
Ashaunna Ayars Marketing
Alec Newell Engineer
The-Dream Audio Production
Mark "Exit" Goodchild Engineer
Omar Reyna Engineer
Scott Naughton Engineer
Brian "B-Luv" Thomas Engineer
Chris "Tek" O'Ryan Engineer
Terius Nash Composer
Most Helpful Customer Reviews
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You can literally listen to this album from beginning to end and enjoy every bit of it! Each track is good!
This is a very good album. I feel as though you can reach inside his life or something. Like he's telling a story. The beats are good. I like all the songs but the ones that stick out are Nikki, She Needs My Love, Falsetto, Purple Kisses, and Luv Songs. Get the Album!
I love this album so much! I listen to it every day. It's a first in a long time that you can listen to from beginning to end. The-Dream's writing and Chris and L. O. S. production on here is crazy. My favorites are & quot Fast Car& quot , & quot I Luv Your Girl& quot , & quot Purple Kisses& quot , and the ever-powerful, & quot Nikki& quot .