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| Nytimes |
 Welcome to the new new money, faster than the old new money. “Last Train to Paris” pulses with the sound of indifference, of above-it-all-ness. Diddy is a spectral presence on this album, the first and, most likely, only release by the cumbersomely named concoction Diddy-Dirty Money, which consists of him paired with two female R&B singers, Dawn Richard and Kalenna Harper. He dives into songs, drops a few lines, shares a feeling or two, then disappears, having left barely a footprint. Given this album’s famously long incubation period — it has been teased for about two years — it’s notable that Diddy didn’t feel the need to impose himself overly on the final product. Maybe he senses that the moment has passed: this album was delayed long enough that the once lunatic idea of a Diddy-helmed dance record now feels like an anachronism. In that time period R&B went to the nightclub, speeding up its tempos and digitizing its lotharios, from direction-changing veterans like Usher to upstarts like Jason Derulo and Taio Cruz. Even the basic idea of a hip-hop-R&B-dance hybrid feels outmoded now; the Black Eyed Peas beat Diddy to the punch there....full text |
| Latimesblogs |
| Whether it’s regarding money or sex, Keri Hilson is concerned with boundaries on her second album, hence the girls' clubhouse title, “No Boys Allowed.” Whatever lines she’s ready to draw with lovers or her bank account, one wishes she’d applied the same “suffer no fools” attitude to the production and thematic intent of her follow-up to the promising but flawed 2009 album, “In A Perfect World.” With executive producers Timbaland and Polow Da Don at the helm, “No Boys Allowed” often sounds like lipstick on a pig. There’s no song that cruises with the chrome-rattling confidence of “Turnin’ Me On”; instead, nearly every song is cluttered with as much textural filigree as possible to distract from the absence of narcotic radio hooks. But the bigger problem is with Hilson’s assertion that this will be some sort of girl power album reflecting the concerns of herself and her friends. In glimpses it reaches that goal — like in maybe half of the sticky and finessed “Breaking Point” — but it’s undone by the album’s many other contradictory messages. “No Boys Allowed” features only guest spots from men — Jay-Z’s exciting protégé J. Cole, Rick Ross, Kanye West (not in his best form) and Nelly. That’s a little disappointing but not as woefully capitulating as inviting Chris Brown to duet on a song called “One Night Stand.”...full text |
| Allmusic |
| A popular and strange opinion prior to the late 2010 release of No Boys Allowed was that Keri Hilson's career was on life support. Her 2009 debut album failed to go platinum, but a number one R&B single and a number two R&B single, along with nominations for Soul Train, BET, American Music, and Grammy Awards, did not exactly place her on a fast track to the Shanachie label's covers-album exile. And yet, her follow-up isn't merely eager to stand out but rather desperate, as if the studios in which it was recorded contained a clock counting down to the point of failure, the moment when Hilson would no longer stand a chance of being a ubiquitous, multi-platinum superstar. Being a mid-level star, apparently, is not acceptable, so she and her support staff go all out. Hilson, despite being a gifted songwriter, contributes to only five of the 11 songs, while a vast assortment … » Read more...full text |
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