It can be a nail biting experience when one of your favorite music groups disbands and members start taking the solo route. I’ve always been a proponent of that “the whole is greater than the sum of its parts” theorem. That said I had several reasons to be a little nervous about Slim’s debut solo album. Let’s keep it real: Slim worked well in the group because Mike, Daron and Q all added some balance to Slim’s gratuitous high pitched rifts that could get a little irksome at times (hey, I said keep it real!). Together, 112 balanced each other to create some sweet harmonies, the likes of which are rarely attempted anymore. But when I listened to Love’s Crazy, it wasn’t as bad as I expected it to be; it’s actually a decent project. With collaborations from Fabolous, Faith Evans, Big Boi, and Ryan Leslie, Slim’s proving that you can count 112 down, but it’s still too soon to count them out.

Yung Joc contributes his laidback swagger to the lead single So Fly, which blazed the airwaves this summer. Good Lovin’ is the album’s second single produced by Ryan Leslie who also appears on the hook, while Fabolous delivers a few bars to make this a possible hit record. Other highlights on the album include the romance ballad Sweet Baby and the Faith Evans duet So Gone. The latter opens with a guitar solo that’s reminiscent of Slash’s runs in TLC’s Red Light Special. Treat your carnal side to Bedtime Stories, an elaborately detailed sexual escapade that’s sure to entice the ladies. Big Boi steps in to close the album out on the title track, a thumping ATL-signature jam and another highlight of the album.

While this album overcomes some mountains, it dives into some valleys also. Heels On is one track that doesn’t quite deliver. It features Yung Berg (there’s one reason) and Deezo, and crosses that fine line between sensual and just plain corny without much assistance from the two featured rappers. Leave U Alone is Slim’s attempt at a dance record but contains the element I most feared when listening to this project – the return of the whiny wailing voice that we all hoped would sit this one out.

This album isn’t groundbreaking nor would I consider it one of the best releases this year, but it does hold its own. There’s more good tracks than bad, and we hear more of Slim’s natural range throughout the disc, a departure from his higher register which tends to be a staple throughout 112’s albums. Call me nostalgic, but I would have loved to hear a song on this album that reunites Slim with the remaining members of 112 to gratify fans left wondering about the group’s fate. Great production, great collabs, now if only we could get those guys on another album together…

Related Post:
112: In Parts

-Mack-