|Posted by doktakra on February 8, 2010 at 11:01 AM|
Last year, I broke down a small sample of the most ridiculous R. Kelly lyrics I've ever heard, from his profanity-laced "REAL TALK" to his desire to propose to a buttocks. To be fair, I'm not sure there's a single song in Kellz's extensive catalog that doesn't include some kind of head-scratching, cringe-worthy line...or ten. The man simply has a gift for penning ill-fated sexual metaphors and similes, and I'm not ashamed to admit that I enjoy them a little too much. If a recent acquittal on multiple child-pornography charges didn't stop him from bringing the crazy, then clearly, nothing ever will. Here is Part II of this immensely enjoyable (at least for me) exercise in absurdity.
"Customer (Remix)" (from Raheem DeVaughn's Love Behind the Melody): As the title suggests, the two singers allow a female customer to order various items from their respective menus. Perhaps you can overlook Kelly referring to himself as "Chef Boy-R. Kellz" and claiming that that he'll "put that roast in your oven," but he, of all people, wouldn't dare go there, would he? Yes, yes he would -- "shorty, if you're thirsty, I got some good, good lemonade." Wow...just wow.
"In the Kitchen," TP.3 Reloaded: Another song, another masterful display of storytelling: "Sex in the kitchen over by the stove / Put you on the counter by the buttered rolls / Hands on the table, on your tippy toes / We'll be making love like the restaurant was closed." Nothing out of the ordinary, really -- until Kellz blurts out, "Girl, I'm rea-dy to toss your sa-lad!!" at the 1:52 mark. That, even after all of this time, I did not see coming.
"Pregnant," Untitled: The self-proclaimed sexasaurus cuts to the chase within the first five seconds of this remarkable ode to child-bearing: “Girl I want to get you pregnant -- knock you up!” You see, when a player find a woman with "an unbelievable booty," who's "more than a mistress," he must "handle [his] business and put that girl in [his] kitchen." Truer words have never been spoken. I still can't decide if I find this song to be brilliant, humiliating, uplifting, embarrassing, unreal, and/or genius. Although, maybe this is just me, but despite Kellz's best intentions to make this a sensual slow jam, I'd be a little hesitant to have this playing in the background if I brought a woman into my bedroom.
Also of note is the unexpected reappearance of Tyrese, who almost outshines Kellz by apparently thinking it's 2001 and telling the object of his affections, "I can have you co-starring and get in one of my new movies ... I can make you famous." Sure you can, Ty...sure you can.
"Echo," Untitled: Inexplicably yodeling at the end of 1997's "Can We Get Up On a Room" (R) was obviously not enough, as Kellz decided it was time to bring back the lost art form a dozen years later on the chorus of his latest single. Like I've said all along, alpine exuberance is exactly what contemporary R&B has been missing: "Yo-de-lay, yo-de-lay, yo-de-lay hoo-hoo / Got you sounding like you're screaming from a mountain peak." Only in R. Kelly's universe is yodeling a sexual aphrodisiac, but rest assured, he very clearly explains his reasoning.
"Whole Lotta Kisses," Untitled: I almost skipped over this generic and relatively boring track, but listened long enough to be treated to one of Kelly's stranger comparisons: "Bury myself all in you, as if you were my grave." Wait, what?? I'm no king of R&B, but I can't think of a more guaranteed mood killer during a make-out session than that.
Well, unless you attempt to compare a woman's love to going to church -- she's even "got a n***a waking up extra early on Sunday" (!) -- and then tell her that she reminds you of your mother, both of which Kellz does within a span of a minute on "Religious" (I guess he forgot that he already broached this topic on 1995's "Religious Love"). Sigh, it's like he's not even trying sometimes.