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Descriptions du produit
The Makings Of Me (CD Album) by Monica (Denise Arnold) - 10 Tracks: 1. Everytime Tha Beat Drop o Featuring - Dem Franchize Boyz 2. A Dozen Roses (You Remind Me) o Vocals [Additional] - Missy Elliott 3. Sideline Ho 4. Why Her? 5. Hell No (Leave Home) o Featuring - Twista 6. Doin' Me Right o Vocals [Additional] - Missy Elliott 7. Raw o Featuring - Swizz Beatz 8. My Everything 9. Gotta Move On o Vocals [Additional] - Missy Elliott o Vocals [Background] - Charlene Keys 10. Getaway - Album Producers: Clive Davis, Monica & Larry Jackson - Executive Producers: Monica & Jermaine Dupri - Associate Executive Producer: Melinda Dancil
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Fav Tracks: Everytime the Beat Drop, Hell No, A Dozen Roses, Why Her
On "The Makings of Me" Monica doesn't co-write any song but it does feel like it's less thughish and much more personal. Producers are Missy Elliott and Jermaine Dupri, Swizz Beats among others but this time Monica got more control and there are more potential hitsingles too. First single was the obligatory club song "Everytime a Beat Drop" with Franchise Boyz, which is the worst of this album. A club song anyone could have came up with. But that is only one of two club songs with Swizz Beatz produced "Raw" which sounds more polished with an elegant piano backround, only if Swizz could learn to shut his mouth during the hook cause it feels very trying. There are plenty of better numbers though, Curtis Mayfield sampled "A Dozen Roses" with a flava of classic soul. I wonder why it isn't called "The Makings Of You" cause that is what they sing. This song is Misst produced and will be the next single I think. "Sideline Ho" deals with infedelity, "Ain't you tired of being on the sideline?/Tired of getting yours after I get mine?/ baby second place don't get a prize when you gone relize you wasting your time" maybe it deals with her relation with Young Buck, who knows. I think this is the best song of this album.
"Why Her" is a soul ballad even if it is Dupri produced. It also deals with infedelity and the courage to leave a man that isn't teating you right, and sounds as it could be personal, Monica even said during the bridge "Now ladies, you know I speak from experience right?". "Hell No (Leaving Home) feautures Twista and is also a emotional slow paced song about the cheating man. The sample sounds like taken directly from a Chinese Restaurant but the song isn't bad, Twista plays a very small part though. "Doin Me Right" a Missy Elliott produced sweet midtempo about being in love with the perfect man. It's one of the best, but why does she always have to insert her vocals into her productions a la Puff Daddy?. That always bothered me. Midtempo "My Everything" also deals with a great relationship, she claims she's "never been in love like this before". "Gotta Move On" is a slow-paced Song with cool beats, one again Missy's vocals are annoying. Closer, "Getaway" is a adult contemporary power ballad with piano backround. Good but forgettable.
Overall, Alot of things happened to Monica during the last 3 years, rocky relationships, giving birth etc. I thought she was away from the spotlight for too long to cope uo with contemporary music trends, But this album is better then I thought and the songs that appear are mostly songs suited for Monica's voice and style with sometimes personal lyrics. It isn't perfect or betten then "The Boy Is Mine" but certainly one step up from "After the Storm". It also got a few very good songs that could make it on the charts. Way to go!.
With the release of A DOZEN ROSES (YOU REMIND ME) - my interest was piqued enough for me to give the disc a chance. I really love the use of the Curtis Mayfield sample from THE MAKINGS OF YOU (one of my fave tracks from the CLAUDINE soundtrack!) and I LOVE the video, Monica looks fabulous and she & Jamie Hector sizzle as a screen couple!
I had problems with the following tracks:
SIDELINE HO - although her vocal performance is beautiful & the music production is pretty, I don't care for the lyrics at all so I usually skip this track.
HELL NO (LEAVE HOME) - although her vocal performance is strong, the lyrics and music production are unremarkable
RAW - awful track, can't say anything complementary about this one
The others that stood out to me in a good way & that I enjoy listening to in addition to A DOZEN ROSES are:
WHY HER? - really pretty mid-tempo song featuring an exceptional chorus
GETAWAY, DOIN' ME RIGHT & MY EVERYTHING - are vintage Monica tracks featuring strong vocal & music production
GOTTA MOVE ON - the melody reminds me of A Taste of Honey's hit, SUKI YAKI; it's a catchy track with one negative - Missy Elliot's shout outs during the track
I'd recommend this disc to Monica fans with a word of caution - it's not a strong/cohesive album like THE BOY IS MINE or even AFTER THE STORM. I gave it 3.5 stars because there are more than a few enjoyable mid-tempo & ballady songs that are truly vintage Monica but I'm confused as to what direction she & her producers were going with this project. I hope this doesn't spell the end of her recording career as Monica is one of the more talented songstresses on the r&b scene who just needs to get with producers who can fully utilize & showcase her beautful voice.
"Everytime The Beat Drops" is the first example of her newfound ghetto mentality, enlisting the help of Dem Franchise Boyz for the hip-hop portion. Missy Elliott produces a lackluster song with a retro feel to it titled "A Dozen Roses." Monica then reverts back to a potty mouth for "Sideline Ho," an attempt at sounding 'street' to address all the hood rats putting up with the no-good men out here. The fruitless songs continue with the mundane "Why Her" and "Hell No" featuring Twista. "Doin Me Right" features more foul-mouth antics from Monica and lazy production from Missy. Swizz Beatz provides an uninspiring beat for another street anthem titled "Raw." She switches up to a smoothed out ballad called "My Everything" that we are more accustom to hearing from the ATL native. Missy gives another snoozer of a beat with "Gotta Move On" while "Getaway" is another power ballad that comes off as a wonderful Monica classic.
It becomes clearly evident while listening to The Makings Of Me that Monica didn't really have much of a platform for this album. It basically sounds like a bunch of singles that were recorded over the years and slapped together to make up a 10-track collection that she calls an album. Taking in all of her previous successes, it's a shame that The Makings Of Me is the last thing people will remember Monica by. With the flop of her previous cd After The Storm as well as the inevitable demise of The Makings Of Me, she probably won't have another album after this considering there wasn't much of one this time around.
I don't know what's going on on the album cover either, but the reason why I think this album has garnered so many negative reviews is because people are comparing it to her first two albums. Now, I'll admit that this is no Miss Thang, and it DEFINITELY isn't as stellar as The Boy Is Mine (also, Monica isn't the only parent to curse on her albums, people), but there are still decent enough moments. "Why Her" and "My Everything" rank among the best tracks, but my favorite would have to be the final track, "Getaway", which actually does remind me of the days when she first came out.
There are still a few duds, however. "Sideline H*" is too ghetto for its own good, and the Swizz Beatz-assisted "Raw" has too much going on, especially before each chorus. Also, there are a number of lyrical faux pas. While "A Dozen Roses" is good, the second verse has Monica talking about the 25th day of Christmas. And while "Everytime Tha Beat Drop" (an obvious single due to its being censored as well as "Y'all know what this is!") has Dem Franchize Boyz written all over it, it really isn't horrible; the only odd thing is that Monica keeps bringing up the bankhead bounce. (Hey, Mo, 1996 called.)
But there are more pros on here than cons, one of which is that Monica can still sing (although she really needs to stop trying to rap). I really liked her better when she wasn't a thug (especially since "Street Symphony" said she didn't want to BE with thugs), but it looks like that what the makings of her constitute now, so we'll have to live with it.