In listening to the second solo effort from Mr. Cheeks it’s clear the boy is no longer lost but rather more enlightened and a little bit of a romantic. Produced primarily by his main man Bink! and the irresistible Mr. Sexx , five of the songs on Back Again! could be narrowly categorized as love songs a la James Todd, but they are much more than that. Most of the tracks are infectious, slow- to mid-tempo compositions laced with a seamless sampling of black classics like Rolls Royce, Eddie Kendricks, Earl Klugh, Alexander O’Neal and the Mary Jane Girls, among many others, and strengthened by collaborations with the Mashed Out Posse, Pete Rock and C.L. Smooth, and Floetry. All of this surrounded by the raw musical talent this Queens dread head, Mr. Cheeks.
Songs like “Supposed To”, featuring the dark somber poeticism and lyrical intensity of Floetry, exemplify the emotional heights to which Mr. Cheeks has ascended. “The Hussle” with M.O.P. reflects Fame and Danze’s unique ability to balance the more sensitive and tender sides of the thug within with the thug without. “I Apologize” is aimed explicitly at the female contingent and goes straight to the heart of the matter with its plea for forgiveness and desire for redemption. The cause is strengthened by the R&B sounds of Glen Lewis in the back to Earl Klugh’s “Night Song”.
The Chuckie Madness production “Brighter” with Alexander O’Neal reprising his role over his own song “Sunshine” follows the M.O. by renewing its focus on the commitment to enduring loving relationships. Tenderness aside, Cheeks balances out donning his wife-beater and “cracks and sizzles” like a .44 with Pete Rock, C.L. Smooth and Journalist on the nostalgic send-up to all the lost chums that caught one with an “interpolation” of “They Reminisce Over You (T.R.O.Y.)” with “Reminisce 03”. Producer Chuckie Madness shape shifts and returns to lace “The Wire” with a sample of The Four Tops’ “I Found The Spirit” thereby making it one of the most enlivening and funkiest vibes on the album. P-Diddy even weighs in on the next to last track and scores just left of center with the Bad Boy induced “Pimpalicious”.
Aside from the few high-octane up-tempo tracks, some of the songs lack the lyrical electricity to match the production and highlights the fact that Cheeks may have found his niche for the time being (until The Lost Boyz reunion jumps off) in the more soulful side of himself on songs that make this album enjoyable.
