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Taking the name of the album from the title of his most popular single ever, "This Is How We Do It" came out in 1995 as the debut release from the first R&B act signed to Def Jam Records, Montell Jordan. The South Central (LA) singer burst through with this single and went on to drop a couple more big tunes in his time before his presence on the music scene diminished (despite coming with a good seven albums over his career).
1. "My Mommy" (Intro)
2. "Somethin' For Da Honeyz"
You should really know what you are in for when you read the title., and take his hometown into account, as this one has him grooving on top of the of freaky grooves that where banging in the hoods back then with the Old School P-Funk being brought back up to suit the new Hip Hop way of life which came with the decade prior to it.
3. "This Is How We Do it"
As well as sampling the classic Slick Rick joint, Montell also drops some funky rhymes on this tune too as he comes with an all-time classic tune which merges Hip Hop and R&B in the post-New Jack Swing period that the R&B world was going trough. He implements the LA lifestyle into the lyrics here to make him stand out for the crowd and it lead to him making one of the best R&B tracks of the nineties.
The production in this one is just too much, and it takes you back to the days when West Coast Rap ruled as you hear him on the type of slapping beats which dominated in the early to mid nineties. Here you find Coolio rapping with him, and it gives him a little boost to appeal to those who liked this side of his music, but needed someone big to approve of it first.
5. "I'll Do Anything"
This track sees a shift in the way he goes about performing his music, and this is apparent from the opening of it (which could have changed it back again), but eventually it does go down into a slow jam which has him get really intimate as he does a smooth one for the girls. It is a killer tune, and one which deserved a lot more attention at the time. The production sounds a little out-dated; even for its time, but this doesn't hold it back at all.
6. "Don't Keep Me Waiting"
This one has him getting even deeper with the sensual R&B, and it appears to be of the very top quality that this time was coming out with as it seems to reach the standard of the likes of Jodeci, BLACKstreet and Keith Sweat's tunes from back at this time. If you are into this throwback R&B, this is for you, and here he goes at it in his distinctive West coast way with the funky synths.
7. "Comin' Home"
This one has him doing a track which makes you feel as if you can actually visualise all that he describes as he goes back to his old block and reminisces over his past there, and how things went down. This is reflected in the retro production, and how it takes you back even further into time when all that he explains would have went down.
8. "Introducing Shaunta"
This one has him taking it back to the streets, and inds him getting deeper than any other point on the album as he does on which has him on some G-Funk, and he raps for the majority of the tune as he brings Shaunta to the music world, and she delivers some pretty hot rhymes to back him as he does his thing whilst representing South Central LA.
9. "It's Over"
This one has him doing some pretty traditional R&B for once as he does a track which has him sing about how the relationship he is in is pretty much done as his girl simply doesn't know how to treat men. Slick Rick is sampled even more here, and his presence is anyways valued. Here he blames the girl straight-out, since most think his just been played for a while, and he just lets it all out.
10. "Midnight Interlude"
11. "I Wanna"
The pace of things is drop significantly for this, one of the biggest tunes on the whole of the album. His vocals on this track are much better than at any other point on the album, and it suits the fact that he is doing this when he focus is to explain how he wishes for his relationship with his girl to go. The gentle pace with the hard slaps makes it really stand out, and it needs this as it is one of the best here.
12. "Down On My Knees"
On thi one you have him doing yet another smooth song, and I have to say that I didn't expect this many to be found here, based on the fact that the lead singles were such club bangers, but it doesn't lessen the impact of this sensual works, as this one has him speaking of how he wishes to get it on with his girl (again).
13. "Gotta Get My Roll On"
As a final effort to show that he knows what the streets are saying, this one has him sample some fo the Ohio Players as he drops something hardcore for everyone. It is a killer tune, and has him showing just what he is about, and how he fits right in one the West Coast as he half-raps/half-sings about just cruising in the sun.
14. "Close The Door"
The beats in this song are funky, s have hi taking heavy influence from the Soul of the seventies and eighties, and it appears that he has been bale to straight-out nail it this time around as he takes you right back to this time, without sounding as if he was forcing it. You hear nothing of his modern 'hood' persona, and I think it helps to establish some heavy diversity he is capable of presenting.
15. "Daddy's Home"
We have the album ending in a way to contrast greatly from the rest of the album as it has him doing a powerful tune which is backed in a minimalistic manner as he does it all to only a piano, and it allows his voice to be a much more prominent part of the recording as he sings of how he should have been there for his child. It is a powerful and emotional song from him, and despite having him move from the exciting work, he brings you in with this thought-provoking approach to singing.
This is a very consistent album from Montell, and a great way to kick off his career. There isn't a weak point in this, and I can't see where anyone could possibly fault it to any degree whatsoever. It is filed with club bangers from out the West coast and a nice selection of slow jams to show how varied his work can be.