Tongue N Cheek - Dizzee Rascal

“Tongue ‘N Cheek” was released in 2009 as Dizzee Rascal’s fourth album. It finds the Grime pioneer moving on significantly from his past in that genre as he opts for more Pop and Dance-based material that enabled him to really find a place in the music game from which he could build with a greater fan base (as previous material was too far into the urban styles to let others in comfortably). Although all of his previous albums produced hit singles, ...
...he made such adaptations.

1. “Bonkers”

The album starts with a banger of a track and the one that dropped as the second single to the album. It is one that sees him linking up with Armand Van Halden for a heavy jam that appeal directly to the clubs to show people. From the start of the album, exactly where he hopes to takes things this time around. It is a grower, but one that was overplayed heavily to take from its quality. ... more

“Tongue ‘N Cheek” was released in 2009 as Dizzee Rascal’s fourth album. It finds the Grime pioneer moving on significantly from his past in that genre as he opts for more Pop and Dance-based material that enabled him to really find a place in the music game from which he could build with a greater fan base (as previous material was too far into the urban styles to let others in comfortably). Although all of his previous albums produced hit singles, the leading three were able to top the charts as he made such adaptations.

1. “Bonkers”

The album starts with a banger of a track and the one that dropped as the second single to the album. It is one that sees him linking up with Armand Van Halden for a heavy jam that appeal directly to the clubs to show people. From the start of the album, exactly where he hopes to takes things this time around. It is a grower, but one that was overplayed heavily to take from its quality.

**Five Stars**

2. “Road Rage”

As we move on from some killer material from him, you see that he suddenly shifts towards a raw tune and one that has much more Hip Hop influence in it. Personally i felt that it sounded rather similar to what was heard on “Pussyole” (Ol Skool) from “Maths + English” for its structure and Breakbeats, but I can’t say that it isn’t a banger of a tune from him as it shows you the sort of quality to expect here.

**Five Stars**

3. “Dance Wiv Me”

This came as the lead single to the album and one that first aired when there was still buzz over Dizzee’s “Maths + English” album. As with the others, it was played far too much (which lead to it topping the charts) and you see that here you have him linking up with the alternative Dance producer Calvin Harris for a fairly strong tune, but one that didn’t need to be played as much as it did.

**Four Stars**

4. “Freaky Freaky”

You see that in this one he comes out with a track that clearly takes on the Dirty South Hip Hop influence that came with his collaborations with UGK in the past and you see that from here he comes out with one that has him using the smooth pace of those ends of the US in order to make for a track that has him rhyming about how exactly he does things when he is in the bedroom with a girl (or two).

**Five Stars**

5. “Can’t Tek No More”

With Shy FX on the production, as was found on Dizzee’s last album you see that here, rather than taking from the guests style of Drum & Bass, you get a tune that has him doing a bit of a Dancehall tune where you see that you get samples from the 1980 film ‘Babylon’ used as the artist goes on several rants about the things that get on his nerves in current times and how he suggests these can be solved.

**Five Stars**

6. “Chillin’ Wiv Da Man Dem”

Cage, who is seen to be behind pretty most of the tunes on the album, gets on this one and comes out with a gentle one where he relaxes everything significantly in order to Dizzee a chance to come out with a soft one where he takes the time to rhyme about the times where he does exactly what is given in the title. It is a very summery track from the artist and is rather effective, although I can see some getting bored of it.

**Four Stars**

7. “Dirtee Cash”

You find that here he comes to take influence from the nineties House scene as many of the things you would tend to associate with this field are seen to come through in the beats here. I can’t say that I was really too much of a fan of this kind thing (especially the type of House that Cage comes out with) however the twists that are given with a little 2-Step Garage thrown in makes it pretty fresh and exciting.

**Four Stars**

8. “Money, Money”

Here you get a rather simplistic track in terms of the themes that the Grime artist comes out with as you find that here he comes out with one that has him showing just how he spends his money and how he lives it up without having to splurge on the types of things that others expect him to have done. It is another big one of the album and one that holds together well in spite of a lack of depth.

**Four Stars**

9. “Leisure”

Here you find that you get another laid-back track from him as you see that he is backed up by some watery production, again by Cage (but here with Footsie giving a little extra to the thing). I felt that it was one that really didn’t really have much to and so was held back quite a bit as he already had another like this and here with unimpressive beats it just meant that I simply wasn’t interested in what he had to bring this time around.

**Two Stars**

10. “Holiday”

This was the album’s third single and one that I really didn’t enjoy at all. It is a club tune and one that has him joining forces with Calvin Harris again, but I can’t say that I was too impressed with the results this time around as he goes for a tune based upon the holiday atmosphere, but with it sounding so much like the northern clubland scene, I can’t say that it appealed to my tastes at all.

**One Star**

11. “Bad Behaviour”

Tiësto is behind the production to the final track on the album and, as you can probably expect, this means that it is in for a Euro-House feel, however you see that he comes out with one that I’m sure will appeal to the tastes of the contemporary UK club scene were Bassline and Dubstep is prevalent as it seems to somehow fit into this kind of thing in spite of its foundations in an area I have no interest in.

**Four Stars**

With the first three singles all song-based tunes made to grow on you through the catchiness of them, I didn’t expect much out of this, however what you get on this album is really quite strong as he brings in quite a bit of Grime and Hip Hop as well as subtle snippets from other sources to add to the mix.
 

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