Bugz In The Attic ‎– Back In The Doghouse


Versions (5)

Cat# Artist Title (Format) Label Cat# Country Year
NURT 1036319 Bugz In The Attic Back In The Doghouse(CD, Album) V2 NURT 1036319 UK 2006 Sell This Version
NURT 1036312P Bugz In The Attic Back In The Dog House(CD, Album, Promo, Car) V2 NURT 1036312P Europe 2006 Sell This Version
NURT 1036311 Bugz In The Attic Back In The Doghouse(2xLP, Album) V2 NURT 1036311 UK 2006 Sell This Version
NURT1036319 Bugz In The Attic Back In The Doghouse(CD, Album) V2, Nurture NURT1036319 Europe 2006 Sell This Version
NURT 1036318 Bugz In The Attic Back In The Doghouse(CD, Album, RE) V2 NURT 1036318 UK 2006 Sell This Version



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December 7, 2012
edited over 4 years ago
referencing Back In The Doghouse, CD, Album, NURT 1036319

And then, years later, Bugz in the Attic released their long awaited full album, and nothing happened. It should have been either the climax of the style or a letdown, and it wasn't neither: few people payed attention, and the album dissapeared. Not surprisingly.

"Back in the doghouse" has the same problem many albums with wonderful producers have: it's very well produced, yes, but it doesn't stand out, and it was supposed to do so. After many years of wonderful remixes (compiled in "Got the bug", a good album whose only fault were some heavy edits), after some wonderful productions and wonderful side projects, everybody expected more of their debut. And this is just, simply, a good throwback of the 70s and, above it all, the 80s. "Move aside" begs to be a perfect single, rather than being one, and the rest sound like loud singles that fight against each other to stand out. Everyone, from Seiji to Afronaught, from Kaidi to Mark Force, from Mark de Clive Lowe to Bembe Segue, have done much better things in their other projects, songs that were catchy, poppy and accessible. They have all mastered the pop production... and they said that these songs were chosen among hundreds as their best. Maybe they would have needed not only a bunch of songs, but some coherence between them.

Standouts? The three songs that end the album. Inna Row brings the best of Thy Lord, Worla Hurt is a nice string-leaded ballad, and the single Booty La La which is still fun to listen to. But the rest... I hoped for more bravery, more inspiration, more funk. Less pop. Maybe my expectations were too high. Maybe they put them too high.

EDIT: I will add another standout, the Dego-touched "Happy Days", which could have been perfectly in any of his albums. Somehow I find myself singing that one from time to time.