Happy 20th Anniversary to Craig David’s debut album Born To Do It, originally released August 14, 2000.
The turn of the century was an exciting time in music, especially in the dance and R&B landscape, where the years leading up to it had seen a new generation of artists and producers unveil or refine styles. With elements of neo-soul, triphop, garage, jungle and new jack swing still echoing throughout clubs the world over, newly minted directions in 2-step and producers like Timbaland and Rodney Jerkins hitting their stride brought a sense of energy and freedom sweeping back through club speakers and dancehalls.
And in the midst this paradigm was Craig David. An artist who bridged the past and the future with his sweet-as-honey dripping vocals and his tightly wound 2-step grooves. With the ability to draw on soul, hip-hop, and thriving club sounds, David proved himself as a gifted songwriter, producer and artist.
Having cut his teeth as a lead vocalist on Artful Dodger’s “Re-rewind”—a track that would be re-reworked for his debut outing—David arrived on the scene in his own right with the infectious 2-step hit “Fill Me In.” With its skittish beat and tale of teen passion and parental inquisition, “Fill Me In” resonated with its audience and quickly leapt to the top of the charts. It’s the perfect entre into David’s style and worked both as lead single and album opener, while allowing for David’s flowing vocal delivery that effortlessly shifts tempo and delivery.
Likewise second single “7 Days”—another chart topper—played to David’s smooth delivery with its slinky groove and seductive sing-song chorus. His penchant for run-on lyrics in the verses give the narrative a sense of urgency and pent-up passion that reaches its (multiple) climaxes in the chorus with a more laid-back delivery.
Upon the album’s release, the promise of the two lead singles was delivered on with an album that blended modern production with classic R&B and Soul passion. Slo-jam songs like the teasing “Follow Me” create space for David to stretch out and assume the role of master seducer.
This is a role he slips into comfortably like a well-tailored suit. And he wears it well for the most part. Tracks like the bouncy “Time to Party” and the sliding groove of “Last Night” and the flickering candle seduction of “Rendezvous” all pay off and give the album a sense of depth.
This approach is a little less effective on “Bootyman” that borrows from Charlie and The Chocolate Factory’s “Candy Man” and drops-of-the-moment references that end up feeling dated and maybe a little too try-hard in retrospect. But it’s forgivable.
David also shows his ability to captivate on dancefloors on tracks like the staccato driven “Can’t Be Messin’ Around” and the aforementioned “Last Night” that has heads bobbing and hips swaying in no time.
For all the dance crowd pleasers Born To Do It holds, it is the quiet moment of “Walking Away” that showcases David’s songwriting and vocal ability. He’s less concerned with vocal gymnastics and more about connecting with the listener and he does so with ease on the track that sees him jettisoning the weight of a troubled relationship. A beautifully crafted and produced song, “Walking Away” took David out of the mold of being just another R&B singer and broadened his appeal.
At the time of its arrival, Born To Do It was a refreshing and vibrant album that bridged old and new. And whilst it does show a little wear on some of the more “circa 2000” songs, there is enough life left in tracks like “Fill Me In,” “Walking Away” and “7 Days” that beckon for it to be taken out for a fresh spin.
LISTEN: