Where is diddy dirty money from

Their more indulgent textures add dimension to the songwriting and overshadow Combs by design. On songs where Combs is a shadow, his collaborators—in this case, a suite of 19 other producers and 17 artists ranging from Grace Jones to Rick Ross —step in to effectively mirror his ennui. Not really, but it seems the more misery, the better. Like West did with s , Diddy saw Auto-Tune as the perfect tool to capture and transmit his cold despair. There is a vibrancy to the atmosphere of Paris that seems to refract its cynicism.

The effect is cool and industrial, with whirs and buzzes paced at the speed of a treadmill sprint. A sense of loss looms over Paris , a place where love is clearly for sale. The bluster of it all threatens to extract you from the experience. Over a decade later, with rap fluent in more love languages than ever, Paris appears even more forward-thinking. The album remains a relic of a transitional period in hip-hop when rappers began openly embracing the idea of wearing their bruised hearts and egos on their sleeves.

Catch up every Saturday with 10 of our best-reviewed albums of the week. I think that is something new for me. It's exciting for me because I have always second-guessed who would get my voice.

But I also always had to work that much harder because it always stood out. Each time I would do something, I would have to do that. I got thrown a curveball. Danity Kane was that; I worked really hard to fit that.

Then there was [another] curveball: "Oh we're done with you. Let's do Dirty Money. But it still was interesting trying to blend in with someone who's first choice wasn't singing and had a different tone. The hardest transition for me, with each album, was to find my lane and still be me without losing it. But I wouldn't be able to make this great EP without those transitions. Those sounds are now always with me.

All those sounds have meshed together to create this new genre of music. Had I not gone through those phases and those hard transitions, I wouldn't have such a great album. You felt like you actually had more freedom to grow as an artist in Diddy-Dirty Money.

Right, that's why we felt like people didn't get it. What we didn't understand is why people wanted to see something different. People wanted to see the dynamic visually and they didn't understand that the music and everything had to be spoon fed because it was different. They wanted to see less of Puff and more of us; that's what they were saying. But we were thinking we needed [more of] Puff because we needed to sell these records.

We're writing all the records, singing, vocal producing and still people were calling us background [singers]. It was a different transition for me because I felt like it was a double-edged sword.

In Danity Kane, we didn't have freedom, but we had enough to be great [and] for all five of us to be leads. What we did with Dirty Money was phenomenal. Yet, it was misunderstood. Something that was simplistic and manufactured was successful [while] something that was brilliant and iconic, [people] didn't get it. It died out. I think Puff was tired. He had so many different things going on. I think he wanted to produce and act a little bit more.

Sometimes you don't have a choice. If we would have wanted to continue, and he couldn't do it, then there'd be no sense in it. Last Train To Paris is by no means a singles-only affair. Peaking at No.

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