We're gonna be "[2] According to Kerika Fields, Maxwell received an overwhelmingly positive reaction to his debut album from music listeners due to their weariness of contemporary black music's predictability. "[40] Peter Shapiro was more critical, panning Maxwell's lyrics and calling the album an "overly mannered pastiche of early 70s soul ... all style and no substance". (Oh, oh, yeah) Maxwell performs in the music video "...Til the Cops Come Knockin'" from the album "Maxwell's Urban Hang Suite" recorded for Columbia Records. Gonna take you in the room, sugar [48] For the record, Maxwell was nominated for the 1997 Grammy Award for Best R&B Album,[4] received three NAACP Image Award nominations,[44] and wins in the categories of Best Male R&B/Soul Album and Best Male R&B/Soul Single (for "Ascension"), as well as Best R&B/Soul or Rap New Artist, for the 1997 Soul Train Awards. We're gonna be rockin', baby Maxwell's official music video for '...Til The Cops Come Knockin''. [Bridge] [1][3] The marketplace dominance of hip hop soul in 1995 was in contrast with Maxwell's monogamous themes and older soul influences, which Columbia worried would be interpreted as old-fashioned. [3] Maxwell told Interview's Dimitri Erhlich that his main muse for Urban Hang Suite was women, and further elaborated on his inspiration, stating: I think creativity is innately feminine. Recording Industry Association of America, Pop View: Young Crooners Learn the Subtle Art of Seduction. Didn't you dig the way I rubbed yo back girl? Find out at which radio station you can hear MAXWELL - TIL THE COPS COME KNOCKIN' (LIVE MTV UNPLUGGED) MAXWELL - TIL THE COPS COME KNOCKIN' (LIVE MTV UNPLUGGED) - Listen on Online Radio Box This site uses cookies . Didn't you dig the way I rubbed yo back girl? 'Til the cops come knockin' Gonna take you in the room suga' Lock you up and love for days We're gonna be rockin' baby 'Til the cops come knockin' Papa gonna have to leave A message on the telephone baby There won't be no 'Til the cops come knockin' Please you, tease you, eat you Make you feel so good (Make you feel so good inside) [8], Credits for Maxwell's Urban Hang Suite adapted from liner notes. [19] Over the course of the album, Maxwell details a single passionate encounter. [3] In Contemporary Musician (1998), Mary Alice Adams examined the personal impact of his debut album on listeners: To his fans, Maxwell's Urban Hang Suite lures them into the heart of a romantic encounter that ends with a marriage proposal. It was also a success with critics, who praised it as a departure from the mainstream, hip hop-oriented R&B of the time, while earning Maxwell several accolades and comparisons to soul singers of the past, particularly Marvin Gaye and Prince. [41] Maxwell was also compared to soul singers of the 1960s and 1970s. 'Til the cops come knockin' [20] On April 20, it made its chart debut at number 38 on the Top R&B/Hip-Hop Albums in the United States. [32], Maxwell's Urban Hang Suite received positive reviews from critics. "Ascension (Don't Ever Wonder)" is a 1996 song by the American R&B/neo soul singer Maxwell. ...Til The Cops Come Knockin’ Lyrics: Didn't you dig the way I rubbed your back, girl? Or wer After receiving a low-cost Casio keyboard from a friend, Brooklyn, New York-native Maxwell began composing material at age 17. [Verse 1] Lock you up and love for days [5] Columbia executives reluctantly gave Maxwell creative freedom in his contract and were hesitant to allow him produce the album alone. Well, I wanna hold you (I wanna hold you) Watch the video for ...Til the Cops Come Knockin' from Maxwell's Maxwell's Urban Hang Suite for free, and see the artwork, lyrics and similar artists. A message on the telephone, baby Wasn't it cool when first I kissed yo lips. [2] After earning a considerable reputation, Maxwell signed a recording contract with Columbia Records in 1994. Tease you (Ooh, hoo, hoo) [7], Guitars: Wah Wah Watson, Stuart Matthewman, H and Maxwell Keys: Amp Fiddler, Federico Pena, Itaal Shur, David Gamson, Stuart Matthewman and Maxwell Bass: Mike Neal, Gary Foote, Jonathan Maron, and Stuart Matthewman Drums/Beatmachine: Gene Lake, Stuart Matthewman, Itaal Shur, Peter Mokran, David Gamson and Maxwell Percussion: Bashiri Johnson, Karl Vanden Bossche, Gregory Marsh Horns: The Beverly Soul Sextion Saxophone: Stuart Matthewman Trombone: Clark Gayton Trumpet: Kevin Batchelor French horn: Vincent Chauncey Cello: Erik Friedlander and Rufus Cappadocia Voices: Maxwell, Produced or co-produced by Maxwell (Maxwell) with Stuart Matthewman or Peter Mokran Additional production assistance: H (Mike Humphries), Wah Wah Watson (Melvin Ragin) and Itaal Shur Written by Maxwell or co-written with Hod David, Stuart Matthewman, Leon Ware, Itaal Shur or Melvin Ragin Recorded at Electric Lady (NYC), RPM (NYC), CRC (Chicago), Chung King (NYC), Sorcercer (NYC) Engineers: Mike Pela, Peter Mokran and Ed Tuton Assistant engineers: Michael Nuceder, Jamie Campbell, Brian "Mr. Bones" Kinkead, Phil Castellano, John Seymour and Ron Lowe Mastered by Tom Coyne at Sterling Sound (NYC) Art direction: Stacey Drummond and Julian Peploe Photography: Eric Johnson Photo assistance: Michael Stryder and Jamel A&R direction: Mitchell Cohen, Arranged and produced by MUZSE Mixed by Peter Mokran, Written and produced by Maxwell and Stuart Matthewman Mixed by Mike Pela, Written by Maxwell and Leon Ware Produced by Maxwell Mixed by Mike Pela, Written by Maxwell and Itaal Shir Produced by Maxwell Mixed by Mike Pela, Written by Maxwell and Hod David Produced by Maxwell Mixed by Mike Pela, Written by Maxwell and Hod David Produced by Maxwell and Peter Mokran Mixed by Peter Mokran, Written by Maxwell Produced by Maxwell and Peter Mokran Mixed by Peter Mokran, Produced by Maxwell Arranged by Maxwell and Federico Pena Mixed by Peter Mokran, ^shipments figures based on certification alone, "Sumthin' Sumthin'" was written by Maxwell and, The funk and gospel-influenced "Ascension (Don't Ever Wonder)" was co-written by, Track listing and credits as per liner notes for Maxwell's Urban Hang Suite album. The only way I can pay homage to that feminine thing--not necessarily women but to what they represent as creative forces--is by getting artistic and making music. Was it enough to penetrate your dark world? The resulting music features a mellow, groove-based sound with elements of funk, jazz, smooth soul, and quiet storm. [2], Writing for Vibe, OJ Lima said the record was a "refreshing detour from hump-bouncin' '90s R&B",[16] while Dimitri Ehrlich from Entertainment Weekly wrote that Maxwell "smooths hip-hop's and soul's edges, proving that black dance music doesn't automatically mean ghetto culture. He adopted his middle name as a moniker out of respect for his family's privacy. [1] During the recording sessions, Maxwell worked extensively with collaborators, including Matthewman, soul singer-songwriter Leon Ware, and funk guitarist Melvin "Wah-Wah Watson" Ragin. [15] One critic attributes the tempo decrease to Stuart Matthewman's production. [3] According to some journalists, Maxwell's appeal to female fans was due to the respectful and sincere nature of his lyrics regarding women. [13] Throughout, it examines the concept with lyrical themes of love, sex and spirituality,[19] as well as issues such as commitment, marriage and monogamy. Was it enough to penetrate yo dark world. Make you feel so good inside [3][4] Maxwell's Urban Hang Suite was produced primarily by Peter Mokran, who was credited as P.M., and Maxwell, who was credited as "MUSZE",[4] a play on the word muse. Maxwell's Urban Hang Suite is the debut album by American R&B singer-songwriter Maxwell. [1][53] Along with D'Angelo's Brown Sugar (1995) and Badu's Baduizm (1997),[53] Urban Hang Suite has been recognized by writers for beginning neo soul's popularity and helping the genre obtain commercial visibility. (Make you feel so good, oh baby) [3] Already a fan of what he described as "jheri curl soul", which was the trademark of early 1980s R&B acts such as Patrice Rushen, S.O.S. Till the cops come knockin Pappa gonna have to leave A message on the telephone baby There won't be no stoppin' me Till the cops come knockin' Six on a Thursday night And you be jonesin', baby For a brother to hold you tight And keep on goin' Last lover came and went Didn't even hug n' kiss you n' caress you Gimme a call it's cool the M's all open Maxwell ‎– Til The Cops Come Knockin Label: Columbia ‎– SAMPCD 3316, Columbia ‎– 11-003316-17 Format: CD, Single, Promo Country: Austria Released: 1996 Genre: Funk / Soul. We're gonna be Maxwell largely wrote and produced the album himself, recording in sessions at Electric Lady Studios, RPM, Sorcerer, and Chung King Studios in New York City, and CRC Studios in Chicago. [2] The album was eventually released on April 2, 1996,[4] and was a slow performer commercially. Maxwell Lyrics. [9] Maxwell's Urban Hang Suite closes with the instrumental track "The Suite Theme". [27] The album's success also earned Maxwell his own MTV Unplugged special, which was a popular measure of mainstream success for recording artists in the 1990s. Editors’ Notes Maxwell was only 23 when his debut was released in 1996, and it’s hard to overestimate the courage and maturity it took to create an album like Urban Hang Suite at that time. It was recorded in 1994 and 1995, then released on April 2, 1996, by Columbia Records. Lyrics to ''Til the Cops Come Knockin'' by Maxwell. Gimme a call, it's cool, the M's all open Didn't you dig the way I rubbed you back girl Wasn't it cool when first I kissed your lips Was it enough to penetrate your dark world Or were you embarrassed about the way you freaked Well I wanna hold you I wanna know you baby If it's alright Gonna take you in the room suga' Lock you up and love for days We're gonna be rockin' baby 'Til the cops come knockin' Papa gonna have to leave A message on … (Woo, come on) 'Til the cops come knockin' Gonna take you in the room suga' Lock you up and love for days We're gonna be rockin' baby 'Til the cops come knockin' Papa gonna have to leave A message on the telephone baby There won't be no 'Til the cops come knockin' Please you, tease you, eat you Make you feel so good (Make you feel so good inside) "[44] In The Rolling Stone Album Guide (2004), Arion Berger later said, "[Maxwell's] laid-back romanticism has heat at its core and a powerful groove that grounds the music: By varying the push of the beat but retaining the central mellow vibe, Maxwell creates a sound as felicitous on headphones as it is in the bedroom. 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