If you’re one of those old farts who thinks modern Hip Hop is raunchy nonsense & that everything from the nineties was much more innocent in nature, you’ve clearly got worms in your brain because songs back then were nothing but innuendos, directions for sex & machismo displays of dominance through dismissive personalities; Acts like Outhere Brothers & Reel 2 Real somehow made it under the radar with their especially risqué songs, with various others turning up the heat so much that your parents likely look back in shame for not paying attention to the group’s lyrics, stuff from En Vogue & Salt-N-Pepa finding extreme mainstream success despite literally directing you how to accurately lick your partner’s nether-regions – Of all of these, K7 was perhaps one of the most blatant with his adult behaviour, especially when it comes to songs like “Come Baby Come,” a track which detailed the ease at which he could receive sex from the partners, literally demanding it as he walked through the door & asserting that it’s his male right to be pleasured at his every beck & call; Lines like “I slam the door when I come into the bedroom ‘cause I’m the king of the castle” try to be sexy by showing an aggressively dominant side but it just ends up feeling overbearing, especially when supported by lines like “when you gotta give me lovin’ then you gotta give me some,” but still others like “I can slow it down so you can pump it” & “two balls and a bat, a pitcher in a hat” make short work of innuendos & go straight into visually descriptive territory, with the remainder of the track just feeling like some dude bragging to his friends about how well he dicked-down some girl when in reality it was likely far less entertaining – As you see, the language may change, but the game stays the same: Rap has always been full of ridiculous stories of sexual prowess, aggressively masculine personalities & straight-up dick jokes, some eras just now how to package it in a much more enticing form factor.
Speaking of, the narrative may be raunchy as all hell but that doesn’t stop “Come Baby Come” from being one of the most jam-worthy tracks of its era, a slick groove with a heavy beat that you can’t help but have the time of your life listening to – Utilizing a New Jack Swing rhythm & a slightly Euro-centric vocal pattern, this track slams its way along with fantastically heavy-hitting percussion rivaling the thuggiest of the thuggy from the early-nineties, supported by a simple yet catchy bass groove that bounces up & down as well as the occasional Jazz or Funk sample with female vocals & saxophones for days, making for a quintessentially East Coast soundscape perfect for getting’ your groove on to. K7 raps with a Digital Underground flow, his rhymes laid-back & smooth despite using a decidedly aggressive tone, resulting in a cool personality you’re automatically drawn in to no matter what nonsense is coming from his mouth, backed up occasionally by the iconic New Jack Swing hype squad chanting off lines in the background to support his masculine endeavours, making you feel as if you’re really just one of the guys talking smack down on the corner – This is all wrapped up in a goofy music video in which K7 & crew ride around town divulging details of their sexcapades to one-another, occasionally engaging in poorly-choreographed dance numbers as dramatic reenactments of the sex K7 is describing appear in the background, moody shots of blue & black obscured by his wide back with a pair of hands simply scratching all over him. Between this & gratuitous shots of honeys down at the pier basking in their bikinis, this video is one of the most nineties-Hip Hop productions to have every existed, a style guide for all those who want to reenact the time period in any serious manner – Basically, if you’re looking for a meaningful song with all sorts of heart & substance to it, “Come Baby Come” is far from your first choice, but if you’re trying to get down to an insatiable groove eternal with a lot of attitude in it, you’ve come to the right place.
"Come Baby Come" is a song by American rapper K7 (of freestyle group TKA) from his debut album Swing Batta Swing. The song peaked at number 18 on the US Billboard Hot 100 in December 1993 and number three on the UK Singles Chart in January 1994. It was produced by Joey Gardner for Tommy Boy Records, and featured a jazzy scat vocal by Camille. It was certified gold by the RIAA on November 17, 1993. The song is sampled in the song "BaDinga!" by TWRK which was a popular dance hit in 2015.