Quick Hit – Usher’s Raymond V. Raymond
March 31, 2010
Raymond V. Raymond
On Raymond V. Raymond, Usher goes back to his playboy ways. If you liked his progression to a more mature Usher, I’m not sure you’re going to like the step back he takes. While, you could say that Here I Stand didn’t have that one crazy big hit that Usher is used to having, an artist needs to grow, and while the album wasn’t super fantastic, it definitely showed growth. I think that’s why Raymond V. Raymond is disappointing. He’s basically telling us that all the growth was for naught.
To me, this album should’ve been about the heartache he’s currently going through because of the divorce from his wife. Wait, he’s a star. He doesn’t go through the regular heartbreak that we all go through I guess.
When he gives us radio garbage like OMG and Lil’ Freak, it really makes me wonder if he’s worried about where the next hit is coming from or if he really feels he’s a star. I guess, in a sense, you can never be too comfortable with your status in this fickle pop music world. But this is Usher, not Justin Bieber.
You know he still has it on songs like There Goes My Baby, which you simply want to sing to the love of your life, and Hey Daddy, which has an infectious, yet awkward chorus for guys to sing. But those moments are too few and far between.
The dude basically calls himself Usher Woods on songs like Foolin’ Around, which you kind of want to enjoy simply for his honesty, but at the same time, it’s just such an awkward thing to respect. Usher may feel like the bigger man for being honest, but how big can you be when your morals are questionable and you admit it?
On Papers he celebrates divorce. Really. And not since Kanye West asked people to chant, “We want pre-nup!” have you heard something as silly as Usher asking the fellas and ladies to say, “I’m ready,” if they’re sick and tired and want to sign some papers.
On Guilty he sings about the fact that he’s guilty for having too much fun and you might as well take him to jail. Maybe the most ironic thing about this song is that while he’s asking to be taken to jail, T.I. pops up and lays down some bars. I guess Lil’ Wayne was busy.
I’m not sure exactly what he was trying to do with this album. He’s stated that it’s called Raymond V. Raymond because there are two different sides to him, but the only side he really showed was someone who is begging for a hit rather than someone who knows how to deliver one.
CD Review: Alicia Keys’ “The Element of Freedom”
January 7, 2010
What’s not to like about Alicia Keys? She’s attractive and talented, and manages to be pop-friendly without being butt-naked or appearing in the tabloids all the time (more on that in a sec).
I also have to say that her albums have the tendency to wear off of me sort of quickly. I’ve fallen in love with each of her previous three studio albums upon release, yet when I play them now, I skip past half the songs. I’m not quite sure why that is, but it definitely tempers the level of enthusiasm I have for her latest effort, “The Element of Freedom”.
“Freedom” is a largely mid/downtempo album of lovelorn songs. Heartbreak and desire figure very heavily in these songs’ lyrics. Alicia seems to have been seriously affected by Cupid in recent days-and if you believe the tabloids, Cupid led her to the very married producer Swizz Beatz, who makes several appearances on this album.
There’s definitely a change in sound on this album vs. Alicia’s earlier work. The acoustic piano-the centerpiece of the majority of her hit material to date-takes a backseat in place of the synthesizer. Now, for most folks, that would spell bad news. Particularly in light of the way music these days enlists synthesized music. Thankfully, there is NO Auto-Tune, no club bounce on this album. The prevalence of synthesizers will actually remind you quite a bit of Prince-this, folks, is a good thing.
The most Prince-y songs on “Freedom” are the midtempo “This Bed”, which sounds like it stepped straight out of 1986, and the breathy, tension-filled “Try Sleeping with a Broken Heart”, a song on which Alicia tries out a breathier singing style. “Wait Till You See My Smile” also has an Eighties vibe, matches a Billy Joel piano figure with thunderous synth work that calls to mind bombastic rock bands like Journey. It’s definitely the album’s anthem.
On a more traditional tack, there’s the album’s first single “Doesn’t Mean Anything”. Most people will remark that this sounds a lot like Alicia’s huge single “No One”, and there are definite similarities. This song, however, has a tenser, more percussive musical background. It’s a sharper backdrop for Alicia’s emotive vocalizing. Meanwhile, the ballad “That’s How Strong My Love Is” has an orchestral sweep that recalls The Force MDs’ classic “Tender Love”. There’s also a rendition of Alicia’s recent hit “Empire State of Mind”. With Jay-Z’s rap and the thundering backbeat removed, the song has less swagger and attitude, but the pensive quality of the song makes up for it. It’s less of a triumphant walk through midtown and more of a wistful look at the starry skyline from the balcony of a penthouse apartment.
Vocally, Alicia sounds rawer and less mannered than she has before. She’s investing more feeling into her lyrics, which bother me a lot less than they used to earlier in her career. She’s become very good at creating a mood-as evidenced by the dark, pensive vibe of “Unthinkable (I’m Ready)”.
Beyonce appears on the track “Put it in a Love Song”, and there’s really no reason for this song to appear here other than to be sort of an “event record”. It feels like Alicia’s dumbing down a little bit-trying to record a song with the vibe and feel of “Single Ladies” when she’s obviously a much more thoughtful songwriter than that. This is really the album’s only immediately skippable track.
Over the course of 8 years and four albums, Alicia has done a pretty good job of combining classic songwriting with a modern attitide, and each of her albums has been a step better than the last one. “The Element of Freedom”, somewhat surprisingly given that this album had very little buzz, continues that trend. Whether behind a piano or a wall of synthesizers, wailing or whispering, Alicia Keys continues to stake her claim as one of the best contemporary R&B musicians working today, and this time, I think I’ll feel exactly the same about this album six months from now.
CD Review: Timbaland’s “Shock Value II”
December 31, 2009
What was I thinking when I decided to plunk down ten bucks on Timbaland’s new album? I should have known better. Timbaland is widely considered one of the best producers in popular music right now, but a closer listen to even his production work reveals questionable talent. For every great one of his kick-heavy beats, there’s 3 or 4 monotonous ones, and it’s hard not to notice that many of the beats boasting his name over the past five years or so have been created with co-producers, making me wonder if his recent pop-centric reinvention is really his creative doing.
As a vocalist, let’s just say Tim is a good producer. He raps in a deep, gruff near-monotone and his singing is a slight variation of the same. Lyrically, he has next to nothing to say other than how rich and/or talented he is-mixed up with an occasional trite love/party song. Even I’ll admit that fellow supa-producer Kanye West is lacking in the rhyme skill department, but Timbo makes Kanye look like Rakim by comparison.
The main reason I bought “Shock Value 2″ was the guest artist lineup. The album has a star-studded group of featured performers, ranging from popular artists I like a good amount (Nelly Furtado, Justin Timberlake and The Fray) to artists that I don’t make a part of my everyday listening experience but I can usually tolerate (Drake). Not even the intrigue of hearing how acts like Chad Kroeger of Nickelback and The Fray sounded over a Timbaland beat can stop this album from being a total waste of time and money.
“Shock Value 2″ is generally electronic, lyrically slight, and features way too much actual Timbaland. On the songs that show a glimmer of promise, he normally shows up and throws the entire track off course. Take “Timothy Where You Been”, for example. The lush, acoustic-flavored track is actually a winner and I even dig the vocals from Chris Cester of Jet (!). Then Tim pops in rapping about how great an artist he is and I feel like popping my speaker open and yelling into it for him to STFU. Similarly, his equally untalented and monotone brother/protege Sebastian starts in on “Tomorrow in a Bottle” and ruins a pretty decent song by Chad Kroeger. When the presence of the widely-reviled Nickelback lead singer actually makes your song listenable, there is probably a glitch in the matrix.
Of course, the fact that Timbaland can’t really sing leads to an increased focus on vocal effects. Yes, folks. There is auto-tune aplenty here. It’s most notable on the idiotic “Morning After Dark” (“when the cats go out the bats go out to play”…huh?) and on “Lose Control”, where former teen star JoJo follows the trend of perfectly good singers going for the auto-tune trick. I guess Tim only listened to the tracks he produced on “The Blueprint 3″ and skipped “D.O.A. (Death of Auto-Tune)”.
Speaking of Jigga, he’s possibly the most notable Timbaland collaborator missing from this project. Actually, the only rappers that show up on this project besides Tim himself are the aforementioned Sebastian, “it” rapper Drake and…Brandy? Yep, the former teen idol has created a rapping alter-ego called Bran’ Nu, and she debuts on the song “Meet Me in the Dark”. Somewhat sadly, Moesha probably turns in the best rap performance on the album.
But I digress, my point is that there is a noticeable dearth of r&b and hip-hop artists on this record. Considering that Tim has worked with just about every popular artist in either genre, this fact turns out to be something of a head-scratcher. This album is easily the most pop-centric of his career, and I’ll bet that old collaborators like Missy Elliott, Ginuwine and Magoo are a little peeved that they’ve been traded in for the likes of Miley Cyrus and Katy Perry.
Even Tim’s golden collaborator, Justin Timberlake, can’t save this project. On the inane “Carry Out”, Tim and JT come up with a lame waitress/server lyrical metaphor and throw it over a completely uninspired beat. I should also note that this track highlights Justin’s biggest Achilles heel: his songwriting. Anyone who anoints this guy the best pop/blue-eyed soul singer/songwriter working today either hasn’t listened to a Robin Thicke record or forgets that George Michael had written lyrical gems like “Praying for Time” by the time he was Justin’s age. Speaking of blue-eyed soul, Tim wastes vocals and songwriting efforts on two tracks from Canadian vocalist Esthero, who has released two excellent albums of much better material. While I appreciate Esthero finally getting some mainstream shine, I hope this isn’t an indication of what her future work will sound like.
Is there any reason at all you should own this album? Honestly, nope. I will say that if you are the type of music listener that goes crazy over artists like Akon and the now-era Black Eyed Peas, you’ll probably dig “Shock Value 2″. Similar to records by those singers, there’s plenty of emphasis on shiny, clubby beatmaking and no emphasis on songwriting that goes beyond banal cliche. Actually, I should add that if you dig artists like Akon and the now-era Black Eyed Peas, you should seek professional help, but feel free to put the psychiatric diagnosis on hold and pop in a copy of “Shock Value 2″. I’ll even give you mine.
