There’s a good chance that most people about to read this article are thinking the same thing. Sure, this is supposed to be a review of Chris Brown’s new album, Graffiti, but readers may expect most of it to be an exposé of his highly publicized domestic issues with singer Rihanna, who released Rated R on Nov. 24.
Brown may never be able to remove the stigma he has earned, and the fact that his album comes out only two weeks after Rihanna’s newest LP only forces the issue to the forefront.
But enough is enough. As interesting as the situation may seem, at this point, it’s time for Brown to be scrutinized solely for his music.
This review will take the high road and avoid the controversial issue until Brown himself brings it up.
Released today on Jive Records, Graffiti features the 20-year-old singer trying to balance musical experimentation with classic R&B. Even if he never strays too far from the norms that have developed in the past few years, Brown still manages to craft some entertaining pop music.
The main problem with most mainstream musicians is they often emulate fads. After T-Pain used Auto-Tune, many artists, including Akon, Kanye West and Natasha Bedingfield, hopped on the vocal simulation bandwagon. Brown isn’t immune to this issue, for he repeatedly succumbs to the urge to conform.
So what makes Brown different? This seems hard to answer — he falls into just about every trap of modern radio drivel at one point or another. Brown’s overuse of Auto-Tune defies logic, considering his chosen career should be built around the idea of being a good singer. The concept of an R&B singer used to involve vocal talent, but due to record companies’ and music listeners’ carelessness, vocal talent may now be moot.
Regardless, Brown makes up for the manufactured vocals on most of the album’s tracks, revealing a very strong sense of melody. Brown stands out by making songs that sound as if he worked hard to create truly interesting compositions.
Listen to the LP’s second single “Crawl,” which contains some of Brown’s powerful vocals backed by a steadily building organ and orchestra instrumental.
However, Brown clearly does not understand he detracts from his songs by throwing on the overused gimmicks of popular music. For instance, as fun as first single “I Can Transform Ya” is, it literally features every worn-out trick of modern pop music, including Auto-Tune, heavy overproduction and, of course, a forced, silly verse by Lil Wayne.
The song’s major failing is Brown’s vocals do not stand out during the chorus — a factor that could have taken the track to a higher level. Instead, the producers decided to mix Brown’s and Wayne’s atonal shouts much louder than Brown’s far more interesting harmonized vocals. The outcome sounds tired, and listeners have heard this sort of chorus before. Even with Graffiti‘s select experimentation, Brown seems almost afraid to take a chance and just let his substantial singing voice cut through the mix.
Beyond his issues with conformity, Brown is unable to completely blot out his talent. The three-song cycle of “What I Do,” “Famous Girl” and “Take My Time” clearly define his ability to sing some striking melodies
“What I Do” is a great track for a large crowd and features a very interesting arrangement that can get listeners’ hands up in the air. “Take My Time” — even with the flagrant sex noises during the bridge — has some of the year’s most intensive harmonized vocals.
However, it’s “Famous Girl” that will probably draw the most attention, even if it’s for all the wrong reasons: It features Brown singing about his issues with Rihanna.
Not surprisingly, this track features some of the album’s most passionate vocal delivery, with Brown’s aggrieved lyrics acknowledging their failed relationship. But the song’s true triumph is its sound: undeniably powerful in both Brown’s vocals and the instrumental itself.
Elsewhere on the album, Brown reveals he is entering a new era with his music.
On Graffiti‘s cover art, Brown seems to be moving on from his lover-boy image and is shooting for the stars, trying to land on a new visage somewhere between superstars Michael Jackson and Kanye West.
Though Brown may intend to portray himself as a highly conceptual artist, he only plays with the image on less than half the album. He devotes the rest to what can be described as simple, yet often entertaining pop music.
“Sing Like Me” mixes the sounds of an Asian-style dulcimer with bubbling synthesizers to generate the beat. Although the track sounds like something played on typical pop radio, its obscure elements may pique listeners’ interests.
Most futuristic is the 1980s throwback track “I.Y.A.,” a wonderfully catchy tune that brings to mind a sound similar to that of uplifting Australian pop duo Empire of the Sun.
Listening to Brown explore new musical territory, such as the modern rock-esque “I’ll Go,” is a treat. Nevertheless, Brown never reaches his full potential, always held back by the desire to play to standards.
Graffiti is equal parts victory and imitation. And though it may not break through musical barriers, it is definitely one of the better pop-R&B albums of 2009.
diversions@umdbk.com
RATING: 3 stars out of 5
