Graffiti, Chris Brown's 2009 disc, was a commercial and creative dud; there really are no two ways around that. So my expectations for this new album, F.A.M.E. which arrives in stores in the US today, were decidedly low. Brown isn't one of those artistes I bought into when he first burst onto the scene with hit single "Run It!" (his voice was way too nasal for my liking) and to be honest, i'm still far from his biggest fan. So imagine my surprise having listened to the album and actually liking it.
Following his break-up with Rihanna, Brown got real famous, real fast. We all know why, so no need for me to re-hash all that mess. I've read far too many reviews online that spent way too many words on his personal life than the actual music on the album, and to call that a little distasteful would be an understatement. No, i'm not excusing him of anything, but there really should come a time when we can judge or consider something on its own merits, namely an album or body of work. Furthermore, while Graffiti was ill-advised, containing way too many uncomfortable quasi-apologies, hence possibly justifying the need to mention his personal troubles for which he was apologizing, F.A.M.E. seeks to re-establish Brown as the R&B star and hit-maker he once was. Having gone to the top of the R&B charts with "Deuces," first track here and first released from his 2010 Fan of a Fan mixtape, it seems he may finally be getting back on track where that is concerned. Which brings me to the album...
I admit the title is kinda dubious, (the acronym stands for "Forgiving All My Enemies" *eyeroll*) positing Brown as the victim of who knows? Media assault? Radio backlash? *shrugs* But really, even I have to admit that the music inside is pretty good and deserves to be heard. With everything from Justin Bieber and Lil Wayne collaborations to production from dance stalwart Benny Bennassi, the 13-track album (if you buy the standard issue) really has something for most everybody.
The album starts with "Deuces," and really, I don't need to even describe the track- playing seemingly everywhere, (car stereos, radio, the clubs) everybody's heard it. I have to say this though- I wasn't a big fan of the song when it first came out. Now, I can't really remember or even explain why, but really, it was a good move of Brown to include it on the album- most people who may have written him off at the time of release probably didn't stop to actually consider it the good song it is. The laid back R&B vibe continues through-out "Up 2 You" and another track that was included on his Fan of a Fan mixtape, "No Bullshit." They're far from the best songs on the album, but at least Brown's voice sounds good.
Album stand-out "Look at Me Now," while most critics have written it off as the bragging track it really is, with its space-y, minimal bleeps courtesy of Diplo, is a winner. The beat eats! Chris tries his hand at rapping, but um... The REAL reason to hear this song is Busta Rhymes- dude is a beast! Maybe this should have been his song... My fave song on the album comes next, "She Aint You" with its deft Michael Jackson ("Human Nature") by way of SWV ("Right Here") sample- "When she touches me," Brown sings, "I'm wishing they were your hands." Hmmmm... I wonder who he's singing about... (Yea right!)
"Say It With Me," another album stand-out, is one of those club songs Brown does well. Produced by H Money, the beat pounds and pounds so awesomely, it would be futile to resist. Put simply, it would be a terrific track to be heard pumping out of some massive club speakers.
"Yeah 3x" is next, and really is nothing more than an attempt to cash in on the current electro/Euro-dance trend, not that that's a bad thing. With its big, heavy synths and video-game type beats, it's a feel-good track, one akin to one of his own singles, "Forever" from 2008. Having produced "Crawl," (one of the few good songs on Graffiti) The Messengers are back with "Next 2 You" featuring Justin Bieber. It's an ok song, nothing really brilliant, and the production is crisp, but the song that is more in the vein of "Crawl" would be the next song, "All Back." Put simply, it's absolutely beautiful- "You never miss a good thing till it's gone, and now I want it all back." Having been in love a few times with relationships come tumbling down around me, I can relate so much to this song. The arrangement, besides Brown's plaintive vocal delivery, is what really resonates with me most of all. In fact, as an instrumental track, it would be perfect as it is; Chris' vocals are just icing.
Featuring Ludacris, "Wet the Bed" with its drip-drops and background guitars, (not to mention sexual content) reminds me of a song R. Kelly would do. I'm not sure if this is good or bad, (I think it would depend on your personal taste or how much of a prude you are) but maybe he should have left this type of track to a lesser like Trey Songz. Just saying. At least Ludacris adds a little humour to the whole proceedings name-dropping Toni Braxton and Sammy Sosa along the way. As soon as he's done with his verse though, just skip ahead to "Oh My Love." It's another track that features Brown rapping, but this one is a bit more effective than his attempt on "Look at Me Now." The beat is sickkkkkkkkkkkkkkkkkkkk!!! Brown is an awesome dancer, so i'm sure he would go AWF to this live, I can just see him crumping his ass off already!
If you have the standard issue, the album ends on the shimmering "Beautiful People." Featuring and produced by the afore-mentioned Benny Bennassi, the song sounds like something left off of Kelis' Flesh Tone- it's THAT good! Reportedly, it's the next single, and one would think that's a pretty good move; he may have a giant pop/dance/club hit on his hands.
As for me? I want the deluxe issue. Why? Three of the tracks here- "Bomb" feat. Wiz Khalifa; "Rock, Scissors, Paper," produced by and feat. Timbaland; and "Love Them Girls" feat. The Game, produced by Polow da Don- are really good. They're all hip-hop/club tracks, but i'll be damned if they aren't three of the best songs on here.
Ok, so the album's done and I didn't write a bad review of it, but even I can't sit here and pretend it's a perfect album as good as it is. With Chris throwing his hats in so many different circles, (R&B, pop, hip-hop, dance) the album's cohesion suffers, and with too many sappy R&B songs, the album is bogged down. But, I have to quickly add that even if you wanna ignore what he's singing for more of the album it still remains good because the production is top-notch right through-out, and in all honesty, that's what saves the album from being merely OK.
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