For what he says will be his third and final album, THE DREAM is very much all wrapped up in love. Judging by his whirlwind courtship of singer Christina Milian, their nuptials and new baby, there’s no wonder why “Love King” has his romantic, sexual and sensual side shining through the new effort.
In true Dream fashion, the title track is simple, fun and tailor made for the radio, as he brags about the plethora of women he has in various places (here’s hoping life isn’t imitating art). Intertwined within the maze of catchy tracks like the T.I. assisted “Make Up Bag,” in which Dream flexes his financial worth and how it relates to keeping a woman happy; by of course showering her with gifts. The story of “Nikki Part 2,” unfolds down a road suspiciously similar to that of his first marriage to singer Nivea, but the production, writing and delivery mesh so well the lyrical inspiration is unimportant. “Abyss” is the pit of bottomless heartache following a love let down. Refreshingly, this sad song is paired with a “trippy” beat and quickly transforms into a celebratory release of a venomous relationship rather than remorseful reflection.
After dropping a Grammy nominated mixtape and performing with some of music’s biggest names, Drake is finally ready to offer up his debut album “Thank Me Later.”
Arguably one of the most anticipated albums of the year, the 14-track record is much of what we have come to expect from the Toronto native joined with traces of his artistic gonads. Yes, there is a lot of singing, but if there’s one thing that Drake knows how to do it’s make a catchy hook equally matched by his poetic flow.
With production from the likes of Timbaland, Kanye West and Swizz Beatz, the 23-year-old pretty much cooked up a recipe for commercial success. Perhaps the most blatant introduction to his career altering year is the lead single “Over,” which re-teams Drake with his ‘Best I Ever Had’ producer. The thoughtful club ready track carries an intro that sounds as if it were birthed in the 1970s with new aged pride and a tricked out symphony that explodes into fiery appeal.
For his latest release singer/songwriter/producer PJ Morton takes us on a ride through familiar territory via a different musical road map. The New Orleans native is in pure form on “Walk Alone,” in which many of his tracks pull from his southern roots and church upbringing. Finding a careful mix between instrumentals generally commissioned for jazz and blues tracks Morton laces them with docile themes that keeps him teetering on the edge of his own interpretation of soul music that can’t be simply identified as merely one thing.
Much of “Walk Alone” is as easy breezy as it comes. On “Girlfriend” Morton ponders why previously uninterested women seem to be drawn to him now that he is very obviously taken. Although a simple concept the addition of guitar strings, and horns add to record’s the somewhat whimsical atmosphere. Another interesting pairing of seemingly unconventional instruments with a common subject matter is “She’s Gone.” Unlike tracks in which an artist would typically tend to slow down the music to match the heartache that comes with losing a love, Morton begins in slow motion before climaxing to a burst of heavy electric guitar chords directly contrasting the subject matter, which is intriguing if nothing else.
For his sixth studio album ‘Raymond vs. Raymond’ singer Usher Raymond decided to step into an entirely different realm than his most previous release and give listeners a taste of the classic approach they’ve grown accustomed to. On the midst of personal drama, ”Raymond vs. Raymond” could stand solely on anticipation of spilled details from his former relationship and answers to all of the rumors we’ve heard, but luckily the Atlanta native chose to bypass the easy route to put together a well thought out album.
Although every track isn’t a slam dunk, Usher definitely comes close with ear grabbing selections like the Will.I.Am produced “OMG” which is sure to be a mega club success, and the horn heavy “She Don’t Know” featuring Ludacris. Then there’s the guilty pleasure that is “Little Freak,” a track that in subject matter, could have come off as ubiquitous but works its way into a lane all its own with the assistance of Nicki Minaj who, for her offering, is as aggressive as Usher without missing a beat.
For what he says will be his third and final album, THE DREAM is very much all wrapped up in love. Judging by his whirlwind courtship of singer Christina Milian, their nuptials and new baby, there’s no wonder why “Love King” has his romantic, sexual and sensual side shining through the new effort.
