Thursday, 25 July 2013

Usher- Looking 4 Myself Album Review


 
 
 
 
 
 
 
 
 
 

Album- Looking 4 Myself

Artist- Usher

Usher can safely be described as one of the Kings of the RnB scene, creating powerful music that has captured a generation and which is epitomised by his diamond certified album Confessions, a rare feat in the musical world. With this seventh studio album he aimed to continue his domination of the music world, but this time presented a more experimental sound to try and push the boundaries and draw on a world of styles. Yet does the album live up to its revolutionary wishes? And does it actually sound strong, or should Usher have stuck with a more RnB heavy sound that made him the well-known artist he is today.?

Track 1- Can’t Stop Won’t Stop

Produced by will.i.am, the opening track is a an aggressive club stomper that finds Usher singing of to this girl and telling her about how great and sexy she is and how they can’t stop and he won’t stop, alluding very much to sexual behaviour. The track is centred around a synth heavy hook and is strong in terms of the production as the euro dance beats make for a cool pop sound that is upbeat but not aggressively dance driven, allowing for the sensuality of the track to come through.  The production is also strong in terms of the incorporation of dubstep, which gives the back beat a gritty feel and makes for a catchy sound. Vocally Usher is strong, with his lilting RnB tone showing a sensual persona, and the singer uses some nice ad libs at the songs closing section. However the vocals are annoying when Auto Tune is used, as the use of this device just sounds like it is trying to replace the gap of an actual transition between each part of the song, and also suggests that he isn’t a good vocalist, which is untrue. The sound of the record is also marred by the lyrical content as it is too stereotypical of these I love this girl in this sexy way kind of a track, using clichés that Usher and many of his contemporaries have used before. Furthermore, the overall composition of the track sounds similar to a previous track of his, the 2010 hit “OMG”, which coincidentally featured was also produced by and featured will.i.am, and so the opener suggests the artist has no originality.

2.5/5

Track 2- Scream

Usher up’s the dance floor levels from the previous track with this grander, faster and all-round powerful up tempo number that was produced by Max Martin, another previous Usher collaborator. The tracks lyrics are heavily sexualised, with Usher singing of seeing a girl in a club and telling her that if they go home together they can make powerful and sweet love together. It’s heavily sexual lyrics could be off putting, however Usher brings a suave quality to the track within his vocal performance, and so you more get captured by his sensual persona and forceful vocals, with the hook heavy chorus having a particularly catchy quality. Production wise the track is strong, with Martin placing Usher’s vocals on a bed of heavy bass, featuring a four on the floor instrumental and a strong use of synthesisers that are current trends of the pop scene and make for a catchy sound. The only real issue I have with this track is that it once again feels similar to previous Usher work, in this case another Max Martin track released in 2010 called “DJ Got Us Falling In Love”, and although this is more up tempo and has a fast paced velocity, it is still similar and so like the previous track signals Usher has no more tricks up his sleeve.

3.5/5

Track 3- Climax

Finally Usher produces some music that sounds totally fresh and diverges from his up tempo state of mind for a more slowed down jam that is a little more lyrically potent. The theme that permeates the song is that the track is a break up lament where we find Usher singing about a relationship in a state of tension, with the song’s title emphasising that they are now at a turning point. The song is cool slice of electronic based music that is powerfully driven by the chorus and features a very strong vocal from Usher, with the slow lyrical stresses of the track sounding subtly sensual and heart touching and delicate at the same time. The track also features Usher vocally using his falsetto to great effect, both emphasising the message of the track and matching the Diplo produced beats perfectly to make a track that will appeal on different levels. The production is also really strong, as Diplo creates a steady synth based rhythm and a haunting riff, and combines this with potent string arrangements, subtle electronic ticks and a sparse drum machine, all coming together to create a cool, almost soulful groove that has the potential to go all crazy and dubstep up tempo at moments but they goes back down to this subdued state, sounding intriguing and impressive. It is simple to see why Ushe picked this as the lead single: it may not capture you straight away, but you can’t deny the power of the musical composition and the evolution of Usher, with the track also kind of providing a relief from all the other music in the charts at the moment.

4/5

Track 4- I Care For U

The fourth track is a mid tempo number that features the most prominent RnB flavouring of the record so far. The lyrical message of the track is summed up within the title of the song, as throughout Usher simply tells his girl how she is awesome and how he feels for her, with the title forming the hook of the song. The chorus is strong and sensually driven but the lyrical content seems a bit lazy, with the hook being too repetitive and at some point getting to the stage where you just want to tell Usher that we understand. Vocally however Usher is really strong on the track, with the RnB tone suiting his voice perfectly and making the slow way in which he sings the track sound extremely believable. The vocal distortion at the end of the chorus is also strong and catchy rather than annoying, showing how this type of vocal production can really work. However, whilst the vocal production works, the production as a whole is both a hit and miss. The song infuses 90’s RnB and hip hop with a dubstep heavy bass. Although we can commend Usher for pushing his music, the dubstep influence in the track takes a bit too long to grow into, and although it is a strong sound by the end, it perhaps would have been a better track if Usher had kept things a little bit simpler.

3.5/5

Track 5- Show Me

The sound of this track feels a little bit more laid back than the previous number and the song has a kind of chilled, almost summer vibe in my opinion. A mid tempo number, the song is all about Usher just having fun with his girl as he tells her to just relax and show him what she can. The song is another number that has a heavy sexual vibe and so fits perfectly into Usher’s already fleshed out sensual persona. The production is cool with nice house synth claps that are also helped by a bubbly techno rhythm. And vocally the singer is once again strong, keeping a light tone and sensual groove.

3.5/5

Track 6- Lemme See (featuring Rick Ross)

Ushers sex appeal that has characterised who he is comes out very strongly in this mid tempo RnB number that finds the singer sensually employing his falsetto for a chilled out but forceful number that features a strong incorporation of heavy synthesisers. The song lyrically finds the singer in familiar territory as he sings of wondering what he is going to do to a certain female club goer when he gets her home. It’s familiar territory but the production gives it an updated feel in terms of the sultry synth tones, and the Rick Ross rap feature gives the song some urban swag that also nicely contrasts with the slow, sensual vocals of Usher. And sometimes, songs like this act as the perfect example of how if it ain’t broke, don’t fix it.

3.5/5

Track 7- Twisted (featuring Pharrell)

Produced by and featuring rapper-producer Pharrell, the seventh track is a stomping number that has a prominent retro 60’s feel. Described by Usher as nostalgic and his attempt to modernize it, the song finds Usher lyrically speaking of this girl who has got this relationship twisted and has made him look like a fool, but who he finds so appealing. The song works really well lyrically in terms of the punchy quality of the chorus that offsets the softness of the verses nicely. This is also one of the songs strengths in terms of the vocals, with Usher really showing the power of his vocal register by dipping from lower to higher tones. The percussion led production keeps things simple and old school, and Usher provides a cool rap feature in that it is a short but sweet moment of fast paced rhymes that highlight the depth this girl has touched her man. The song ends with some cool swag from Usher as he speaks, and the only real issue with the track is that the sound is one that has dominated in today’s music market, particularly by Bruno Mars and Cee-lo Green, and so although he pulls the track off, you can get the sense that this doesn’t necessarily suit Usher as well as other sounds.

3.5/5

Track 8- Dive

Things are slowed down a little more for this RnB ballad that contains elements of pop, and features the singing powerfully employing his falsetto. The track is lyrically cool in terms of its triple entendre ideology, as Usher metaphorically compares going into a committed relationship as to diving into water, whilst a sexual edge can be exhibited within certain lines. If another person had sang the lyrics they might come across quite disgusting in a way, but with his rick falsetto and charismatic tone Usher can easily win us over, and the song showcases how he has a great vocal range. The production is also really strong, having a sultry feel that will capture you and sounds both familiar Usher but also a progression in sound.

3.5/5

Track 9- What Happened to U

The down tempo state of the record continues with this simple track in which Usher mainly sings in a falsetto. Normally for male singers this would be a really bad thing, but for Usher this is great as he has one of the best falsetto’s in the music industry today in terms of male singers, and so the vocal never becomes annoying and so sounds really good. Indeed the pre chorus sections are almost annoying in their speak sing style that is deeper in tone. The tracks lyrical quality is very simple as Usher sings of having this great life but missing this girl and asking what happened to this girl and their relationship. Melding the vocal together with a simple electronic back beat and understated tone of production, this is an extremely chilled out affair that offers a nice range to the record.

3.5/5

Track 10- Looking 4 Myself (featuring Luke Steele)

Featuring Empire of the Sun member Luke Steele, the records title track is a definite pace changer of the record as the tempo changes, and so does the sound. The RnB Usher is almost thrown out of the window as the song finds the singer fitting into a new wave and soft rock sound that feels very much like an Empire of the Sun sound. Yet whilst the track is different, the soft and rich quality of his vocals meshes well with the simple and slightly laidback production with the steady and light drum beats, and he still brings out his unique persona in the nice employment of ad libs. The track is lyrically all about Usher being on this search for who he is, powerfully driven by the hook and inspired by the singer’s musical journey and his travelling. The bridge doesn’t quite work but the message of the track is strong, and if you weren’t a fan of the RnB Usher, then this might just be a great song for you.

3.5/5

Track 11- Numb

Co-produced and co-written by the great dance pop maestros that are Swedish house pop mestros, the transition of sound of the singer and evolution of him as an artist comes out again in this inspirational up tempo number that lyrically is rooted in the idea of finding one’s destiny, and just becoming numb to the negativity, instead just following your dreams. The track is vocally perhaps one of the weakest moments for Usher, as although he employs his falsetto powerfully and the ad libs are good in the final section, as a whole the track lacks a little bit of the spark and personality that comes out prominently in some of his other tracks. However the dance pop and Euro disco driven production of the song is very good, with the glimmering synths providing a euphoric tone that makes the hook of the song that little bit stronger and draws a nice line between just be chilled and get up and dance.

3.5/5

Track 12- Lessons for the Lover

A collaboration with long time musical collaborator Rico Love, the records 12th track is probably the one that is most reminiscent of the past Usher, even though it features strong electronic production. The slow tempo of the track brings out the sensuality of the singers vocals once again, and the lyrical message of Usher giving us a lesson in love is kind of familiar territory. The tracks production is heavy and cool with a nice sensual edge in the use of electronica, but as a whole this is just too familiar territory for the singer, and the track is also dragged out a little too much.

2.5/5

Track 13- Sins of My Father

The last track may have been familiar territory for this track, but this song pushes him more as artist with its darker tone and completely different sound. Lyrically the track finds Usher playing the role of a man who is a tortured soul, and who is an a volatile relationship and who believes this is because of karma from his father. The production consists of a powerful combination of bass, drums, guitar, keyboard, horns and strings for a soulful sound that is also slightly reggae tinged and which powerfully builds with each moment. The sound is a nice change of pace and is backed by a strong vocal performance that is rich in terms of the transitions from the verses to the chorus.

3.5/5

Track 14- Euphoria

The final track and the second collaboration with Swedish House Mafia is a another dance pop number with elements of Euro trance that would fit perfectly into an Ibiza club setting. The track is lyrically very simple as Usher sings of being in this state of Euphoria, with his vocals bouncing along on a bed of shimmering synths and a nice up tempo groove. However, whilst the singer vocally sounds good within the track, overall this is too simple a number, and the singer also sounds a little bit uncomfortable in this state.

3/5

Final Review

Usher is definitely one of the best artists of the noughties generation because he never does things by halves and always aims to really push himself. The sound of the record really works in showing a musical evolution of the artist, featuring a cool melding of genres and a powerful sign of how Usher has really grown into his voice and is one of today’s strongest male vocals. The lyrical content can feel a bit too familiar, and certain tracks don’t work as well as others, but as a whole this is a solid album that shows Usher is more than a one trick pony, and it makes me sad that this album hasn’t had the same success as his previous work.

8/10

Best Track- Climax

Worst Track- Lessons for the Lover

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