Bobby Brown New Album in 14 yrs The Master Piece has hit the stores and moving quick!!

First of all, it is easy to judge Bobby Brown's music upon his demons and idiosyncrasies as a person. Going into Bobby Brown's Masterpiece, the goal was to judge it objectively for what it is. Unfortunately, The Masterpiece as it is entitled is far from a masterpiece. Objectively speaking, Bobby's `huge' personality transcends into his music, which actual hurts the cause. The material on The Masterpiece is often illy-conceived, either attempting to `connect' with his personal life or just as badly failing to connect with anything. Sometimes the production works, while at other times everything feels cluttered, cheap, or overly-gimmicky. The Masterpiece, hence, has little to triumph over.

"Don't Let Me Die" is easily one of the better tracks on an album that lacks in `hits.' It opens abruptly, shocking the listener with its lack of development. Vocally, Brown sounds clear enough and sits atop the production soundly. The background vocals on the refrain are solid as well, particularly on the second iteration. Overall, the production works, particularly the drum programming. The main rub? The song comes off as generic, like many of the songs to come. At best, a "B -".

"Doesn't Anybody Know" features Ralph Tresvant in a rather impassioned, yet dry `confessional' cut. The production is interesting and arguably the best of the effort given its mix of rock and R&B, something Bobby Brown loves and excels at. The instrumental production though is not the problem, it is the songwriting, the cluttered vocals, and a rather uneven performance by Brown. Brown begins the cut loud and bragging, which comes off manic and lacking in `development.' Ralph Tresvant's vocals contrast Brown's gruff, over-confident ones, but sound rushed and breathy. The cut ends up being too long (four and a half minutes) and sounds clumsy.

"Get Out The Way" features sound slick synths within the production work which gives Brown a more modern edge. Vocally, Brown begins smooth but grows coarser and coarse as the song progresses. His coarse side seems a bit `untamed.' Over-eepetition within "Get Out The Way" is a bit of a deal-breaker. "Damaged" features typical R&B production a la 2012, though so many layers of vocals do little to shape or make "Damaged" sound inviting. Additionally, Bobby Brown's lack of assertion on the refrain (be it lead vocals or ad libs) makes "Damaged" even more uninspired. "Can't Give Up" is definitely a low point. Again, the production is overpacked with too many layers of `noise' to take in. "Damaged" also opens somewhat condescendingly given the `bragging' nature Bobby inserts at the forefront. Even the decent four-on-the-floor groove can't save "Damaged" from being an inferior cut.

"Set Me Free" is not any sounder, particularly Bobby urging his haters to "kiss [my]..." (yeah you fill in the ellipses). The sound aimed for is sort of downgraded modern, electro R&B. Even toned down, the effect just doesn't fit Brown, who was best suited with the new-jack swing of the late 80s and early 90s. "Starmaker" turns off just in name only, though Brown achieves a few marks for the opening guitar shredding, a credible beat, and some malicious sounding synthetic horns. Otherwise, the argument is `bad boy' Brown is either too OLD to pull this off or lacks the swagger of say R. Kelly... take your pick. The production, again, is a highlight because there are more `holes' and more space to work with.

"Exit Wounds" is better, keeping in mind `better' is relative on this effort. The refrain is gargantuan and unsurprisingly Brown `takes a mile.' That said, there is some room on "Exit Wounds" for a `big' sound and the songwriting is slightly better - slightly. Penultimate cut "All Is Fair," a Stevie Wonder cover, features Johnny Gill, who gives Brown a lift. The cut is the best of the album, though it still lacks some magic. Brown controls his voice well for the most part, save for his coarse growl towards the peak of the song. Gill's voice is better controlled and following Brown's first verse, he `lets go.' Closing cut "The Man I Want To Be" is predictable, again speaking to the `generic' nature of what a Bobby Brown album has come to be characterized. The production is `raw' (not so much positively) and makes you take a double-take. Eventually it settles into a gospel-R&B/pop culmination, that sort of works... sorta. In this instance, the background vocals featured on the refrain sort of invigorate... again just sorta.

Overall, Masterpiece is flawed. There are no overt hits that make you want to listen to it for a second time. Memorability is a major issue as there is just not much to `latch onto.' Bobby has some nice vocal moments, but as objective as one tries to be, even his idiosyncrasies shine through some of the songs, and that is not positive in this case.  I'm Big Blac this is your BHR HollyWood Report





http://www.amazon.com/The-Masterpiece/dp/B002ZAU1D4
https://www.facebook.com/bobby.brownfan
http://itunes.apple.com/us/album/the-masterpiece/id528119870



Comments

BHR Popular Posts

Black HollyWood Reports Popular Posts