After almost a year of reports that focused mostly on his personal life (rather than his music), Chris Brown is hoping to put the past behind him by way of his new album “Graffiti.” Although thealbum provides much of what we’ve grown to love and expect from Brown: a fusion of pop/R&B with a hint of hip-hop, you can’t help but wonder if art is merely imitating life.
Tapping big name producers like Polow Da Don and Swizz Beatz, on “Graffiti,” Brown reminds us why he’s so good at what he does. Even still, the lead single “I Can Transform Ya,” is nothing to write home about. The futuristic production and typical lyrics courtesy of Lil Wayne’s feature makes the song intriguing but far from certified banger material. On the contrary, “Sing Like Me,” is smooth a butter as Brown contemplates which woman to choose in a room full of options. Content aside the delivery is where the 20-year-old is luminescent.
Everything runs pretty steadily until the “Rihanna potholes” rear their heads. Despite stating that certain songs are not about the pop singer, at this point it’s very hard to believe. The first of his sob story begins with “Crawl,” where he pleads with his lover to return and they will slowly put the pieces of their embattled relationship back together. Then there’s “So Cold” which is full-fledged self-loathing. Underneath softpiano keys the Virginia native takes us through all the symptoms of a broken heart.“Tell her I miss her. Tell her I need her. Tell her I want her, I really want her to come back home, back to keep me warm. Tell her I’m sorry, I’m really sorry, Can you forgive me? Please forgive me.” Null of personal references this track is an impressive hybrid of sad love song and hopeful reconciliation. Lastly, the Ryan Leslie produced “Famous Girl,” is pretty much an open letter to Riri; and it’s not a sugary sweet letter either, which is kind of cool.
We can undoubtedly hear Brown’s metamorphosis from baby-faced teenager to grown man status on “What I Do,” an upbeat drum intense club joint featuring Plies. For his part, Plies manages to stay within the lines of the beat providing for a match made in “hip-pop” heaven. “Take My Time” featuring Tank serves up some classic R&B melody circa the late 90s Jodeci era, but once Brown hooks up with Trey Songz on “Wait,” he finally gets the ball rolling. Similar to the “Gimme That,” off his debut “Wait” (produced by Polow Da Don) is something like a phenomenon.
Perhaps the most reflective, as opposed to descriptive, song on the album is “Lucky Me” which details the downfalls of fame (i.e. having your domestic altercation become the subject of public banter). For the first time in the entire album, the listener will get a glimpse into Brown’s heart, which is just the kind of support he needs right now.
In its entirety “Graffiti” holds a little something for all of the Billboard charts: pop, R&B, hip-hop and even dance, which to Brown’s credit is a clever approach. No the music is not earth shattering, but its solid as a rock, so whether you love him or hate him Chris Breezy is back and he brought his A-game.
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