Jaden Smith "SYRE" Album Review

*laughs uncontrollably* Hi, everyone, today I’m gonna be reviewing the new Jaden Smith album “SYRE.” This wasn’t really an album that was on my radar: under normal circumstances, I would just disregard this album, operating with the mindset of, “well, I’ve never liked Jaden as a feature on any track save for maybe ‘Never Say Never,’ why would this album change my mind?” However, I’m in a bit of a dry spell lately, what with Taylor Swift still refusing to release “Reputation” on Spotify, and Eminem faking us out with “Revival,” so why the hell not? I’m not going into this thing with super-crazy expectations, I’ll be honest with you, but as I said, I needed something to review, so maybe Jaden can surprise me and do something really special. So, let’s go song-by-song and check this thing out!

B: The first track on this album starts with some really nice call-and-response vocals from featured artists Willow Smith and Pia Mia, and the very light instrumental almost feels like a very nice lullaby. It’s when Jaden’s rapping kicks in that this track just gets destroyed. His rapping overall just feels kind of silly, and it’s a shame because the track starts so well, and I love Willow and Pia Mia’s vocals. Too bad the randomly heavy instrumental change and Jaden’s rapping have to ruin that.

L: Being this is part two of four tracks, the seamless transition into this track makes it feel like it’s not even a separate song. And the lyrics on this track feel really wonderfully personal for Jaden, his performance is actually pretty passionate, and luckily, there’s not nearly as much cringe here. Not sure I’ll be looping this track (mostly because it feels like it needs to be played with the other parts), but it’s a really strong track overall.

U: The intro to this samples a song by Lido called “Falling Down,” and it feels like it goes on for a bit too long. And while Jaden’s performance is certainly passionate, we’re starting to enter the “cringe lyrics” territory (Jaden wants to let everyone know that he’s “artichoking.” But that’s just “the art of choking.” Genius). Couldn’t really get behind this track.

E: The last part of “Blue” starts off with a really confusing, really boring hook from an unknown vocalist, and Jaden’s performance, while subdued and appropriately “blue,” is overly-repetitive and a bit too boring. Not the worst track on here, but it’s nothing too memorable overall.

Breakfast (ft. A$AP Rocky): Another perfect transition between tracks aside, Jaden once again brings some really strange lyrics to the table, his performance feels very repetitive already and I’m not even that far into the album, and the instrumental on this two-part song is nothing special. A$AP Rocky is also featured on this track, but you’d hardly know it, to be honest, and when he does poke his head out from the abyss, it’s nothing too memorable.

Hope: I’m not gonna really comment on the transitions from here on out because each track just seems to lead into one another perfectly. Overall, though, Jaden notes that he’s “switching it up” on this one, and yet, here is it, giving us the exact same flow as always in his unconvincing performance, and he even repeats the same lyric about Martin Luther King from a few tracks ago. This track was already boring enough as it is and, even if some cool instrumental moments are going on in this one (especially at the end), it had no business being six minutes long.

Falcon (ft. Raury): Despite being more upbeat and party-esque, the beat on this track is not really that fun, and instead it just feels really bland, just like Jaden’s performance and flow. The lyrics aren’t particularly “cringe-worthy” here, but there’s nothing really that memorable, and featured artist Raury…well, when he sings, it sounds like discount Nate Ruess, and when he raps, again, you’re not gonna remember it. As someone that plays Captain Falcon in several Super Smash Bros. games, they’ve brought shame to the Falcon name.

Ninety: While I appreciate the more R&B sound of this one, the hook is really forgettable, Jaden doesn’t give us any memorable lyrics on this track, and his performance is just a lot more boring. While I do think this has a clever transition when he says “fuck this, not recording anymore,” it transitions into something that just feels really out-of-place and awkward. And again, this track has no business being as long as it is (over seven and a half minutes on this one). It’s not one of the worst on the album, but that’s by virtue of it not being as “terrible” as the other stuff.

Lost Boy: Oh, but if you thought “Ninety” was too long, get ready, because “Lost Boy” clocks in at just under ten minutes. What in the world was Jaden thinking with that? And for some reason, it starts off with a light, acoustic guitar melody. Again, I’m very confused. And while said guitar melody is pretty nice, the track itself is really boring, unexciting, lacking-in-energy and all-around forgettable. Jaden repeats himself a lot throughout this track, and while he doesn’t have a really bad voice, his performance is weak, as it lacks any kind of charisma or charm at all. I can’t believe Jaden didn’t look back on this track and say “hmm, that is a bit too long. And I do repeat myself a bit. Maybe I should try to fix that!” The fact that it’s on the album in the state it’s in is just baffling, and look, you guys know I don’t mind a more acoustic song, but for TEN MINUTES across ONE song? Hell no. Oh, and how about a few less shoutouts at the end? That would’ve helped.

Batman: Alright, no more super-long tracks. Unfortunately, this one just feels really repetitive throughout, Jaden’s flow and performance are boring, and in all honesty, there were points where I started to wonder if Jaden was just trying to recreate Drake and Future’s “Jumpman” on this one because if that's what this was, it’s a dollar-store, rip-off version.

Icon: In a song that essentially amounts to a victory lap around his success in the entertainment industry, Jaden continues to repeat the same lyrics throughout the song, and despite a passionate performance, he doesn’t really convince me that he's “an icon living.” Instead, it just feels like every other song on this record, sonically and vocally, and it just feels like he’s so stuck in his comfort zone that no one will budge him out of it. An icon living? No. A delusional son of an icon living? Yes.

Watch Me: For some reason, Jaden decides to go with an industrial, kind of punk-rock sound on this track, and while the guitar riffs are quite cool, the rapping just doesn’t fit well with the instrumentals. It’s not one of the album’s worst because it’s still reasonably fun, and it’s short enough, but it’s really boring, and I don’t think Jaden should go for this kind of sound again.

Fallen: While I once again like the R&B vibes on this one, and I think the lyrics are pretty sweet, this track features another really boring performance from Jaden, and I’m not crazy about the fact that he’s making some already-outdated pop culture references on the track. The beat is also nothing you haven’t heard before. Not one of the worst on the album, but I’m telling you, never has an album made me feel legitimately sick to my stomach until now.

The Passion: Oh look, another song that starts off with a promising instrumental ruined by repetitive lyrics and another performance from Jaden that does absolutely nothing to differentiate itself from his other tracks! Wow, what a huge surprise! I never would’ve expected such a thing to happen!

George Jeff: Admittedly, the hook on this one is not that bad, and there are a few decent moments on the verses, but otherwise, his performance still feels very similar to other tracks, and there are very few decently memorable lyrics on this one. Another track I don’t think is one of the album’s worst, but it’s just completely unmemorable by every stretch of the word.

Rapper: Once again, I like the instrumental melody on this one, and you know what that means! Jaden is going to crush my hopes and dreams by providing the same tired, boring, unmemorable performance he always gives, his lyrics are gonna be genuinely unmemorable, and there will be very few redeeming factors overall. Huzzah!

Syre: Somehow, I made it through this damn album, even though it made me sick to my stomach. Anyway, the final track on this mess is an entire spoken-word poetry track, and as someone that writes spoken-word poetry, this should be right up my alley, and I do think it’s a relatively decent track. I think there’s a decent rawness on the track, even though the lyrics still need some work, and I’m not too crazy about the random voices coming in out of nowhere, as they only serve to draw me further away from what’s already not the greatest story in the world. Still, it’s not a bad track, and at least it’s a small glimmer of hope for Jaden’s future: maybe he’ll ax his over-ambitious plans to become a musician and just become a spoken-word poet. If he can make his stories a bit clearer, I’m sure his career will go off without a hitch.

Yeahhhhhh, I shouldn’t really need to say much more at this point, this album sucks. If I said anything more, I’d be repeating myself just like Jaden, so let’s call the review here, and let me advise that you stay as far away from this album as you possibly can. And if you happen to see the album in stores, please report to whatever retailer you are at that they need to remove all copies from their shelves to protect customers, because no one deserves to torture themselves with this garbage. Take safety hazards if you ever come into contact with the album, and if you choose to disobey my request and listen to it anyway, call your doctor to make sure your mental health hasn't been negatively affected by this album.

Just don't listen to it, it's nonsense.

Favorite tracks: L (if I had to pick one)

Least favorite tracks: U, Breakfast, Hope, Falcon, Lost Boy, Batman, Icon

Rating: Awful

Lil Uzi Vert "Luv Is Rage 2" Deluxe Edition Bonus Tracks Mini-Review

So, here’s something that’ll serve as a bit of a holdover while you guys wait for my next full album review: just today, Lil Uzi Vert released a Deluxe Edition of his latest album “Luv is Rage 2.” Back in August when the album released, I wrote a review for it (the only reason the post date doesn’t match here is because I didn’t have my blog at the time) and I gave it an “okay” rating, as I like the album’s dark tone and I was intrigued by the way Uzi masked some really dark lyrics behind upbeat instrumentals, but I found that the album was too inconsistent and that, for every “The Way Life Goes” or “Dark Queen,” there was a “444+222” or an “Early 20 Rager.” Since then, I’ve definitely continued to listen to and enjoy a number of the tracks on this thing, even if my rating wasn’t really swayed in either direction. However, as Uzi has released the album again with a few new songs, I want to see if they are worth a damn at all. So, let’s go:

Skir Skirr: The first bonus track has an instrumental melody composed largely of arcade video game sounds. Uzi’s hook is admittedly pretty boring on this one, and his performance just isn’t nearly as fun as that of his better tracks.

Loaded: While this track sounds like it’s a little closer to Uzi’s pre-LIR 2 stuff at times, it’s still a pretty boring track with a repetitive, unmemorable hook and some really unexciting verses. Like the last track, it’s not really “bad,” it’s just bland.

Diamonds All On My Wrist: For a minute, this track sounded almost exactly the same as the last one, the only difference being that Uzi’s voice is much deeper on this track. Otherwise, once again, boring and extremely repetitive hook and nothing special verses on this one.

20 Min: I had a lot of fun with this one! I like the bright instrumental melody, Uzi’s performance is really fun and upbeat, and the track as a whole is really exciting. Of all the new bonus tracks, this is easily the best one, and it actually feels like a really appropriate, and strong, end to the Deluxe Edition of the album.

Overall, if you really enjoyed “Luv is Rage 2” and really like everything that comes out of Uzi’s mouth, obviously you’ll love these new tracks, but for me, outside of “20 Min,” none of the other tracks are particularly memorable, and none of them really move my opinion on the album in either direction. It’s still an “okay,” if very inconsistent, record and the bonus tracks do very little to change that.

Favorite track: 20 Min

Least favorite tracks: Everything else, pretty much

Rating: This is a mini-review, so I'm not giving a rating

Tyler, The Creator "Flower Boy" Album Review

So, this is an album that wasn’t anywhere on my radar, but a friend of mine at my school was going really hard on this one, and he kept saying “you gotta listen to it, you gotta review it!” It was to the point where it wasn’t even a request, it was a demand, so, here we go: it’s time for a review of the Tyler, The Creator album “Flower Boy.” I will be the first to admit that I know absolutely nothing of Tyler, The Creator. I’ve heard his name but I know nothing about his style of music, so this ought to be an interesting listen. Let’s see if I end up liking this as much as everyone else:

Foreword (ft. Rex Orange County): Already, Tyler’s flow is really strong, and the lyrics that deal with his exploration of himself are really fascinating. I also like the vocals from featured artist Rex Orange County on the hook and the outro, and I think that, sonically, there are a lot of really strange, interesting things going on here. I really like this track a lot.

Where This Flower Blooms (ft. Frank Ocean): Instrumentally, there’s a lot of really odd things going on here, but the crazy thing is that they work. And once again, Tyler reminds us that he is a really strong lyricist, as he delves into ideas of his own growth and life before his fame. Frank Ocean is also featured on the hook, and while the hook is nothing to write home about, Ocean’s vocals are pretty solid. Another pretty good track.

Sometimes…: You guys know I’m not crazy about these super-short, 30-something second interludes, and this track didn’t change my mind. It’s sonically intriguing, yes, but it’s too short to leave a lasting impression on me.

See You Again (ft. Kali Uchis): Tyler yearns for a lover on this track in a song that’s light and pretty. He proves his worth vocally on this track, the instrumentals are really solid, and featured artist Kali Uchis delivers some really nice vocals on the hook. I definitely enjoyed this track a lot.

Who Dat Boy (ft. A$AP Rocky): This track starts with some really eerie, admittedly creepy instrumentals, and Tyler’s more hard, angry tone is really intriguing. His flow throughout the track is strong as usual, and he continues to assert himself as a strong lyricist. A$AP Rocky’s feature on this track is not quite as strong, but the song itself is still pretty good.

Pothole (ft. Jaden Smith): Once again, Tyler’s lyrical strengths are on full display here, as he discusses his obstacles in life through the metaphor of driving, and in a really interesting way. The beat is pretty catchy and his performance is strong, though I personally can do without Jaden Smith on the hook. I think he kind of brings down the track as a whole, to be completely honest. Still a pretty solid song.

Garden Shed (ft. Estelle): I like Tyler’s vocals on the first verse of this track, and his own self-exploration of his sexual orientation is really interesting. Sonically, much like a lot of Tyler’s tracks, this one takes some really strange turns that surprisingly work well. Estelle’s vocals are nice, even though her hook is a bit too fast and forgettable. All in all, though, while it won’t be a replay-button breaker, I did like this song.

Boredom (ft. Rex Orange County and Anna of the North): I’m not gonna lie, when this track was first starting, I didn’t think it was a Tyler, The Creator track, I thought it was a Rex Orange County & Anna of the North track. Their performances on the track are solid, and Tyler’s lyrical dissection of what it’s like to be bored and not have time to do things you want to do is really relatable. It’s a tiny bit too long for my liking, but all in all, it’s a pretty solid track.

I Ain’t Got Time!: Contrasting the previous track, which was much lighter, this song features a much more upbeat instrumental, a harder performance from Tyler, and a stylistic contrast from his “bored” state of mind. His flow is really great on this one, and the beat is really fun. One of the album’s stronger songs for sure.

911 / Mr. Lonely (ft. Frank Ocean and Steve Lacey): This two-part track starts with a pretty light beat on “911” and then it changes to something more upbeat on “Mr. Lonely.” It’s a really interesting transition, Tyler’s performance and flow are strong and usual, and while the song features a ton of other artists (Steve Lacy, Anna of the North, Frank Ocean, A$AP Rocky, and ScHoolboy Q all appear on this track), they all work together to make a pretty solid track that never loses its focus.

Droppin’ Seeds (ft. Lil Wayne): A one-minute track that features Lil Wayne rapping on one verse, and Tyler rapping for a short time on another. With the allegorical lyrics about dropping “seeds” and letting them grow, it’s definitely better than most one-minute-or-under tracks should be, I’ll give it that much.

November: I like the beat on this track, and I like Tyler’s lyrics a lot: I was particularly struck by Tyler’s discussions about his music being “too weird for the masses” and being known more for his tweets than for his music, and I think the track just feels like such a strong exploration of Tyler’s darker, more anxious side. Definitely one of my favorite tracks on the album.

Glitter: The hook on this track is really forgettable and bland overall, and while Tyler’s first verse features more of that strong flow that I really liked throughout the album, things take a turn for the worse when the song slows down and Tyler’s voice gets pitched down, as it just makes this feel really boring overall. Definitely one of the weaker tracks on the album.

Enjoy Right Now, Today: Tyler ends things off with a punchy instrumental that only features a few strange, scattered vocal moments throughout. It’s really fun to listen to for sure, and with no lyrics, it perfectly encapsulates the title, as it tries and succeeds in spreading feelings of positivity and excitement, and it’s a really strong end to the album.

Overall, I had no idea what to expect going into this thing, but I think it was pretty enjoyable. For being my first exposure to Tyler, The Creator’s music, I can say that he really has a knack for strong lyricism and really great flow, and his talents are on full display on this thing. His self-explorations throughout the album are admirable, and the tracks are accompanied by some really interesting, really odd instrumentals, making everything on here feel very “stream of consciousness” to me. I’m not gonna lie, though, I still can’t shake the feeling that this might not be for me, because while I enjoyed quite a few of the tracks on this thing, I just don’t see myself going back to a ton of them. It’s an album I can’t help but respect, but something about it just isn’t for me. Even so, it’s still pretty enjoyable, and from the perspective of an outsider, it’s a really admirable project.

I hope I don’t get destroyed for not giving it an “excellent.”

Favorite tracks: Foreword, See You Again, I Ain't Got Time!, November, Enjoy Right Now, Today

Least favorite track: Glitter

Rating: Good

Foo Fighters "Concrete and Gold" Album Review

Here’s a review you may not have been expecting: it’s time for a review of the new Foo Fighters album “Concrete and Gold.” Yep, that’s right, after 41 reviews of largely pop, rap, and R&B music, I’m reviewing a rock album. Figure that one out. Anyway, the Foo Fighters have been around for as long as I can remember, and I’ve enjoyed quite a few of their songs thanks to the “Guitar Hero” and “Rock Band” video games introducing me to “Monkey Wrench,” “Everlong” and “The Pretender” (though I also really enjoyed the song “Wheels” outside of those games). So, here they are with a brand-new album, one that apparently was a chart-topper back in September. I was debating on reviewing this for some time now, and now that I don’t have anything to review until Friday, I figured, why the hell not? So, let’s do it!

T-Shirt: This one actually made me jump, as it starts off feeling pretty raw and acoustic, but then it breaks into this booming, powerful melody that honestly, to me at least, feels a bit bland. It’s certainly powerful, and given that this song is speaking about what our world has become after Donald Trump’s election, there’s definitely some meaning in this track, but personally, I don’t really care much for it, to be honest.

Run: This song starts off with a really light guitar melody and some really nice vocals from Dave Grohl, but it quickly divulges into a really heavy track with some screamo vocals here and there. And while I like the very subtle political lyrics here, I feel like this song just isn’t for me. It’s definitely really energetic, and I can certainly see the appeal in this track, but I guess it’s just not my thing.

Make It Right: Once again, this track is very heavy, very energetic, and I can see the appeal of it, but I think it’s just not really for me. I can actually see now why I don’t review rock music. It’s not bad at all, and if you like this kind of music, you’ll enjoy it, but me? I acknowledge its quality but definitely won’t listen to it again anytime soon.

The Sky Is A Neighborhood: This is a much slower song, but it has a really overpowering drum beat and it’s still extremely energetic. I can see why it was released as a single, because it’s really enjoyable, even for someone like me that isn’t that crazy about this kind of music. It’s also got a strong hook and some good vocals from Dave Grohl. I actually like this one.

La Dee Da: I like the rocking guitar on this song, the faster beat, and the (for lack of a better word) crunchiness of the sound on this one. However, while a lot of it sounds really good, it features some screamo moments on the hook, which I’m never too fond of. It’s a pretty good track overall, and I’m sure quite a few people will like it, but as someone that hates screamo, those screams really keep me from coming back to this one.

Dirty Water: Alright, after the very scream-y last song, I appreciate that this lighter song is here to relax my ears a bit. I like the light but still fun guitar melody on this track, the solid hook, and Grohl’s vocals on this track, and even when it gets harder and less relaxing on the ears, it still brings the energy and the fun. Not one of my personal favorites, but still a pretty enjoyable track.

Arrows: I like the drum beat on this track, the guitar melodies, and the really explosive hook on this one. I do also like Dave Grohl’s very passionate vocals on this track. Again, not really for me, and I don’t see myself listening to this track much post-review, but all things considered, it’s a well-made, pretty enjoyable song.

Happy Ever After (Zero Hour): Once again, this starts with a very relaxing, acoustic guitar track, and surprisingly, it stays that way for the entirety of the track. It’s very relaxing to the ears, there are some really nice, smooth guitar solos on this one, Dave’s vocals are rock-solid, and I find the lyrics interesting in that they say that we are living in a world where there are no more role models for children and that so many famous people are corrupt in some way. It’s a nice track that I think I’ll add to my regular playlist for sure.

Sunday Rain: Drummer Taylor Hawkins takes over the lead vocals from Dave Grohl on this track, and I do like his vocals a lot on this one. The guitar melody is pretty nice, the drum beat (provided by the legendary Paul McCartney) is pretty enjoyable, and the hook was pretty good. Again, nothing I’ll really listen to much in the future, but all in all, pretty good stuff.

The Line: This song talks a lot about the need to constantly fight for your life in today’s political climate, and the lyrics are really strong. Once again, interesting drum beat, solid vocals by Grohl, and a pretty solid hook. There’s definitely some appeal in this track, even if it’s not for me.

Concrete and Gold: I love the guitar track on this thing, kinda gives me some Black Sabbath vibes. Dave’s heavily filtered vocals are also really great, and I like that, about mid-way through the track, it gives me this kind of “western standoff song” vibe. I also like the booming beat on this track, and with its lyrics, it feels like it puts a nice end to the album. The pacing is also really good, as it’s a 5-minute track that I don’t have to feel is too long for me. Hell, I might even add this song to my playlist and give it a few replays in the future (though I’ll definitely skip the ending where Dave yells “fuck you Darrell” after a bit of silence because that’s jump-scare worthy).

Prepare to potentially hate me, but this album just wasn’t for me. Don’t get me wrong, it’s not a bad album. In fact, I’d say that it’s pretty well-crafted overall, with some great instrumental melodies, plenty of energy, and some really solid political lyrics, but at the very end of the day, this kind of hard-rock music just isn’t for me. I most certainly see the appeal of it, and I’m very sure that Foo Fighters fans will be more than pleased with it because it’s certainly well-produced, but this is a genre of music I don’t listen to regularly, and actually sitting down and giving it a shot didn’t really change my stance. In no way is it a bad album, though, and if you like hard-rock music with a subtly political edge to it, you’ll enjoy it, but know thyself when going into this thing.

Maybe I should just stick to pop music.

Favorite tracks: The Sky Is A Neighborhood, Happy Ever After (Zero Hour), Concrete and Gold

Least favorite tracks: None, all of the other tracks were just "acceptable."

Rating: Okay

Maroon 5 "Red Pill Blues" Album Review

Alright, guys, it is time for a review of the new Maroon 5 album “Red Pill Blues.” Maroon 5 is a pop-rock band that’s been around for decades at this point, and they were even making popular music when I was a kid, with tracks like “This Love,” “She Will Be Loved,” and “Makes Me Wonder,” which was essentially the culmination of their success at the time, as it was their first Billboard Hot 100 chart-topper. After a few years without a huge chart-topper, they returned with numerous big songs, such as “Misery,” “Moves Like Jagger” (their second chart-topper), “Payphone” (which peaked at #2), “One More Night” (another chart-topper), “Love Somebody,” “Maps,” “Animals” (which peaked at #3), “Sugar” (another one that peaked at #2), and plenty of others. They’ve continued to release chart-topping singles, and yet, the group seems to be really polarizing: some people enjoy their tracks and find them pretty fun, others think they’re trash and they should get out of music. Regardless of the discord, I’ve generally found most of their stuff to be pretty okay, with a few decent takeaways here and there. So now, here they are, back with a brand-new album, horrific front cover and all, and they’ve included some already big hits on this, like “Don’t Wanna Know” and “Cold.” So, does this album deliver? Well, let’s see:

Best 4 U: I really like the hook on this track a lot, but outside of that, the song itself is really forgettable. Even for all the energy it has melodically, Adam Levine’s vocal performance is relatively boring, and the song doesn’t have really any charm to keep it from feeling like way too many of Maroon 5’s other songs. A weak start to this album.

What Lovers Do (ft. SZA): Not counting “Don’t Wanna Know” and “Cold,” this was the first true single off of this album. And guess what? It’s a really boring, EDM-fueled track that really doesn’t have any charisma or charm, doesn’t have a decent hook, and doesn’t warrant any kind of repeat listens! Oh, and while SZA’s guest appearance doesn’t hurt this song, it doesn’t help it at all. Maybe it’s just me, but never has something this poppy and EDM-y made me want to just fall right asleep.

Wait: As upbeat and poppy as this track is, it’s once again really boring. The hook is not that bad, but all-around, it just feels like more of the same, with little charm or outstanding elements to set it apart. Not one of the worst on this album, but nothing really great.

Lips On You: Initially, I was really interested in this track, because I wanted to hear Levine go with something a bit slower, but unfortunately, this slower song only enforces my problem with the album so far: it’s painfully boring. This track is really dull and boring, and Adam Levine’s vocal performance honestly sounds kind of “whatever,” like he’s not really at his most charismatic at all. The saving grace of the song is the pretty decent beat, but other than that, I can’t say I really enjoyed this track.

Bet My Heart: Again, I was pretty excited for this track, because I started to think “Maroon 5 going acoustic? Cool!” And then the electronic drum beat kicked in and my mind just said, “dammit.” Again, Levine lacks really great emotion on this song, and while the hook is not one of the album’s worst, you probably won’t remember it after one listen. Sorry, I didn’t want to hate this album, but so far, this is not a good start at all.

Help Me Out (ft. Julia Michaels): Instrumentally, I like the way this one starts out, and sonically, it’s actually not that bad. The hook is also some decent fun. However, neither Adam Levine, nor guest star Julia Michaels, provide really memorable vocal performances here, and they don’t have enough charm for me to forgive the track’s familiarness. It’s not the worst on the album for sure, but it feels like a lot of wasted potential.

Who I Am (ft. LunchMoney Lewis): Some good things are going on with this track. There’s a good instrumental and a relatively decent hook. Unfortunately, the instrumental transitions to the chorus are weak, Adam Levine’s performance leaves something to be desired, and guest rapper LunchMoney Lewis’s verse is enough to kill the whole damn song for me. It doesn’t, but unfortunately, it keeps this from really being a good one.

Whiskey (ft. A$AP Rocky): Again, I thought this was gonna be kind of different for Maroon 5, but nope. Nope nope nope. Sonically, same thing as usual. Hook, boring. Adam Levine’s performance, not enough to make this one worth another listen. And as they’ve been doing lately, this track features a rapper on it, namely A$AP Rocky, whose verse and performance are as forgettable as pretty much every other rapper that’s been featured on a Maroon 5 song. One of the album’s weaker songs.

Girls Like You: I like the faster string-plucking on this song, and while the beat is very standard, Adam’s performance is actually pretty good. I like his vocals a lot, and the hook is pretty enjoyable. Not gonna lie, this is probably the first good song on the album. Too bad it comes so late into this thing.

Closure: Not counting the bonus tracks, the album ends with an 11-minute track. ELEVEN MINUTES! MAROON 5, WHAT ARE YOU EVEN DOING ANYMORE?!?!?!?!?! And you know what? The song literally has NOTHING that sets it apart at all. There’s hardly any charm, any wit, any excitement on this track. Even if it’s an upbeat song, it’s as cliché as they come, and Adam’s vocals cannot save this song at all. And I don’t care if the trading riffs throughout this are “cool” or anything like that, this track has literally NO BUSINESS being 11 minutes long. Hell, the few “solos” on this thing don’t even provide any really strong variety, and sometimes, it’s even hard to notice that solos are going on because the looping track overpowers everything else. It was already enough that the song sounded as generic as possible, but now this generic, boring song has to go on for 11 minutes? Jeez…and now there are bonus tracks to review! Great, just great.

Denim Jacket: Okay, I made it through that 11-minute marathon, so on to the bonus tracks: while I do like that Adam’s vocal performance is a little more emotional on this track, I think the hook and beat on this are enough to put me to sleep. It’s nothing I haven’t heard from Maroon 5 before, and even though Adam’s performance is not terrible, it’s still not enough to save this thing.

Visions: I don’t know what it is, but the beat on this song feels kind of out-of-place for me, and it feels like the beat and the sound of the hook just don’t mesh well together. And Adam’s vocals on this track are filtered in such a way that they attempt to mask his lack of emotion and boring inflection in his voice. There are some fun moments on this track, but all in all, this one is just really forgettable.

Plastic Rose: I actually really like the beat on this track, but other than that, everything about this track just feels so average. I also noticed that on the verses, the instrumentals overpowered Adam Levine’s vocals, which makes me wonder if they were again trying to hide his lack of emotion and charisma. The hook is also just as forgettable as the others on this track, and while it’s not one of the album’s worst, I’d like to forget about it as soon as possible.

Don’t Wanna Know (ft. Kendrick Lamar): This one is a year old, and by now, I’m pretty sure we all know it. Some people hardcore hate it, and I can certainly see why: it’s very standard pop-music with nothing that really sets it apart from various other Maroon 5 songs, the hook is really repetitive, and the song itself doesn’t really use Maroon 5 or Kendrick Lamar’s talents to their full potential. However, I’d be lying if I said I didn’t have fun with this one, because for some reason, I really like the sonic melody on this, and Adam’s vocals and flow are really fun on this one. I’m not gonna lie, this was actually a replay-button breaker at one point, and while this might get me some hate, I actually still like the song.

Cold (ft. Future): In my eyes, I kind of saw this as a “follow-up” to “Don’t Wanna Know,” and I also see it as an improvement over that track, with another great sonic melody, even more great vocals from Adam, and a less repetitive, really fun hook. Still doesn’t use its featured rapper to his full potential (this time it’s Future, not Kendrick) and the song would’ve been fine without him, but all in all, I do really enjoy this track and this was (and still is) a replay-button breaker. Glad the album ended with this track, at least.

Okayyyyy, final thoughts: I’m not gonna get super-duper angry this time around, but I will say, I did not like this album whatsoever. Just looking at the front cover, and then hearing that Maroon 5 regrets naming this album “Red Pill Blues” made me a bit worried, and it turned out that my worries were proven with this album: a lot of the instrumentals and beats on this thing are blatantly unoriginal and boring, Adam Levine’s vocals feel uninspired and lack charisma, and the hooks, which are usually the saving graces of many of Maroon 5’s singles, are largely hit-or-miss. I’m sorry, I can’t say that this album was legitimately good at all. I can only say that I enjoyed three songs on this thing, and two of those songs are bonus tracks that were released as standalone singles (“Don’t Wanna Know” and “Cold” were not released to promote this album, they were released as singles on their own and then kind of just thrown onto this thing), so take those away and I’m left with just one song I enjoyed. I suggest that you stay far away from this album. If you want to listen to the singles, fine, but otherwise, just avoid this thing. Unless you’re on a hunt to find pop music that can actually put you to sleep, stay away at all costs.

I don’t even have time for a Maroon 5 pun, I need to go sleep. Bye guys.

Favorite tracks: Girls Like You, Don't Wanna Know (YES I LIKE THIS SONG BACK OFF), Cold

Least favorite tracks: Best 4 U, What Lovers Do, Whiskey, Closure, Denim Jacket

Rating: Awful

Sam Smith "The Thrill of It All" Album Review (40th Review)

Alright, guys, it is time! An album I have been anticipating for a few months now, it is time for a review of the new Sam Smith album “The Thrill of It All!” This is the second album from English singer-songwriter Sam Smith, who broke out in 2014 with the album “In The Lonely Hour,” an album that brought us hits like “Stay With Me,” “I’m Not the Only One,” and “Lay Me Down.” I reviewed this album not too long ago, and I ended up thinking that, while it wasn’t amazing, it was a good showcase of Sam’s vocals, which in many cases, made weaker songs worthwhile. So, after three years, he is back with more music. And, as this is an album I’ve been really looking forward to, I’m actually very excited to make this my milestone 40th review! So, is this 40th review gonna be something special? Let’s go song-by-song to find out!

Too Good At Goodbyes: The first single to release from this album is also the first track on the album itself, and it’s a fantastic start! Since release, this track has become a replay-button breaker for me, thanks to Sam’s incredible vocals, the incredibly catchy hook, and the heartbreaking lyrics. This track just never gets old!

Say It First: As always, Sam’s vocals are absolutely beautiful, and I love the subject matter of this track: knowing you love someone but wanting them to say it first. The instrumental melody on this is lighter, but the song itself is so beautiful and so memorable, I’ll definitely end up breaking the replay button on this one!

One Last Song: A heavier song with a slightly more jazzy feel, I like Sam’s vocals, the repeated piano chords, and the lighter drum beat on this one. The hook isn’t one of Sam’s best, but this track is still very enjoyable overall, and I feel like this will grow on me in time.

Midnight Train: This track has a really interesting doo-wop style beat and a really raw feel (the overpowering drum beat makes this feel more “real”) and Sam’s beautiful vocals are on full display here. They help make this heartbreaking song even more heartbreaking. It’s not my favorite Sam Smith song, and it feels a bit short, but it’s a really emotional song and a really good one.

Burning: This song reminds me of a lot of songs I really enjoy. The piano melody is gorgeous, and it gives me callbacks to “Faded” by Alan Walker, another song I really like. Sam’s vocals (which are, again, beautiful) remind me of Ed Sheeran’s vocals on “Supermarket Flowers,” which is one of his best songs. Beyond that, this is a really personal song about the struggles and sadness Sam has been facing and it’s incredibly heartbreaking. It’s definitely one of my favorite Sam Smith songs.

HIM: Lyrically, this track is really interesting to me, as it tells a story about a boy coming out of the closet to his father (and God) to reveal that he is homosexual, which is never an easy experience for any child. Sam backs up these great lyrics with more gorgeous vocals, as well. Not one of my personal favorites, but I think it’s a really great song for sure.

Baby, You Make Me Crazy: This song has a far bigger, more overpowering beat and a much grander instrumental. I’m sure I don’t need to repeat that Sam’s vocals are gorgeous, and I like how Sam is talking about how he’s gonna forget a breakup by partying and having a good time, lyrics that fit perfectly next to the loud drumbeat and vibrant instrumentals. Not the best hook on this album, but I feel like this track will grow on me. I really like it.

No Peace (ft. YEBBA): This song features an artist named YEBBA, and her vocals throughout the track are really pretty, and I think she can stand tall alongside Sam on this track. This one actually gives me some flashbacks to some of the more emotional, romantic songs that I used to hear in the early 2000s as a child, with the only difference being that the beat sounds a bit more modern. Another enjoyable track overall!

Palace: Instrumentally, this one is pretty devoid of any melody outside of a light acoustic guitar. And all in all, this one is really short, but it feels very raw and really pretty. Not one of my favorites from Sam, but all in all, an enjoyable song for sure.

Pray: I love the kind of minimal but still really fun drum beat on this one, and the piano melody is really beautiful on this one. Beyond Sam’s fantastic vocals, I also find it really interesting that he talks about wanting to start praying and worshiping God, even though he doesn’t believe in him. It’s a wonderful end to the non-Deluxe album that I feel like I’ll end up hitting the replay button on pretty often.

Nothing Left for You: Starting off the bonus tracks, we have a really slow track that talks about his inability to move on from a past relationship. Backed up a booming chorus, this track features Sam having a little bit of fun vocally, demonstrating a lot of passion here. Again, not one of my favorites, but all in all, this is a pretty good track.

The Thrill of It All: I find it kind of odd that the title track is a bonus track. But lyrically, I like how he talks on this one about how the fame changed him and ruined some of his relationships. It feels more quaint and subdued, and Sam’s vocals make it feel even more heartbreaking. This is another track I really love.

Scars: Lyrically, I appreciate this track for feeling very personal and talking about his family. Sam has spent quite a bit of this album talking about his former lover, so it feels pretty cool to see him talk about his family on this. This will definitely get some repeat listens out of me.

One Day at a Time: Once again, beautiful vocals by Sam, and this song is really romantic. Where a lot of previous songs talked about saying goodbye to lovers, this one feels more like Sam has found the one he wants and just wants to love them. As a hopeless romantic, I’m a sucker for songs like this, and I think this is a perfect slow-dance song. Beyond that, it’s just a really beautiful, really enjoyable track, and a fantastic ending to this album!

Overall, Sam Smith’s long-awaited follow up to “In The Lonely Hour” is a big improvement on his debut album! “The Thrill of It All” might feature Sam talking a lot about breakups, and relationships that went awry, but I can easily forgive the similar subject matters when he is making such emotional, beautiful, and all-around enjoyable songs. Sam definitely takes a softer approach on this record, but the result is a set of tracks that’s really personal, heartbreaking, and also, great to listen to. It’s great to see Sam back with a new album, and it’s even better to see that he’s back with one that’s really enjoyable.

Favorite tracks: Too Good at Goodbyes, Say It First, Burning, Pray, The Thrill of It All, Scars, One Day at a Time

Least favorite tracks: None of them

Rating: Excellent

Chris Brown "Heartbreak On a Full Moon" Album Review

*deep breath* Alright, guys, here it is: I’ve been dreading this for a while now, but it’s time for a review of the new Chris Brown album “Heartbreak On a Full Moon.” I’m not dreading this because of Chris Brown, because as controversial of an artist as Chris Brown is, I’ve surprisingly been able to separate “Chris Brown the musician” and “Chris Brown the person.” No, the reason I’m dreading this thing is that, while I’ve enjoyed quite a few of his songs, this album is roughly 2 hours and 40 minutes of music spread across 45 tracks. Yeaaaaaahhhhhhh, that’s pretty wild. But, you know, the best thing to do is just get through it, so, let’s try that!

Lost & Found: Alright, the first of these 45 tracks is really light, and while I do think Chris’s vocals are really solid, the hook is unmemorable and the song as a whole is pretty boring. I’m sure there are gonna be some great songs on here, but regardless, this isn’t the best start to this marathon.

Privacy: This track is really sexy and really fun! I love the upbeat sound, the electronic instrumentals, and Chris’s vocals are really strong. The lyrics are also unapologetically sex-driven, and while some of them are a little strange (blame it on my immaturity, but I couldn’t help but laugh during the hook when he said “licking your private parts”), the song is too fun and irresistible for me. This is one I think will become a replay-button breaker.

Juicy Booty (ft. Jhené Aiko and R. Kelly): Another kind of lighter track, but one with a rather unremarkable hook and not as much fun as some of the other tracks on here. And R. Kelly’s performance can’t hold a candle to some of his older, greater songs. Fortunately, Jhené Aiko’s performance is really great, though it’s not quite enough to save the song from just being okay.

Questions: This interpolation of Kevin Lyttle’s “Turn Me On” is really short, but it’s got a really fun beat and a really rock-solid vocal performance from Chris. Sure, it’s not the most wholly original thing in the world, but I’ve broken the replay button with it, and I think it’s a really fun, really enjoyable track.

Heartbreak On a Full Moon: Another slower jam, this one has a really strong beat and it sounds really pretty overall. I also do appreciate that this track is lyrically not as NSFW as some of the others on here. I’m not really all that crazy about the hook, and I feel like I’m not gonna be replaying this song a lot, but it’s still not a bad track, and it might even grow on me in the future.

Roses: This one is honestly really boring to me. The beat is not bad, and Chris’s vocals sound nice, but his performance is not as passionate on this track, and the hook is really bland overall. One of my least favorite tracks on the album.

Confidence: Another upbeat track with a pretty fun instrumental that, while being nothing we haven’t heard before, is still exciting enough. Hook on this is not really that great, but overall, the song is pretty decent.

Rock Your Body: Chris’s vocal performance on this track is interesting (speaking mostly about his accent), and the beat on this is really enjoyable. The hook, while seemingly repetitive, is also really fun. This is a track I feel like I’ll keep coming back to, it’s really good.

Tempo: Chris’s flow on the verses is really strong on this one, and the hook is too irresistible for me. Even if it sounds like nothing that new, I’ve said it before, “standard” and “similar” music is not bad if it has a certain charm to it that makes me want to come back, and I can say this song has that charm. For me, it’s too much fun.

Handle It (ft. DeJ Loaf and Lil Yachty): Unfortunately, this track doesn’t have that certain charm I was talking about, and it’s just kind of boring to me. DeJ Loaf is featured on the hook, and while her vocals are not bad, the hook honestly feels like “dollar store Rae Sremmurd” to me. I do think Lil Yachty’s feature was not bad (not shocking, I like him as a feature pretty often), but it’s not enough to save the track.

Sip: The pretty simple drum beat on this track is some head-nodding fun, and Chris’s flow helps make the verses really fun. Again, feels kind of familiar, and not a great hook on this track, but it’s a fun enough track that, while not necessarily a highlight of the album, is still an enjoyable listen.

Everybody Knows: Another track that just feels like it’s been done better by other artists. Sure, the beat is fun, but the hook is really unenthusiastic on this one, and Chris’s vocal performance is not as memorable as many of his other, better songs.

To My Bed: Once again, the beat on this is really strong, and I do like the really raunchy lyrics on this one, but for a song so raunchy, I feel like the song isn’t really sexy enough for what Chris is trying to go for, and instead of sounding sexy, it just feels kind of boring. Easy to head-nod to, and not one of the worst on the album, but it feels kind of throw-away to me.

Hope You Do: I liked the slower sound that the track had going for it before the beat kicked in, and I kind of wish it had stuck with that lighter sound. Even so, the beat is still head-noddy, Chris’s vocals are charismatic and strong, as you’d expected, and his flow on the verses is fun. The hook is not great, but overall, another track that’s not too bad.

This Ain’t: Chris talks on this track about how he and a girl are “just fucking” and not really in love, and his vocals are really great on the track. The slower beat is also pretty solid, as well. Not one of the album’s best, but a nice, slow-ish jam that actually feels kinda different from a few of the tracks on here.

Pull Up: Another pretty slow song that has some really great vocals and a strong, old-school R&B vibe to me. And I actually like the third verse, where Chris is talking about how the girl’s race is irrelevant to him, and he’ll get down with a girl no matter what. There’s something really enjoyable and charming about this track that I feel like I’ll definitely come back to it in the future.

Party (ft. Gucci Mane and Usher): This is a really upbeat track with a really fun hook and some good performances from Chris Brown and Usher. I’m not as crazy about Gucci’s verse on this one, but it doesn’t take away from the fact that this is a pretty fun, enjoyable track.

Sensei (ft. A1): Boring hook, boring performances from Chris Brown and A1, a boring Soundcloud mumble rap-esque instrumental melody…get the picture? This one is boring.

Summer Breeze: Fortunately, Chris bounces back with a good track here. I really like the hook on this track, the instrumental melody is pretty enjoyable, and Chris’s performance is really energetic throughout this one. Another track I feel like I’ll come back to.

No Exit: After a pretty light start, things change quickly as this turns into an upbeat, energetic, funky track with a really hypnotic, head-nodding beat, a charismatic performance from Chris, and an enjoyable hook. This is definitely one of my personal favorites on the album.

Pills & Automobiles (ft. Yo Gotti, A Boogie wit da Hoodie and Kodak Black): Unfortunately, we follow up one of the best tracks on the album with what is easily the weakest of the currently-released “singles” from this thing. Chris’s extremely-autotuned vocals make him sound almost completely different, and not for the better. The hook is also really generic and boring on this one. As for the three featured artists, Yo Gotti’s verse is relatively fun, A Boogie Wit Da Hoodie has a good voice, even if his verse isn’t extremely fun, and Kodak Black’s verse is as forgettable as they come. Overall, this is a track I ultimately cannot recommend in any way.

Hurt The Same: The end of Disc 1 features some overly long and forgettable verses, a decent enough beat, and a solid hook but not nearly enough charm or charisma to make it a really memorable song. Not really the best end of the first disc, and while it’s not one of the album’s worst, it’s just not all that catchy. But, we made it through Disc 1, which means we still have a whole 18 tracks to get through (23 if you count the bonus tracks)!!!!! Yaaaaaaaaaayyyyyyyyy……

I Love Her: Alright, we are finally at Disc 2 of this thing. This second disc starts with Chris pining about how much he loves a woman, all over a pretty standard electronic instrumental with a basic beat. It’s fun if you really like Chris’s music, but all in all, for this, this one just kind of lacks the charm of some of the better tracks on here. That, and it also ends all too quickly. I can’t help but feel like there wasn’t as much love put into this track as there could’ve been.

You Like: Oh, and right as that ends, we get a track that sounds very similar and is also similarly short. And again, it sounds like your standard, EDM song with not enough to set itself apart from many other, better tracks in the genre. And if you thought the sudden ending of the last track was bad, it’s even worse here. It’s literally just like *pop* done. Definitely one of the weaker tracks on this thing.

Nowhere: I like the more romantic vibe that I’m getting from this track, though I do kind of feel like there’s a bit too much going on instrumentally on this one. It could’ve been even better if it was a little lighter. Otherwise, it’s not one of the album’s best, but it’s still a nice enough track.

Otha N***as: No, I’m not going to say the actual title of this song. Be it in real life or in writing, I’m not typing that word out. No thank you. Anyway, this song is pretty fun overall. I like the instrumental melody and Chris’s vocals, and the hook is pretty enjoyable overall. I’m not sure if I’ll be revisiting it too much after this review, but I do think it might grow on me in time, even if the sudden ending pissed me off a lot.

Tough Love: I like the beat on this one a lot, and melodically, there’s a lot of interesting things going on here, but I’m not really crazy about the hook on this track. Chris’s performance isn’t bad throughout this, but it’s just kind of a shame that his performance on this is not as interesting as the instrumental.

Paradise: Ooh, the beat on this one is really cool! Very beach-esque, it lives up to the “Paradise” name. I definitely feel like Chris’s vocals are fitting for the track, and I like how the lyrics are not as NSFW on this one, because I think that would feel out-of-place for the song. Overall, this one is really enjoyable, and I think I’ll end up coming back to it a lot.

Covered In You: This is another slower track, and it features a pretty fun performance from Chris that shows that he has some really solid flow. The hook is also really fun on this one. It’s not one of my favorites on the album, but it’s a good one that might grow on me in time.

Even: Instrumentally, this track doesn’t have as much going on, but it’s still got some great energy and charm. Chris partially samples “Remember the Time” by Michael Jackson, lovingly so, and this song feels very emotional and subdued compared to some of the other tracks here. This is definitely one of my personal favorites on the album.

High End (ft. Future and Young Thug): I’m not usually crazy about Future, but I thought his verse was pretty enjoyable on this one. Chris’s performance is also fun, and Young Thug’s verse was not bad, either. My big issue with this track is that it kind of lacks variation throughout, and there’s no real hook on this track. So, all in all, it can get a little bit boring. Still not a bad song, I just think it could’ve been more polished.

On Me: In ways, this track feels like pleasantly old-school Chris Brown. I like the hook, and I think Chris’s vocals are really strong here. It’s probably not as sexy as its raunchy lyrics may make you think, but otherwise, it’s a good track that might grow on me in time.

Tell Me What to Do: Another pretty light track, but I really like the more swingy beat on this track, and the hook is really strong. Some of the really NSFW lyrics might feel at odds with the melody of the track, but I think that’s what makes it enjoyable. I’ll probably end up replaying this one a lot.

Frustrated: Back to the EDM feel, this song is just too much fun to me. Even if the hook can be a bit repetitive, it’s too charming for me. The beat is also charming enough to work despite its familiarity, and Chris’s vocals are great as usual. Another potential replay button breaker.

Enemy: The instrumental melody actually feels pretty different and interesting on this track, and the beat is easy to head-nod to. And, as usual, I love Chris’s vocals on this track, and the hook is quite fun. I definitely can say that Chris is saving the best tracks for last, that’s for sure.

If You’re Down: A really good dance song that, again, might be familiar, but it’s too much fun for me to resist. The hook is great, the instrumental melody is vibrant and exciting, and all in all, this song will definitely get some repeat listens from me.

Bite My Tongue: Another dance song, but one that’s a bit slower. Still has some really interesting things going on melodically, and the hook is once again really fun. Sure, it’s nothing you haven’t heard before, but for me, it’s too good to resist.

Run Away: After all of the love songs on this album, Chris talks about police brutality. Kind of strange to see such a transition, but I do like the darker lyrics, the more subdued sound, and Chris’s more emotional performance here. This story about wanting to get away from police for the sake of love is, again, really memorable and enjoyable.

This Way: On this track, Chris blames a woman he was engaged to for forcing him to find solace in one-night stands with other women. I guess different people react to breakups differently, I wouldn’t know because I’ve never had a girlfriend. Either way, the beat is pretty solid and Chris’s performance is pretty fun, even if this track isn’t one of the album’s best.

Yellow Tape: Well, guys, we’ve made it through both discs of the album, except we’re not done because there are five bonus tracks after this. Wow. Anyway, the end of Disc 2 shows Chris conveying that Hollywood is like a crime scene, while also pretty much calling out all of his haters and showing his angry side off. It’s very dark but really interesting. Chris’s vocals and flow are really strong, and this is something I feel like I’ll want to keep coming back to and keep replaying. It’s hypnotic, and it’s a really strong end to the album…except that it’s not really the end of the album because we have five bonus tracks! Gosh.

Reddi Wip: Alrighty, now we’re finally at the bonus tracks! Which means, we’ve almost made it through this album! To start off our bonus tracks, we have a track with a really catchy drum beat, some really strong vocals from Chris, and a really irresistible vibe all-around. This one will definitely get some replays from me.

Hangover: Another really great track with a catchy beat, a really fun instrumental, some great vocals from Chris, and a really memorable hook. Another track that will definitely get a few replays out of me.

Emotions: Once again, Chris’s vocals are really strong on this track, I had a lot of fun with the hook on this one, and while it ends kind of suddenly, it’s really enjoyable, replay-button-breaking stuff while it lasts.

Only 4 Me (ft. Ty Dolla $ign and Verse Simmonds): I really like the instrumental melody on this track, and the performance of featured artists Verse Simmonds and Ty Dolla $ign are really strong, but I don’t find the hook particularly memorable on this track, and I think the features really outshine Chris on this one. It’s not bad at all, but it’s not the most memorable of the laundry-list of tracks on this album.

Grass Ain’t Greener: Phew, we’ve finally made it to the end of this album! If you’ve read this far, congratulations, you must have some damn good patience. Anyway, this final track is pretty dark. Chris talks about how a “side girl” became his “main girl” and things spiraled downwards from there. The beat is not bad, and the hook is relatively catchy, but I’m not gonna lie, I don’t think I’ll be going back to this one that much. Still a solid end to the album.

*breathes a sigh of relief* Okay, now that I’ve actually made it through this marathon, final thoughts: I CANNOT in good conscience recommend that you listen to this entire thing. 45 tracks, nearly 2 hours and 40 minutes, all of the songs that sound very similar to each other. Though this thing was hyped up to no end and there was much to-do about it, it can’t help but feel more like a gimmick to get people talking about what would otherwise be two decent, if unspectacular, albums had they been released on their own. However, I can’t deny that I did enjoy myself with a number of the tracks on here, and I do think that, as repetitive as it can be, Chris Brown understands what his sound is, and he’s sticking to what works. It’s definitely very safe, but it’s still charming and enjoyable enough. But know thyself when it comes to this album, if you feel EXTREMELY adventurous, listen to the whole thing, but otherwise, don’t actively try to go through it all. And as for my rating? Well, obviously, if you’re a die-hard Chris Brown fan, this is right up your alley and you’ll love it. However, if you're not a die-hard, this won't change your mind. And even if you are a die-hard, don't listen to this entire thing at once. There are some good takeaways, but it's a bit too loaded for its own good.

PHEW, glad that’s over. I need a nap now.

Favorite tracks: Privacy, Questions, Rock Your Body, Tempo, Pull Up, Party, Summer Breeze, No Exit, Paradise, Even, Tell Me What To Do, Frustrated, Enemy, If You're Down, Bite My Tongue, Run Away, Yellow Tape, Reddi Wip, Hangover, Emotions *breathes heavily*

Least favorite tracks: Roses, Handle It, Everybody Knows, Sensei, Pills & Automobiles, You Like *gasping for breath*

Rating: Okay