6월 29, 2012 at 1:01 오전 , ,
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By John Glynn

Let’s be honest, Chris Brown didn’t need any type of rehabilitation or any type of inner transformation, because it seemed that beating up his girlfriend was, you know, a minor blip in judgment. Fortune is Brown’s latest record and it will undoubtedly amass considerable sales figures, Chris will appear on mainstream TV shows and prime time radio slots, but his PR people will firstly ensure that interviewers don’t ask the questions that we really want asked. The media are basically told to focus on Brown’s artistic merits as opposed to his Mike Tysonesque, alcohol fuelled antics.

Focusing on his musical capabilities, I think it’s commonly agreed that Brown’s music appeals to a certain type of listener (mainly his all conquering female fan base), but ends up being rather passable in its genre. However, he does manage to make polished radio-friendly R&B, something that is reinforced by his ability to dance a little like Michael Jackson. Turn Up the Music, the first track to be released from Fortune, shot to Number 1 in the UK. I’ll be damned, even Rihanna seems to have granted Brown a second chance. It’s rather comical to think that she recently recruited Brown to appear on a recent remix venture of hers. The public seems to have gone with the Rihanna approach, they have granted Brown a second chance to amaze and astonish.

But why is Brown such a global sensation? His dancing is sometimes phenomenal, but in the studio he is certainly no Drake or Weezy, his latest album delivers average mid-tempo RnB, but one problem overshadows everything; it is a collection of unremarkable, extremely ordinary music. Apart from the few lyrics that may make you laugh, gag, perhaps projectile vomit, Fortune is certainly not a dreadful album. It just feels absolutely pointless, something that was released for the sole purpose of generating mega bucks. My pessimism stems from specific aspects, but it quickly inflamed when I listened to a song called Don’t Judge Me. Yes, it’s a provoking title, but could somebody answer one question, what the hell does Brown want forgiveness for? Maybe it’s for his violent conduct, a feature of his life that he is never quite ready to discuss with the media.

Every now and then there is the sporadic indication of something special, but this is quickly extinguished by Brown’s producers; they seem content to keep things current but colourless. I think both the words current and colourless sum up Brown’s music; he is almost a necessary evil in this corrupt world of music. He is more of a brand than a musician, someone who looks cool on camera, someone who appeals to the teenage masses. The real highlights’ occur when the heavyweights appear on Fortune, Brown is customarily upstaged by his guest rappers and this time is no exception. Nas and Wiz Khalifa take the driver’s seat, leaving Brown in the backseat with very little to say. All joking aside, for the sake of music, I hope Brown remains in the backseat until he has something artistically constructive to contribute to the world of music.


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