Yet, in concept, his latest album seems to be more of a follow-up to the double-platinum Confessions, in which Usher profiled the breakup between him and Chilli of TLC. Songs included the provocative вЂњConfessions Pt. 2вЂќ, in which Usher confesses to impregnating a mistress of his. The song is, essentially, an apology letter, and Usher promises to clean up his act. Confessionsalso included вЂњYeah,вЂќ so UsherвЂ™s credibility on this apology seemed shaky even at the time. He moved onto Here I Stand, which broke away from the breakup theme, and focused on what Usher does best-crossing R&B vocals with hip-hop production to create hits like вЂњLove in This Club.вЂќ Unfortunately, Usher has suffered another breakup since then-this time a high-profile divorce with Tameka Foster-and has returned to the style of Confessions. On вЂњMonstar,вЂќ the album starts high-concept, with UsherвЂ™s spoken word offering the dictum: вЂњThere are three sides to every story. ThereвЂ™s one side thereвЂ™s the other, and then thereвЂ™s the truth.вЂќ In these immediate ten seconds, it seems like Usher has something up his sleeve, a real focused album. While Jimmy Jam and Terry Lewis do some of the best production work on the album here, the songвЂ™s lyrics start the album off on an awkward foot with UsherвЂ™s typical club prowling: вЂњYouвЂ™re looking lonely, and youвЂ™re longing for a lover/YouвЂ™ll know IвЂ™ll be here all night.вЂќ Then the computerized voiceovers come in, characterizing Usher in a few words as вЂњcaptivating,вЂќ вЂњsuperstar,вЂќ and вЂњseductive,вЂќ and quite simply, вЂњsex.вЂќ After more hushed voiceovers and ambient drones, a four-on-the-floor beat develops, and synth strings form the backing accompaniment for UsherвЂ™s trademark vocals, which have not diminished at all. This constant switch of theme and mood plagues the entire album, with only three songs truly embracing the theme of breakup and divorce: вЂњPapers,вЂќ вЂњFoolinвЂ™ Around,вЂќ and вЂњGuilty.вЂќ вЂњPapersвЂќ is likely the strongest of these, an R&B song with no frills and strong production. вЂњFoolinвЂ™ AroundвЂќ could easily be titled вЂњConfessions pt.

IIIвЂќ, as it simply states that Usher has been fooling around with mistresses, yet again, after apologizing on an album from six years ago. вЂњGuiltyвЂќ pleads with his ex-wife to not send him to jail, then features T.I., who just got out of jail. If all of these songs are to be taken autobiographically, then Usher is indeed a classic satyr, but that is not relevant to the discussion of the music. Much of the production is surprisingly well-done, aside from one of the worst will.i.am tracks, вЂњOMGвЂќ, in recent memory, where he decides to auto-tune UsherвЂ™s vocals over a recycled вЂњI Gotta FeelingвЂќ disco beat.

Nicki MinajвЂ™s verse on вЂњLilвЂ™ FreakвЂќ is a surprising left turn for an Usher album, embracing the recent bisexual trend in pop music led by Lady Gaga. вЂњPapers,вЂќ the early buzz single for Raymond V Unfortunately, it is hard to embrace these strengths on such a predictably unfocused album.Sixth studio album was inevitably affected by the end of his marriageДЄnd its aftershocks. Pours himself into that song more than any other on the set, andД«reakup lyrics donвЂ™t get much more specific than вЂњYou donвЂ™t think I know Raymond, bears the closest relation to the turbulence he experienced. WhatвЂ™s up, but sweetheart thatвЂ™s what ruined usвЂќ or вЂњI done damn near The album have to be taken on their own, stripped of context otherwise, Lost my mama.вЂќ The song was awarded the top spot on the R&B/Hip-HopД¬hart, most likely for its lyrical uniqueness since the song does notД«reak out of an exceptionally repetitive twiddle. Real and fantasy lives can be problematic.

вЂњGuilty,вЂќ where he whines вЂњI guess IвЂ™m guilty for wanting to be up in Sounds dead in the eyes, going through the motions, desensitized by theД«ounty of women at his feet, is followed by the sarcastically titled Track вЂњSo Many Girls,вЂќ one of a few songs in which Usher That long-term relationships might not be for him.) The sleek dancefloor

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