The dimpled, teenaged Usher Raymond of yesteryear is gone; in his place is a freshly-divorced 31-year-old man with a few home truths to get off his chest. The problem is that the songs on his sixth album aren't very good.
It was inevitable that Usher would become a superstar. As far back as 1997, the American singer was enjoying major success - both critical, commercial and from his peer group - for his album 'My Way', and understandably so. The then-19-year-old's second effort was a slick, smooth collection of songs that appealed to a multitude of markets: soul, r'n'b, rap, pop. International success came a-knocking with its follow-up '8701' and the world-beating single 'Pop Ya Collar', and since then, it's been plain sailing for the now 31-year-old.
Except if you get the reference to divorce-themed film 'Kramer vs. Kramer' on his sixth studio album, that is. Yep, this is Usher's break-up album, and it sounds like he's at both a personal and professional crossroads. His vocal capabilities can't be disputed - he can still hit the high notes with ease (although his crooning descends into histrionics on more than one occasion); it's the songs, and more notably, the lyrics that cause most problems here.
At best, most of 'Raymond vs. Raymond' can be described as 'sleaze-soul': lines like "Daddy's home, and you've been waitin' for this lovin' all day" and references to bitter divorce feuds ('Papers') sound like the singer is using this album either as a method to get laid, or as a tirade against his ex-wife. Musically, it's not terrible, but even the best of the bunch - 'She Don't Know', 'So Many Girls', 'There Goes My Baby' - sound like generic Black Eyed Peas take-offs (or Kanye West, if you're listening to 'Okay'), loaded with effects and studio trickery. As far as break-up albums go, this is one that definitely won't go down with the classics.
