REVIEW: Chris Brown Graffiti Album

After a tumultuous year, spurred on by ‘the incident’ which reverberated around the world, R&B star Chris Brown is back and looking to reassert his place at the top with new LP ‘Graffiti’. With the world’s glaring eyes fixated on the performance of the project, it’d be hard to deny that this is the most important record the 20 year old will ever release. Therefore, it’s no surprise that the album, Brown’s 3rd, boasts production from some the industry’s most renowned hit-makers and artists alike.

The question on the lips of many, though, is: Does ‘Graffiti’ do enough to redeem Brown in the court of public opinion? I vote ‘Yes!’, albeit cautiously…

Largely comprised of up-tempo, club-destined tracks, the 13 song set kicks off to a cracking start with the Swizz Beats produced ‘I Can Transform Ya’. Featuring Lil’ Wayne, the track– one of the album’s lead singles – sees Brown enlist rapper-like delivery in detailing how he can change the life of a lucky lady. Beyond being a rather good ode to self-indulgence, the song formally introduces the listener to a markedly different Chris Brown in comparison to the clean-cut teen who burst onto the scene back in 2005. In its place, an older, lyrically fearless, and sexually-unguarded Brown pervades the record.

Indeed, on the ridiculously catchy ‘Sing Like Me’ (produced by Los Da Mystro), Brown delivers the suggestive lyrics (“looking for a ‘right now’ don’t need no wifey”) with such subtlety that one almost forgets the risqué nature of what he’s singing (a feat only Janet Jackson has perfected better). Whilst elsewhere, the sexual undertones become overtones, on the Tank-assisted ‘Take My Time’. Ushered in by African drums, and featuring a distinct 90s R&B aura (especially the vocal arrangements), the track – put simply -oozes sex (sound effects inclusive). Put it this way, if ‘Take You Down’ (from Chris last LP ‘Exclusive’) has an older, more experienced and all-round kinkier cousin, this would be it.

Not to be mis-pegged as a bedroom record, the album also excels with its grittier offerings, particularly The Runners produced ‘What I Do (ft. Plies)’ and ‘Wait’, which was crafted by Polow Da Don and features Trey Songz and The Game. Brown re-enlists his rapper-esque tongue on street-anthem ‘What I Do’ (yes, street anthem), really surprising with his rapid-fire delivery. While the banger ‘Wait’ hits a home-run with stellar production, which Brown, Songz and Game ride effortlessly. The selection of Songz for the record is somewhat ‘hit’ and ‘miss’ in that, while he compliments the track well, more times than not he and Brown sound too alike – making it difficult to distinguish who is singing. Nonetheless, a great track.

Produced by Brian Kennedy, ‘Pass Out (ft. Eva Simmons)’, is a blazing up-tempo, which should assemble clubbers of all persuasions on dance-floors across the globe. Featured is a sample of Eric Prydz club classic ‘Call On Me’, which works surprisingly well.

It is the lyrically explosive‘Favourite Girl’, however, that is undeniably the album’s centre-piece and will have MANY tongues wagging. The song’s sparse production allows for the illumination of its lyrical content – which is explicitly aimed at a certain Rihanna (yes you read right, and will want to read on!) The reflective mid-tempo sees Brown acknowledge his fault in the relationship breaking down, however there are quite shocking revelations levelled up against his one-time love. Lyrics include: “Drake would say you’re the best he ever had…everywhere we go, rumours follow…yet I still lov