Whether you like him or not is irrelevant, at least to him. After all, with chat toppers like Ludacris Runaway Love, Fergies London Bridge, and Rich Boys Throw Some Ds, over the course of just one year, who could deny that Polow is on top of his game? But above and beyond this thin layer of arrogance lies a list of hits that would silence the most boisterous naysayer. If not, dont think for a minute that he isnt prepared to bring you up to speed. Unless you have been living in a hole for the past two years, you have at some point jammed to the hard-hitting bass, heavy synths, unconventional horns and other knick knacks that have made the 28-year old Atlanta native a rarity in todays sub par music scene. is a better improvement over Graffiti and a gentle push in the right direction for an easy-listening hip-pop album – despite the circumstances.Polow Da Don may not have reached the pinnacle of success that some of his peers have, but the colorful producer is well on his way.
Still Breezy should be blessed with the credit: F.A.M.E. But Brown’s vocals seem strained in places and sometimes come across as feeling like Usher’s protégé. “Beg for It” screams for R&B airplay, even though it sounds as if Trey Songz has already toyed with its beats. The naughty sounds good on “No Bullshit,” but Brown also leaves the window open for criticism for not being the gentleman to get his own jimmy hat (“You already know what time it is/Reach up in that dresser where the condoms is”). Lyrically, Brown wants to prove he’s not the sweet innocent boy of his adolescence, while showing he’s moved on from his dirty episode with Rihanna. There’s some glimmers hinting at Brown’s superpowers, like the MJ-sampled “She Ain’t You” or the LED-lit wonderment surrounding “Beautiful People,” but the hindrance of a disproportionate amount of superstar cameos (from Wiz Khalifa to Lil Wayne), immature behavior-atop-mixtape beats and the long playlist tends to stab F.A.M.E. But F.A.M.E.proves to be a mix bag of nice slow jam grooves (“Up 2 You,” “No Bullshit”), bad boy tirades, club yawners (“Look At Me Now,” “Say It With Me”) and bubblegum-ish rave music (“Yeah 3X,” “Next to You” with Justin Bieber). With emcees Tyga and Kevin McCall spicing up the mix with heavy F-bombs and X-rated chatter, the road for Breezy’s fourth disc seems to be aim for club-laden hardcore pop – or the hardest hip-hop he’s ever tread since 2007’s Exclusive. On “Deuces,” the 2010 summer single that earned him the thumbs up with his R&B constituents and with the hip-hop world, Brown flexes his swagger across heavy urban beats and Michael Jackson finger-snap suaveness. It isn’t quite the nicest thing for Chris Brown to be opening a record about a past fling (rumored to be about Rihanna, his ex-girlfriend who he inappropriately assaulted in 2009), but the R&B-pop prince, who led a squeaky-clean reputation prior to his felony conviction, is trying to move past his mistakes.
“All that bullshit’s for the birds, you ain’t nothing but a vulture,” Chris Brown allegedly sings to his by-gone lover on the opening track of his new album, F.A.M.E. Breezy is hard at work developing musical aroma and character reconstruction on scattered-brain fourth disc