Usher

When he wasn’t busy producing a new album for Justin Bieber, Usher found the time to record one of his own. Much like it’s hard to take teenage protégé Bieber seriously, Usher’s sixth record, “Raymond v. Raymond,” struggles to make a sophisticated and grown-up statement.

During the recording of “Raymond v. Raymond,” Usher filed for divorce from his wife Tameka. This event supposedly pushed his songwriting in a more personal, confessional direction. This is a similar formula to the one used on his fourth album, which was actually entitled “Confessions” and followed his separation from his long-term girlfriend, TLC’s Chilli. By reviving this formula, Usher may be hoping to return to the massive success he achieved with “Confessions.” However, “Raymond v. Raymond” is disappointing, both lyrically and emotionally.

Usher’s songwriting staple—sharply produced R&B odes to love, often found in a club—is pretty well known by now, and no amount of personal issues are going to change it. Sticking to this staple, however, is not guaranteed to deliver Usher chart-topping hits. Whereas “Confessions” shifted close to 10 million copies in the U.S. and spawned four number one hits, Usher’s last album, 2008’s “Here I Stand,” failed to reach the success of its predecessor. Songs about love in a club are all well and good, but if you’re going to do the same thing over and over again, it’s essential that it’s done well.

“Raymond v. Raymond” doesn’t contain anything as instantly and inescapably catchy as the hit single “Yeah!” from “Confessions,” but it certainly does have its strong points. Bonus track “More” is actually one of the album’s highlights, and its slick beats and self-assured air are certainly reminiscent of Usher’s past hits. Usher’s core aesthetic reamins intact: most songs feature strong electronic beats as well as an abundance of vocal and instrumental layering, and all of the production aspects assure that there is almost never a tired moment.

Opener “Monstar” is another of the album’s best tracks. Filled with electronic beats, claps, computerized voices—à la Kanye West sampling Daft Punk—piano, and strings layered together, the song continuously builds up a seemingly weightless sound. This is showcased as the chorus chants, “I’m back / Celebrate life,” which seems to be exactly what this song is trying to do.

The music, nevertheless, oftentimes doesn’t make up for the insipid subject matter and silliness of the album’s lyrics, which are the weakest point of “Raymond v. Raymond.” A perfect example of this is “OMG,” featuring and produced by The Black Eyed Peas’ will.i.am, perhaps the most ridiculous track. Another ode to club hookups, the lyrics show that a poet Usher is not, as he laughably attempts to describe the woman he has fallen for by singing, “Honey got a booty like pow, pow, pow / Honey got some boobies like wow, oh, wow.”

Although not as consistently asinine, “Lil Freak,” is likewise incongruous. Its most jarringly out of place aspect is the sampling of “Living for the City,” Stevie Wonder’s anthem about the African-American struggle against poverty and racism. Alongside this, Usher’s deepest lyrics are probably: “You let her put her hands in your pants / Be my little freak,” which hardly feels appropriate next to Wonder’s sincere words.

Between bookends describing his sexual exploits, Usher does actually reach the confessional aspect of the album. “Papers” sounds like a legitimately heartfelt song about the troubles Usher has been facing during his divorce. Going through all of his difficulties with soaring vocals, “I damn near lost my mamma / I been through so much drama / I done turned into the man that I never thought I’d be / I’m ready to sign them papers.” Unlike many of the other songs, “Paper” actually feels like it has soul, a nice change from the rest of the album’s lightweight feel.

Usher manages to stretch out his thin inspiration for over an hour, and many of the tracks prove to be filler. While usually catchy, the lyrics aren’t good enough to bring this “self-confessional” album’s concept off of the ground. What Usher needs isn’t another album of so-called introspection to bring back the success of his past, but some new inventiveness in his career, something that “Raymond v. Raymond” fails to exhibit.