Opinions are softened too often, and in this write-off, habits are shattered and different things become mandatory. Every artist exchanged is very different, although it tells about the diversity and versatility of the reviewers and their tastes - and none have exaggurated their evaluations. However, me and Justin have swapped discs in which neither of us have a bare smidgeon of familiarity with. But dissection is one of the most prominent elements in succeeding at the switches the Eps community undergoes each year in the ISYMSUHHJSAN W/O hosted by the often-emulated MattA75. Yes, when I looked up his name in the search engine – there were two imitators perched below him. Even if one of them is his mom.
A voice like Robin Thicke's, drawling and strange, had me originally hesitant - especially with the oddly sequenced songs differing in concept always. His moan can be appealing or irritating; but his demanding gasps and keep-safe demeanor on songs like the opener are reassuring when it comes to if he has a forte or not. Combining innovation and effort normally brings something amazing, however Thicke’s hesitant development gives me a bit of apathy and lessens my hope for him. And he was shoved in the music business thanks to related success from his father, which a cliched and unfair way for someone to enter the equation. But he's capable of becoming excellent as long as he develops.
Oh Shooter begins and develops with frisky twinkles, diverse keys, and an infectious performance from Thicke. It’s one of the most appealing songs on the disc, and every instrument included enriches it. The song goes on and becomes more upbeat throughout it’s repetitious, yet enjoyable chorus; and as soon as it has around one minute left in the duration, it reaches it’s climax. As with the theme of robbery, police arrive at the conclusion and you hear the urgency of the sirens and the necessity of helping everyone out caught in the robbery. The pacing isn’t too rapid, but his interesting drawl fits in between the groove. I’m also favorable to many other dance tracks – a famed classical violin loop assists in When I Get You Alone, with distinct, pulsating guitars, and he seduces his lady with an obviously tantalized and frantic attitude. However, there’s barely any other rejuvenation throughout the rest of the album, in which Thicke attempts things he shouldn’t have and becomes indecisive on his best topic.
Suga Mama has a luminous, catchy melody, although it’s not as engrossing as some of the other dance tracks on this album. It’s mainly a track about subtle lust and temptation, and Thicke sings without trying to continually irritate the listener with trying to hit different types of notes or be too original. Until the end. The minimalistic, and somewhat aimless, drone of A Beautiful World is somewhat intriguing, and it’s interestingly utilized keys could be interpreted as relaxed, or just discouraged. The emphatic vocalisms on this track have very different attitudes throughout the lyrics and signify indecision – because Robin talks about underpaid mothers, and then randomly discusses the beauty of Earth. And Brand New Jones is the most enticing track on the album, with Thicke being bold and personable throughout the guitar-spread funk.
However, the vocals are substandard and peculiar for an R&B artist, and there are way too many examples of Thicke’s obscure style on Beautiful World. The punk guitar loop on I’ma Be Alright speaks on self-triumphance, however some of the lyrics are clichéd and aren’t as creative or inspirational as a track like this requires. And a plethora of guitar-led songs end the album, from average to standout - the frenzied, shouting drawls and assertive guitar segments of Make A Baby can make your head thump against whatever wall you’re nearest to, or just tap your fingers against your ears. More brash guitars are on the more-appealing Lazy Bones, similar to the other tracks with edgy rock sections – with innocuous ad-libs and high-pitched chorus parts. And the concluding track, Cherry Blue Skies has Thicke’s vibrant vocals sounding relaxed and adept to the atmosphere.
While it doesn’t really match with the Masta Ace selection that I assigned Justin to review, this is an unusal disc with eccentric ideas on making sure on how to fuse ideas stylistically to Thicke’s music style. The ballads and experimentation are normally detrimental, but when Robin can stay fierce and/or alluring to the listener, a la When I Get You Alone& Cherry Blue Skies, his forte will be understood by himself and his listeners. His temporary regressions get me sighing and skipping tracks thanks to their mix of experimentation and repetition, but at least that I am confident that he'll change because of his style. 3.25 stars, rounded down to 3.
Thanks to Matt for hosting and Justin for the options.
Great Music to Play While: confusing bank robberies with crowd encores
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