‘Raymond v. Raymond’ is an enjoyable album that should be a hit, but it feels like the same formula from Usher’s past. This effort has the R&B artist going confessional again, offering up another large batch of hit singles and hot beats. ‘Raymond v. Raymond’ attempts to pit Usher’s two selves — the club-hopping playboy and the remorseful lover — against one another. It’s a little too ambitious and the concept is never fully realized. While he reflects on women and divorce, he ultimately proves that the club remains his first love.

Opening track ‘Monstar’ sets up Usher’s drama. As he explains in his lyrics, ‘There’s three sides to every story … there’s one side, there’s the other and then there’s the truth.’ The song takes time to get going, but when it does, it fascinates. Part classical, part club and completely foreign, ‘Monstar’ does well to portray Usher’s conflicting egos. Then the familiar hit that dropped last December, ‘Hey Daddy (Daddy’s Home),’ kicks in. Three solid remixes have come out in past months, so the original version seems tacked on just for good measure.

The third track, ‘There Goes My Baby,’ is when Usher really hits his stride, balancing the bedroom with the dance floor. It is slower and smoother than the preceding songs, yet it maintains a popping club beat. Usher injects us with his sweet voice again and creates one of his best songs in years. Unfortunately, the same can’t be said for the second single, ‘Lil’ Freak.’ Raymond reverts back to his inner playboy here, singing about an impending ménage a trios, while Nicki Minaj raps nonsensically about the same. Isn’t Usher too old for this?

‘She Don’t Know’ achieves the same effect. It’s catchy and subwoofer-friendly, but ultimately plays like a B-side to ‘Yeah,’ Usher’s 2004 smash hit. Easy hook, simple beat and a generic Ludacris verse thrown into the mix — it’s decent, but formulaic. Third single ‘OMG’ is another one for the clubs, featuring some pointless Auto-Tune and annoying chants over a Will.I.Am beat. This is nothing new. ‘Mars Vs. Venus’ is a good bounce-back, though. Usher gets tender with it, setting a nice mood for the first real lovemaking song on the album.

The artist does well to embrace that side for a bit, giving us the head-nodding ‘Pro Lover.’ A confident hip-hop beat complements Usher, who reinterprets professionalism by singing about adding women to his Hall of Fame. ‘Foolin Around’ is an honest look at his infidelity and relationship insecurities. Here, Usher gives us an emotional, confessional ballad contemplating his lost love, and it sounds heartfelt. Then comes the equally emotional hit single ‘Papers,’ in which Usher finally accepts the failures of his marriage and gets ready to sign the divorce forms.

This would have been a nice place to end the album — on a mature note, giving some closure to the story. But, appropriately so, Usher can’t resist the temptation to flirt with the clubs for a few more songs. ‘So Many Girls’ is a waste of time, featuring redundant, champagne-popping lyrics and Diddy talking all over the track. ‘Guilty’ features T.I. and sounds awkward: Usher never sounds comfortable and the egotistical theme of the song doesn’t help to show a new side of the artist. ‘Okay’ is a cool and easy song that has Usher flexing his vocals again, lyrically smooth-talking a girl he just picked up in the club. Same old routine, Raymond.

‘Making Love (Into the Night)’ ends the drama properly. Usher has brought his newest lady home and he’s about to do his thing. This song may not be confessional, but at any rate, it’s smooth and sexy — descriptions that fit the album as a whole. ‘Raymond v. Raymond’ provides club hits and soft ballads, per usual, and it should be huge, but it’s nothing new. Usher conveys his conflicted emotions and sounds great in doing so. Just don’t mistake this for a huge creative step forward.

ajhaeder@syr.edu

Published on March 29, 2010 at 12:00 pm