R&B Fridays: Episode 14

amerie
This week’s edition is packed with big names. Personal favourites Trey Songz and Amerie make appearances, as well as many others including Ne-Yo and Janet Jackson.

Click below to smear yourself in the lusicous goodness.


Amerie-Pretty Brown Eyes Ft. Trey Songz
-What a great track this is. I’ve been anticipating this collabo for a little while, and both Amerie and Trey do a great job on this mid-tempo number. It’s another Amerie beat that has a hip-hop element to it, and I’ll say it again: She’s about the only R&B artist who pulls off using R&B vocals on hip-hop beats. The vocals are great, the lyrics are good, and the production is too. Superb track all-round, and I’d be surprised if this didn’t become Amerie’s next single.

Ne-Yo-Nightlife
-Ne-Yo makes his comeback to the R&B Fridays series with a decent effort, and it sounds quite similar to some of the material on Year of the Gentleman. It’s not amazing, but it’s definitely likeable.

Kevin Cossom-I Get Paper Ft. Drake
-Can’t say I’m really feeling this track as it’s not really my thing, but it’s probably worth picking up for the Drake feature. If you like R&B that’s pretty easy to listen to, and is about the usual money/strippers/drinking topics then this is for you.

Janet Jackson-Make Me
-What a comeback. This track is funky as hell, and will be an absolute club banger. It sounds like she’s sampled her big bro Michael for the chorus, and it sounds really good (If she didn’t, that’s a damn good impression). Very good track.

Beyoncé-Control
-This is OK, but not quite at her best. It seems a bit all over the place, and I’m not sure that this production fits Beyoncé that well. However, it’s new Beyoncé material, so it’s still better than a lot of other R&B tripe (I think I’m feeling a bit critical today?).

Akon-Cry Out Of Joy
-Nothing to criticise here though. This is Akon’s tribute track to Michael Jackson, and it’s probably the best of any of the tribute tracks so far. Akon really gets some emotion into his vocals, which has been missing in a lot of his recent material. The lyrics seem incredibly personal too, which has always seemed a rarity in Akon’s music. I respect the fact he’s trying to save Michael’s legacy with some of his lines, and it’s very rare that someone of Akon’s status takes the time to do something like this. It’s a very powerful track, and it’s definitely one of Akon’s strongest tracks.

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