By Malice Intended
R&B singer Jason Derulo’s self titled album comes equipped with a sound meant to appeal to the widest demographic possible. He and super producer J.R. Rotem have performed an act of pop music alchemy, creating a shrewd product that has its eyes squarely on the prize. However, it is not without its faults.
The album opens with the inescapable international mega hit “Whatcha Say”, which draws a lot of its energy from its sampled chorus courtesy of Heap’s “Hide & Seek”. The drums and synthesized horns keep the track grounded firmly in urban sensibilities while the violin keys give the song a broad pop grandeur. Autotune effects are employed, but they are less overwhelming than we are accustomed to.
The celebratory “Ridin’ Solo” has Jason enjoying life and overcoming obstacles. The sunny yet braggadocious lyrics are well suited for the young rap star of your choice. Church organs build to an inspirational crescendo during the hook. Sonically, the track makes for an interesting mishmash of soul/gospel and electro.
The sparse arrangement of “In My Head” utilizes fading electric guitars and simple drums. It’s the first straight ahead Pop song of the set and as such it’s rather predictable, occupying an inconsequential middle ground between the genres it’s supposedly fuses together.
“The Sky’s The Limit” boasts grandiose synthesized choral singing in its opening, offset by high pitched keys. Plodding techno drums kick in to create a trance like backdrop as the tempo speeds up during the hook. The lyrics speak of feelings of intoxication and elevation. The light weight lyrics suit the airy mood of the track.
Things slow down a bit on “What If”, another predictable ballad where Jason asks his woman to consider the most optimistic future possible for the two of them. From the opening piano keys, you can see where the track is going long before it gets there. The song is wide in scope but lacks imagination.
“Love Hangover” employs whiny synths that are oddly reminiscent of the horn riff from Men at Work’s “Who Can It Be Now”. Jason reminisces over a one night stand that he clearly does not regret. The Rock drums keep the adrenaline pumping, but something about the arrangement begs not to be taken seriously. The entire track feels like something that would be better executed by Usher.
Hand claps and acoustic guitars characterize the soundscape of “Fallen”. The stuttering drum rolls and percussion show clear southern rap influences. Slight scratching sound effects offset the track nicely. “Fallen” is admirable in how it combines the simplest elements from many genres into one seamless package. The lyrics themselves are problematic as Jason begins to repeat lines and themes from earlier songs.
Jason yearns for more of what a young lady is offering on “Encore”. The song is a thinly veiled sexual metaphor, but the vague lyrics make it suitable for countless spins on daytime radio. “Strobelight” perfectly conjures a serene party vibe. The atmosphere of the club oozes from the speakers. The “snake charmer” keyboard riff and vocal effects have a hypnotic effect. The title is self explanatory.
J.R. Rotem is the sole producer. His style facilitates the marriage of R&B vocals with electronic music. While the uniformity of the production makes for a cohesive package it ultimately leads to monotony. Jason is a solid singer but his generic style doesn’t offer much in the way of personality. Like the production itself, his attempt at being all things to all people leaves him hovering in pop limbo. He is nigh indistinguishable from his fellow crooners on urban and pop radio.
Jason Derulo is like a shiny new sports car without much going on beneath the hood. Its smooth sound and easy feel will keep club goers dancing and liquor pouring well into the AM hours. Unfortunately, it offers very little true substance to offset its style. Jason’s reluctance to dig deep creates an impenetrable wall of superficiality that will turn off R&B purists looking for depth of emotion.
Jason Derulo-Whatcha Say
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“Jason’s reluctance to dig deep creates an impenetrable wall of superficiality that will turn off R&B purists looking for depth of emotion.”
wow, that right there was a literary kick in the teeth.
it’s also one of the funniest turns of phrases i’ve ever read.
seeing that i’m old as dirt i don’t really get off into the young cat r&b anyway, but this review makes it easy to not mistake this guy for a Ne-Yo or John Legend.