Raymond v. Raymond

His sixth album proves that his ability to make grown-up hits is stronger than ever.

So don’t come to this thinking you’ll get the inside scoop on a celebrity divorce, but as a soundtrack to rampancy in general, it’s hard to beat.

Here's a battle, the title suggests, between the faithful husband of the last few years and the wily lothario of yore. With tracks like "Lil Freak," "Foolin' Around" and "So Many Girls," the album isn't coy about which Raymond comes out on top.

Raymond v Raymond doesn't offer much real revelation. Its main aim is more standard issue: Sleek, grown-and-sexy R&B tuned to seduction, not divorce court.

The boilerplate swagger is balanced by the falsetto sweetness of “There Goes My Baby.” And a couple of songs actually live up to the promise of the album title and its suggestion of a more emotionally complex Usher.

Since then [2008], Usher's marriage imploded--a development that's good for the single ladies of metro Atlanta but yields mixed results on his sixth studio disc.

As a longtime fan of Usher, this album has great moments and also lagging tunes.

Raymond V Raymond finds the singer in an emotional headspin, and when he channels it here he produces some of his darkest and most hypnotic soul-pop to date. But sadly there’s quite a bit of forgettable bravado babble too--hardly original.

The sleek dancefloor track “So Many Girls,” one of a few songs in which Usher sounds dead in the eyes, going through the motions, desensitized by the bounty of women at his feet, is followed by the sarcastically titled “Guilty,” where he whines “I guess I’m guilty for wanting to be up in the club” — which warrants a response like “Yes, attached 31-year-old man, that’s correct.” A few songs before that is a quasi-redemptive ballad “Foolin’ Around”; he humbles himself, seems to take responsibility for his actions, then casually drops “Guess that’s just the man in me, blame it on celebrity.”

Raymond v. Raymond, his latest release, is something else entirely: an album ostensibly about divorce but too timid to explore the subject in all its complexities.

Unfortunately, it is hard to embrace these strengths on such a predictably unfocused album.

He does express regret about the marriage breakdown on Papers, but it rings hollow, as does most of this so-so record.

There are moments where Usher's old charm and vocal velvetiness briefly resurface and remind the listener of what a bright talent he once seemed....But these highlights are rare, and Raymond vs Raymond mostly sounds as shallow and unappealing as its singer.

He does express regret about the marriage breakdown on Papers, but it rings hollow, as does most of this so-so record.