Its a very sensual track that embraces its inconsistencies in the previously established Usher canon. What’s ironic however is that on Confessions II he is atoning for his mistake of having not used protection in the first place. That’s What It’s Made For is tinged with irony and innuendo, describing a one night stand, reassuring his partner that he brought protection as “that’s what its made for” (I wonder how many people can attest that Usher contributed to their understanding of sex education and safe sex?).
Usher confessions album review series#
Some other notable tracks understandably include the larger hits off this release such as Yeah!, particularly Ludacris’ staccato statements, Caught Up, and Burn an excellent and sombre follow-up to the confessional series before it. Furthermore, their placement earlier on in the song seems almost designed so that we are “getting things out of the way” which contributes to the overarching theme. While the subsequent songs are catchy and groovy, both Confessions play off each other in a way where I can’t just listen to one without completing the arc with its sequel. These two entries are the strongest part of this album. It is almost as if we are with him on the car ride over to his partner’s place as he is preparing to admit that he now has a child with another woman. I find the lyrics to be quite amusing too, as it opens with Usher confiding to the listener, referencing the girl he has been having an affair with in the previous song. With Confessions II, Usher’s falsetto vocals really shine, providing a memorable follow up to his initial slew of regrets. While the wrongs that he confesses too are quite entertaining and understandably egregious, I found that the smooth pacing and swelling rhythm kept me hooked. With laid-back, shifting drums and a sprinkle of electronic piano, Usher’s powerful range, and engrossing syncopation create a series that is very engaging. Sitting squarely after much more energetic hits such as Yeah! (yes the Lil Jon one) and Throwback these songs more back-seated approach. The overarching theme of this record centres around Usher’s desire to come clean to his partner, enshrined in the sequel tracks, Confessions and Confessions II. Direct, relatable messages accompanied by catchy hooks, funky beats, and solid production. It’s not necessarily an unexplored sentiment, but I think that’s what really makes this album shine. I think the style of this album is represented on the track Simple Things which recounts the age-old tale of “money can’t buy you happiness”, concluding that its the time spent with your significant other and the adventures you have that matter more than the materialistic gifts you could ever provide. Perhaps, if anything, pop and adjacent genres have become more introspective, which I think is a good thing. I find that there is more of a focus on the exploration of their feelings and experiences in their songs. Being able to compare what could be regarded as a quintessential RnB album to modern trailblazers is really intriguing. My experience with pop music has ranged from Justin Bieber and Lady Gaga’s careers to indie and power pop artists like Charli XCX, Allie X, to more modern and alternative RnB artists like the Weeknd, H.E.R., and SZA (to name a few at least). Usher focuses more on recounting his experiences to the listener, while also expressing his feelings in that particular moment.įull disclosure, I am 22, which would have made me the grand old age of 6 when this was released. My initial impression of Usher’s arguably most successful release is that it is simple, yet elegant. Cover Art of Usher’s Grammy-Award Winning album, Confessions.