Flo Rida leads off with “Finally Here”, which sounds more like an intro on a first album than a re-introduction to a familiar personality. Lyrically, it’s a wake-up call for an artistic person working a square 9-5 job. The instrumental moves me during the verses with the sound of rhythmic deep breathing in the background (almost like light beat boxing), but hook with its sustained notes in the bassline loses me. Sly Jordan’s vocal hook (as far as the melody and lyrics) isn’t that entertaining. While I’ll give Flo Rida credit for his introspective verses, it’s not exactly putting his best foot forward (especially as a southern rap/pop artist).
With “Jump”, the catchy club-hopping tunes begin. From the first syncopated percussion hit and sliding, buzzing bass, the listener is teleported across the Mason-Dixon (but not into scary territory… just off 95). Industry jack of all trades Mike Caren creates a Timbaland-esque feel to this dance track, and the hook literally makes you want to jump (you know, that low hop waving one hand in the air). The percussion and vocals have one intention as they progress: building tension. Starts out with kick drums on each beat before bringing in a cymbal twice as frequently. Even the spoken "jump" in the background started out slower and ends up 4x as fast by the end. When the hook comes in after the first verse, it feels more like a pre-chorus, but it’s reincarnated with more hook-like instrumentation on an immediate repeat (I.e., the first iteration is over tension-building instrumentation while the repeat flows and feels more like a chorus where the tension has settled). The verses classic Flo Rida: fast syllables slowing down at the end of the line to create an almost singable cadance. Nelly Furtado’s vocals create an impressively subtle, almost inauduble harmony. I can easily see this being an underground club hit if not a single.“Gotta Get It (Dancer)" samples "Private Dancer" but is more inspired by the 1996 Kilo remake than Miss Turner's original from the throw-back instrumentation (esp the syncopation in the kick drum) to the vocorder on the hook. The verses are pretty great, and the hook is okay. I think this could be a regional hit Down South, especially with people who used to like Kilo’s version.
WTF is a “Shone”? Again, Flo Rida does great with the verses, but I’m not sure I like him on a song this slow (I don’t see this being a club banger, but a great driving song). The hook is just okay. Flo Rida stays true to his Southern Rap roots with the harmonized rapping (yelling synched with rapping), but infuses the song with his own style by adding a sort of pedal lower spoken harmony. A little research revealed that Pleasure P, featured on the track, used to be a part of the group Pretty Ricky (if you don’t recognize the name, you probably wouldn’t wouldn’t know any songs). He has a single out called “Boyfriend #2” that I heard about 30 seconds of about 2 weeks back while driving and thought it was Usher (a pretty hot song). My first instinct was to question whether they could have afforded T-Pain (who I believe would have sounded better on this hook… this isn’t the right song for P), but Pleasure P (who is also from the Miami area) has an album coming out in the summer that could use some extra promotion. Jim Jonsin (“Lollipop” by Lil Wayne, “Show Stopper” by Danity Kane) creates a driving beat, but he plays him self by including the pointless instrumental playoff at the end. Note: that only works when the individual elements of the track are hot, and this is definitely a greater-than-the-sum-of-it’s-parts case. But the overall song is catchy and entertaining (I liked it better on the 2nd listen). I predict this second single will have moderate success over the summer.
“Right Round” samples Dead or Alive’s 1984 UK hit "You Spin Me Round (Like a Record)". Is this song particularly known in the US outside the gay community (I only heard it in my ultra-gay Australian semester in college)? Could Flo Rida be targeting a gay audience (his first single, “Low”, got a lot of gay love)? At the very least, he seems to be trying to expand to a European audience, which is a smart move since the aforementioned original was re-released in 2006 (the lead singer was on Big Brother in the UK). Flo Rida's hook's kick drum on every beat give is more of a dance-music feel, and the instrumental, while it still has a hip-hop slant, feels extremely pop/dance influenced. In fact, the structure of the song is much less hip-hop than pop. Nelly-like sing-rapping aside, there’s no 3rd verse: everything about what happens after the 3rd hook is a bridge, even the chord changes and the lyrics. This single broke all kinds of records, including being the fastest single to break 2 million paid downloads.“R.O.O.T.S.” proved to me that Flo Rida is Timbo's new Petey Pablo (the three people who bought Still Writing in My Diary will agree). Unfortunately for that statement, I don’t think the producer of his first two singles of his first album makes an appearance on this album. Anyway, this is another rap ballad that’s not meant to be catchy at all, which is an interesting choice to go directly after the lead single (then again, who makes the lead single the 5th track… not that I’m against being different, but it’s an unusual strategy). The song's dramatic intro makes it sound like it could be another club banger, not a contemplative rags-to-riches rap ballad. I’m guessing that he insisted on including this song to show versatility, but it comes off as self-indulgent. What rapper didn’t have a struggle in the hood growing up. I don't think he ever spells out "roots" or explains the supposed acronym (unless I missed it).
“Be on You” is a sentimental rap slow jam. Think “Dilemma” from Nelly and Kelly with vamping electronic strings. Song features Ne-yo, but unfortunately, his signature superior lyrical stylings are absent. Even Flo Rida’s verses don’t have their usual splendor on this track, but this type of song/collaboration is a necessary ingredient in the rap-crossover-success formula. “Mind on My Money” is the next track. Another. Slow. Song. The hook is mildly entertaining. I’m guessing that’s Flo Rida singing the lead vocals on the hook, but he got a guy named Detail to come in and fill in the background vocals (perhaps because there’s not much to the hook). The second verse has some very creative plays on rhythm, but a lukewarm chant replaces the 3rd verse. If nothing else, Eric Hudson (“Flashing Lights” by Kanye West) makes a great instrumental. I had to giggle when I heard the shout out to the Gansevoort in NYC.
"Touch Me" is a hard-hitting dance track that reminds me of Timbaland (the percussion is more than slightly reminiscent of "Elevator", so is the verse that he starts off with his drawn-out "yeah"). Turns out the producers are none other than Dr. Luke and Benny Blanco (“Circus” and “Shattered Glass” by Britney Spears, “I Kissed a Girl” by Katy Perry). It’s a hot instrumental, the verses are characteristically engaging, and the hook is just enough to not annoy or bore me. There’s an uncredited nod to Benny Benassi’s “Touch Me”. The voice was probably easy enough to re-create, but I wouldn’t be surprised if it results in a law suit, especially if they pick this as a single.
Oh look: a song called "Never" where "never" is the first line of 90% of the song. Verses. And. Hook.
Next.
Apparently, "Sugar" was released as the 3rd single in March. On the hook, Wynter Gordon (writer of one of my fav Danity Kane songs, “2 of You”) makes a guest appearance, and her electric-heavy vocals kind of sound like she's saying "double d". Accident (doubt it)? I see how they’re trying to grab the pop audience (especially with the "Blue (Da Ba Dee)" Eiffel 65 sample), but it’s just an okay song. The instrumental really sounds like it was based on a Miami booty bass track from 1993. Cute, but not amazing.Thank god for Wyclef! He swoop in with strings and strong harmonies to save the latter part of the album with “Rewind”. This is a well-done lost-my-homies song. And so classically Wyclef (though he’s not the producer). It actually reminds me of a better version of his dopplegänger’s ’03 hit “Where Is The Love”. Flo Rida finally made his emotions interesting. And Wyclef's verse is great, actually adding a new and unique element to the song.
I feel like throughout this album, so some exec was saying, “We need people who aren’t into hip-hop to buy this album. How do we get played on [insert pop station]?” There are a couple of great tracks because of that, but there are also some mediocre collaborations and use of samples that seem like they are present solely for the purpose of checking off boxes on a list. While it’s good to show versatility, I think on a few songs Flo Rida ventures a bit too far from what made him successful in the first place: crazy songs that make you shake your ass. It strikes me as a collection of extremely talented people who are stuck fulfilling requirements (to graduate... you can tell I was a music major). However, some of my least favorite songs began to grow on me a bit with multiple listens. Included on the Deluxe Version on iTunes are videos for “Right Round” and “Shone”. If you’ve seen video hoes in front of a green screen and “I’m on a Boat”, you’re all set. That being said, some of the tracks are really good, and I’ll definitely be incorporating a few into my gym/party mixes.
Suggested Tracks:
Jump
Right Round (but you probably have it already)
Rewind
Ha
Maybe:
Gotta Get It (Dancer)
Shone
Touch Me
Sugar
Click here to check out my review of Keri Hilson's In a Perfect World.
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