‘Hey Daddy’ isn’t doing to well on the charts right now ( I blame Plies with his wack ass verse) it even recently fell off the charts and then re-entered at 80. I think he might sell decent his first week, I mean it is Usher, but he is gonna need a solid hit if he wants to go platinum. But he still had his urban fanbase and it did produce a #1 hit with ‘Love In This Club’ which is probably the only reason it went platinum. He crossed over to Mainstream with ‘Confessions’ and had the r&b game on lock, but then when he followed up with ‘Here I Stand’ mainstream wasn’t feeling him anymore! It consisted on mostly r&b and that is not what will hold mainstream’s attention. It just wasn’ t the Usher that people were used to so it got slept on. I think it was very well put together and showed growth and was a reflection of who he was at the that time. I actually didn’t think ‘Here I Stand’ was a bad album at all. I am a huge Usher fan, and I have supported him through thick and thin. However, if he can’t come with a music people are feeling then I am luvin “There Goes My Baby’, ‘Hey Daddy’ and ‘Lil Freak’, but that is about all! A lot of people aren’t even feeling those!!That is not a good sign being that damn near the whole album has leaked, if people already know what to expect, and don’t like it, then he migh be in some serious ish!
He has been on all the blogs and getting a lot of coverage from his music to his personal life (not to mention numerous appearances at games with CB)which kept him on people’s mind. It appears to me that people in Usher’s camp felt the need to leak material to get a buzz going.
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“Mars vs Venus,” a very slow jam, soars, while “Pro Lover” is a breezy, casual number filled with sweet dub accents.Well, I saw this tracklisting a few weeks ago, and I have already heard most of the material from his album since iso many songs have ‘leaked’. Two of the best happen to be collaborations with Jam and Lewis and the Avila Brothers. (The combination is as wrong as Eugene McDaniels' “Compared to What” and a soft drink commercial.) Otherwise, the slow jams and the few moments when Usher sounds as if he's having actual fun win out. (Either way, it’s evident that long-term relationships might not be for him.) 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.” The album’s catchiest uptempo song, “Lil Freak,” featuring Nicki Minaj, is effective despite itself, swiping the synthesizer line from “Living for the City” - a classic containing Stevie Wonder's most angered social commentary - for the sake of Usher’s lesbian tryst. Many of the songs on the album have to be taken on their own, stripped of context otherwise, determining what applies to Usher’s real and fantasy lives can be problematic. He pours himself into that song more than any other on the set, and breakup lyrics don’t get much more specific than “You don’t think I know what’s up, but sweetheart that’s what ruined us” or “I done damn near lost my mama.” The song was awarded the top spot on the R&B/Hip-Hop chart, most likely for its lyrical uniqueness since the song does not break out of an exceptionally repetitive twiddle. “Papers,” the early buzz single for Raymond V Raymond, bears the closest relation to the turbulence he experienced. The making of Usher’s sixth studio album was inevitably affected by the end of his marriage and its aftershocks.
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