Chris Brown stays in the headlines. Either he’s making hits or involved in controversy. He’s also a master of being involved in both simultaneously. However, he seems poised and ready to focus on the music again. This weekend, he returned with his first official single since “Grass Ain’t Greener” (in May). His new single, “Party”, features Usher and Gucci Mane. The track has the trendy trap soul sound. The song’s lyrics are simple, elementary even. Chris Brown and his posse boast about how they keep the party going. Don’t get me wrong. The song will surely get bodies moving in the club. Chris Brown just doesn’t reach any new songwriting heights here. Ironically, “Party” grows on me each time I hear it.

A light hearted song was probably a good move for him though. Chris Brown has a clean slate (well, of sorts) to solely focus on his craft. He is finishing up his soon to be released new album, Heartbreak On A Full Moon. The new album’s title sounds promising. Let’s just hope it won’t be the major let down that was his last album, Royalty. Although I did thoroughly enjoy X, his album before Royalty. Nonetheless, Chris Brown has a pretty solid catalog.

Hopefully his new album will find him back on his A game again. His career started off with more of an innovative upswing. As of late, his style has drifted towards current sounds instead of breaking the mold. He still has managed to lead the pack of mainstream R&B/Pop male acts. Clearly, he must be doing something right. Time will tell if Heartbreak On A Full Moon will be the defining album of his career.

Check out “Party” for yourself below. What are your thoughts on the song? Would you Bump It or Dump It?

What does Pharrell Williams have in common with Taraji P. Henson, Janelle Monae, Octavia Spencer, Kevin Costner and Kirsten Dunst? They all have something to do with the upcoming film, Hidden Figures. The movie is based on a true story about three African American women (Katherine G. Johnson, Dorothy Vaughan and Mary Jackson) who served as the master minds behind astronaut John Glenn’s launch into orbit. Pharrell served as one of the film’s producers. In addition, he wrote original music for the soundtrack. The stakes were definitely high this time, considering his monster smash “Happy” from the Despicable Me 2 soundtrack.

Pharrell proves he still has the Midas touch on the soundtrack’s breakout track, “Runnin”. This song (and most of the album) has a Ray Charles, James Brown inspired vintage sound. He expresses his angst against running here and hopes for better days. However, “Crave” is a party jumping, horn driven dance track. Lalah Hathaway lends her smoky, sultry vocals on the infectiously melodic “Surrender”. All of the contributing artists on the album are females. Then of course there’s the triumphant lead single “Able”. This song in particular serves as anthem for anyone who has ever been doubted.

Mary J. Blige offers one of the album’s best tracks on “Mirage”. Her confident alto pairs well with Pharrell’s playful production here. Alicia Keys and Pharrell trade verses on the spiritually inclined “Apple”. Janelle Monae appears on two of the soundtrack’s songs, including “Isn’t This The World” and “Jalapeno”. The former is a cautionary, gentle ballad. However, it’s the latter that dares you to sit still. “Jalapeno” has a spicy flare that lives up to its name and leaves you yearning for more collaborations between Janelle Monae and Pharrell. Pharrell lets the ladies shine, but hangs tough as the sole male voice on Hidden Figures. “Crystal Clear” finds him singing amidst a vibrant track reminiscent of Stevie Wonder.

Kim Burrell closes out the album on a high note of praise with the inspiring “I See A Victory”. Although the album clocks in at just over 33 minutes, it’s worth every second. The female artists were cleverly chosen and represent a wide range of styles. Sounds like Pharrell has another hit (or set of them) on his hands. Hidden Figures hits theaters on January 6, 2017.

J. Cole fans have been impatiently awaiting his unexpected new album, 4 Your Eyez Only. Although he has garnered multi-platinum success, his level of artistry has quietly slipped under the radar. He’s not as conscious as Common. However, he’s not as pop as Drake either. His last album, 2014 Forest Hills Drive, went platinum with no guest features. 4 Your Eyez Only is also void of guest features. After just one listen, I’m sure his sales will even surpass its predecessor.

There’s a dark cloud over J. Cole for the majority of this album. He has always been reflective. This time his vibe exudes a sense of morbid reflection though. He released two stellar new songs, “Everybody Dies” and “False Prophets”. The production of these tracks fits right in with his new album; but neither made the final cut. Death is a looming concept throughout thee entire album. Ironically, the first two tracks touch on it heavier than expected. “For Whom The Bell Tolls” is a lyrical self fulfilling prophecy and declaration of his life. He questions whether he wants to live or die. Then on “Immortal”, he recounts his late teenage years of street life. The most disturbing line of the song is when he reveals his only wish in death: “Make it quick if the Lord takes me”.

As the album progress, the story seems to unravel as one that doesn’t necessary belong to J. Cole. Sure, there are obvious parallels. However, the narrative here seems to be J. Cole speaking from the perspective of his slain friend, James McMillan. His friend left behind a daughter (check out the retrospective title track, “4 Your Eyez Only”) at just 22 years old (checkout “Change” for the story of how he died). J. Cole’s haunting perspective here is one of someone who escaped the streets and had to witness his close friend get caught in its snares.

4 Your Eyez Only is arguably J. Cole’s most personal work to date. The beautiful two part “She’s Mine” speaks of his wife understanding thoroughly him. The second installment speaks of the love he has for his daughter. “Neighbors” exudes a throwback 90s style. Here, he is frustrated with those who undermine his success and believe he’s just a popular thug. He lightens up the mood on the radio friendly “Foldin’ Clothes”. The ladies will surely appreciate this song as he raps about the little things that matter in love.

J. Cole not only has a classic album on his hands, but a surefire major increase of respect in the rap game. 4 Your Eyez Only is music that should be seen, heard and felt by the masses. Check out and his documentary, Eyez, below.

Plus, here’s “Everybody Dies”, which didn’t make the album.

Also, don’t forget there are just 4 DAYS LEFT (ends on December 13th) to get your exclusive, signed copy of Stingrays, my latest poetry book.

The Weeknd has always had an affinity for dark sounds and lyrics. However, in the last couple of years, his music has reflected a haunting of sorts. Beauty Behind The Madness was released less than 2 years ago. Now, he’ s already back with a collection of new tracks on the appropriately titled Starboy. Don’t let the upbeat sound of some of the album’s upbeat tracks fool you. The Weeknd is still battling his inner demons of fame. The title track, “Starboy”, featuring Daft Punk is accompanied by a video of him smashing expensive possessions in his home. The song’s lyrics speak of someone who has all the material things, but still feels empty. Let’s not forget the awkward glowing red cross he’s smashing everything with.

Don’t fret. He’s not alone in this drunken abyss of the after effects of fame. On “Party Monster”, he is woke by a girl with lips like Angelina Jolie and an ass like Selena. Oh, but he doesn’t know her name. “Reminder” finds him self aware of his success and unique sound. He even acknowledges the biters who have tried to copy his style. “Rockin'” is a surefire pop crossover hit. This song, like most of the album, has a heavy electronic pop sound. Lana Del Rey lends her hypnotic vocals on the “Stargirl” interlude. Kendrick Lamar also drops in to offer his a memorable verse on the bluesy, self aware “Sidewalks”. This is hands down one of the most autobiographical songs on the album. Here, The Weeknd sings he went from “homeless to Forbes list”.

“Six Feet Under” morbidly picks up where “Six Inch Heels”, his bass thumping Beyonce collaboration, left off. I’m no fan of Future by any stretch of the imagination. However, his feature on “All I Know” doesn’t manage to ruin the song. Overall, The Weeknd’s core audience will love this album. He has also sprinkled in just enough new elements to broaden his fan base as well. He closes out Starboy with another Daft Punk feature called “I Feel It Coming”. This song is one of the more positive tracks on the album, that finds him yearning for love. However, I can’t help but hope he will learn how to cope with his success in a less destructive manner one day. Maybe that story line is just part of his appeal. Either way, expect his starboy status to brighten even stronger with this project.

2016 has proven to be a year of awakening. However, there are some of us who have been “woke” for quite some time. John Legend is one of those people. His lyrics are prolific and his vocals are unmistakable. I heard him as the keynote speaker at a Frito Lay event a few years ago. Oh and I probably should mention, his speech was impromptu. Nonetheless, his presentation was flawless. Although his last album, Love In The Future, spawned the biggest hit of his career with “All Of Me”, that was almost 4 years ago. Even one year can be eternity in the music business. Now, he’s back with a new release, Darkness and Light, set to drop this Friday, December 2nd.

Legend’s previous releases have specs of political awareness and courageous stands against injustice. Darkness and Light, his fifth studio album, is poised to be the beacon of hope for this generation. He says he wanted to make a conscious project that reflects everything happening today, without sounding cliche. He has already revealed two well received singles from the album, including the fiery “Love Me Now” and the self shaming “Penthouse Floor”, with Chance the Rapper. Now, “I Know Better” takes center stage. This track was released over the weekend. The song exudes elements of gospel and deep soul. The production here is simple. In fact, the song sounds melancholy at first listen. However, if anyone can teeter on the fence of soul stirring sadness, John Legend can.

John Legend delivered a rousing performance of “Love Me Now” at this year’s American Music Awards. This album appears to be void of intricate tales of infidelity and gold digger chronicles. John Legend knows how to tap into his audience. That isn’t the kind of music we need now. He realizes, that now we need music of substance more than ever. We need timeless classics. Sounds like he’s about to deliver just that.