Jamie Foxx is what many will consider, and should consider, an uncanny artist who is unparalleled to any other person from the current generation.
When it comes to talking about Foxx, the man is a topic rather than a conversation and a genre instead of a specific type.
Starting out as a choir singer in a neighborhood church, Foxx worked his way up to becoming a Grammy-winning musician. Starting as a funny television and movie personality in memorable movies such as “Booty Call,” Foxx evolved into an actor who can throw his name into any potential part and land it. In fact, he has landed it, and joined the rare class of actors to be nominated for two Academy Awards in the same year for different movies. It is impossible to peek at Foxx’s awards and nominations without being utterly surprised and envious with the amount of recognition he’s garnered.
So it’s surprising, with all things considered, that Foxx, a multitalented and multiaccomplished artist, would release a musical album in the very final weeks of 2010 and have little to no buzz around it.
But this is what did happen to the Dec. 21 release of Foxx’s fourth album, “Best Night of My Life.”
Following the Grammy for best R&B performance with a duo that Foxx snagged for “Blame It” (along with T-Pain) from his last album “Intuition,” “Best Night of My Life” is an album that features a number of big names and teeters between clubby dance jams and sexy groove tracks, but unfortunately falls into mediocrity altogether.
The front half of the album is latent with a more hip-hop focus full of star-studded guest appearances. Although powerful talents like Rick Ross, Drake and Ludacris all provide reasonable help, Foxx tries too hard at a style that doesn’t suit him.
Where Foxx falls short (a note to other musicians trying to jump on a confusingly popular trend) is the introduction of auto-tune over clunky, poorly styled beats.
Foxx has gained most of his success by writing powerful ballads that displayed his musical variety and talent. Looking back at his 2005 release, “Unpredictable,” he shows talent for a strong, smoother style of music that produced hits like “DJ Play A Love Song,” and the amazingly popular, and more importantly, radio-played, “Unpredictable.”
The second half of the album, which features primarily Foxx, is closer to his earlier music styles and comes up as the clear winning half of the album. There are more ballads that help display Foxx’s ability to grab the attention of the listener in a soothing and comfortable manner. With songs like “Freak” and the nicely put together “Winner,” which features both T.I. and Justin Timberlake, the album is not a complete loss. Still the strong second half does have issues with a few uncomfortable and disjointed songs.
The awards and nominations Foxx holds should propel his next album to garner more buzz. But to avoid a mediocre outcome, it’s best to understand that teaming up with Wiz Khalifa and Soulja Boy won’t produce anything memorable for Foxx.
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