By @EddieJSays, Contributing Writer
Will.I.Am's new album "#WillPower" (yes, the hashtag is in the title) is an underwhelming collage of generic pop that meets the P. Diddy-collab formula. Usually such an album has a couple of gems in the mix that you can take out and add to your iPod, but “pound WillPower” has no such song. The only songs of merit in terms of theme is "The World Is Crazy," where he comments on how desperate people become for fame and the lengths they go to obtain it (specifically on hyped up YouTube videos) and "Ghetto Ghetto," about how horrible the ghettos are in America (no duh). Aside from these random strays, he gives us reduced, re-used and recycled material: reduced production (nothing really wowed me except for string arrangements at the end of 2 songs), re-used chord progressions and song ideas (check out "Fall Down" feat. Miley Cyrus and try your hardest not to sing Ke$ha's "Die Young" atop of the instrumental), and recycled lyrics. I won't even harbor on Will.I.Am's vocal performance or overuse of auto-tune because anyone can do that, but to not even have a theme or direction is just ridiculous. Yes, we need our party albums, but even those have themes (see Kelis' "FleshTone," which ironically was partly produced by Will.I.Am).

Even the long list of collaborations doesn't make this album a must-hear; if Britney Spears, Chris Brown, Justin Bieber and Miley Cyrus amidst others can't make your album at least a bit interesting, nothing will. As for the deluxe songs? Yeah, they were left off of the original album for a reason. However, the most innovative of production was on “Bang Bang,” where he has a weird mash up of 1940's show-tunes with dance music, but even that track wasn’t fully thought out and is easily skippable after the first minute, once you hear how he mixed the two. I enjoyed the occasional empty spaces in between song changes though. Since we at JSaysOnline get reputations for being "too harsh,” don't take my word for it, check out the consensus of customer reviews on the actual iTunes website.

By Eddie J., contributing writer
After watching Tyler Perry’s very underwhelming “Temptation” film, I was not only reminded as to why I don’t support him financially anymore, but was also disgruntled by the fact that I wasted my time to watch this sad attempt at a movie. The following is a mix between a movie review and a Tyler Perry critique/letter, so in case you’re wondering, I give the movie a D-. *Warning: This review contains spoilers*

Tyler Perry, I’m very confused about your lack of creativity and the mixed messages you are portraying to the black community in the disguise of a “moral message” and it’s getting annoying. It feels as if you think your audience is too dim to understand something deeper than a bible scripture and I honestly don’t understand why you won’t take a risk to make an exceptional movie. “Temptation,” for example, had me intrigued for the first hour because it could have gone several ways: The infidelity-embroiled main character, Judith (portrayed by Jurnee Smollett), could’ve remained happily in a secret affair, divorced her husband (Lance Gross) and married the new guy (because that does happen in the real world) or taught her husband the very qualities she wanted see and have a thriving marriage (because that happens in the real world also). Hell, she could’ve felt guilty and committed suicide after keeping the affair a secret for a few years and had a child, not knowing who the baby’s biological father was. But no…let’s just make the guy she cheats with a wicked villain, like you do in every movie about relationships. I’m SICK of the Tyler Perry formula.

Why is it that every guy a woman falls for in a Tyler Perry film has to be more than just an incompatible match? Why does he have to be a greedy, abusive, drug dealing, HIV positive, illegal gun selling, puppy killing, crack-head? No man is that horrible and for the rare ones who are, I don’t think they’re ever nearly as wealthy or handsome as the characters in these films. Some of you may say “Okay, whatever, it’s just a movie,” but to that I say most of his movies (and movies in general) are based in some reality or want to affect the way you perceive your reality. I’m over this part of the formula because it purposes there are only two types of guys out there. Also, it makes me feel like Perry is low key trying to convince us to stay comfortable, especially in this movie: “Yeah, these people are rich, but they are evil, so be happy you’re unemployed and living below the poverty line; at least you’re sanctified and will get into heaven after you die.” Yes, this was one of the major themes of the film and the “rich men can’t get into heaven” line was used by the archetypal overbearing Christian mother character (Ella Joyce), because yeah, it’s a Tyler Perry movie (then you realize that Perry is one of those “rich men,” but we won’t question that shade).

By Eddie J., Contributing Writer
When we listen to music, we typically attribute our listening experience to the person on the album cover, not considering or forgetting that there are MULTIPLE people behind the scenes who made that album happen. Of the more vital figures in the recording process are producers; many of whom could walk right by us in the grocery store and we would never know that they’re the reason behind our favorite song’s existence (no, not every producer is a key-name with a solo record or shouts out their name at the beginning of every song). If you don’t already know, producers are generally responsible for the musical (and sometimes vocal) arrangement. Every so often, producers also contribute lyrics. When an artist releases subpar music, they themselves are often blamed, but the producers are really the ones who should take the bag. If they do their job, producers can make a barely talented artist average or good artist great. Many of your favorite artists might not be as successful without them. Here’s a list of some big names that only go as far as their producers. You might be surprised at who you see on the list.

#5 Trey Songz, Key Producer: Troy Taylor
Okay, I may get some flak for even putting Trey Songz in a category that has “artist” in the title, but in my defense, Songz was actually listenable and kind of unpredictable once upon a time.  Now, this isn’t one of those deluded “Oh, he sounded so much better and he didn’t just sing about sex in the early days” rants, because let’s be honest: he’s sung about sex since his first album and in abundance. However, the difference from the “Gotta Make It” album’s sex songs and those on “Chapter Five” is the music and the little fantasies he and his songwriters left to the imagination by not being overtly explicit. His first album, which is considered an R&B classic, was almost exclusively produced by Troy Taylor. Don’t know Troy? His credits include Whitney Houston’s remake of “I’m Every Woman,” Tyrese’s “Sweet Lady,” Toni Braxton’s “Just Be a Man About It,” Aaliyah’s “Miss You” and B2K’s “Why I Love You” (one of their few good songs), just to name a few. As time progressed, more people got added to the mix on Trey’s albums, making a cesspool of forgettable songs. Not to discredit the other producers who have come and gone on the Songz bandwagon, but there’s just no genuinely amazing music-to-artist chemistry by the time he gets to “Passion, Pain and Pleasure.” We saw the foolery when Taylor wasn’t featured on “Trey Day” and songs like “No Clothes On” made the cut. Even with big names like R. Kelly and Stargate, Songz came off as corny, lackluster or like a Diet R. Kelly. Yet, “Ready” filled the void for the general public and guess whose name showed up in the credits the most as a producer? Troy Taylor. “Jupiter Love” anyone?

#4 Christina Aguilera, Key Producers: Too many to list
So Aguilera is great for this list because she makes two points: 1) some artists are only great with a select few producers and 2) NEVER burn bridges that’ll keep you from getting to your hometown. 
The interesting thing about Christina is that she doesn’t really work with anyone more than twice album wise; the only common denominator is Linda Perry who frequently appeared on “Stripped” and “Back to Basics.” I won’t make this into an argument for which albums have been successful or not, because that doesn’t really qualify the greatness of the music. Let’s just say that “Bionic” and “Lotus” haven’t musically put Ms. Aguilera in the best light. Her self-titled debut was an amazing mix between bubble-gum pop and R&B tracks to show off her vocal versatility, and gave her a solid foundation to attract audiences to both catchy songs and her amazing voice, without her even having to touch a pen. By “Stripped,” Aguilera began to take full control and write songs about social and personal issues, which is probably why most of her fans hold the album to such a high standard. The producer behind the bulk of this feat? None other than Scott Storch, who gave the project grungy, raw undertones that made it such a classic to most listeners. Other significant ingredients included Linda Perry’s musical softness and vulnerability in the ballads and the catchy, yet soulful touch of Matt Morris, who co-wrote over half of it (Morris is responsible for Kelly Clarkson’s “Miss Independent,” which was originally written for “Stripped”).

Album review.
by Eddie J., Contributing Writer
Likes: Stubborn, Next Move, I Choose You.
Dislikes: Hey Sexy, Get It Right
Overall: a few elements of musical development, typical lyrical themes. Generally okay, but not extraordinary.

Keyshia Cole’s 5th album “Woman to Woman” treads regularly-traveled territory. It’s supposed to be specifically written for women with relationship troubles, which at this point in Cole’s career (as well as R&B’s rap sheet) is annoyingly redundant. With that in mind, the lyrics can be summed up as “I’m over you, but I love having sex with you…I want love, but love doesn’t want me…oh and I love you.” There is no real need to focus on Cole’s trite songwriting or lack of thematic elements, though. After releasing the same screwed up love-story for 4 other albums, it’s somewhat expected.

Musically, this album exhibits the very thing I hate about the current state of R&B music, while giving me a few glimmers of hope that these vices will soon be challenged by Cole. For example, the first 5 songs all exemplify everything you would expect from Keyshia Cole: forgettable hooks with “soul-filled” vocals and predictable beats, but then the electric piano of “Woman to Woman” comes in with a promising air of more interesting chords. The magic ends there unfortunately once she and featured artist Ashanti begin singing in a non-melodic, forgettable manner. After listening to “Woman,” I was going to make the statement that Keyshia Cole is probably one of the most uncreative artists out, both vocally and musically. Even mediocre talents like Rihanna can give us a gritty “Rated R” every once in a while to shake up the listening base, but Cole for some odd reason likes to stay in the same place. However, she proved me wrong 9 tracks into the album with the climax “Stubborn,” where she webs R&B and hip-hop club with dub step and Euro-pop (there’s even a moment for a good old fashioned “Jersey Shore” fist pump after the bridge). “Next Move” also peaks musical interest with a Broadway-like intro. Hopefully this will be Cole’s bridge into a new world of music that will make her more fascinating, because she pulls it off quite well.

Vocally, my original statement reigns true. For some reason, we only get 2 vocal textures:  a low, composed, sometimes raspy tone and a loud, shout-like chest voice, all of which is of course assisted with pitch correction. Cole honestly sings too high in chest voice and it’s somewhat obvious that she won’t be able to pull off most of these songs live. The vocal crest of the album is “I Choose You” (which resembles “Love” from her debut album), containing a loud, shrill, strained chest voice with occasional switches into head voice. The song calls for a high head-voice note (ex. the end of “Speechless” by Beyonce`), but Keyshia refuses to provide it. Throughout the album, her technique is very questionable, and sadly, a male surpasses her range (ex. Elijah Blake in “Wonderland”). On the flip side, she allows the influences of Brandy to shine through her raspy tones. The background vocals are so remotely close to Brandy, you’d think she came in to add a few layers (ex. second verse of “Stubborn”).

Overall, I’d only suggest purchasing this album if you’re a huge Keyshia fan or want a somewhat good depiction of what Cole is about as an artist. Cole has a lot to improve on as a vocalist and songwriter. Hopefully, she’ll learn this in time for the next album.

Album Review.
by Eddie J., Contributing Writer
Likes:  Cracks in Mr. Perfect, Let Me Love You, Stress Reliever, She Is, My Other Gun
Dislikes:  Forever Now, Be the One.
Overall: Commercial, unadventurous lyrics, great production

After his 2010 commercial flub “Libra Scale,” R&B star Ne-Yo steers toward a more commercial and typical direction for his 6th album, R.E.D., as shown by his “Let Me Love You (Until You Learn to Love Yourself)” single. However, if you’re expecting an album full of similar tracks, you’ll be highly disappointed…or extremely pleased, depending on your taste.

“R.E.D.” starts off with the somewhat morally conscientious “Cracks in Mr. Perfect,” on which talks about how everyone has flaws and he admits fame has affected him more negatively than he lets on. The song’s concept is a theme heard throughout the album, but it’s so thematically and musically different from the succeeding tracks, he even says “Enjoy the album” at the very end, implying that the TRUE album is to follow. As the album continues past the two singles “Lazy Love” and “Let Me Love You,” we begin to delve into an album of mixed signals. Forgettable songs like “Ms. Right” and “Forever Now,” serve as place-holders to make the project full length and are unoriginal in premise and musical composition, while songs like the well-produced “Don’t Make ‘Em Like You” (featuring Wiz Khalifa ) and “Jealous” (a lyrically intriguing, playful, mid-tempo love song that sounds like a fusion of Janet Jackson’s “China Love” and Mario’s “Let Me Love You”), are entertaining and keep the listener interested in the album’s development. Vocally, Ne-Yo does well; not spending much time in his upper register, he allows the middle and lower registers to keep us engaged. The vocal peak of the album is the song “She Is,” where he and Tim McGraw sing a country, yet soulful ballad. McGraw ironically outshines Ne-Yo in the duet, having a nice, raspy, soulful undertone that’s a breath of fresh air.

The album overall is very enjoyable for anyone who would like an eclectic array of R&B and pop music; however, Ne-Yo seems to have gotten so comfortable in his fame that he forgot to include the very element that made him distinctive in the first place: epic songwriting.  This album doesn’t progress in terms of lyrical exploration. There are high moments, but in most cases the saving grace lies within the musical production. Shea Taylor, who produced “Mr. Perfect,” “Lazy ” and “Stress Reliever,” shined the most amidst all the producers, while  Stargate (“Be The One,”“Forever Now”) was the most underwhelming with recycled usage of arpeggiators, typical sound effects and common-place chord progressions we’ve heard all year on pop radio. With a few gems and fillers in between, Ne-Yo lacked his spark of originality on this album and sacrificed creativity for excessive commerciality. If he could somehow find a balance between “Libra Scale’s” overwhelming creative explorations and “R.E.D.’s” expected commercial appeal, he would be able to give us a phenomenal album, but until that ground-breaking project comes, “R.E.D.” should hold his fan-base and newcomers over.