Jamie Foxx's Unpredictable (Album Review)

Anyone who attributes the release of Jamie Foxx's album, Unpredictable, solely to his Oscar-winning portrayal of Ray Charles is probably a part of the majority who don't know that Jamie Foxx, the actor, started off as Jamie Foxx, the singer. But back in 1993 when he told audiences to Peep This, they misunderstood him and ended up peeping his work on the sketch-comedy In Living Color instead of his album. Once the sketch-show landed him his own sitcom, the closest he came to recording artist was portraying a jingle writer on his own show.

Then Kanye West phoned Foxx and got him to lace the hook for Twista's breakout hit, "Slow Jamz." Then Ray Charles and Universal called and recruited him to portray the soul legend. Then the Academy deliberated and gave him the Oscar. Then Clive Davis jumped in the conductor's seat of this money train and inked Jamie to his J Records imprint. And then a handful of writers and producers, a even mix of up-and-comers and established greats, huddled together and laced Foxx with the most average and predictable, though still solid and entertaining, R&B music Clive Davis money can buy.

Now the music on Unpredictable is average and predictable for a reason. Mainly, Jamie's voice; there's no denying the man has a smooth set of pipes. But what those smooth pipes are lacking is charisma and identity. Too many times on the album, when you're listening to any random song, instead of thinking, "damn, Jamie sounds so good on here", you more likely to think, "damn, Jamie sounds just like. . .[insert any averagely smooth R&B crooner] on here." And while that isn't necessarily a bad thing, it prevents Jamie's music from sticking out.

The other reason why is the production. Though Jamie has a decent arsenal of writers/producers on his side for the project's duration (Harold Lilly, Sean Garrett, Mr. Collipark, Tank, Timbaland, Daron Jones, and Mike City), the collective team mostly struggles to blend hip-hop and soul and often times, puts a little too much (bland) soul where there should be a little more (catchy) crunk.

With that being said, the album still does manage to showcase a few highlights: the lead single/title track is smooth and sleek with just enough bass to keep you slow grinding on the floor, Ludacris' animated cameo only enhancing the vibe. DJ Play A Love Song has that intimate club music vibe that washes over you like a hypnotic wave. MJB makes an appearance and sings Jamie five feet into the ground on their cover of the 80s classic, Love Changes.

Harold Lilly pops in and gives Jamie a clear-eyed and wistful melody, along with a faux-ethereal arrangement that finally gives that Three Letter WordU Still Got It some much-needed creativity. Jamie takes the reigns on and proves anyone can take handclaps, a piano riff, and a cameo from Common and make a catchy record. The heartfelt tribute to his grandmother, Wish U Were Here, ends the album on a touching and memorable note. And Mike City proves his worth as a freakin' production genius, along with proving he can make ANYBODY sound like a bonafide superstar, with the soulful and sexy Get This Money.

With the aforementioned, that makes exactly half of Jamie's record solid, though standard, R&B fare. Not saying the rest is necessarily bad; it's just average, borderline bland, and pretty forgettable. Mr. Collipark falls off the hip-hop bandwagon and makes his first R&B production, Warm Bed, the most lukewarm attempt at crunk&b yet. With You is just faceless and vanilla and completely plays in one ear and right out the other. Can I Take U Home is a relaxing yet monotonous look at just how off Timbaland has fallen. Extravaganza sounds like it would've been better on a list of Mike City instrumentals. VIP is a smooth and relaxing listen but again, wears off as soon as its over. Do What It Do is yet another plain an. . . . .

. . . .d I think you've gotten the idea at this point. Clive Davis is a savvy businessman, true enough, and he does have an ear for at least decent and listenable (I know it's not a word but damn it, it should be) music. But with Jamie's vocals lacking any real distinction and never really "wowing" the eardrum, and his league of producers knocking out 15 straight bunts, Unpredictable winds up being anything but.