Chris Brown runs it with new “11:11” album

Whether you love him or loathe him, Chris Brown has undeniably dominated mainstream R&B for over a decade. His talent is unquestionable; he's arguably one of the finest male performers around (although Usher Raymond's resurgence challenges that claim). Despite sounding like a Young Money rapper for much of the 2010s (we'll call him Tyga BackWoods), it's easy to overlook that he's actually one of the era's top vocalists.

Despite numerous chart-toppers and accolades, Chris Brown still lacks the one essential item on every true R&B legend's resume: a definitive album to solidify his legacy. Yes, we acknowledge the greatness of his first two albums, and F.A.M.E. may be his most defining work, but if he wants to be mentioned alongside Michael Jackson, Brother Breezy needs a "Thriller," an "Off the Wall," or even a "Bad" or "Dangerous."

However, his drive to inflate those streaming numbers proved too tempting, leading to yet another album that overstays its welcome.

Let's be clear, 11:11 is no "Thriller." To be fair, this extended version of 11:11, now a double album, does have its moments. Disc 1 kicks off on a promising note.

"Angel Numbers/Ten Toes" serves as a captivating opener. The first half creates an acoustic, almost otherworldly atmosphere as Chris Brown embraces the 11:11 motif. "Can you make a wish for me?" he asks – and my wish is for more tracks like this one. "Ten Toes" ups the ante with Brown delving back into his hip-hop swagger. Yet, it's not all bravado; he candidly addresses his battle with anxiety, showcasing the growth fans have long awaited.

This leads into the second (and so far, best) single, "Sensational," which joyfully embraces the Afrobeats vibe. Let's be honest – while Afrobeats may be trendy, the sound itself is becoming as worn out in 2023 as New Jack Swing was in 1993. However, DJ Hardwerk's soothing yet vibrant production (paired with solid contributions from Nigerian vocalists Davido and Lojay) results in a decent summer track ... released in November.

But from there, the album quickly loses its footing.

"Feel Something" is a decent track marred by a lackluster hook, while "Best Ever" featuring Maeta is a serviceable duet that fails to ignite. Both are miles ahead of "That's on You." Featuring Future, this track sees Cousin Chris morphing into GoBot Breezy, with his vocals drowned in auto-tune on the hook. And if you're a fan of Afrobeats, then this album might be up your alley – the latter half of Disc 1 is saturated with recycled Afrobeats production, each song less engaging than the last. Breezy sounds utterly disinterested, especially on "Nightmares," thanks to the monotonous vocal effects – I can certainly relate after enduring it. It's no "Sensational," that's for sure.

Thankfully, Disc 1 concludes with a glimmer of hope – "Messed Up" is another instance of growth as Chris seeks redemption for his mistakes and pleads with his girl not to give up on him.

If you take Cousin Chris' advice from that last track and soldier on, you'll discover that Disc 2 surpasses its predecessor by leaps and bounds. Once again, we're treated to a stellar opener with "Midnight Freak," a lively throwback to Chris' prime. It wouldn't be out of place in the Exclusive era.

However, the album's true standout is what comes next – "Moonlight." Evoking the essence of an Alexander O'Neal track from an 1980s quiet storm playlist, Chris effortlessly glides over the most captivating production on the album. His vocals are smooth, and the direction aligns perfectly with what a seasoned R&B veteran of his caliber should embrace. It's arguably one of his finest offerings in years.

Unfortunately, like its predecessor, the second disc sees a decline almost immediately. While the production is notably stronger this time around, there's a glaring lack of variety to keep things engaging. "Make Up Your Mind" falls into the same rap&B-styled formula we've been inundated with since the F.A.M.E. days. "Red Flags" features a catchy hook but little substance – it's like a bread sandwich with no filling. "Summer Too Hot," the album's lead single, is passable in the moment but instantly forgettable, perhaps explaining its minimal impact on the charts – a rarity for CB. However, "Stutter" deserves credit. Despite not being a remake of Joe's 2000 hit (though there are nods sprinkled throughout), it's a decent midtempo cut.

Obviously, a 22-track album is bound to be a more cohesive listen. Less tracks mean a smaller margin for error and that's precisely what makes “11:11” so exasperating.

I would give this 2 out of 4 stars.