Since the 1990s, Kelly has been repeatedly accused of sexual abuse, often with underage girls. In 2012, he was listed as the 55th best-selling music artist in the United States, with over 32 million album sales. In 2010, Billboard magazine considered Kelly the most successful R&B artist in history and listed him as the Top R&B/Hip Hop Artist for the time period between 19. Kelly has sold over 75 million records worldwide, making him the most successful R&B male artist of the 1990s and one of the world's best-selling music artists. In 1996, he was nominated for a Grammy Award for writing Michael Jackson's song " You Are Not Alone". Although Kelly is primarily a singer and songwriter, he has written, produced, and remixed songs, singles, and albums for other artists. In 1998, Kelly won three Grammy Awards for "I Believe I Can Fly".
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Kelly is known for songs including " I Believe I Can Fly", " Bump N' Grind", " Your Body's Callin' ", " Gotham City", " Ignition (Remix)", " If I Could Turn Back the Hands of Time", " The World's Greatest", " I'm a Flirt (Remix)", and the hip hopera " Trapped in the Closet". He has been credited with helping to redefine R&B and hip hop, earning nicknames such as "the King of R&B", "the King of Pop-Soul", and the " Pied Piper of R&B". Kelly's game.Robert Sylvester Kelly (born January 8, 1967) is an American singer, songwriter, record producer, and convicted sex offender. Still, given the glimmer of an end-to-end great album we got on Love Letter, it's hard not to be disappointed that unevenness is once again the name of R. Which may be better than the days when he had you questioning his basic mental fitness. These cut-rate production choices are, along with the limpness of some of his retro moves, the only ways that Kelly actually embarrasses himself on Write Me Back.
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#R. KELLY CHOCOLATE FACTORY ALBUM ART MOVIE#
Not even Kelly's singing can redeem this epically crappy-sounding tribute to dance crazes, "American Bandstand", and the end of every beach-party movie ever. "All Rounds on Me" is like a 1997 ringtone version of a Wilson Pickett obscurity with tinny synthetic horns clanging against surprisingly accurate guitar licks. The lowest-of-the-low is "Party Jumpin'", which comes directly after the somnambulant smoothness of "Green Light" like someone slapping you awake. Surprisingly, given his depth of knowledge and the more-or-less good taste displayed on Love Letter's old-school pastiches, the true low points on Write Me Back come when Kelly tries to recreate the 60s, again mostly because the results are so damned chintzy. Still, it'd be nice if the music had half as much force. The lyrics to "When a Man Lies" may be boilerplate- the wise old soulman castigating the faithless and two-faced- but wow, does he sell that chorus. When he wants to rock the people in the balcony, he's still got it. It's one of those songs that needs just enough quiver behind the la-la-la's to induce shivers without breaking the low-key mood by oversinging. "Green Light" is the type of deep cut covered in Eric Harvey's recent history of quiet storm radio, and Kelly's vocal is as creamy as any of those classics. The fact that he almost succeeds gives you some indication, right at the album's start, that the pleasures of Write Me Back are based almost entirely around Kelly's pipes. By the end of the song, Kelly is willing himself back to the high "Soul Train" era, trying to turn its ersatz disco into the real deal. "Love Is" comes off like a handful of hacks in an off-strip Vegas bar, armed with a couple of Casios and a surprisingly good frontman, doing their best Barry White impression for a bunch of disinterested daytime drunks. (At least the crummy parts of Kelly's older albums had a misguided messianic ambition behind them.) The cheap faux-orchestrations are back, too, and they sound especially shabby backing the total conviction of Kelly's engaged vocal performances.
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Kelly seems to have breezed through the writing and recording process here, and there's a fine line between breezy and half-assed. Kelly was a good look, especially since enough of his irrepressible weirdness is always going to shine through and keep things from feeling too buttoned-up.īut the care, craft and subtlety of Love Letter is audible only in flashes on Write Me Back.
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A more restrained, classicist, and focused R. By that, I don't mean he should have returned to the maniacal story-songs he drove into the ground after "Trapped in the Closet", cranked up the sex metaphors to an even more deranged degree, or gone cherry-picking the hottest new sounds. The problem with Write Me Back is that it doesn't go far enough.