remix to "Step in the Name of Love", and promotional material for Chocolate Factory declare Loveland as "never to be released. Music and lyrics Chocolate Factory comprises slow jams and upbeat club tracks, and many of its songs draw on classic soul music with call-and-response choruses and harmonies inspired by the Temptations, Marvin Gaye, and Stevie Wonder. Kelly's vocals veer between singing and rapping. Kelefa Sanneh of The New York Times writes that he "pack[s] his verses full of words, then improvise[s] a tricky vocal line around a simple tune." Most of the album's lyrics focuses on romance. On "Forever", Kelly croons about an exaggerated fantasy of the married life, with "a picket fence, dog and a house / About 12 kids, you're cooking me breakfast in the morning, I'm taking the garbage out." The lively "Ignition (Remix)" is a lustful song built on automotive double-entendres. Critical reception Chocolate Factory received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 65, based on 10 reviews, which indicates "generally favorable reviews". Kelefa Sanneh of The New York Times found the album "elegant and strange". Mojo stated, "Chocolate Factory seems positively inspired... An impressively varied opus", and BBC Online stated "[Kelly] doesn't sound like a man with the weight of the world on his shoulders, but a revived soul in spiritual euphoria." Sterling Clover of The Village Voice noted the album's "quantity and consistency of sonic presence" and praised Kelly's performance with respect to his songs' structures, stating "Kelly has sussed how to ground himself in tight rhythmic bass and a solid backup chorus, refiguring them into layered and discontinuous sheets of sound". Rolling Stones Anthony DeCurtis cited Chocolate Factory as "among the best work of his career" and went on to write "... as a singer, songwriter and producer, he's at the top of his game." In a mixed review, Slant Magazine's Sal Cinquemani wrote that "Kelly's songwriting skills leave much to be desired; for every hook-driven 'You Knock Me Out' there's a 'Showdown,' an asinine, interlude-filled insult to songwriters everywhere". Q wrote that "as ever, [the album's] songs veer between the nigglingly infectious and cliched slush." Chicago Tribune writer Greg Kot viewed that "the subtext for this one makes it sound like musical spin control, a public-relations manifesto as much as