Usher did himself some favors by releasing&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Raymond-v-Raymond/dp/B002RAREAK/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Raymond v. Raymond</a>&nbsp;after his 2008 affair Here I Stand found one of R&B's premiere artists losing his edge.  I was one of few (it seems) who liked&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Here-I-Stand/dp/B0015519VS/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Here I Stand</a>&nbsp;, though I never considered it superior to Raymond's exceptional&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Confessions/dp/B0001F7UHA/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Confessions</a>, his very best album.  Raymond v. Raymond was not my favorite album of 2010 by any means, despite being an avid fan of Usher, however as I've stated already, it did help to re-establish his fan base after many faded between the four-year hiatuses between 'Confessions' and 'Here I Stand.'  However, 'Raymond v. Raymond' underwrites Usher's vocal talent with clubby and sometimes sub-par material.  In other words, lyrical substance and overall substance of that album seem empty.  The accompanying EP&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Versus/dp/B003V6L932/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Versus</a>&nbsp;just might be worse.  A nine-song set tacked on as a separate EP or as the second disc of the reissue of Raymond v. Raymond, it is no 'Confessions Special Edition'.  From the packaging, one instantly sees that this was a rush deal and that while some of this new songs are enjoyable enough, they ultimately possess even less substance than Raymond itself.

"Love `Em All" opens the album smartly with solid production work ala contemporary R&B and a strong vocal performance by Usher.  It is by no means `the second coming,' but it works and it does establish Usher better than the odd "Monstar" did on Raymond vs. Raymond.  It fails as being a strong opener like "Love in This Club" (Here I Stand) or "Yeah!" (Confessions), but you take what you can get with this EP.  "DJ Got Us Fallin' In Love," featuring Pitbull just doesn't really appeal to me.  I don't feel that Usher's voice is best reflected with a euro-pop styled production as the canvas underlying it.  Usher pulls it off - I hardly think anyone would deny him that - but it just seems like "sell-out" given his prodigious vocal abilities and natural talent.  It's average or just the slightest bit in my mind, but that's not saying much for the man who has given the R&B/pop worlds numerous memorable songs and performances.

"Hot Tottie," featuring Jay-Z is ok.  It's not horrible but it's not great.  If anything, it is a bit odd; the production work is interesting, the hook is incredibly wordy, and Jay-Z's guest spot is ok, if less than stellar.  I like it well enough, but then again, I don't love it and I feel that the sheen will quickly wear off, as much of generic R&B and pop does these days.  "Lay You Down" adds some `ummph' to the album returning Usher to his 1990s glory days with a traditional, contemporary R&B production supporting him.  Solid, "Lay You Down" will be the cut everyone will pass over on this EP that is probably better than all the rest.

"Lingerie" is a bit of a throwaway completely in my mind that is NOT catchy in my eyes.  Usher sounds good, if uninspired as the combination of his brilliant falsetto and the wordiness of the hook make the lyrics almost impossible to decipher.  I don't connect to this song, but when the track is entitled "Lingerie," it gives a connotation of "sleaze," which is unfortunate.  "There Goes My Baby" is filler material considering it appears on 'Raymond v. Raymond,' though it is also a smart addition given the fact it is probably the best cut, hands down.  My favorite club cut that is the most genuine to me is "Get in My Car," featuring Bun B.  The production work is strong without compromising Usher's style as much as "DJ Got Us Fallin in Love" and it is enjoyable without growing annoying.

"Somebody to Love [Remix]," featuring Justin Bieber is a bit weird.  Maybe it is because I'm used to `the Biebz' singing the majority of it and it just doesn't completely fit Usher (maybe there's a reason!) I give it a B... I supposed.  Closer "Strangers Come" comes over as a `stranger' as the track isn't that memorable.

The problem is that Usher seems to be conforming too much, as many R&B artists are today.  The problem with this EP is that there is no cohesiveness.  It is all over the place with no connection, much like some of Raymond v. Raymond only the effect is times ten. I'm sure "DJ Got Us Fallin in Love" will aid in sales, but I'd like to hear the Usher I came to know and love with hits like "U Don't Have To Call" or "Burn."  2 1/2 stars/C-...
Usher did himself some favors by releasing&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Raymond-v-Raymond/dp/B002RAREAK/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">Raymond v. Raymond</a>&nbsp;after his 2008 affair Here I Stand found one of R&B's premiere artists losing his edge. I was one of few (it seems) who liked&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Here-I-Stand/dp/B0015519VS/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">Here I Stand</a>&nbsp;, though I never considered it superior to Raymond's exceptional&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Confessions/dp/B0001F7UHA/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">Confessions</a>, his very best album. Raymond v. Raymond was not my favorite album of 2010 by any means, despite being an avid fan of Usher, however as I've stated already, it did help to re-establish his fan base after many faded between the four-year hiatuses between 'Confessions' and 'Here I Stand. '  However, 'Raymond v. Raymond' underwrites Usher's vocal talent with clubby and sometimes sub-par material. In other words, lyrical substance and overall substance of that album seem empty. The accompanying EP&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Versus/dp/B003V6L932/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">Versus</a>&nbsp;just might be worse. A nine-song set tacked on as a separate EP or as the second disc of the reissue of Raymond v. Raymond, it is no 'Confessions Special Edition'. From the packaging, one instantly sees that this was a rush deal and that while some of this new songs are enjoyable enough, they ultimately possess even less substance than Raymond itself. "Love `Em All" opens the album smartly with solid production work ala contemporary R&B and a strong vocal performance by Usher. It is by no means `the second coming,' but it works and it does establish Usher better than the odd "Monstar" did on Raymond vs. Raymond. It fails as being a strong opener like "Love in This Club" (Here I Stand) or "Yeah! " (Confessions), but you take what you can get with this EP. "DJ Got Us Fallin' In Love," featuring Pitbull just doesn't really appeal to me. I don't feel that Usher's voice is best reflected with a euro-pop styled production as the canvas underlying it. Usher pulls it off - I hardly think anyone would deny him that - but it just seems like "sell-out" given his prodigious vocal abilities and natural talent. It's average or just the slightest bit in my mind, but that's not saying much for the man who has given the R&B/pop worlds numerous memorable songs and performances. "Hot Tottie," featuring Jay-Z is ok. It's not horrible but it's not great. If anything, it is a bit odd; the production work is interesting, the hook is incredibly wordy, and Jay-Z's guest spot is ok, if less than stellar. I like it well enough, but then again, I don't love it and I feel that the sheen will quickly wear off, as much of generic R&B and pop does these days. "Lay You Down" adds some `ummph' to the album returning Usher to his 1990s glory days with a traditional, contemporary R&B production supporting him. Solid, "Lay You Down" will be the cut everyone will pass over on this EP that is probably better than all the rest. "Lingerie" is a bit of a throwaway completely in my mind that is NOT catchy in my eyes. Usher sounds good, if uninspired as the combination of his brilliant falsetto and the wordiness of the hook make the lyrics almost impossible to decipher. I don't connect to this song, but when the track is entitled "Lingerie," it gives a connotation of "sleaze," which is unfortunate. "There Goes My Baby" is filler material considering it appears on 'Raymond v. Raymond,' though it is also a smart addition given the fact it is probably the best cut, hands down. My favorite club cut that is the most genuine to me is "Get in My Car," featuring Bun B. The production work is strong without compromising Usher's style as much as "DJ Got Us Fallin in Love" and it is enjoyable without growing annoying. "Somebody to Love [Remix]," featuring Justin Bieber is a bit weird. Maybe it is because I'm used to `the Biebz' singing the majority of it and it just doesn't completely fit Usher (maybe there's a reason! ) I give it a B... I supposed. Closer "Strangers Come" comes over as a `stranger' as the track isn't that memorable. The problem is that Usher seems to be conforming too much, as many R&B artists are today. The problem with this EP is that there is no cohesiveness. It is all over the place with no connection, much like some of Raymond v. Raymond only the effect is times ten. I'm sure "DJ Got Us Fallin in Love" will aid in sales, but I'd like to hear the Usher I came to know and love with hits like "U Don't Have To Call" or "Burn. "  2 1/2 stars/C-...