MTV’s renaissance man, veejay-model-singer Tyrese, opened the show with a genial karaoke act and worked hard to charm the crowd, considering that he had only canned tracks to sing to, and no live band. It made unfortunate sense that the accompanying tour was sponsored by Sears, a merchandiser that stocks everything and specializes in very little. Superhero sounds like McKnight abandoning his melodic instincts for an attempt at gentrified, all-encompassing superstardom. Introduced by a video clip featuring celebrity sports-news anchor Stuart Scott, the McKnight band opened with the new album’s title track, a rock-pop cypher whose cloying vocal harmonies sounded suspiciously doctored, as if somebody at the soundboard were rolling pre-recorded tape while the backing singers onstage mimed along.īut his varied history, from church musician to jazzy interpreter to pop journeyman, should be producing more interesting music. I can't remember why we fell apart From something that was so meant to be, yeah Forever was the promise in our hearts Now, more and more I wonder where you are Do I ever cross your mind, anytime Do you ever wake up reaching out for me Do I ever cross your mind anytime I miss you. Like Boone in the ’50s, copying what’s popular and draining it of flavor for decency’s sake, McKnight on Superhero borrows from contemporary music and, apparently lacking his own vision, just tidies up the arrangements and substitutes cleaner lyrics. Watch: New Singing Lesson Videos Can Make Anyone A Great Singer. Anytime (Slowed + Reverb) by Brian McKnight published on. Brian McKnight’s tracks Anytime (Sped Up) by Brian McKnight published on. McKnight, who performed on Sunday night for about 1,000 people at Sunrise Musical Theatre, has gone from polite and pop-savvy to opportunistically bland with his new Motown album, Superhero. Play Brian McKnight and discover followers on SoundCloud Stream tracks, albums, playlists on desktop and mobile. Lately, however, he sounds more like Pat Boone. His hit albums Anytime (1997) and Back at One (1999), both on Motown Records, played like PG-13 outlets for anyone put off by the cruder pronouncements of R. The gospel-trained Grammy nominee has spent the last decade trying to clean up a genre soiled by artless vulgarity and bad taste. Male r&b needs a few gentlemen, and Brian McKnight knows it.
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