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Originally, Brown wanted his fourth studio album F.A.M.E. to be a double-disc consistent of 25-30 tracks, but the label was contrary to that. Right before the release of F.A.M.E. Brown decided to follow his intentions in an acceptable way for the label, working on a sequel of F.A.M.E. called Fortune, that would've been a whole new album that contained new material and even some tracks that didn't make the cut for F.A.M.E., releasing it six months after the previous album.[1] The artist later decided to take more time to work on the album, developing it as a project of its own, with its own concept and sound being different than the one of its precedent album.
Sevyn Streeter Call Me Crazy But Album Download Zip
Work for Fortune began in mid-2011, with Kevin McCall revealing that he had been collaborating "heavily" with Brown for an upcoming album.[2] Later in September 2011, producer David Banner explained that the idea of the album was to create mostly material that reflected a more club-oriented style that would "change the way people look at R&B".[3] On January 7, 2012, Brown tweeted that there were only two weeks left of recording sessions for the album: "Last two weeks of me finishing Fortune! I'm excited for all the fans to hear my real music".[4] The tweet was soon followed up by another from Brown, with him tweeting: "Dub step records on my album sounding crazy!!!!".[4] However, the tweet was later removed, suggesting that Brown gave away too much details about Fortune, and its working continued for some months.[4] Brown later told MTV in June 2012 that with the album he wanted to "give different textures, expressing mostly fun and sex appeal, but also giving pieces of maturity at the same time, transitioning from the positivity of F.A.M.E. to the self confidence of this album". He also said that musically he wanted to create "a videogame-inspired, futuristic and electronic atmosphere" through "different textures", showcasing his R&B roots, along with hip-hop and pop flavors.[5]
In addition to recording, it was revealed in January 2012 that Brown was in the studio working on the album with Asher Roth, Nas, Wiz Khalifa, will.i.am, and Kid Sister.[6][7] In an interview with MTV News, producer Harvey Mason, Jr., half of production duo the Underdogs, who co-produced "Turn Up the Music", spoke more about the album, saying "The Fortune record is F.A.M.E to the next level. He's really being innovative with some of the music, taking pieces of other genres and integrating them into pop and R&B, which I think is really cool. Vocally, he sounds amazing; he's really, really coming into his own as a singer, as you'll hear in the song "Free Run" we did together".[8] Producer Damon Thomas, the other half of the duo, added "The only way I can describe Chris and what he's doin' with this record that he's making is that he's this generation's Michael [Jackson]".[8] On February 29, 2012, Brown tweeted "I hope this album will inspire all my fans to live life to the fullest".[9] During a radio interview with Atlanta's Hot 107.9 in March 2012, rapper 2 Chainz revealed that he will be appearing as a guest vocalist on Fortune,[10] however the track he was featured on did not make the final track listing.[11] In May 2012, producer William Orbit stated that the track "Don't Wake Me Up" that he produced for Madonna's album MDNA (2012) was given to Brown for Fortune, despite Madonna wanted it, because "he knew exactly what he had to do with that song".[12]
The album's official cover (standard version) was revealed on February 29, 2012.[22] The cover art was shot in January of the same year by the photography team Steven Gomillion and Dennis Leupold.[23] On the album cover, a light shines down on Brown, who poses against a blue backdrop, dressed in a blue "sleek, slim-fitting suit with a skinny tie and thick black framed glasses",[24] while the word "Fortune" appears behind him in different languages.[24] Brown and his art director Courtney Walter came up with the idea of using hieroglyphics for the album's title.[23] In an interview by telephone with Erik Parker of CBS Local, Gomillion said Brown "knew before the last album came out what this one would look like. He thinks so far ahead".[23] Regarding the use of the color blue, Gomillion said "The funny thing about that blue is it basically just happened. It matched the suit and it gives a kind of futuristic vibe. You'll see blue throughout the [album] packaging".[23] Sarah Brotherton of MTV News wrote that the cover shows "a more mature, sleek side" to Brown.[25] Becky Bain of Idolator noted that Brown "seems to have finally dropped his beloved graffiti imagery and is going for a futuristic vibe".[26] A reviewer for Rap-Up described it as a "slick cover".[22] Alex Loinaz of E! Online compared Brown's look to that of actors Keanu Reeves in The Matrix films, and Colin Firth in A Single Man (2009).[27]
AllMusic's Andy Kellman criticized the album's lyrical content as "shameless" and found "few dimensions" in its music, calling it "an album of unapologetic swashbuckling" that is "saved ... from being a disaster" by some of its production.[20] Kyle Anderson of Entertainment Weekly found the songwriting perfunctory and commented that the album "furthers the uncomfortable and frustrating disconnect between Brown's hotheaded personal life and his oddly edgeless musical persona".[18] Jon Caramanica of The New York Times criticized Brown's "brazenness" and stated, "Listening to Mr. Brown at the deepest level balances aesthetic pleasures, when they happen, with superegolike self-protection against aligning oneself too closely with someone who's done such heinous things".[84]
James Reed of The Boston Globe complimented "Don't Wake Me Up" as "a thumping club cut that's irresistible on an otherwise forgettable album".[85] Barry Walters of Spin commented that, apart from "Don't Wake Me Up", Fortune "makes it easy for Chris Brown's haters and harder on his many fans", writing that "there's more than the usual number of midtempo ballads that once again mix sex-fantasy titillation with his defensiveness".[83] Chicago Tribune writer Greg Kot called the album "a pure-pop candy cane, meant to be enjoyed, consumed and forgotten", commenting that "its mixture of smut, vulnerability, menace and dancefloor celebration".[16] In a mixed review, Randall Roberts of the Los Angeles Times likened the album's trendy musical style to a product's shelf life and attributed it to "Brown's reflex of curbing his creative impulses at nearly every turn, with a few killer exceptions, and showing a conservatism unbecoming such a self-styled renegade".[79]
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