T.I. is perhaps the best example of this, and the very fact that this portion of the album is the most listenable speaks volumes about Foxx’s attempts at popstardom. It is, without doubt, the production, samples and superstar friends that will make any of these songs hit-worthy – and there are some that certainly are, in particular The-Dream produced number Digital Girl. Blame It, too, is a decent, danceable club jam with garage and electro vibes, which give way at the end to a delicate, piano outro that sets the tone for the latter half of the album – a slower, altogether more soulful affair, beginning with the next track She Got Her Own.
It is here that Foxx comes into his own, when he dares to stray from the tired R&B clich�s that populate the rest of the album and goes back to basics. Intuition Interlude is another delicately orchestrated, soulful ballad, but with little to distinguish it from the previous track, it is hard to get excited about it, and the rest of the album continues largely in the same vein. From this point onwards, Foxx slips into sickly sentimentality and cringe-worthy loverman crooning, typified by Slow, a (you guessed it) slow, seductive bedroom ballad resplendent with such romantic lines as “I’m ‘a take my time with you cos your shit is the shit.”
Without the buoyancy of his collaborators, the album rapidly loses momentum, to the point where closing track Love Brings Change sounds like it would be more at home on a Disney soundtrack. All in, it suffers from a lack of focus and direction. Maybe the main problem with Intuition is that, much like Foxx himself, it just doesn’t quite know what it wants to be.