Omarion

It's not exactly a mystery why Sony is pushing O. After all, Omarion Grandberry's got a kiddie-soul pedigree (he was in B2K), an acting background (he played Reggie in Fat Albert, a fact he might want to keep to himself) and the sort of look that appeals to teens raised...

By Michael Roberts

March 3, 2005

Audio By Carbonatix

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It's not exactly a mystery why Sony is pushing O. After all, Omarion Grandberry's got a kiddie-soul pedigree (he was in B2K), an acting background (he played Reggie in Fat Albert, a fact he might want to keep to himself) and the sort of look that appeals to teens raised on the mean streets of suburbia. In other words, he has all the attributes to make him the new Usher -- except for an album as strong as Confessions.

The suits certainly pushed all the right buttons, bringing in trendy producers and guest stars such as OutKast's Big Boi. But while the Rodney Jerkins-helmed "Drop the Heater" is a certified finger-popper, "Touch," overseen by the Neptunes, feels slapdash; it's the sorta thing Chad and Pharrell probably knocked off while checking their phone messages. The title cut, meanwhile, is about as generic as a slow jam gets, which hasn't prevented it from becoming a hit but will make it difficult to remember a month from now. Like its name, O looks good, but its center is hollow.

Michael Roberts began his career with Westword in 1990 as music editor. In 1999, he took on a new role, full-time media reporter, as author of a column called The Message. In 2008, he became the lead writer for Westword's news blog, The Latest Word, a position he held until January 2023. Michael continues to freelance for Westword, covering everything from business to sports and the media; he also contributes to Jazziz, a national music magazine. He holds a bachelor's degree from what is now Colorado Mesa University and master's degrees from the University of California, Los Angeles, and Northwestern University.

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