After a number of legal troubles, endorsement bailouts and an exposed past—it would seem rational for an artist to rework their image. Detaching the Parental Advisory label from his release, Akon creatively decides to put his hormones on the back burner, settling for a much different tone on Freedom. Flawlessly suiting the album’s identity, Freedom strays away from raunchy strip club anthems and celebrates Akon’s success as a young entrepreneur, while combining the idiom of love making and political morality.

The new-age sound and poetic libretto of “Beautiful” effortlessly justifies the singer’s talents for steaming up the speakers and headphones with sex appeal. Definitely single material, Kardinal Offishall repays the favor (from Akon’s assistance on his summer smash “Dangerous”) on a record that embodies its title. Picturing a romantic getaway by the beach shore is a natural reaction that comes along with “Be With You”, as the Caribbean themed instrumental and sentiment value build a state of tranquility that’s undeniable.

Urban swagger intact, “I’m So Paid” shows this R&B singer has a knack for creating hit records with hip hop acts. The electronic keyboard creates a tantalizing sound that listeners will fancy, as Lil’ Wayne and Young Jeezy contribute methodical verses which standout far better than their prior guest appearances. The anchoring hook on “Troublemaker” has mainstream hit smeared all over the dance floor, as Akon displays his mischievous etiquette with no shame in his game.

“Sunny Day” sneaks a ray of light through the stormy clouds with an invigorating euphony that is sure to uplift the spirits of those in a dreary mood. The politically enthused “Freedom” is a retrospect of Akon’s journey for independence during his migration to the state shore, captivating his message in a graceful manner as the album draws near its conclusion.

Emancipated from any label executive influences, Akon is granted the liberty to assemble Freedom, but self-rule, as experienced in the land of the free, can always be exploited. The strained vocals on “Over The Edge” arise doubt in Akon’s singing abilities, with an excruciating hook that puts the tuneful instrumental on its deathbed. Label mate T-Pain assists his boss on “Holla Holla—a record that proves their collaborations only benefit the cause when its primary focus is the club scene. “We Don’t Care” presents listeners with a sense of misplacement, as the sound is best fit for Michael Jackson (whom Akon was rumored to have collaborated with on his slated comeback album) or any other pop act.

Akon’s growth as an artist, both inside and outside of the studio, surfaces on Freedom. His craftsmanship (from production to lyrics) becomes the backbone of the album, fashioning a mature resonance that will appeal to the masses. Though the melodies and harmonies become tedious, things could be worse—you could really put yourself through agony and sit through a listening session of Kanye West’s 808s & Heartbreak.