Chris Brown - Love More Lyrics

[Martha Weitz]

ThePop Song Professor project is all about helping music lovers like you to better understand the deeper meanings of popular song lyrics so that you know what your artist is saying and can enjoy your music more.

Chris Brown's out with his new album Royalty, and one of the songs on that album--my favorite so far--is "Little More (Royalty)." The song's smooth and strong and an enjoyable listen. I'll be honest though: I have rarely ever listened to Chris Brown, and what I have heard of him has been largely negative. Not that being explicit is always bad, but the fact that so many of his songs on this album are explicit concerns me. I've listened to a few others besides "Little More (Royalty)," and there doesn't seem to be a lot of variety on Royalty. His song "Back to Sleep," in a paraphrase of his words, is about "sexing" his girlfriend back to sleep after he comes home from playing a concert.

Combining the vulgar language with (seemingly) not having anything to say, Royalty doesn't excite me. That's why the song "Little More (Royalty)" (hereafter referred to as "Little More") was a nice surprise, if still a little underwhelming.

He continues the verse: "Oh, baby girl, you inspire me, give the reason to keep on / My baby, my Royalty, girl you're the lyrics to my song." If a listener thinks this song is about a women, it sounds like Brown is calling her "royalty," but if the listener is "in the know," it makes even more sense.

Brown continues to sing about how powerful a hold Royalty has on him: "Girl, you got this heart lock on me, I don't think I can control it / I hold on with all my might while you look at me in my eye." And not only does he have to struggle to come to grips with how much he loves her, but his daughter gives him the power to love her better: "Like a vitamin you put back my energy, you're making me stronger and bring out the best of me."

From my perspective, "Little More" is purposefully vague so that it can cater to a wider range of audiences. If you look through the lyrics, you'll find no language that specifically makes it about either a woman or Brown's child. There's not a single word or phrase that would exclude one or the other, and there are many that directly support each.

Thus, for you, "Little More" truly is about whichever you want it to be about. If you like the thought of a rapper singing to his toddler, then it's about Royalty. If you like the thought of a strong, gentle, and beautiful woman, then "Little More" is about spending a "little more" time with her.

Based on the lyrics, it really doesn't seem to matter who it's about, so long as Brown and his record company get the profits. I don't want to be too accusatory, and--who knows?--there may be an explanation, but look at what's happening here. Brown has created a purposefully vague song that appeals to two very different market demographics: those who want a sweet and sentimental song, and those who want the hot passion and romance of a one night stand.

Hi! I'm a university writing center director who teaches literature classes and loves helping others to understand the deeper meanings of their favorite songs. I'm married to my beautiful wife April and love Twenty One Pilots, Mumford & Sons, Kishi Bashi, and so many others!

Chris Brown's song "Love More (feat. Nicki Minaj)" delves into the complexities and contradictions of a passionate yet turbulent relationship. The lyrics paint a vivid picture of a love that oscillates between intense affection and equally intense conflict. The repeated lines, "Til we get it right, we gonna fuck some more," underscore the cyclical nature of their relationship, where physical intimacy is both a solution and a distraction from their underlying issues. This back-and-forth dynamic is a central theme, highlighting the struggle to find balance and consistency in their love.

The song also explores the idea of escapism through physical pleasure. The imagery of "sex in my hotel room" and being "higher than a smoke cloud" suggests that the couple uses these moments of intimacy to escape from their problems, even if temporarily. The high-energy, rockstar lifestyle described in the lyrics adds a layer of hedonism and recklessness, emphasizing the chaotic nature of their relationship. The line, "One minute I hate you then I love you," encapsulates the emotional rollercoaster they are on, making it clear that their connection is as volatile as it is passionate.

Nicki Minaj's verse adds another dimension to the song, bringing in themes of power and control. Her confident and assertive lyrics, such as "I got these niggas whipped, call me Django," suggest a sense of dominance and self-assuredness. This contrasts with the vulnerability expressed in the rest of the song, adding complexity to the narrative. Minaj's contribution also touches on materialism and the superficial aspects of relationships, as seen in lines like "He had the rolls in his royce, the tone in his voice." This juxtaposition of deep emotional conflict and surface-level desires creates a rich, multi-layered portrayal of modern love.

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About three years ago, I started composing this album and I realized that people knew about all my accomplishments, my affiliations and my reputation, but I didn't feel like they knew my sound. Producing on a song like "Mercy," you kind of get overshadowed if they don't outright put "Produced by the Twilite Tone." And I said, you know, forget always celebrating the things I've done and who I'm affiliated with. I want people to respect me now. Let me make an instrumental album where I don't have to depend on anyone and nothing is on top of it to deter you, or distract you, or deflect you, of who and what this is. So when I say instrumental album, I mean that, these aren't beats, these are instrumentals.

It sounds like you weren't ever interested in collaborating with anyone externally. Did you ever think about adding vocals yourself or writing vocal melodies to go on top? Or did you focus on making an instrumental project from the get-go?

The latter. Some of these songs did have top lines before, whether it was by me or it was other people, but I just felt like these songs, for some reason, they were speaking to me. I felt like it would be more impactful as instrumentals. And I felt like it wasn't time for people to hear my voice in that way, yet. Let me establish myself this way, sonically first, and I'll grow to that.

You've been around for a long time, and for a good chunk of that time, you were a background figure. Was there a turning point for you where you said, "Okay, I really want to put myself out there as me and establish myself as an individual"?

The turning point for me was DJing for Common the last four to eight years, where he would call me to do gigs with him when his regular DJ wouldn't be able to show up. He's only going based on his memory of me being a great DJ, I have far evolved from that, I wasn't even listening to rap music like that, let alone his music. And he would call me to do these intricate shows. I'd literally get the music and the show'd be tomorrow, and no rehearsal. I learned a lot from looking at how people galvanized around Common, and other artists that I work with. It was motivating and inspiring me to want to do it myself.

The whole album is composed on an MPC2000XL, a Triton Renaissance and a machine that is so near and dear to my heart that I have refused to divulge what that Moog-like machine is. Then it goes through a Fostex VF16 hard disk recording. I don't really EQ on the Fostex. I do all my sequencing and balancing on my MPC, but I'll add certain effects via the MPC or the Fostex recorder or my Triton or my "Moog." I use a compression on the overall mix. That's it.

It's funny to hear you say that at the time, you weren't even really listening to rap that much. Because in my mind, I think of you as the guy who brought hip-hop to Chicago clubs and Chicago parties. Can you tell me about how you came and went with hip-hop, versus house versus disco and all those genres that you're familiar with?

I did want to ask about the sci-fi motif that's running through the album. There's the HAL 9000 voice, and other samples and voice-overs that you included. What's the sci-fi theme mean to you?

The sci-fi is just in my genetic makeup. "The Twilight Zone" was my favorite show. Thus The Twilite Tone. The sound bytes are actually speaking to the bottom line of what I wanted to communicate. The sci-fi thing, I thought, would be a creative way to say what I want to say without being so direct and literal. And it sounded cool. And it's funny, you know, I use a lot of [Canadian synthesizer pioneer] Bruce Haack. And I found myself being a conduit for Bruce Haack. I felt like, damn, me and Bruce Haack are saying the same things. It just serendipitously came together.

Be yourself. I just gave some advice to my god-nephew, because he wants to get into music, and he lives in Atlanta. He's like, "Man, but my stuff doesn't sound like this." I said, "Good. And it's not supposed to." And another thing I was saying is, would you do music for free? Then you're on the right path. You're doing this to hustle, and because you think it's easy to make money by making the hi-hat sound like semi-automatic weapons? I say stay out of it. We got enough of that.

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