Freeman is a tighter record than McCartney -- it's not homemade, it's all complete songs -- but there's no denying it shares the same spirit; that it is the sound of breaking dawn of a new day.
In spite of such open self-acknowledgement, the record isn’t mired in the swamps of despair and inner turmoil.
Aaron leans heavily toward the post-Beatles work of both Lennon and McCartney, combining the former’s emotional honesty with the latter’s unstoppably melodic sentimentality.
FREEMAN won’t be remembered for its individual tracks or even for its lack of musical cohesion. It’s a recovery record that serves as an profound artistic statement of individuality, redemption and freedom.
On FREEMAN ... Aaron (assuming the titular FREEMAN moniker) has attempted to regain some of his goofball charm while retaining some of his more recent emotive sensibilities.
FREEMAN is a thoroughly mellow—one might say anesthetized—recording, but throughout, Freeman’s gentle absurdity combines with the crack studio musicianship to make an eerily soothing form of psychedelia bent on exploring the other side of getting fucked up.
It's missing that boognish behavior we all love. There isn't anything particularly wrong with this album, just that the first 3 songs are the best and after that it feels really boring.