Chris Brown, “Graffiti” (Jive)

Listening to Chris Brown’s third full-length album, it’s natural to look for something underneath the surface. Subtlety isn’t Brown’s strong suit, but given his last year — a tumultuous time for the young singer as horrific photos of his famous ex-girlfriend surfaced everywhere — it’s easy to listen for some kind of an apology. Something honest and heartfelt, perhaps?

If you’re looking for that in “Graffiti,” good luck. Just how is Chris Brown going to win his fans back? With the same banging pop-urban production that has been his trademark since “Run It!”

“Graffiti” is as full of potential singles as it is full of itself. Brown and hubris go together like Lil’ Wayne and Swizz Beatz, the latter of whom pair with Brown on the record’s first single, the rock-influenced ode to materialism “I Can Transform Ya.” Second single “Crawl” is a methodically slower R&B jam, but the Runners-produced “What I Do” is one of those sunny, bombastic radio hits that could easily end up dominating the airwaves in the months to come.

There’s nothing groundbreaking about “Graffiti,” but fans wouldn’t expect anything but digestible jams from Brown. “Pass Out” is an example of the record’s love of revisionism. It’s built on the chord progression and sample from Eric Prydz’s minor dance hit “Call on Me,” which itself was composed on a 1982 Steve Winwood sample from “Valerie.”

We can’t help but feel like we’ve been here before. Maybe that’s because we have. – Ricardo Baca

Elvis Presley, “Elvis 75: Good Rockin’ Tonight” (RCA/Legacy)

Had he remained a vital artistic figure near the end of his life, it’s easy to imagine Elvis Presley producing and performing quality music well into his golden years. Instead, the too- familiar tale of his descent into self-parody rendered him something of a speciality act, relegated to Vegas rooms and sweaty (if earnest) gospel covers before his death in 1977.

Elvis would have turned 75 on Jan. 8, so RCA is naturally taking the opportunity to issue a massive, digitally remastered collection of his songs — just in time for Christmas. What’s surprising, however, is the even-handed approach the four-disc “Good Rockin’ Tonight” boxed set takes to his catalog.

The usual Top 40 hits from his 1950s heyday are here (“That’s All Right,” “Blue Suede Shoes,” “Don’t Be Cruel”), but so are surprisingly well-aged live cuts (“Polk Salad Annie,” “Unchained Melody”) and even remixes (2002′s “A Little Less Conversation”).

There’s nothing here that hasn’t been released before, but the track list and sequence cast a charitable light on the King’s late-career eclecticism. The smartly written liner notes clock in at 80 pages, contextualizing Presley’s initial impact and legacy as well as any out there.

Existing fans won’t find much worth spending money on here, but Presley newbies will appreciate the variety and perspective “Good Rockin’ Tonight” offers — even if it is the mercilessly repackaged kind. – John Wenzel

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Ricardo Baca is the founder and co-editor of Reverb and an award-winning critic and journalist at The Denver Post. He is also the executive director of the Underground Music Showcase, Colorado’s premier indie music festival. Follow his whimsies at Twitter, his live music habit at Gigbot and his iTunes addictions at Last.fm.

John Wenzel is the co-editor of Reverb, editor of the Get Real Denver blog and an A&E reporter for The Denver Post. His book “Mock Stars: Indie Comedy and the Dangerously Funny” was recently published by Speck Press. He also maintains a Twitter feed of random song titles.