Written in memory of Paul Walker, Wiz Khalifa and Charlie Puth’s “See You Again” was a surprisingly moving gem in the usually upbeat “Fast & Furious” franchise. For both artists, the track offered their greatest commercial successes to date. For Puth, who up until that point had yet to receive widespread exposure, “See You Again” was a propeller that shot him into the spotlight. With early days as a YouTuber, Puth’s amassed fan base grew to seismic proportions.

The release of his debut, full-length album titled “Nine Track Mind” could not have come at a better time. Hot off of the heels of the success of “See You Again,” Puth’s attempt at surpassing 15 minutes of fame seems to have worked, even if the resulting release is harshly disappointing; especially considering the level of talent Puth seems to possess.

The album’s first single featuring fellow viral artist Meghan Trainor is “Marvin Gaye.” Different enough to be entertaining, the Doo-wop inflected track is a retro anthem of freedom. Lighthearted fun at its core, “Marvin Gaye” is too amusing to not be enjoyable. Trainor in particular brings out the tracks stellar melody.

The follow-up titled “One Call Away,” may not have the same lyrical content or instrumental structuring as “See You Again,” but the similarities are undeniable and positively dull. However, where “See You Again” captured the hearts of audiences, “One Call Away” sounds like a lazy attempt to reclaim a moment that has passed.

On “Losing My Mind,” Puth does more to put listeners to sleep than lose their minds. As audiences try to maintain focus during a song that is entirely groggy, it’s not even enough to suggest that the song is meant to be an intimate and soft moment for a singer looking to show different dimensions to his music. The fact of the matter is, “Losing My Mind” is a hazily pieced together snoozer.

Tracks like “We Don’t Talk Anymore” only continue the monotony. Featuring Selena Gomez, the track plays out similarly to a Disclosure-produced reject. Through tediously paced vocals, “We Don’t Talk Anymore” is like elevator music with words. By what feels like the 90th time they hammer in that they “don’t talk anymore,” listeners will be numbed into oblivion. If talking is what led to this collaboration, hopefully they actually don’t anymore.

Some reprieve does come with “Dangerously.” By far the best thing the album has to offer, “Dangerously” is an overly welcomed change of pace that comes too early and is gone too quickly. Burning with a sense of ferocity, the track’s passion is terrifically visible. “Dangerously” works because in an album that oozes so heavily with lovey-dovey lyrics of affinity, “Dangerously” thumps along swirling, darker roads.

For an album titled “Nine Track Mind,” it’s ironic that the record is practically mindless. Puth’s supposedly got all of the composing talent in the world, unfortunately he feeds so deeply into some hopelessly romantic persona that not even the few sparks on “Nine Track Mind” can save this lazy, appeasing release.

Rating: 1.5 out of 5