Album Review: 4

First of all, I heard this at a friend's place. I didn't illegally download it. This is just based on that listen. Cough.

In honor of the title of Beyonce's new album, I will share the four main observations I have about this disc:

1. I like 1+1 as a song, but I sincerely hope she's recovering from the mini-stroke that convinced her to release it as a single. Even if it was just for a hot second before she realized her mistake.

2. It should come as no surprise to people that Love on Top is my favorite song. This is largely due to the song's FOUR key changes. Seriously, this song probably has more key changes than The World's Greatest or the Free Willy song. Pause for me to confirm this fact...YEP! I mean I skimmed through the Free Willy song, but I think that one only had three key changes. So yes. Four. Amazing.

3. Sure, it's not as dance-friendly as her previous efforts, but there's something I really like about this CD. I can't really put my finger on it. Which is what makes me such an awesome reviewer. Just trust me on this one.

4. Current single, Best I Never Had, is currently being called Irreplaceable part 2. I guess that song is replaceable after all OH PUN. But no. It isn't. There can only be one. Although this B+ substitute is pretty solid. Short sentences. Yes.

So, fittingly, i would say:

Rating: 4/5 stars. SEE WHY THAT RATING IS FITTING?!?

Album Review: Born This Way

I'll be the first to admit I wanted to use Born This Way to take a dump on GaGa for constantly overstating her musical importance. She might not realize this, but her music isn't the greatest thing to happen in the history of time.

Yet, I can't help but feel consistently entertained by her new album. It would be sort of a bitch move to knock the album for GaGa's 'tude, especially since there aren't any actual tracks on the disc entitled, "THE GREATEST SONG IN HISTORY," or something similar.

So, here are my quick thoughts:

1. Judas is probably the 10th best song on the 14 song set, so I have no idea why the eff she choose it as a single.

2. As much as this CD is full of weird dance pop and references to unicorns (no joke), my favorite track is probably the mid-tempo power ballad, You and I.

3. If asked to summarize the album in four words, I would say: Springsteen. Disco. 80s. Crazy.

4. I hope her next album is a spin-off of Government Hooker. Specifically, the operatic introduction.

5. Her music videos for this set have been comparatively disappointing. I'm still waiting to find out what happened to Beyonce and GaGa after they drove off at the end of the Telephone video. Aside from some generous scissoring (I hope).

6. I am really hungry right now. Chinese food time.

Alright, that's all folks.

Rating: 4/5 stars. Yep, bet you didn't think I'd be that generous.

Album Review: MAYA

First of all, I'm sorry that I'm too lazy to do the crazy typographic spelling of M.I.A.'s latest creation. Apparently she wanted to do something that was un-Google-able, but since everyone else on the internet is as lazy as I am, all you have to do is type "Maya" and you'll find information on the cd.

Second of all, IMMA WRITE A REVIEW.

Word. I guess I'm in a weird mood.

Anyway, if you've read reviews of the album, they either fall into one of two categories:

ARGH THIS ISN'T MUSIC THIS IS JUST NOISE, WHAT THE HELL THERE'S NOT MUSIC HERE THIS ISN'T ART M.I.A. IS CRAZY AND THIS IS TERRIBLE UGH UGH UGH UGH UGH UGH BLAH BLAH VOMIT IM PEREZ HILTON AND I'M UGLY AND USE INCONSISTENT APOSTROPHES. Or something.

Other reviews sound something like this:

WOWOWOWOWOW THIS IS AMAZING, M.I.A. HAS DONE IT AGAIN, WHAT BRILLIANT COMMENTARY ON OUR SOCIETY, SHE'S SO EDGY I CAN'T BELIEVE IT HOW WILL SHE PUSH THE BOUNDARIES NEXT LOLZCOPTERROFLMONKEYPISS.

The bottom line is that everyone who has reviewed the album is basically crazy and it's hard to find something that doesn't have an inherent bias. Well, you probably won't find unbiased here because I'm like the most subjective reviewer of all time, but AT LEAST I'M TELLING YOU UP FRONT AND USING APOSTROPHES IN THE WAY THEY WERE INTENDED TO BE USED. Yes, I am crazy too.

So, I guess the best way to describe MAYA is through a picture.

You can look at this and think "OMG this is ART" or "OMG some lazy asshole just threw a bunch of paint together and is getting way too much credit for his work." Same thought processes apply to her album AND my reaction to this painting is the same as my reaction to the album.

Riha says, "Well, I guess I recognize that this is art, but it isn't really a whole lot of fun to look at." Exchange "look" with "listen" and "at" with "to" and maybe throw something else on there so I'm not ending with a preposition and you have my gut reaction to this cd.

For every poppy number, like XXXO, you have a six minute snooze fest like Teqkilla, which is pretty much weird noises for its overblown duration. Yes, it's clear to me that she's making a statement about technology and its domination of our society. Yes, I think she makes her point in an interesting and powerful way. Yes, I think she's creative and I admire what she's doing. But the bottom line is that these tracks aren't quite catchy enough for me to hit the replay button. It's no Kala, that's fo' sho.

Maybe the fame of Paper Planes got to her head, so she worked overtime to create something edgy and alternative. To that I reply, WE ALL KNOW YOU'RE CRAZY. YOU DON'T HAVE TO PROVE ANYTHING. I KNOW. I'M CRAZY. LOOK AT THESE CAP LOCKS. BUT ANYWAY, NOBODY DOUBTS THAT YOU'RE NUTS. YOU PERFORMED AT THE GRAMMY AWARDS IN A MICKEY MOUSE OUTFIT LIKE SIX HOURS BEFORE YOU GAVE BIRTH TO A BABY YOU NAMED IKHYD, WHICH SOUNDS LIKE ICK-IT.

Who does that?!? I guess for the sake of sanity, I'll land somewhere in the middle.

Rating: 3/5 stars.

Album Review: Achin' and Shakin'

Alright, this is my first rant-based adventure into a piece of pop culture that isn't common to most people. Laura Bell Bundy, just today, released her debut album: Achin' and Shakin'. Ms. Bundy starred as Elle Woods in the Legally Blonde Musical and then decided, like most struggling blondes in the music industry, to go country. If there's one thing the country genre needs, it's another young blonde. It needs it like a stereo to the head.

http://i619.photobucket.com/albums/tt279/Minimanolo/10y2gqc.gif

Mean Girls separation anxiety. I'm gay.

Speaking of gay, this CD IS SO GAY! Aka even though this disc isn't terribly original, it's sassy, catchy, and therefore I like it. I'm easy to please. If I could draw a picture about this CD, it would look like this:

Thanks, internet, for the assist on that one. Also, I would probably replace the word "war" with "bad chimichangas" or something similar. And since this is a country album, I would dress the dancing naked men in chaps and cowboy hats.

So, I recommend this cd. I think you have to be able to stomach a bit of cheese, especially with the lead single: Giddy on Up. I would go into detail, but I think the music video says it all.

http://www.youtube.com/watch?v=3xfFbB2CRo8

Note the following:

1. Bitch clearly has a Broadway background

2. The old west had cell phones?

3. If you jump out of the second story of a window, you will look hotter and gain the ability to shoot the clothes off of people. Ergo, everyone should go jump out of a second-story window. The fine people at Kellogg University should go the extra mile and jump out of a six-story window. I'm bitter.

So, you can see the campy value of this song. For those of you who condescend to that video, fortunately there are more mature songs. The "achin" half of the album, contains thoughtful lyrics and adept singing. I mean, she was on Broadway so she's definitely not Swifting through the material. (TSwizz, I love you, but singing is not your forte) Most of the other songs on the "shakin" half are a bit more subdued than Giddy on Up. Nevertheless, if there were a gay country cd, this would be it. Plus that time I just said "subdued" was a lie and most of the songs are just as tranny fabtastic as the lead. That's a really big compliment. "Beyonce" is even a lyric in the song Rebound, which is not about basketball. Although given my gayness (has that been mentioned enough?), I probably wouldn't know if it were about the sport.

Song: Blah blah blah basketball metaphor

Me: Oh, this a jaunty reference to that delightful pastime, dribbleball. Hey brain, give me a visual of the sport...

Yep.

Rating: 4/5 stars

Album Review: She Wolf

It’s very clear from the first beats of She Wolf that I am not listening to the Shakira that I’ve come to know and love. It seems that Shakira has traded her blatantly Latin beats and influences for twitchy eletrcopop. Although this switch might disappoint some hardcore fans, this reinvention is a good thing. She Wolf is a remarkable pop album, because of the way each of its nine songs (twelve if you include the translated songs) work together cohesively to redefine Shakira’s sound while still remaining true to her previous efforts. Don’t worry, Shakira hasn’t gone anywhere. She just sounds a little different

On She Wolf, Shakira is constantly on the prowl. Sex is a very prominent theme of the disc, and Shakira rhapsodizes the subject with her signature vocal ticks. She coos, growls, moans, and whispers her way through various lusty situations. On the title track, Shakira claims that all women contain wild animal that’s itching to escape and ravage unsuspecting men. On the excellent second single, Did it Again, Shakira chastises herself for succumbing to a dangerous man, yet it’s clear that she loved every second of passion with him. What elevates this from a Flo Rida song is that Shakira, no matter how love hurts her, seems to be in charge of her sexuality. She never preaches dependence. A she wolf needs no man.

As I write this, I do feel like there’s one potential exception to the point of my previous paragraph. The final song (before the Spanish translations kick in) is Mon Amour, an extremely spiteful song about Shakira’s ex-lover. She cries that she’s “fragile” and that “you broke my heart.” This might seem like a contradiction to what I just wrote, but the real message of the song seems to be that even though he broke Shakira’s heart, he’ll come crawling back to her. She won’t subvert herself to him. However, the real reason I bring this up is to segue into another important aspect of this album: the lyrics.

When the title track was released as the first single, I instantly preferred the Spanish version of the song. The lyrics were more poetic and logical. I was unimpressed with the awkward phrases in the English translation. However, I realized that this “kitschy” English was a constant theme of the disc—one that I appreciated as a deliberate effort. You see, to the American market, Shakira represents Latin flavor. However, a good deal of that has disappeared from the production of these tracks. A few retain some instrumentations and phrases that evoke older Shakira songs, but most do not. In other words, the lyrics constantly remind the listener of Shakira’s Columbian roots. Mon Amour is this most extreme example of this. “And every night I pray that you don’t knock her up/cause I still want to be the mother of your child.” Somehow Shakira’s delivery makes that line seem a bit awkward—entertainingly so. Moments like that remind the listener of Shakira’s foreign origin.

Overall, She Wolf is odd, sexy, and ultimately very entertaining. To me, Shakira has finally proven that she can conquer the world in both English and Spanish. All hail the She Wolf

Rating: 4/5 stars

Savage Songs: Loba, Did It Again, Gypsy, Spy

Album Review: Overcome

Alexandra Burke is the next big superstar to come crashing out of the X Factor machine. Although the show is currently working to produce its next star, this former winner is working to win over the UK and (hopefully) the world. She’s just released her debut album, Overcome, and it’s already hit #1 in the United Kindgom following the success of her amazing single, Bad Boys. Does this album deliver? In essence, yes. However, like most debut albums aimed at chart domination, its lack of coherence and artistic identity ultimately make it a safehaven for strong singles as opposed to a disc worthy of critical acclaim.

All that being said, a near majority number of the songs on Overcome have massive potential. I’ve already expressed my feelings on Bad Boys, the lead single from the disc. The fun does not stop there. Good Night Good Morning is a sexy midtempo song about finding that special someone for a night of intercoursing, The Silence is an epic ballad of Biblical proportions (yes that was sacrilegious), and All Night Long is an electropop song that’s extremely catchy. Etcetera. By the way, I’ve just referred to the first four tracks on the album. I could list every song on the CD and laud their pop and R&B sensibilities. However, that would get redundant. Let me just pick a few highlights. Broken Heels is an infectious club number about female empowerment with a chorus that will haunt you for days. You Broke My Heart is a bit of a soul throwback about a relationship that has gone sour. If you’re going to start somewhere on Overcome, I’d start there.

Additionally, Alexandra’s voice is in great vocal voice (to quote the esteemed Paula Abdul). Although not all of the tracks afford her the opportunity to wail, she does when she can. The aforementioned song The Silence shows that off, as does the title track. Her instrument vacillates between smooth and husky, vulnerable and soulful. She may not have the polish and maturity of more seasoned performers, but she definitely has the raw talent. I’m excited to see how her singing develops in the coming years.

With all this said, Overcome sounds more like a greatest hits CD than an album. Sure, that’s a compliment to the songs, but Alexandra beach balls between styles so often it’s a bit disconcerting. One minute it’s electronic, then it’s R&B, then it’s 60s throwback, then it’s piano ballad, and on and on. There is no cohesion and no sense of who Alexandra is. It’s vapid concoctions like this that mark the death of albums. I enjoy listening to most of these songs and I could even enjoy listening to them in succession, yet it’s so highly commercialized that it almost hinders one’s ability to relate to the material on a personal level. Say what you want about Taylor Swift, she at least has an artistic identity.

Well, those are my two cents. Sample the songs on iTunes or YouTube and download your favorites. There are many to choose from and a lot of them are great. There’s just no sense in going for the whole album because you don’t gain anything by doing so. My rating is generous out of respect for the overall song quality, but I am personally disappointed that this disc represents the sad future of albums in the music industry.

Rating: 3.5/5 stars

Savage Songs: Bad Boys, The Silence, Broken Heels, You Broke My Heart

Album Review: Revolution

If there’s one artist I wish people would take a chance on, it’s Miranda Lambert. For the third time in a row, she’s created a CD that expresses a range of emotions through incredible craftsmanship, witty lyrics, heartfelt singing, and slick production. Even more impressively, she manages to do this while maintaining one of the strongest artistic identities in the country genre. Her unique brand of defiant feminism makes another blond reality show winner seem like a cardboard cutout. No name-dropping here, but you can probably guess the reference.

The title of her third LP, Revolution, is both a misnomer and the perfect name for this album. Upon learning the title, I assumed I would be in store for the same defiance and rebellion Lambert’s superlative second disc, Crazy Ex-Girlfriend, exhibited. Alas (or fortunately), Revolution takes Lambert’s sound in a softer and more mature direction. Granted, her personality shows through, but she’s grown up now. Love, loss, and relationships are treated with a greater degree of nuance and subtly. The lead single, Dead Flowers, laments a relationship that does not seem to quit. “I feel like the flowers in this vase/He just brought ‘em home one day/Ain’t they beautiful, he said/They’ve been here in the kitchen and the water’s turning gray/They’re sitting in the vase, but now they’re dead. Dead flowers.” It’s this sort of powerful imagery and creative writing that makes Revolution feel like a more even and complete CD than any of Lambert’s earlier efforts.

That being said, the only slight disappointment is that Revolution doesn’t contain any songs that are as dramatic as some of the best moments of Crazy Ex-Girlfriend. This time, there aren’t any bar fights, yet Lambert does manage to inject her special brand of spunk on a few numbers. Only Prettier is a kiss-off to some sort of rival. Perhaps is a political statement, perhaps it’s a message to a certain blond singer, and perhaps it’s just directed at anyone. The writing is good enough to translate the song to a variety of situations. Her choice to cover That’s The Way the World Goes Round also shows her feisty side.

I do have to say, I think I prefer Revolution for its artistic consistency. Two of the best songs Lambert has ever recorded appear here, yet they’re both subtle and elegant—characteristics that didn’t apply to her previous works. Heart Like Mine has Lambert accepting her flaws with dignity and a bit of humor and The House That Built Me is perhaps one of the most beautiful songs I’ve heard this year (or ever, for that matter). With Revolution, Lambert shows that she’s the real deal. This is one carnival ride actually worth taking. Get the hint?

Rating: 4.5/5 stars

Savage Songs: Dead Flowers, Only Prettier, Heart Like Mine, The House That Built Me

Album Review: Circus

Note: This was originally posted in December of 2008 on a different site (AKA immediately after the album's release and way before I was proven wrong about If U Seek Amy).

The media has been calling Circus, the latest album from Ms. Britney Spears, a comeback. I think this is a misnomer. To me, a comeback would imply two things: First, that Britney completely disappeared from the popular scene and second, that Britney has returned to the popularity that she once experienced. On both counts, I think that Circus fails to signal a complete comeback for Britney. The biggest issue here is that Britney never quite left the public's eye. Preceding her 2007 album, Blackout, Britney was constantly in the tabloids for showing her genitals or doing her Sinead O'Connor impression. Although she "disappeared" from the public after Blackout's release, Britney's singles still had a fair amount airplay. I can even remember hearing Break the Ice over the summer--weeks before her "redeeming" appearance at this year's VMA's (I'm going to try to cut back on the air quotes. I think you probably understand my sarcasm at this point). In essence, Britney has never left, so it seems like her comeback is happening a little too soon to be taken completely seriously.

Furthermore, Circus is similar enough to Blackout that it doesn't really seem like we're getting a reformed Britney with this album. Extravagant production, robotic vocals, and sexual suggestion permeated her last album. If this is her chance to break free from her past and show the world that she's in control again, it sure isn't happening musically. Hell, the closest thing we've ever had to a confessional from Britney occurred on Blackout (Piece of Me). I think my biggest frustration is that I was really rooting for Britney to pull her act together and show the world that she was ready to be a superstar again. As her most recent live performances have shown, she is taking baby steps towards success, but she isn't quite ready to be in the public eye. If this album were given another six-eight months to perfect, I think Britney easily could have had the comeback she deserves. Unfortunately, this is too little too soon.

Now, I understand that I've been judging Circus (up until this point) based on it's release date and relationship to a previous album. Admittedly, that isn't a very objective way to review an album. From this point on, I'll focus my thoughts and opinions on the individual songs and the way they work together on the album. Honestly, I like the album and think it's nothing that Britney should be ashamed of. However, I don't think it has the impact that Britney's career needs at this point.

Circus, by Britney Spears, is a pretty good album anchored by about five or six great songs. By now, most people have heard the album's best track: Womanizer, the catchy single that proves that lyrical diversity isn't a prerequisite to infectious pop (Although, Gimme More proved that already). It's hard to find fault with a song that has set download records and is Britney's first #1 single in about a decade.

After Womanizer, it's obvious that Britney has front-loaded her album with all of the strongest tracks. The title number is a potential dance hit, and slated to be her next single. She's tapped the director of the video for I'm A Slave 4 U, so I have high hopes that this video will be a success. As far as the actual song goes, it does effectively sum up that which is Britney: "All eyes on me in the center of the ring/just like a circus." Considering what a spectacle her career has been, it's clear why this track and album equate her life to a circus. It's just a letdown that this song values style over substance and doesn't dig a little bit deeper with the message. I suppose I shouldn't be surprised. This is Britney Spears, after all. At the very least, this should be a hit.

There are two other tracks that jump out as dance hits: Kill the Lights and If U Seek Amy. Although Amy is clearly the better track, it's probably too lewd for radio airplay (and if you don't know why, I'm not telling). I think that bodes well for Kill the Lights' future as a single, however the song strikes me as a more upbeat and less meaningful version of Piece of Me. We get it, the paparazzi sucks. However, we're dealing with Britney Spears here. Does it really matter what a song is about if we can dance to it? Isn't that all she really wants?

Apparently not. Two ballads appear on Circus, which is the biggest different from Blackout. Out From Under is a surprisingly effective song, and perhaps one of the strongest ballads of Britney's career. With the proper music video, this could be a huge hit. If the video shows how the lyrics of this song could represent Britney's personal life and her struggles, then I really think people would respond well to it. "I don't wanna feel the pain/What good would it do me now?/I'll get it all figured out/when I'm out from under." However, Brit is only batting 50% with her ballads on this album. My Baby is a dreary piece that is meant to be an ode to her children. It evokes the feeling of Everytime (rightfully so, because both songs have the same producer), but lacks the lyrical power of that song. Instead, My Baby contains such moving quotes as "my baby boo" and "I smell your breathe/it makes me cry." Gross. The latter quote sounds like it would be more effective as an insult. The only positive aspect about this song is that Britney actually appears to be giving a genuine vocal performance. It barely convinces me that she cares about her kids. Barely. However, that doesn't mean I want to listen to it. If Britney would take this vocal and apply it to a song that doesn't sound like Dear Diary 2.0, then she could have a hit (Note: I actually like the song Dear Diary, despite it's cheesiness. However, I think the fact that she was a teenager when she recorded that made it seem more legitimate).

The rest of the album is a bit of a mixed bag. Blur and Unusual You take Britney's sound in a new direction, which could have made for an interesting album concept. Unusual You is particularly good, but probably doesn't have the hook to make it as a single. Mmm Papi and Mannequin seem very average. Mmm Papi actually has a pretty catchy beat, but the second you pay attention to the lyrics, things get weird. Is the song about a lover? Her actual father? Either way, I'm uncomfortable. Also, who says "lovey"? Lace and Leather is enjoyable for its bass line, but that novelty wears out after about a minute of the song. Shattered Glass is another potential single, but with the obvious choice of Kill the Lights and my personal hope that Out From Under makes the cut, I'm not completely optimistic that Shattered Glass will get the attention it deserves. None of these songs are complete disasters, but nothing jumps off the page.

Here is the bottom line. Circus is a return to the classic Britney formula: An album with very clear singles, a few above average tracks, filler, and the obligatory cheese factory ballad. However, if Britney really wants to bounce back, she'll have to try harder than this. Nevertheless, this isn't a weak Britney album by any means. The songs are great for dancing and the hooks are well crafted. By itself, Circus is on par with the Britney albums of years past. However, I wouldn't call it a comeback just yet.

Rating: 3/5 stars
Savage Songs: Womanizer, If U Seek Amy, Out From Under.

Album Review: I Look to You

Requester: Riha

I started writing my review of Whitney Houston’s I Look to You three times. Each time, I was unhappy and had to start over. One time I did not think I was writing well enough. Another time I got tired of thinking about the CD and deleted my progress in frustration. Once I wished I had a stronger opinion about the album. So it goes. Each time, I was thwarted by the same realization: This album just does not inspire me. It's a bit sad, really. I find the uptempo numbers well-produced yet uninteresting. I think the ballads are well-sung but not particularly well-written. Overall, I think that I had really high expectations for Whitney’s return and I was rewarded with a serviceable album. The metaphorical crack to the cocaine of Whitney's earlier efforts.

Sure, Whitney isn’t an album artist. Almost all of her CDs are stuffed with filler and three to four amazing singles. Perhaps I Look To You has less filler, but it also lacks any surefire radio jams. The album’s opener, Million Dollar Bill, is the song most likely to tear up the radio waves. Nevertheless, I find myself skeptical that it will really take off. As a good friend described it, “it sounds like an Alicia Key’s reject—which it is.” My friend is pretty wise when it comes to music, and I find myself agreeing with him. The song is objectively catchy, but to revive a career after a seven-year hiatus, you’d think it would need to hit a bit harder.

Another Whitney staple is the bombastic ballad. Here there are two: I Look to You and I Didn’t Know My Own Strength. I’ve already made my thoughts clear on I Didn’t Know My Own Strength in an earlier review. I Look to You isn’t much better. I find I Look to You to be more melodic, but it doesn’t solve any of the problems presented by I Didn’t Know My Own Strength. The lyrics are horribly vague and Whitney’s voice isn’t what it used to be. In some cases on the CD, it works to her benefit, adding grit and soul to an otherwise pedestrian track. However, when she reaches the bridge on both of these songs, it’s painfully clear she can’t sing like she used to.

Yet, through all of my frustration with this CD, there are a few gems that show promise for Ms. Houston. The best of the lot is Salute, the album’s final number. With the ballads, Whitney basically hits us over the head saying how difficult things have been these past few years. The self-referencing is obvious, yet the emotional substance is lacking. With Salute, it seems like she’s just recording a song about a love gone wrong. Somehow, though, it hits harder that she might have intended. Clearly Bobby B is the one she’s saluting. Also, I Got You is a surprisingly enjoyable song because it has a unique reggae vibe that suits Houston pretty well.

As I mentioned earlier, there really isn’t filler on this album. Each track has some value, even the ballads. To that end, the material here is better than a typical Whitney album. However, without huge singles and her pristine voice, this just doesn't feel like Whitney. How uninspiring.

Rating: 2.5/5 stars.

Savage Songs: Salute, I Got You, Million Dollar Bill

Album Review: Battlefield

Requester: Riha

It’s been said that Jordin Sparks is trying to emulate Kelly Clarkson’s career: A mildly received debut album followed by a sophomore pop masterpiece. Well, although I can see how Ms. Sparks has put a great deal of effort into her sophomore album, Battlefield, I think there are some striking contrasts between Kelly and Jordin that make me wonder if Jordin will reach Kelly’s level of success. The bottom line is that Battlefield is a good album with many strong songs, but the way that Jordin has cast herself as an artist may impede her ability to reach multi-platinum sales. Wow, that was formally written.

Let’s start with the good. The production value on Battlefield is clearly much higher than it was on Jordin’s self-titled debut. The songs have bigger hooks, stronger melodies, and better lyrics. The title track is a power ballad of epic proportions, with a chorus that soars above most other pop fare. Walking on Snow, the album’s opener, has a slick guitar line that evokes some of Kelly’s best songs (I promise I thought of that before Slezak wrote about it) and has a feel-good message about a broken relationship. In fact, there really is not a song on the entire album that I would consider a disaster (something I would not say about her debut). Well done, Jordin.

Another thing I have to comment on is Jordin’s songwriting. Four of the tracks on Battlefield were co-written by Jordin and, although I don’t know how much input she actually had, the final products are quite good. The Cure, which closes the album, is perhaps one of the best songs on the entire CD. The chorus is quite effective, the hook is irresistible, and the lyrics are surprisingly touching. Faith is another strong track, also co-authored by Sparks. She performed it during the inauguration, so the song has been floating around YouTube for a while. Nevertheless, it’s nice to hear the studio track because the grainy, hand-recorded video does not capture the power of the song. The common thread is that her voice is the clearest on these tracks and I really feel that these songs most strongly represent who Jordin is as an artist.

Now, for the criticism. In the pursuit of pop perfection, Jordin has sacrificed much of her identity as an artist. When Kelly released Breakaway, she refined her image and produced some of the best pop songs of the past decade. On Ms. Clarkson’s debut and through her tenure on American Idol, she had a rock edge in her voice—something she capitalized on for her second CD. Jordin, on the other hand, has sacrificed her defining characteristics: A sweet, virginal personality with a good deal of innocence. For all the faults with her debut, her naivety was there and her pure, strong voice was intact. Now, Jordin’s voice is over-produced and auto-tuned on much of Battlefield. Her tracks have adult lyrics, which seem a bit off coming from Jordin. It comes across as disingenuous and eliminates some of the honest emotion she was able to convey on her debut. The last few tracks are clearly Jordin, but songs like Emergency (911), Watch You Go, and S.O.S. (Let the Music Play) cast her as a dance hall artist, yet her voice is stripped of any defining character. She may have better material to work with, but instead of refining herself she’s lost herself. Kelly Clarkson, she is not.

The bottom line is that I really enjoy listening to the songs on Jordin’s CD, but in losing her voice I do not think she’ll become a superstar. There’s no identity on Battlefield. Is it better than her debut? Yes. Is it more Jordin? No. That’s a shame.

Rating: 3/5 stars
Savage Songs: Battlefield, The Cure, Walking on Snow.

Album Review: Only by the Night

Requester: DI

As a part of this blog, I’m hoping to expand my musical horizons by attempting to review songs and albums from artists I do not already know. I’m very excited by this prospect, but it is a bit challenging. When you review what you know, there’s so much more you can say. You can draw on your knowledge from previous works, the artist’s history, and make savvy pop culture comments. It’ll be harder for me to do that with new artists. I cannot compare what I am listening to with earlier works, which will be my biggest challenge. Knowing how an artist has grown or changed on a new disc gives invaluable insight to the artist’s goals with an album. I do not have this, yet I will press on. Please lend me your patience when I review new works. The benefit, however, is that I will have to focus solely on the music. I feel that’s the purest way to review an album. I just hope these reviews are interesting to read.

The Kings of Leon, apparently, have been on the scene for quite some time. However, before the release of Only by the Night, their popularity was mostly confined to the United Kingdom and similar countries that speak English very properly. Well, now the Kings have broken into the United States and it’s not hard to see why. Their sound seems to be pure rock, but with a pop accessibility. In other words, their songs have hooks and melodies that are easy to get into, but contain enough edge and originality that nobody will ever accuse the Kings of being pop/rock douchebags in the vein of Daughtry and Nickelback. They write good songs. They create good arrangements. The have a strong rock sound. I enjoy listening to their music.

The two most recognizable songs, Sex on Fire and Use Somebody, are very good tracks. After I started listening to the album, I found myself humming those tunes more often than any of the others. However, I think their best track is the album’s opener, Closer. I applaud this track because it explores a slightly different sound than the rest of the album. Although the rock influence is apparent, the opening sound effect creates a very interesting infusion of electronica into the song. It’s a weird and moody concoction, but it’s very effective. The rock elements build as the song moves along and help transition into the more traditional sound of the rest of the disc.

I also enjoyed the more tender moments on the album. Revelry is a more gentle song, with some very nice imagery in the lyrics as Caleb Followill, the group's very effective lead singer, laments the loss of love. Cold Desert is another one of my favorites. It's very mellow song with more metaphorical lyrics and is quite lovely.

My largest criticism is that, although the Kings are much more original than typical pop/rock artists, they’re not quite original enough to rule the world of pure rock. As pop rockers, they could be terribly creative and new. However, I do not feel that they want to belong in that realm. As I listened through, I could hear the influence of Coldplay and Radiohead on a number of tracks. Even the song 17 made me think of Rilo Kiley, albeit only for the thematic reference. Clearly the Kings stand on the shoulders of many great predecessors, but they still have a little bit more to accomplish to carve out a unique identity. I think they should reexamine Closer and follow that path. Perhaps that’s the road to pure rock greatness.

Rating: 3.5/5 stars
Savage Songs: Closer, Use Somebody, Sex on Fire, Revelry

Album Review: It's Not Me, It's You

Lily Allen's most recent album, It's Not Me, It's You is a disappointment. That's a compliment. Ms. Allen built her reputation on being a foul-mouthed, unapologetic musician who's previous album, Alright, Still, dealt with issues ranging from her little brother's pot addiction to a man being "less than equipped" in the size department. All of these songs were laced with an inherent sarcasm that came from the juxtaposition of her light delivery with her nasty lyrics. In that sense, most people expected It's Not Me, It's You to contain the same attitude. It does...to a degree. When it comes to the biting sarcasm of her debut, it seems that Allen is giving us the diet version of her typical attitude. Instead, she reaches not only for larger social commentaries but also for more personal and introspective sounds. So, her album is disappointing if you are looking for more of the same. However, it's a surprisingly richer and more mature album than expected. That's the compliment.

Before discussing the changes in It's Not Me, It's You, let's briefly discuss what this album has in common with Alright, Still. The two most blatant attempts at recreating her trademark sarcasm are Not Fair and Never Gonna Happen. Now, Not Fair should suffice for those wanting to hear more of Allen's potty humor. To what could best be described as a hodown beat, Allen sings about the virtues of a man and how those virtues mean nothing because this man is terrible in the sack. The song is actually one of the strongest tracks on the album, because of it's biting lyrics and original instrumentation. Never Gonna Happen is arranged in an inventive way, yet the lyrics don't quite match the sardonic nature of Not Fair or even Smile from Allen's debut. Overall, the bite is there, it's just not as sharp as it used to be.

Instead, Allen tries to save some of her wit for tackling societal issues. This leads to mixed results. The Fear, the lead single from the album, is an effective criticism of celebrity culture and society's obsession with it. When Allen sings "I am a weapon of massive consumption/And it's not my fault/It's how I'm programmed to function" you can't help but wonder if there's something slightly self-referential in her words, considering what a tabloid staple Allen has been in recent years. Some of her other attempts are less perceptive. Fuck You, a song dedicated to George W. Bush, would have been better served as a vague reference to bigots in general. It perfectly captures the tone of Alright, Still's best tracks. However, once the final verse comes and it's apparent this song is dedicated to GWB, the song seems outdated and slightly tacky. It's a shame, because the rest of the song is so strong. Finally, Everyone's At It is a ditty that expresses how Allen is tired of doing drugs but that drugs are everywhere...and that's just how things are. Allen want to know when everyone will be tired of "putting shit up our noses" but then suggests society should acknowledge drug usage, because, as the title says, "everyone's at it." The point of this song is unclear, something Allen admits when she says "I get involved but I'm not advocating." It seems like this is meant to be a criticism of drug usage, but Allen seems to be treading carefully to avoid hypocrisy. Treading lightly is not Allen's strong point.

The most surprising aspect of It's Not Me, It's You is the tender moments. Who'd Have Known and Chinese are lovely songs that show Allen's softer side. Who'd Have Known details a friendship blossoming into a new romance with such lyrics as "And even though it's moving forward/It's just the right amount of awkward/And today you accidentally called me baby." Chinese is a very pretty ode to spending time at home with family and friends, something Allen must miss while she's on tour. The way Allen is able to balancing waxing sentimental and being sarcastic shows a maturation in her sound, something that might suggest Allen has staying power. Although It's Not Me, It's You isn't perfect, it shows that Allen is making progress towards striking a sublime balance between sarcasm and sentiment.

Rating: 3.5/5 Stars

Savage Songs: Not Fair, The Fear, and Who'd Have Known

Album Review: All I Ever Wanted

I have to say, the more I listen to Kelly Clarkson’s music and try to understand who she is as an artist, the more confused I get. Originally, she was America’s pop sweetheart: A wholesome girl from Texas and the inaugural winner of Fox’s hit reality program, American Idol. After a few successes from her debut, Thankful, she reinvented herself as a pop/rock artist the in vein of Avril Lavigne with her sophomore album, Breakaway. Breakaway was both critically and commercially successful—a shedding of her American Idol skin so that she could make music that was more her style. Granted, it still clung to a commercial sensibility, but it was a more cohesive effort that her debut. Then, Kelly decided to make an album that would completely represent her as an artist. My December was panned by her fans, but applauded by critics. It was a dark examination of love and relationships that showcased some of Kelly’s loveliest singing and, at the end of the day, Kelly could claim ownership because she wrote or co-wrote all of the songs on the album. Although the album isolated some of her core fans, the complete integrity with which she recorded My December was admirable

Now, Kelly returns with her fourth album, All I Ever Wanted, and it takes about thirteen seconds to realize that Kelly has completely sold out. As soon as the beat kicks in on her current hit, My Life Would Suck Without You, it’s obviously that this album is a complete departure from the darkness of My December and, in some ways, a departure from anything she’s done before. This album seems to be specifically engineered to re-energize her fans with a constant barrage of glossy pop songs that are produced to the nth degree. Even the album’s most “tender” moments feel a bit disingenuous. On Cry, the album’s first power ballad, Clarkson says “Is this as hard as it gets/Is that what it really feels like to cry.” However, I have trouble believing her. Instead, I feel like she’s coloring in the lines to make her record label happy. I didn’t really give My December a fair chance. Now that I can see how the pursuit of pop perfection shows Clarkson’s sacrifice of artistic integrity and I actually think she knew what it was to cry on her last album. Now, I can’t decide if she’s a pop princess, rock goddess, or love’s philosopher. This time, she’s trying to be the jack-of-all-trades and the master of only one.

Despite my displeasure with how the album portrays Kelly as an artist, All I Ever Wanted does contain several moments of pop brilliance and should re-solidify Kelly as pop’s reigning princess. The aforementioned Cry, albeit a bit insincere, still has engaging lyrics and a soaring chorus. The glorious Already Gone is a beautiful ballad in which Clarkson describes leaving a relationship in order to help someone move on and heal. There are also some great up-tempo numbers. My Life Would Suck Without You will surely cause people to sing at the top of their lungs during the chorus and the Katy Perry penned I Do Not Hook Up is about as infectious as a song could get. Surely it will have radio success. The potential hits on this album are endless. It’s a bit overwhelming. Some of the songs even experiment with different structures. The bridge on Save You is unlike anything I’ve ever heard on a pop song, with inspiration coming from a classical piano melody. I Want You delves into a sound that seems partially inspired by Running, by No Doubt, and still manages to seem completely original. The downside of this is that All I Ever Wanted doesn’t feel like a complete idea. It’s more like a Kelly Clarkson’s Greatest Hits album, and most listeners will probably just pick their favorites and put them on repeat. I don’t really see many people looking to listen to the album in its entirety.

At the end of the day, I think I have to accept that I cannot have a Kelly Clarkson album that is an honest reflection of her artistic intentions and, simultaneously, a showcase of superb pop. I have to choose. However, just when I lose hope and think Kelly has sold her values for this album, All I Ever Wanted ends on a promising note. If No One Will Listen is Kelly’s most heartfelt and honest vocal on the album and seems to be the perfect bridge between the styles of Breakaway and My December. Kelly still confuses me, but these songs are engaging enough that I’ll keep playing them until I figure her out. Don’t worry Kelly, this time people will listen.

3/5 Stars

Savage Songs: My Life Would Suck Without You, Already Gone, and If No One Will Listen

Album Review: Chemistry

America is seriously deprived. Here in America, we think the greatest pop act of the last decade is a blond girl from Louisiana with a knack for public exhibition. We think that the best thing to come from a reality show is a spunky Texan with musical mood swings. We think that Britain’s most important girl group has already had its heyday. We’re wrong on all counts. Girls Aloud is what we Yankees are lacking, and boy are we missing out.

For the uninitiated, Girls Aloud was formed back in 2002 on a British reality program, called Popstars: The Rivals. The idea behind the show was to create a boy band and a girl group that would compete to have the number one single on Christmas Day. Needless to say, Girls Aloud trounced their “rivals,” One True Voice. Now, here’s where things turn into the Curious Case of Girls Aloud. By all accounts, Girls Aloud should have faded into obscurity. Nadine, Nicole, Cheryl, Sarah, and Kimberley weren’t great singers. They didn’t write their own music. They didn’t have anything in particular they wanted to say with their music. However, they have somehow managed to release five studio albums in the subsequent six years and remain one of the most commercially successful and critically lauded pop groups in the U.K. What other act from a reality show can claim that?

So, what is the explanation for this? Personally, I think that one needs to look no further than the girls’ third studio album, Chemistry, to answer that question. Released in 2005, it contained an eclectic mash-up of synth, 50’s bass lines, stitched together choruses, and odd song structure. Oh sorry, I was just referring to the song Biology. The album, believe it or not, has ever more to offer. Credit must be given to Xenomania, the production company that breathed life into this album. Their wild experimentation into what pop music can be have yielded some of the most original songs this side of the Atlantic—we just don’t know that yet. Whether you prefer the deceptively simple structure of Watch Me Go, the pulsating beat of Swinging London Town, or the blatantly sardonic nature of Racy Lacey, this album has such range it’s almost unbelievable. Even more shockingly, almost every song is amazing.

Almost. The ballad, See The Day, is a bit overwrought. To me, it’s the only blemish on what is nearly a perfect album. To be fair, an average Girls Aloud tune still manages to hold its own again some of the best work from lesser artists. Leona Lewis would probably have a hit with that song, but only because she doesn’t have much else to choose from. The standards are higher for these girls. Luckily, the girls show they can handle a ballad with Whole Lotta History, a lovely lament of a relationship gone sour. Plus, you can be sure you’ll never hear Leona Lewis sing “I’m damned if I do and damned if I don’t.”

The bottom line is that Girls Aloud deserves international attention, but they’re content to focus on the United Kindgom and releasing masterpiece after pop masterpiece. If that’s the secret to their success, then more girl power to them.

Rating: 4/5 Stars

Savage Songs: Biology, Racy Lacey, and Whole Lotta History