It's interesting that none of the tracks that DoubleD listed as the standout tracks on this album made my "cut". This is a very solid debut for her. Nothing that rocks the boat too much. The problem is that there is a lot of artist doing this retro R&B thing these days...and doing it a lot more interesting than Doolittle does. It's a completely respectable album, but it's not exciting on the whole. The tracks I liked and kept were "The Best Of Everything", "Walkin Blue", "I Will Be", "Declaration Of Love", "Dust My Broom", and "Fundamental Things".
73
Grammy FYC: Kanye West, 808s & Heartbreak; Black Eyed Peas, The E.N.D.; John Legend, Evolver; Paolo Nutini, Sunny Side Up; David Guetta, One Love; Kelly Clarkson, "Already Gone"; Jordin Sparks, "Battlefield"; Kings Of Leon, "Use Somebody"; Maxwell, "Pretty Wings"
Most of the songs on this album are mediocre. The production, for the most part, is pretty good -- I'll give it that. The songs themselves are not "bad" and Ryan's vocals aren't really that much of a liability. We've seen less-than-fantastic singers produce awesome albums as of late (Rihanna's Good Girl Gone Bad and LoveHate by The-Dream). I think the main problem is that there aren't any hooks on these songs -- there's a serious lack of infectious melodies, and when you're making this type of music, this one aspect of songwriting is pretty vital. DoubleD is right; this album is filled with a bunch of forgettable, though not necessarily "bad", stuff. I can't stress that enough. I think I remember taking note of "Valentine", "How It Was Supposed To Be" and "Gibberish." The latter, I literally have no idea what he's saying half the time, but it's the most melodic thing on this album. "Valentine" is actually a really pretty song, and I think "How It Was Supposed To Be" is a pretty solid track.
My picks: "Valentine" and "How It Was Supposed To Be"
A throwback album. A throwback album of covers, for that matter. To be honest, I had no idea it was a covers album after my first listen though I found it odd that a couple songs sounded far too familiar. Alas, a covers album it was. I think Melinda was smart choosing songs that aren't too well-known; the music sounds original and fresh, and well, with Melinda's vocal interpretations, I'm sure they are.
It's incredibly self-assured. Her vocals are rich and seasoned for a debut album. This is easily the best debut of an American Idol, and probably among the 2 or 3 best albums produced by one overall.
I can't really point out too many flaws; it has this timeless feel. The instrumentation is mostly gorgeous; love the horns and piano under Melinda's melismas. Pretty stuff. I will admit, some of the softer moments toward the end of the album, while nice, aren't as fun as the beginning of the album, which is lively and playful.
My favorite tracks are "Coming Back To You", "Wonderful", "Dust My Broom", and "If I'm Not In Love." There are only a couple duds, but I'll let them slide because at least the vocal is good.
GRADE: 80
Posts: 8671 | Location: Canada | Registered: October 26, 2005
Kelly Clarkson re-claims her status as a pop hit maker with her most recent effort. Ms. Clarkson, one for displaying versatility in an effort not to bore her listeners with monotonous tracks, takes risks that pay off in her fourth studio album. For instance, her wailing and hard rock-driven "Whyyawannabringmedown" is both seemingly dedicated to Clive Davis and an unpredictable treat. Kelly maintains crowd-pleasing, high-note-hitting tracks, such as "I Do Not Hook Up" and "Don't Let Me Stop You," both of which would have made great lead singles. There are still the subtler moments where Clarkson's voice shines and soars; namely, "Cry" and "If No One Will Listen" provide emotional tear-jerking performances. There are fun and exciting moments to liven up one's mood as well, such as "I Want You," "If I Can't Have You," and "My Life Would Suck Without You." Ms. Clarkson offers a clearly well balanced pop album that offers a little bit for everyone in the pop world.
Score: 90
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Blender Magazine on Kelly Clarkson: " The Texas native has one of the great voices in pop music, a powerful and versatile instrument that’s steeped in the rhythm and blues and country music she grew up with in the South. If Mariah Carey’s five-octave voice is the equivalent of an expensively bred poodle, then Clarkson’s is a bloodhound: friendly, earthy, but fierce just the same."
Baltimore Examiner (concert review): "Her sultry voice is absolutely flawless. The tone and range floors you. When she belts out a note, it's precise yet powerful."
"Music is powerful, it's a drug that makes your inhibitions go away and leaves your vulnerabilities exposed" - KC
well, i guess i was a bit too eager to be nice. it is, though, a very good effort as i stated. i adjusted my score, however, to be taken a bit more seriously. i should have taken a step back and thought more about a numerical correlation to my review; still, what i have to say about the album is more worthwhile to me than a number.
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Melinda Doolittle's patience and hard work paid off to deliver a refreshing R&B album that is worthy of the praise that it has received. Doolittle soars on "It's Your Love," a track that I wouldn't mind hearing on radio. Her vocals are exciting and soulful on "Declaration of Love," a song off Celine Dion's Album of the Year-winning "Falling Into You." Comparisons aside, Doolittle is emotionally-charged and her version can easily stand the test of time. "I'll Never Stop Loving You" continues Doolittle's testament to emoting with great precision; the track, though, is more sultry and melodic than others and is truly a stand out moment. Doolittle ends the album with two beautiful tracks, "We Will find a Way" and "Wonder Why," with the former the better delivered of the two. "Find a Way" is very intimate and authentic, while "Wonder Why" starts to make the album wane. Overall, a solid debut effort that captures the wonderful moments that so many remember from her Idol days. The wait has been worth it.
Score: 82
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After a seemingly forever long hiatus (really, I think it was more like three years) Franz Ferdinand are back with their third full-length. And they are ready to DANCE. This tight dance rock album is thoroughly enjoyable, from the driving first single "Ulysses" to the epic "Lucid Dreams". And while much has been written about this album being Franz's danciest, that doesn't mean it doesn't rock as hard. The albums drives through almost to the end, when "Katherine Kiss Me" abruptly shifts gears into a much more lovey, somber song. Franz Ferdinand seem to have whethered the post-punk revitalization from a couple years ago (where's the Bravery? Who cares) and become one of the strongers bands of this century. Tonight: Franz Ferdinand only further solidifies the point.
Of all the British engenue (sp) to cross over to America, Lily is the first one to have a proper second album release in the states. (Winehouse's debut was released after Back to Black over here). Well, she's set the bar pretty high with this follow up. Gone are the ska influences of her first album, and instead we have some dancey bouncey tracks,and some slowed down ballads. I can't quite decide which I like better, the more bratty Allen that we're used to (on tracks like "Everyone's At It", "Not Fair", "**** You") or the much more serious, contemplative Allen ("Chineese", "I Could Say"). I really enjoy both, and I suppose that's why I like Lily. She has an uncanny ability to make her seem like a run-of-the-mill celebrity, but also be your best girlfriend. Not to mention, the album SOUNDS great. The production and instrumentation is flawless, and more than makes up for Lily's less than spectacular voice. Another solid album, and suprisingly, I enjoy it more than Alright, Still.
Score: B+ (83)
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Well this is it. Sorry other rock bands, there's no reason to release your album this year. Yeah Yeah Yeah's latest kicks your band's ass. Yep, even though this album trades in the guitar for synth upon synth, and Karen O's trademark growl is usually replaced with a more "Maps"-like tone. It all makes for one fine album. The album starts strong for the first three punk/dance/pop tracks ("Heads Will Roll" has got to make Debbie Harry proud) but then the mood shifts to "Skeletons", a slow song. But it's not, as halfway through it picks up speed and tenacity. And so goes the rest of the album, covering many musical landscapes and styles. I really hope the YYY's can garner a larger audience with this album, as this record deserves to be heard. HIGHTLY RECCOMENDED
I'm pretty much gonna echo sentiments by bildo10. I downloaded this album a little while back and declared it a contender for the year's best -- in February. Well, it's March, and my opinion hasn't changed.
Yeah, the album is definitely a lot more synth-heavy, electro-poppish, but not without some good ol' rock and some gorgeous slower-tempo songs.
The album has a few feels: the first you hear is the playful, bouncy, synth-drowned songs, with some elements of disco and lots and lots of layers of production. Songs like "Zero" and "Heads Will Roll" really engage you in this album from the get-go. They then tune it down a notch in tempo with some gorgeous pseudo-ballad (or as ballad-y as YYY's are gonna get) in "Soft Shock" and "Skeletons". I really like these two songs, not only for Karen O's gorgeous vocals over some stellar melodies, but also the simplicity and beauty in the lyrics. In "Soft Shock", she sings "...Unknown/Talk to unknown/Ever lasts forever/It's a soft shock/To my soft side/Summer moon/Catches your eyes/In your room/In my room..." And in "Skeletons", I have no idea what skeleton me means, but when Karen O sings it, it's beautiful. The album takes a rock-ish twist with "Dull Life" and "Shame and Rock" and then is thrusted back into the gorgeous slower-paced tracks such as "Runaway" and "Hysteric". The latter is beautifl and melodic and almost dreamy; Karen O sings "...Flow sweetly/And heavy/You suddenly complete me/You suddenly complete me...". One of my favorites.
My picks: "Zero", "Heads Will Roll", "Soft Shock", "Skeletons", "Hysteric".
GRADE: 91
Posts: 8671 | Location: Canada | Registered: October 26, 2005
Originally posted by bildo10: Lily Allen - It's Not Me, It's You
Of all the British engenue (sp) to cross over to America, Lily is the first one to have a proper second album release in the states. (Winehouse's debut was released after Back to Black over here). Well, she's set the bar pretty high with this follow up. Gone are the ska influences of her first album, and instead we have some dancey bouncey tracks,and some slowed down ballads. I can't quite decide which I like better, the more bratty Allen that we're used to (on tracks like "Everyone's At It", "Not Fair", "**** You") or the much more serious, contemplative Allen ("Chineese", "I Could Say"). I really enjoy both, and I suppose that's why I like Lily. She has an uncanny ability to make her seem like a run-of-the-mill celebrity, but also be your best girlfriend. Not to mention, the album SOUNDS great. The production and instrumentation is flawless, and more than makes up for Lily's less than spectacular voice. Another solid album, and suprisingly, I enjoy it more than Alright, Still.
Score: B+ (83)
You know, I've read some reviews, and it's almost like they're criticizing Allen for being more grown up. I don't get it. How long did they want her to be an immature little b*tch? She's gotta grow up sometime, and even if she hasn't fully yet on this album ("**** You"), she has some, and even manages to put that onto records ("Him", "Who'd Have Known"). What I've always liked about Lily Allen is the great way she makes her music human. When people make music, it's easy to dress up lyrics, but Lily doesn't care about that; her lyrics are like they're straight out of her journal or diary or a conversation on the phone, and I like that. If she wants to go off on a tangent and curse you out, she does it; if she wants to ponder some things, she does it, even if it comes across as juvenile or lacking depth. It's honest, and I really can't hate on her for that.
Not to mention, the album does sound really good. I don't think she has any knock out tracks on here like "Smile" or "LDN", but overall, the album feels like it has more substance and songs like "The Fear", "Not Fair", "22" and "Chinese" are all pretty good. Though I'd argue her first is better because she played up the bratty character so well, I'd have to agree I like this album better, personally.
Well, since I wrote so damn much, consider it a review.
A solid album from Allen, but I still find her hit and miss from track-to-track...but I agree that she does go to some interesting places here as opposed to her debut which kept things very light in its production. Standout racks are "Not Fair", "The Fear", "Never Gonna Happen", "**** You", "Chinese" and "He Wasn't There". 70
Grammy FYC: Kanye West, 808s & Heartbreak; Black Eyed Peas, The E.N.D.; John Legend, Evolver; Paolo Nutini, Sunny Side Up; David Guetta, One Love; Kelly Clarkson, "Already Gone"; Jordin Sparks, "Battlefield"; Kings Of Leon, "Use Somebody"; Maxwell, "Pretty Wings"
it is, though, a very good effort as i stated. i adjusted my score, however, to be taken a bit more seriously. i should have taken a step back and thought more about a numerical correlation to my review; still, what i have to say about the album is more worthwhile to me than a number.