Album Review: Ne-Yo is Back in Black with R.E.D.

Stylish, sleek, and commercial, Ne-Yo has returned to form

4/5

Ne-Yo is not like other guys.

For starters, he can sing, really well. He made his name with smooth, well-written R&B grooves and pulsing dance-pop that every male artist since has copied to the letter (although not as well). In a world of sagging pants and snapbacks, he insists on well-fitted suit and a fedora. He also isn't afraid to experiment as much as he follows Top 40 conventions.

His last "experiment", 2010's Libra Scale, led to one of the biggest flop albums of that year.

Now, he's back with an album that follows closer behind The Year of the Gentleman, his excellent 2008 album. R.E.D. is as slick as we know him to be, with some of the glossiest production currently out there. There is definitely more pop sensibility in this album, no more evident than from the lead single "Let Me Love You (Until You Love Yourself)", an irresistible slice of dance-pop with excellent, Sia-penned lyrics. A lot of the album is about empowering women in substantial ways, another trademark of Ne-Yo's music that sets him apart from his R&B contemporaries. He raises glasses to girls with class on the groovy "Don't Make Em Like You" (featuring Wiz Khalifa) and blames his lover for keeping him in bed on the downright sexy "Lazy Love", with swoon-worthy charm and elegance. Lyrically, he still is one of best in music right now, with a great knack for what would connect the easiest with his target female audience.

The R&B tracks are chock-full of the ease and breeze that was sorely lacking on his last effort. "Miss Right" is a standout for those looking for a cool, chill-out song. "Jealous" harkens back to his first #1 hit "So Sick". Never one to exclude pop from his repertoire, Ne-Yo finds him sticking with what would work on radio, while he does experiment with light dubstep, with middling results, on "Be The One". "Forever Now", with it's piano-synth combination, is an excellent second single, even if it's not the most exciting track production-wise. The real surprise here is "She Is", a gentle guitar ballad assisted by country superstar Tim McGraw. On paper, it has no reason to exist, but it is surprisingly warm and romantic in practice, and the two compliment each other.

A traditional, commercial record, R.E.D. easily puts Ne-Yo back in the top tier of male artists right now, which is where he belongs.

Album Review: Alicia Keys's Girl on Fire is Pretty Damp

Alicia's new album could use some gasoline

Alicia Keys has a brand new look for her new album Girl on Fire. On the album's cover she looks more like a high-fashion mode, than the superfly songstress from her illustrious debut Songs in A Minor, Both the image and the album's title suggest a new fiery direction from Alicia, whatever that would mean.

And yet, this may be her least interesting album to date.

Despite the title, Girl on Fire lacks the blaze that even her most mellow effort, 2009's The Element of Freedom, possessed. As a collective, it is a perfectly fine album, but nothing really pops as it should. There are some moments, particularly the gorgeous "Not Even The King", when a spark or two bursts through the speakers, but it is unfortunately not enough to ignite the listening experience. A lot of the melodies are either weak or uninspiring, a huge step down from her previous productions.

All of that said, there are some good tracks on the album. "Girl on Fire", a song I didn't care for when it was first released, sounds a lot better within the album's context, as does "New Day". They are the most bombastic tracks after all. The aforementioned "Not Even The King" is an easy addition to the best of her discography. Although the length causes the song to drag a bit, her duet with Maxwell "Fire We Make" is silky smooth quiet storm groove. The rest of the tracks are pretty much interchangeable, but the other standout, for the wrong reasons, is "Limitedless", a faux-Caribbean grind which sounds like a whack version of "Put It In A Love Song".

Alicia Keys really can't put out a bad album, per se; she is too talented for that. But this record is seriously below the standards she has set for herself, and should be ultimately forgotten when the time comes for her career retrospective.

Rihanna's Unapologetic is Her Best Album To Date

Rihanna's not apologetic on her latest effort; should she be?

Come November, there are three things that you can come to expect: turkey, crazy people waiting outside on Black Friday, and a new Rihanna album.

The reasoning behind her yearly release schedule is dubious at best (at worst, she's an iPhone, as her manager basically called her when questioned on the subject). The best someone could say is that at least Rihanna always has something fresh for her fans, the Navy.

Well those who quickly got sick of spinning last year's Talk That Talk can rest assured that Unapologetic may have a bit more shelf life in it.

Scratch that, it has a lot of shelf life in it.

Rihanna's latest effort has enough badassry to succeed as a follow-up to her last album, but there is a lot more vulnerability this time around, calling to mind the vastly underrated Rated R (no pun intended, I promise). Rihanna replaces many of the sexual innuendos and club-bangers from before with slower tracks that contain more intimate lyrics than we're used to from the superstar. For instance, there is lead single "Diamonds", which makes a lot more sense in context with the rest of the record, serving as a true standout. Even without the rest, it is certainly an unexpected and interesting path for Rihanna. Then there is the very simple, but lovely ballad "Stay", a duet with Mikky Ekko, that sounds like it was made for an episode of Grey's Anatomy. "What Now" has a bit more punch to it, as Rihanna laments about the residual pain of a break-up. One of the album's highlights, and of the best songs in Rihanna's collection, is "Love Without Tragedy/Mother Mary", mash-up of two songs that are pretty much two sides of the same coin, in more ways than one. The first is a radio-friendly midtempo about a dangerous love, naming-dropping Marilyn Monroe and James Dean for reference, while the second is a haunting prayer to the titular religious figure. While both songs would work excellently alone, together, it makes for an arresting listening experience. It certainly would be easy to interpret these songs in the context of her relationship with Chris Brown, but they are strong without him even entering the picture.

One song certain to polarize music listeners is "Loveeeee Song", featuring weird rapper Future. Some will like it, while others will despite it (or at least Future's voice in it). A much more acceptable collaboration comes from Eminem, who features on "Numb", which is fine, but is nowhere near the pure genius of "Love The Way You Lie". In fact, Eminem completely upstages her with his verse, which is a shame since it doesn't sound like he's trying too hard.

Rihanna doesn't totally drop her knack for a dancefloor filler or a swagged out boast. "Right Now", featuring David Guetta, is proof that she is the go-to vocalist for the hottest club tracks. "Nobodys Business", featuring her ex Chris Brown is a surprisingly delicious disco treat, and one of the most enjoyable tracks either has put out in awhile (especially Chris). Lead-off track "Phresh Off The Runway" is simply fierce, while "Jump" finds her at her most dirty-sexy, interpolating the classic freak anthem "Pony" by Ginuwine. "Power It Up" sounds like a 2 Chainz thowaway, but Rihanna certainly pulls it off. She also pulls off "No Love Allowed", but at the most basic level; it's literally a rehash of her 2010 single "Man Down", without the pulsing energy. "Lost in Paradise" is one of the least interesting tracks, which is a shame that it's one of the closers.

After Talk That Talk, which was frankly a blistering but flop attempt at being a badass, Rihanna has released a collection that is a lot more fun, introspective, and reflective of her abilities as an artist. Even with the million-dollar production behind it, Unapologetic has Rihanna as bare as she is on the album's cover, with some scribbles in places. It may be one of the first albums she's done where you can listen fully (meaning without skipping to the singles) more than once.

The title claims she is "unapologetic" about this release, and she definitely doesn't need to.

Standouts You Should Download: Love Without Tragedy/Mother Mary, Diamonds, Nobodys Business, Jump, Right Now

Album Review: Beyoncé's 4

Article first published as Album Review: 4 by Beyoncé on Blogcritics.

Beyoncé Knowles has reached such a high level of superstar status that she's virtually untouchable.

Being that popular and powerful has it's pros and cons. For one, it allows for greater artistic and creative freedom. Beyoncé has proven tenfold that she can produce amazing work that's successful critically and commercially, so she can afford to take more risks.

On the other hand, there is a lot of expectation for otherworldly greatness, especially from an artist of Beyoncé's caliber. The near-catastrophic performance of "Run This World (Girls)" is a prime example of when these expectations run rampant. People were expecting either a touching ballad or a fierce club bumper.

Instead, she delivered Major Lazer's "Pon De Floor" with new girl power lyrics. The reaction was lukewarm, at the very best.

But Beyoncé was just beginning with "Run The World". Her newest album 4 is the full realization of her risk-taking ventures, possibly spurned or influenced by her dumping her father as her manager. 4 has Beyoncé pushing the limits of her vocal abilities and musical taste, trying out new sounds and harkening back to old styles to create, surprisingly, an incredibly cohesive pure R&B album. It stands as one of the year's best, hands down.

The album opens up with "1+1", which features one of Beyoncé's most affecting and fearless vocal performances ever. The whole album has Beyoncé stretching those golden chords of hers to rip out every ounce of emotion the songs have to offer and lay them out for consumption. Even in the album's most radio-friendly track "Best Thing I Never Had", Beyoncé almost screams her frustration at a disappointing lover. On "I Care" pulls out the power in her lower register, which is very effective with the song's relatively short, punchy phrasing. Conversely, "Love On Top" has Beyoncé slowly climbing keys until the song's amazing climax. Everyone knows that Beyoncé is one of the best singers of her generation, but she has never been more exciting than she is on 4. 


The experimentation doesn't stop there. Beyoncé's greatest risk is recording an album primarily full of R&B songs. After hearing the album in full, the release of "Run The World" is even more puzzling, since it's nowhere near representative of the album. Beyoncé plays with different sounds, but it all links back to a decidedly urban, drum-based sound. There's the fun and flirty "Countdown", a cousin of "Get Me Bodied" with horn-driven verses and a dancehall-lite chorus. "Love on Top", one of the album's highlights, offers up a brilliant refresh of the classic Motown sound. She even looks to herself for "Party", which sounds like it could've been on 2003's "Dangerously In Love". "End of Time" has marching band influences, but it is also pretty danceable. Beyoncé's choice to do a full-throttle R&B record is definitely a nice surprise, and comforting amidst the clubby direction other R&B stars are taking.

Even the ballads aren't what we are used to, carrying a slightly darker tone. Album opener "1+1" can only be described as a tour de force. "I Was Here" is definitely new lyrical territory for Beyoncé, a Diane Warren-penned ballad that contemplates a person's legacy. I do think that Diane Warren over-exaggerated about it being a "career song" like Celine's "My Heart Will Go On", but it is a poignant standout. "I Miss You" is both haunting and gorgeous, with an ominous vocal and very sparse production surrounding the beats of the 808 drum.

There have been quite a few mistakes made with the release of this album, the latest being a week three weeks in advance. What 4 shows is that Beyoncé isn't afraid to make mistakes, and actually embraces them. The result of her adventurous nature is a great album of interesting and new (for her) material. Yet, with all of this experimentation and risk taking, 4 is clearly a Beyoncé album, which might be the best risk of them all.

Rating: 8 out of 10


Brandon's Favorites: Love On Top, Countdown, Best Thing I Never Had

Album Review: Lights by Ellie Goulding

Ellie Goulding "lights" up the pop music landscape with her album Lights

If you've read my second "iPhone Follies" post, then you know how much I gushed over British singer Ellie Goulding's US single "Lights" on my trip to the mall yesterday.

I was so taken with the song that I decided to get the full album. The only other songs I had from Ellie were "Starry Eyed" from last year and "Guns and Horses", which was listed as a free single on Amazon MP3.

I was honestly very surprised by this album. After hearing "Starry Eyed" last year, I thought she would be a one-hit wonder so I never bothered checking her album out when it was out in the UK. I was wrong, very, very wrong.

Lights is a dreamy, almost magical record. Literally. Every song on this album sounds like it was recorded in the core of a cloud somewhere high in the sky. Ellie Goulding's folksy, nymph-like voice was tailor-made for the light, airy synthpop that is the album's anchor. The album as a whole has a mystical, euphoric vibe that is simply irresistible. Even songs like "This Love (Will Be Your Downfall)", which is pretty melancholic when you hone in on the lyrics, makes you want to dance in the sky. Lights works as a wonderfully cohesive listening experience; you shouldn't be surprised if you have the album on repeat for hours and you don't even realize it. Only one other album of recent memory had that effect on me, Kylie Minogue's Aphrodite.

Where Lights does fall short is in the individuality of the tracks. Many of the songs have the same sound: disco-lite electropop. While genre-specific album themes aren't a bad thing, it can get a little muddy if there isn't a bit of diversity in the sound. The album does have it's standouts, though. "Starry Eyed" is a swift, airy dane track that harkens back to the cloud metaphor I mentioned earlier. "Lights", as I mentioned in "iPhone Follies", is an irresistible discotheque in your head. "Your Biggest Mistake" is another standout, with a very memorable hook that's not abrasive. "Under The Sheets" is a bit rougher than the album's overall glacial style, a nice shakeup. "Your Song", a cover of the Elton John classic, is a flawless tearjerker, explaining it's massive success in the UK (peaking at #2 on the charts). The rest of the songs sort of gel together without much fanfare.

Ellie Goulding may have released the feelgood album of the year. It's a cohesive pack of electropop songs that are easily accessible, due to its very soft production. Yes, it is probably an acquired taste for some, but there is denying something special happening when you play this album.

Rating: 8/10


Key Tracks: "Your Song", "Lights", "Starry Eyed", "Your Biggest Mistake", "This Love (Will Be Your Downfall)"

Album Review: Lady Gaga's Born This Way Deluxe Tracks

Born This Way is out today, and it seems like everyone is here for the deluxe edition (unless you're buying the album for $0.99 at Amazon.com). Since I left them out of the original review I did, here is my official review of the album's extra bits:

Black Jesus + Amen Fashion - Of all of the Madonna comparisons that the tracks on this album have and will receive, this might just be the most authentic. This song sounds like a lost track from one of Madonna's last albums, like Hard Candy or American Life (I personally here "Devil Wouldn't Recognize You"). That said, it's a pretty groovy track about how Gaga clawed her way up to fame. There's also something about Black Jesus, which you can interpret as a Madonna reference if you'd like ("Like a Prayer" video) or, as Gaga puts it, that Jesus is back in fashion. Put that in your pipe and smoke it, Harold Camping. 7.5/10


Fashion of His Love - Anyone who's been complaining that they want "old Gaga" back can rejoice in this song. This harkens back to the days of The Fame, with its light, fluffy lyrics and pure electropop sound. It is refreshing to hear Gaga without all of the vocal embellishments that have colored her songs of late. What makes the song special for me is the inclusion of a line from the epic unfinished song "Then You'd Love Me", which I was praying would be on this album. It was a nice touch at the end. This song should have been on the standard edition ("Bad Kids" could have been an extra"). 9/10


The Queen - I'll just be frank here: this song didn't need to be on this, or any edition of the album. I would've rather it be a b-side or something. I just can't get into this at all, but I'm sure her fans will adore it since it is clearly a tribute to them. It also sounds like something Cher should sing in her Vegas show, except she wouldn't because even she isn't this cheesy. 4/10

Album Review: Lady Gaga's "Born This Way"

Gaga's second album "Born This Way"
has arrived. Is it worth the hype?
Find out!

The buildup to Lady Gaga's sophomore album has been tremendous, but was the hype all worth it after
all?

Yes.

Born This Way is the pop equivalent of a rocket. It soars beyond the standard limits of mainstream music in its effort to blend dance beats with stadium rock style. There are some cracks, with some of the songs suffering from overproduction, weak lyrical structure, or both. Ultimately, the album works as an amazing set of forward thinking, provocative dance-pop that, if promoted correctly, could rework the conventions of mainstream music.

Here is my track-by-track review after the jump (note: I am reviewing the standard edition, the deluxe edition will come later):

Album Review: Kylie Minogue's Aphrodite

An album, movie, or television show worthy of special notice.

Kylie revives pure pop with Aphrodite

When news first came out about Australian pop queen Kylie Minogue's new album came out, I was excited. Scratch that, I was ecstatic. Then "All The Lovers" was released, and I kind of completely lost my shit. For the next month or so, I have been impatiently waiting for her album to leak. After a megamix of six songs was released about three weeks ago, I was at the point of literally ripping my hair out in anticipation.

Well, it finally leaked, and my heart finally returned to normal rhythm. Until I started listening to the songs. It took me a while to fully conceive of what I was listening to, but I am finally ready to render my verdict.

Here is a track-by-track review of Aphrodite:

** Indicates a KEY TRACK

The first song also serves as the album's lead single, "All The Lovers"**. It was a hell of a single choice and an album opener, setting the tone for the whole CD. With it's ethereal, romantic, and slightly melancholic sound, Kylie's enchanting vocals, and that epic breakdown in the middle eight, it is easily the best record Kylie has put out since 2001's ubiquitous "Can't Get You Out of My Head". Rating: 10 out of 10.

If Kylie was begging her lover to dance into the fire in "All The Lovers", then "Get Outta My Way"** is her kicking him right into the flames and moving on. It is the most single-worthy track on the album, as well as being the most obvious one, thanks to it's bouncy energy reminiscent of "Love at First Sight" and "Wow". Actually, if those two songs had a baby and then the baby was pumped with steroids, this would be the result. And what an amazing love child it is. Rating: 10 out of 10.

If you haven't figured it out by now, Kylie's album is a big ole' bundle of joy, and "Put Your Hands Up (If You Feel Love)" is definitely the centerpiece of that message. It's in the title, for God's sake. This song leans a bit closer to "Love At First Sight" than the previous track, while frankly lacking all of the explosive energy. That said, it's a very synthy, very bouncy song that will make hard to keep your hands at your sides on the dancefloor. Rating: 8 out of 10

There are no ballads on Aphrodite, but Kylie does slow the tempo down a tad bit, starting with "Closer". It's an ominous, sensual, enchantingly robotic midtempo track about, well, bringing someone closer in. Kylie may want to offer masterclasses on how to use the vocal chords to seduce the listener, because there are quite a few pop stars who could use a lesson. Or, she could use her prowess to take over the world. Whichever is easier. Rating: 8 out of 10.

"Everything is Beautiful" is an appropriate title for this song, because next to "All The Lovers", it is the only other song I could label as beautiful. It's another midtempo song, but winds and grooves in a way that you might be inclined to take a nap in a bevy of clouds, before realizing that trying to do that would most certainly result in the ending of your life. Okay, so maybe the title is a bit misleading, but it is definitely a gorgeous track. Rating: 8 out of 10

"Can you feel me on the stereo?" Kylie sings throughout the title track "Aphrodite"**, and the answer is hell yes! This is a punchy pop anthem, driven by military-styled drums. Kylie warns us all that she is not one to be messed with, because she is, among other things, fearsome, mighty, a golden girl, and of course the Greek goddess of love. For all purposes, this is Kylie telling the younger girls that X does not mean she's down for the count, and that she runs this. I can't say I disagree. Rating: 9 out of 10.

Kylie is all confused and stuff about love on "Illusion", another closest-thing-to-a-ballad on the album. While not as driving as "Aphrodite", the beats on this song are still very strong, making it easy to groove to during a dance break (another thing you might not have realized yet; this album will be the playlist for all the clubs come July 6th). It's pleasant, sure, but there isn't much else to say about it. One of the weak points of the record. Of course, that isn't saying a lot. Rating: 7 out of 10.

"Better Than Today" is the album's most unexpected track on the record. Musically, it doesn't really sound like anything else, but it has the happy message and everything. It's a very positive song that seems to borrow it's style from Madonna's "Don't Tell Me". It's surprisingly laid-back guitar-styled for a glittery pop princess, but you can't blamed the girl for trying something new (let's just forget about Impossible Princess, ok?). Rating: 7.5 out of 10

The all-out dancing starts again with the irresistible, irrepressible, pop tornado called "Too Much"**. The song is the much-hyped collaboration with Calvin Harris, and the results were extremely successful. With it's bright and shiny production, outlined with some dark, sizzling electro buzzes, you have to be moving when this song comes on. If you can't even get a toe tapping, you might want to head to a doctor because you might be dead. Rating: 10 out of 10.

"Cupid Boy" is an enigma to me. For one, it has cutesy Kylie (which should really be an oxymoron) on full display, yet there is something about the production that screams dirty, like make out session in the darker end of the club, dirty. It's also kind of odd to be directly after "Too Much", which was such a dance cracker, while this is a bit quieter. Not my favorite from the album, but definitely solid. It might just grow on me. Rating: 7 out of 10.

Why would a goddess be looking for an angel? I guess even the goddess of love gets lonely sometimes, as the ethereal "Looking for an Angel" would suggest. It's very romantic and teary-eyed (and, as Popjustice would say, worthy of a Kylie moment), but it sounds as if "All The Lovers" was re-done by the God's pop producers. Nothing against God's pop producers or anything, it's just another that just doesn't have the huge wallop of the other songs on the album for me. Rating: 7 out of 10.

So, we've cried, we've laughed, we've gotten a bit of an attitude, and we've danced our butts off. How does Kylie finish off this album? With more happy dancing, duh! "Can't Beat The Feeling"** is the purest, happiest moment on the entire album, and again, follows that euphoric theme to the letter. While I have listened to the album back to back three times and haven't (yet), I wouldn't blame someone if they got a bit emotional during this song, especially going into the middle eight. Honestly, it's like a cathartic release, which is just what Kylie intended. Rating: 9.5 out of 10

ALBUM RATING: 9 OUT OF 10

FINAL THOUGHTS
All she wants us to do is dance, and she succeeded. Kylie Minogue has delivered the most fantastic pop album of the year so far. It is also the best album Kylie has released in years, probably since Fever. The listening experience of this album can only be described as euphoric, joyful, and riddled with boundless energy. There is never a dull moment on this album, and even if there is a slight lull, it is quickly correct with an absolute smash. I'm sincerely hoping that Astralwerks (her label in America) promotes the hell out of this album, because this could be her ticket to the pop glory that has unfairly eluded her in the States. As for the rest of the world, you really should expect nothing less from the Goddess of Pop (hey, I'm just going by the title).

Aphrodite is released in most of Europe on July 5th and the United States on July 6th. BUY THIS ALBUM (I am, the deluxe edition)!

Album Review: Drake's "Thank Me Later"

Does Drake live up to the hype?

In my nineteen years of life, I can honestly say I've never seen as much hype surrounding one person as it has Drake.

Alas, the buzz around him was so huge that he scored a massive hit and two Grammy nominations with "Best I Ever Had", off of the mixtape So Far Gone last year. If possible, his pre-debut success increased the anticipation for his first album tenfold.

Now that it's here, the question that has been on the tips of everyone's tongues can finally be answered; is Drake really the future of hip-hop?

Thank Me Later is certainly a new kind of hip-hop album, just like Drake is a new kind of hip-hop artist. He can successfully rap and sing, which gives him the very valuable ability to sing his own hooks. The idea of fusion is the common theme of Thank Me Later. Both the lyrics and the music of the album work at blending different styles and approaches to life. Songs like "Find Your Love" and "Shut It Down" can be classified as R&B, but the spirit within them allows them to properly exist amongst the more traditional rap cuts, like "Over" and "Up All Night". More common on the album are songs that feature him rapping and singing. On "Karaoke", Drake's singing vocals are almost ambient over the sturdy, but sparse backbeat while his rapping is stronger and fuller. Even with him spitting, "Karaoke" is almost thoroughly R&B. It's an interesting, and thrilling, experiment that Drake is conducting, testing the boundaries of soul and rap as he is.

Drake isn't only known for his genre-busting production. No, it's his lyrical flow that has made him the hottest rapper right now. Thank Me Later has the 23-year old contemplating the effects fame has had on him and his recollections of the past. Again, Drake is changing the rules of the game. He is surprisingly (sometimes, shockingly) candid and frank about his experience, detailing his relationships with family, ex-girlfriends, and his Young Money labelmates, particularly Lil' Wayne and Nicki Minaj, who he proposes marriage to on "Miss Me". Even more surprising than the subject matter is how he presents them. The vulnerability and the honesty in some of his lyrics is disarming. "The Resistance" reveals in one verse how he ignored his grandmother and how one of his girlfriends had an abortion. "Fireworks" has him rapping about his heartbreak from being used by a girl (read: Rihanna). On "Light Up", he offers up some words of advice (and one of the best lines from the album): "If you're pillowtalking with the women that are screwing you/just know that she gon' tell another nigga when she's through with you".

When he isn't talking about his personal life, he laments the struggles that come with fame. "Karaoke" and "Unforgettable" have verses about relationships that fell apart from the glare of the public eye. In lead single "Over", he brushes off the pressures that have come with the massive expectations that have landed on his shoulders. Even with the struggles, he isn't above a bit of boasting about his success, which is where his clever rhymes shine the most.

There are plenty of appearances on this album, and most of them pop off right. The best by a mile is Jay-Z on "Light Up", who shows Drake who still runs this town. The only flop comes from T.I. on "Fancy";  it isn't even good enough to qualify as window dressing.

Thank Me Later is a transitional album for the hip hop genre. Drake seems to be bridging the gap between what hip hop has been for the last five years and what it could be, his vision. His vision of hip hop is more honest and accessible to a wider audience. It's about pushing the boundaries and conventions of the game to freshen it. While not perfect, Thank Me Later is one of the most complete, coherent albums I have heard in awhile. It is a quieter, restrained effort when compared to his contemporaries, which makes Drake all the more intriguing, as an artist. Yes, Drake is an artist, and after a long streak of newcomers bringing mediocrity in their wake, it is a much needed change.

Despite the title, I think its fair to thank Drake now for that.

Rating: 8.5/10

Key Tracks: "Find Your Love", "Karaoke", "Fireworks", "Light Up"

Best Bits from Christina Aguilera's Bionic

Let's call a spade a spade here: Christina Aguilera has had a terrible album era so far.

After a two year absence, the pop star has been met with what can be best called a lukewarm reception. Her lead single "Not Myself Tonight" flopped on the charts, debuting and peaking at a dismal #23 on the Hot 100, even after high profile promotion. The sex-crazed video for the song faced almost universal criticism for being a Lady Gaga knockoff. Speaking of Gaga, Xtina also had to release a statement clarifying rude comments she made about her pop counterpart in Out Magazine. It's fair to say things aren't looking too good for her right now.

There is a silver lining in the release of Bionic, her fourth studio album. There are actually some really good songs on here. The album is pretty lengthy, so here are the tracks you should be looking for.

Glam - Hopefully it won't go to her head, but this song is the closest thing to a modernization of "Vogue" that I've heard in a long time. It's funky, sexy, and has a really cool vibe to it. It isn't one of those songs that show off her spectacular voice, but that can be forgiven as you groove to it in the clubs.

Desnudate - Christina's got lots of sex tracks on this album, but this is the only one that's actually fun and danceable. It's definitely unchartered territory for the singer, dipping her toes into the dancehall pop that Kat DeLuna popularized. For anyone who's forgotten that Aguilera is Latina, the singer sings in some Spanish for us. It's a big hip-mover, and would've been a better bet for a lead single.

Lift Me Up - She debuted this song at the Hope for Haiti benefit, and it is just as affecting in studio as it is live. Aguilera is at her most authentic on this track, and it is comforting to hear her use that amazing voice she was gifted with. If released, this could be the album's "Beautiful".

You Lost Me - Powerful. Gorgeous. Sad. Classic pop diva balladry.

Vanity - Good in a "so bad it's good" kind of way. First off, I've never heard the word "bitch" used so many times in one song, to describe oneself. We knew Christina had a pretty big ego, but on this track, it's on heavy display, with hilarious, campy results. You might even find yourself laughing along in spite of yourself. Maybe you're just that vain.

Album Review: Chris Brown's Graffiti

So, I just finished listening to Chris Brown's new album Graffiti, due out next week, and it is quite unimpressive.

After listening to each track at least twice, here are some basic notes on Brown's post-Rihanna album:

- Anyone looking for Rihanna allusions, you'll be hard-pressed to find them. In fact, "Crawl" notwithstanding, Brown completely ignores the incident.

- That may be a lie, because his song "Famous Girl" seems to be about his pop star ex. It's a song about a girl being "famous" for breaking hearts. He also name-checks a bunch of artists and songs. One of them is Drake (an alleged Rihanna beau). He apologizes to Beyonce for not wearing a "halo", and he even suggests that he should've never written "Disturbia". One could say that they are reading too much into the song, and it very well could've been written before that incident. Then again, it's still in the tracklisting, and it's not like it couldn't have been removed, and I don't think Chris Brown is that stupid. Or maybe he is.

- Besides the first two singles, there are only three single-worthy songs on this album. Besides the second single, there are only two good songs on this album. Everything else is standard R&B fluff filler.

- One of the single-worthy songs (not the good one) is called "So Cold". It sounds like it would be a radio hit, but its really bland and decisively not as good as "Crawl".

- One of the good songs is "Pass Out", featuring Eva Simons. It's the album's "Forever"; an electropop song featuring a sample of Eric Pyrdz's "Call On Me". The only problem is that it's not as fun as "Forever", and it's a hell of a lot creepier. Creepiest lyric: "Can't wait 'til you pass out". The song would be the best song of the album if the sample was used better (they cut out the thumping beat that makes the song a club banger. Big mistake Breezy).

- The other good song is "I.Y.A.". It stands for "in your arms", and it's another electropop song, leaning more on the Pet Shop Boys side of things than you would ever expect. For that reason, it's the second best song on the album (behind "Crawl"). It's a very classy effort, which is curious since...

- ...this album is stunningly immature for someone who just went through a traumatic, career-derailing experience. There is a "Take You Down" knockoff called "Take My Time", which is quite laughable. "Sing Like Me" is an Asian-influenced midtempo that is about he can make a girl "sing" like him (it also features an unfortunate reference of the Spanish word for vagina). "What I Do" sounds like a T-Pain throwaway.

- "Crawl" is the best song on the album.

- While I can appreciate Brown wanting to put the focus back on the music, he had to be a fool thinking he could pull off the same kind of boastful R&B/pop fluff from his past LPs. For a man who had to grow up big time in the past few months, he still sounds like the kid from "Run It" trying to impress the ladies with his swag. It's ironic that his first single is called "I Can Transform Ya", when it's clear he can't even transform himself.

- By the way, Rihanna's album is much better than Chris'.

Rating: 5 out of 10

Best Bits from Rihanna's Rated R Album

I know, back-to-back posts about Chris Brown and Rihanna...

I could write a review about Rihanna's new album Rated R, but I feel like I would be writing the same review that I wrote for Kanye's 808'S and Heartbreak.

What I can say is that this is her best album to date, her darkest album by a mile, her best vocal performance by seven miles, and one of the best pop albums of the year.

After listening to this album for a week and a half, I have come up with what I call "the best bits" (I'm really adopting the British culture):

Fire Bomb - The best song on the album, no question. Probably should be a single, if not the first. It's a midtempo pop/rock track that uses a burning car as a metaphor about an ending relationship. The lyrics match the sharp, industrial-sounding production perfectly, and Rihanna sounds absolutely stunning. My favorite part of this song is the heavily-altered vocal run after the chorus, which is excellent in its own right.

Rude Boy - It's the most uptempo song on the album, and the most fun. Rihanna teases her lover about being in control and whether they can really satisfy her (she even asks if he's "big" enough, pretty ballsy, pun intended). It's a lively R&B track that reaffirms Rihanna's strong presence.

Te Amo -  A lot sexier than "I Kissed a Girl", this latin drum-fueled pop track has Rihanna singing about a dancefloor encounter with another woman. The lyrics are pretty hot, but the the drums and the accompanying synths will make you want to hit the dancefloor yourself, with whatever gender you choose. Chances are, though, you won't have as much fun as Rihanna's dancefloor dalliance.

Russian Roulette - Rihanna's lead single couldn't have been a bigger surprise. Instead of releasing another "Disturbia" or "Umbrella", she drops this dark, dramatic ballad in the laps of the public. With the Chris Brown incident still fresh in our minds, we couldn't help but relate the shockingly abusive lyrics to her personal life. Setting that aside, the single ranks amongst her best, with a career-defining vocal performance and a powerful arrangement that ends with a shuddering gunshot.

Cold Case Love - Rihanna's interpretation of Phil Collins' "In The Air Tonight". The song, which can be most appropriately applied to her drama, starts off slow, but it continues to build with more layers of instruments with each second. It finally breaks into a full-throttle track, following the Collins-esque drum solo. It's surprising, but very cool.

Hard - Probably the album's only, truly radio-friendly track, "Hard" sees Rihanna kicking her victim persona aside and taking control. The hip-hop-styled song, featuring a verse from Jeezy, may seem a little forced at first listen, but the hook is too bombastic and excellent to ignore.

Honorable mentions: Wait Your Turn, Photographs

Album Review: Lady Gaga's The Fame Monster

Flashback to the late summer of 2008 for a second.

It was August 1st, to be more specific, when Lady Gaga acquired my interest with her balls-out crazy performance of her first single "Just Dance" on So You Think You Can Dance. I immediately fell in love with the track and quickly featured it in a Download of the Day post, along with the performance. In that post, I likened the fledgling pop star with her idol Madonna.

Despite the appropriate comparison, I never once considered that Gaga would become the musical tidal wave that she is today.

Two number one singles, five consecutive top five singles, and a blizzard of wacky, avante-garde costumes later, Lady Gaga has become one of pop music's most creative artists. She cemented that fact with the release of the music video for "Bad Romance", the lead single from her latest album, The Fame Monster. Originally meant to be a re-release of her debut album The Fame, financial concerns led to its downscale INto an extended play album, featuring only eight songs.

What an unintentionally genius move on her part.

The Fame Monster escapes the pitfalls of many pop albums these days; filler. Every song on this album is, at the least, great, with most of them being excellent. That is certainly a triumph, but it wasn't one attained easily. With each song, it is apparent that Gaga is taking some kind of risk, or, to take it further, facing a "fear". On lead single "Bad Romance", she growls, screams, and even sobs about wanting a dangerous relationship, throwing in some French lyrics for good measure. It sounds like a deranged mess, but Gaga delivers her most monumental hooks yet, which isn't even a line of words ("ra, ra, ra, ah, ah, ro, mah, roh, mah, mah, Gaga, ooh, la, la"). "Dance in the Dark" is a glittery 80's dance dream about loneliness and self-esteem, but things really get interesting when Gaga name-checks, among others, Princess Diana and JonBenet Ramsey, in her broken-down middle eight about tragic women.

"Telephone" sees Gaga team up with Beyonce for a fun, floor-filler about ignoring a nagging lover's call on the dancefloor. Despite the dangers that come with sharing the stage with one of pop's reigning queens, the two work well together and the song is one of Gaga's most radio-friendly so far. Completely opposite is "Teeth", the album's closer, a fusion of industrial and retro pop beneath lyrics about wanting nothing but sex. It is certainly her most experimental song, but it doesn't fall over the line of "unlistenable".

Gaga's experiments don't exclude her past work. "Monster", which references her first hit in the lyrics, borrows and successfully reworks elements of the verses from "Paparazzi". "Alejandro" and "So Happy I Could Die" follow in the vein of "Eh, Eh" with its Latin influences and laidback attitude, respectively. After lukewarm results with "Brown Eyes", Gaga tries balladry again with "Speechless", a touching, slightly glam-rock tribute to her ailing father. While its miles better than her last attempt at the slow tempo, "Speechless" lacks the kind of emotional vocal that would truly bring the lyrics to life.

With all said, there is enough evidence to support the claim that The Fame Monster is the best pop album of the year, and one of the best of the decade. Not only does it provide enough pop masterpieces to adorn a DJ's playlist for at least a year, it's a testament to the potential Lady Gaga possesses. It would be so easy to write her off as a weirdo who got lucky with her first album. After listening to this collection, making that assumption would be a mistake.

Prepare for a few decades more of jaw-dropping performances, outrageous costumes, and storming pop music; Gaga is here to stay.

RATING: 9 OUT OF 10

The Must-Haves From Jordin Sparks' "Battlefield"

Today sees the release of Jordin Sparks' sophomore album Battlefield, the same title as her lead single. To be honest, the album is a bunch of radio-friendly pop/rock/R&B tracks thrown together on one CD (or digital download package, depending on how you take your music) that doesn't express any more music point of view that her first eponymous album. Still, there are some good, great, and pop smashes on this album, so they shouldn't be counted out. Here are songs that make the album worth the $9.99:

Walking on Snow - It's a good album starter; there's a Kelly-esque guitar intro, before some synthesized beats and hand claps come in to fill the song out (it won't be their last appearance). There are some cute lyrics about clipping wings and ricocheting words. It's a very good pop record.

S.O.S. (Let The Music Play) - Jordin ditches the cutesy defiance and throws on some of that armor she was talking about in first single "Battlefield". The song is based off the 80's dance hit "Let The Music Play" by Shannon, spicing it up with some sharper synths in the chorus and Beyonce-lite lyrics about holding on to a straying man. Jordin's voice gets a little edgier, especially when she sings "that crazy chick doesn't know who she's messing with". "S.O.S." is her most dance-ready track yet, and will probably be huge on the club scene.

No Parade - There are quite a few ballads on this album, but this one is the best, hands down. It's a lament about a relationship that inexplicably went wrong with no warning, with the title serving as the main metaphor. Frankly, its a good one. There are other good ones too, but the true standouts of this (hopefully) future single is the surprisingly rich production and Jordin's voice. The songs switches between elegant piano and a meaty guitar/synth combo, which is interesting, if not completely original. It probably ranks in the top 5 of her best songs.

Was I The Only One - Another ballad, a pretty one at that. In an album that is a bit overproduced, this has the simplest arrangement and the least vocal acrobatics, which does her more favors than she thinks. It's quite sad, and relatable, hearing Jordin's soft but assured voice convey words of doubt about a broken relationship. For the Disney kids who constantly write music about their relationships, this is how you do it without coming off annoying and whiny.

Battlefield - Of course, the lead single is one of the standouts. It is also the best record she has ever released. On this song, the AI princess comes out swinging, singing with such energy that it could literally knock you out. That's probably why she warns, in one of the best lyrics of the year, "you better go and get your armor". That hook is brilliant, and if she and her record label were smart, they would definitely take her in that direction. If she had done that here, I would've listed every track in this post.

Album Review: Kelly Returns To Pop Prominence With "All I Ever Wanted"

In her latest chart-topping hit, Kelly Clarkson sings, "Cuz we belong together now, forever united here somehow, you've got a piece of me, and honestly, my life would suck without you".

While she claims the song is about a boyfriend, the lyrics seemed to be aimed at her pop-loving fans, who she scorned in 2007 with her gloomy, hitless album My December. They responded accordingly, staying home while Miley Cyrus flooded the stores opening week. One week later, her album came entered the charts at #2, behind the Hannah Montana soundtrack.

Clarkson clearly realized her error. The first American Idol winner teamed up some of pop music's best producers to deliver a huge mea culpa to the public. The result is All I Ever Wanted, a welcome return to the powerpop that transformed Kelly from reality TV star into formidable pop princess.

Kelly's return to pop was primarily aided by Max Martin and Dr. Luke, the producers that helped make her sophomore effort Breakaway a juggernaut at Top 40 radio. Also on the bill are Ryan Tedder, the mastermind behind 2007's most inescapable song "Apologize", and Howard Benson, producer of fellow Idol alum Chris Daughtry's debut.


The A-list production definitely paid off; All I Ever Wanted is filled with great pop songs that will put Clarkson back on radio's coveted playlists. Lead single "My Life Would Suck Without You" is a fun and feisty track, even if may sound a bit like her smash hit "Since U Been Gone". The familiarity is balanced by a new, positive take on relationships; instead of wanting him to burn, she admits that "they belong together". Continuing in that vein is "If I Can't Have You", a hard buzzing track about refusing to give up on her relationship. It's not completely lovey-dovey though; "Don't Let Me Stop You" is a powerful kiss-off to an uninterested boyfriend.

Even with her edge, Kelly is definitely more nuturing on this album. Second single "I Do Not Hook Up", which was co-penned by new Idol judge Kara DioGuardi, shows that she is willing to support her broken-hearted friend, but she isn't going to accept a one night stand. She plays the hero again for the spectacular Tedder-produced power ballad "Save You". The final track, "If No One Will Listen" beautifully details the importance of helping someone trapped in turmoil. The song is her most moving since "Because of You" and showcases the powerful pipes that captivated the nation seven years ago.

That winning voice is never put to waste. Whether she's sorrowful and anguished on ballads like "Already Gone" and "Cry", or playful and flirty on uptempo bubblegum like "I Want You" and "Long Shot", she goes full throttle on the vocals, sounding energized and genuinely happy.

As great as the album is, its not without its filler. "Whyyawannabringmedown" is a screeching rock mess, even if has the best lyric on the album ("I'm not your love monkey"). Title track "All I Ever Wanted" and "Impossible" aren't very remarkable mid-tempos, even if the latter boast some interesting, synth-boosted sounds. "Ready" is simply forgettable. However, even they are still pretty good when compared to some of her radio competitors.

It is clear that she has learned from the mistake of My December. Instead of rebelling against her label, she worked with their needs, cultivating her best record in years.

Welcome back Kelly.

RATING: 8/10

Album Review: "808s and Heartbreak" by Kanye West

808s and Heartbreak can be seen in two ways.

For some, it is Kanye's magnum opus. It is the album that proves that all of the self-imposed hype is true; he is a musical genius.

For others, it is Kanye's declaration of insanity. This is the album that proves that all of that self-imposed hype has gotten to his head, causing it to explode, leaking epic amounts of failure.

Here's how I see this album; if it wasn't a quarter-stroke of genius, I would've believed Kanye has lost his goddamn mind.

Hearing the album for the first time would make you think the second of the previous two statements. That's because its a cold, calculated piece of work, production-wise. The electro beats and the terrible overuse of Auto-Tune/Vocoder gives off this chilly aura, as if Kanye deliberately wants us not to connect to the music. Unlike his previous works, there is little warmth or fun on this album. The sound is harsh, as clearly evidenced on the distorted "Street Lights" and the foggy "Welcome to Heartbreak". The two tracks that carry some kind of energy, "Robocop" and Paranoid", still have the sharp, unconventional sounds throughout. Quite frankly, its a bit of a turn-off.

After a second listen, however, the lyrics are taken in and you kind of understand the point of this record. Apply Kanye's tough year filled with death and broken engagement, everything clears up. Many of the songs are clearly about his troubled times, and they are his most personal and emotional to date. Lyrics like "when I grab your neck, I touch your soul" from "Say You Will" are jarring, but effective. Obviously, he has put the ego aside while writing this album, letting people see the Kanye without the gloss.

Still, the vulnerability that Kanye shows is contrasted by the production. While the lyrics show his passionate anger and sorrow, the heavy beats, buzzing synths, and the Auto-Tuning sound empty and emotionless. Yet, the battling sides don't cancel each other out. Somehow, Kanye has smartly applied one of the basic rules of interaction: "opposites attract".

The only downside is Kanye's voice. It's clear why he chose to mostly sing on this album (sometimes, rapping doesn't quite cut emotionally). It's also clear why he decided to Auto-Tune and Vocode his voice within an inch of its life (1. he can't sing well, 2. the robotic voice counters the powerful lyrics well). What's really unfortunate is that his voice is really, really not suited for singing. In fact, his voice may be a hindrace to the impatient listener; its the biggest detractor from many of the songs that really need a second chance to take. Although the effort is appreciated, Kanye should probably find another way to convey the complexity of his emotions.

Since the album is mostly about him, the guest appearance are smartly scarce. Lil' Wayne's inclusion on "Welcome to My Knightmares" is great and lends to the song. Young Jeezy's appearance on "Amazing" (while obviously a return on Kanye's appearance on his hit "Put On") is also purposeful. On his most personal album to date, Kanye was surely not going to let anyone overshadow him.

Kanye's album is a triumph for many reasons. For one, it proves that he can pretty much get away with anything (let's call a spade a spade here; this is a pop album). Despite the danger of alienating his fanbase, he is willing to take outrageous risks to prove his points. While pompous, its also admirable.

More importantly, though, 808s and Heartbreak is a creative, enigmatic gem. Kanye juxtaposed affecting lyrics with distant, barren production, and created a powerful collection of music. While it's not one of his most understandable efforts, its probably his most important.

So yes, its a bit psychotic, but the brilliance overweighs it completely.

9/10

Album Review: I Am...Sasha Fierce by Beyoncé (Part One)

 

In case you didn't know, Beyoncé Knowles has multiple personalities.

At least, that's what her album I Am...Sasha Fierce suggests. It's actually a double album: one CD represents one side of the R&B diva, while the other shows a completely different side.

To be fair, I have decided to review the two sides separately first, then combine it later.

So let's start off with the first personality: Beyoncé

"If I Were a Boy" - One of Beyoncé's best songs so far. She may not have written it, but she still performs the hell out of it, allowing her voice to naturally soar and the reaches its climax. It's almost perfect. 9/10

"Halo" - This Ryan Tedder-penned track has been involved in some controversy lately, for a pretty good reason. It's a great song. It follows today's pop format perfectly; a metaphorical title, hand claps, and catchy repetition in the chorus. Some will pull comparisons with another Tedder song (Bleeding Love), but its a perfectly good enough to stand on its own. 8/10

"Disappear" - The dramatics are put aside for some soft, sensitive balladry with this song. Beyoncé proves here she doesn't need to shatter the sound barrier to be an amazing singer. In fact, she sounds amazing with this intimate arrangement. The song isn't very captivating, but its a good album track. 7.5/10

"Broken-Hearted Girl" - Even her album filler is above average. Yes, this song isn't very remarkable lyrically (in fact, I miss the metaphors a bit), but Beyonce's voice picks it up. Also, the composition changes also make it more interesting; the song begins with a piano, but soon a beat picks up and even a light synth dresses things up. 7/10

"Ave Maria" - No, its not a remake of the aria. Still, its sounds a bit like a classical song, thanks to the light plucking of guitar strings and the piano. I wasn't particularly moved by the song, but I appreciate the simplicity of it, even with the inevitable Beyoncé power notes toward the end. 7/10

"Smash Into You"* - This is one of my favorites on the album. The song starts very softly, just letting Beyoncé sing full-voice. I'm particularly fond of the chorus, which is pretty beautiful. Like the first two songs of the album, the song builds slowly to a powerful climax. Yet, she holds back and refuses to over-power the song, which is a pleasant surprise. The ending is very sweet, perfectly capping off the song with just her voice and the whisper of a guitar buzz. 9/10

"Satellites" - It's a very nice song, but my least favorite on this side of the album. The metaphor of satellites and space, paired with the simple arrangement, made for a pretty boring listening boring experience. 6.5/10

"That's Why You're Beautiful"* - Beyoncé definitely loves her guitar. And her drums. Incorporating instruments typically absent in R&B music into a slow-churning ballad is her specialty, as evidenced here. A solid album track, but nothing special here either. 6.5/10

Final Thoughts - The "Beyoncé" side shows a wide array of ballads, from the rhythmic to the simplistic. With only a speed bump or two, this is one of her most solid collections to date.

Rating: 7.5/10

* - only on Deluxe Edition

Album Review: "Funhouse" by Pink

The sleeper hit "I'm Not Dead" brought Pink back on the radio and pop charts, and now she's back with an all-new album, bouyed by the worldwide smash "So What". Here is a track-by-track (in order) review of the album:

"Sober" - The song lives up to its title; listening to this track has a very sobering effect, especially after jumping around to "So What". The second single is a mid-tempo ballad adorned with many different instruments; drums, violin, and a few guitar riffs make up the backbone of this song. Pink, very passionately, sings about being at a party where everyone's drunk except her, and she feels better than the others (a real-life event apparently). It's a great song, not as radio-friendly as her first single, but its definitely noteworthy. Rating: 7.5/10


"I Don't Believe You" - Pink drops the rock sound for this track, singing about denial in a relationship. With all the screaming and rocking, you tend to forget that Pink is actually a really good singer. In fact, this is one of the best vocals she has ever delivered. Her voice is vulnerable while still powerful. While the lyrics make the song seem like a typical "please don't leave me" ballad, the magic is all in Pink's voice. Rating: 8/10


"One Foot Wrong" - The most interesting thing about the song is the subtle use of amp feedback throughout this slow-burning rock song. Other than that, there is nothing really special about this song. Of course, Pink sounds great, but the rest of the song lacks the energy she provides in her voice. Rating: 6/10


"Could've Had Everything" - Another OK song following the previous track. Pink follows the broken relationship theme with this song, talking about she "screw[ed] herself over". The repetitiveness of that basic theme is pretty annoying, distracting from a decent song. Pure filler. Rating: 5.5/10


"Please Don't Leave Me" - I didn't even realize I used the song title in my review of "I Don't Believe You". Anyway, the song is pretty good, thanks to some really good lyrics and a 60s rock sound, something you bop along to. She doesn't sound as desperate as the song would imply, but then again, you will never see Pink at someone's feet. Rating: 6/10


"Bad Influence" - Finally, some fun! Following the vein of "So What", this song is delicious mix of rock and pop, with some cool, funny lyrics. Pink sounds like she's having a pretty kick-ass party here, singing with attitude like she did on her #1 hit. What I love about this song is that instead of being about a relationship, its just about having fun, and being bad. This definitely a pop-banger in the waiting (4th single maybe). Naughty and fun, this track is one of the highlights. Rating: 8.5/10


"Funhouse" - For the title track, Pink goes for some Maroon 5 as she sings about a house haunted by something. The funky sound is pretty cool, but I'm not feeling the lyrics at all. There is a short deviation in the middle of the song, making it even weirder. Honestly, this is a song I suggest just listening to the music. Rating: 5/10


"Crystal Ball" - Another standout track for me. I love the stripped-down sound, leaving just guitar strums and Pink and a partner singing some pretty metaphoric lyrics. Everything about this song is pretty, from the melody to her voice. While I personally feel she may have oversung a bit, its not enough to detract from this awesome, gorgeous ballad. Despite what the song, there are very little cracks in this song. Rating: 8.5/10


"Mean" - Back to the relationship stuff. To further get her point across, she switches things up, turning to classic Southern rock. Here she sings about a broken-down relationship where the two can barely tolerate each other's presence. It's another "pretty good" song, and she gets points for expanding the album's versatility. Still, the song is adding to the pile of relationship baggage. Rating: 6/10


"It's All Your Fault" - Remember "Since U Been Gone", Kelly Clarkson's smash hit? Well, this song is that, but better and more modern. The song blames the lover for ruining everything, and is definitely a pick-up from the previous somber. Pink excels at the "F--k you" sound, and it shows here. The electronic embellishments throughout the song are pretty innovative. Rating: 7/10


"Ave Mary A" - Yes, its a play on words, based off the Christmas album staple. This song is a near polar opposite. The verses are rapid-fire, and its a full-blown midtempo rocker. It's not a standout song for me (or anyone), but it definitely helps balance the album out. Rating: 7/10


"Glitter in the Air" - Best song on the album next to "So What" and the true standout. It's an absolutely stunning piano-driven ballad, one of the best she has ever recorded. She sings metaphorically about the ins and outs of love, and its one of those love songs that everyone, regardless of your musical taste, should be able to identify with. The lyrics are sweet, without being sappy. Her voice is powerful, without being overblown. It's utterly perfect. Rating: 10/10


"So What" - Probably the best song on the album. It's everything you expect from Pink: fun and filled with attitude. It also helps that the chorus is ridiculously catchy and that she even fits a celeb zinger in there (sorry Jessica). Pure pop anthem right here, and one of the best singles of the year. Rating: 10/10


Final Thoughts: Pink's new album is definitely not expected, but then again, expectations aren't very cool. Neither is half the album being filled with the remnants of Pink's divorce. When she did it right, it was awesome. When she did it wrong, it was annoying. Still, the album has some great moments, and two moments of brilliance. What can be said about this album is that its well-rounded and it definitely has something for everyone, making it one of the best of the year so far.


FINAL RATING: 7.5/10

Album Review: A Little Bit Longer by Jonas Brothers

It was revealed today that the Jonas Brothers are expected to sell around 725,000 copies of their new album, A Little Bit Longer, officially making them power players in the music industry.

To many, the idea that the Jonas Brothers could outsell Coldplay, Mariah Carey, Madonna, Usher, etc. is a travesty. How did three Jersey kids become the leaders of the teen pop craze?

By catering to their audience.

A Little Bit Longer is nothing if not a gift to their millions of tween fans (and their credit-card wielding mothers). While the trio attempt to push forward, the album is still largely directed towards the screaming girls who make their concerts minute sell-outs. For the rest of music-buying public, there isn't much to appreciate.

Back to the "pushing forward". Their last, self-titled album contained songs that sounded the same. This time around, the brothers try at diversifying their sound. Whether its Maroon 5-style funk, Jack Johnson-like soft rock, or Backstreet Boys-flavored balladry, each song seems to have its own identity. Their basic sound is still a mix of pop and rock, which I'm not a big fan of. Still, the album's variety is a sign that maybe they can do more as they get older and the fanbases change. Along with expanding their musical horizon, they also dabble in more intricate and complicated production. Some of their songs are layered with a variety of instruments. Sometimes, it works (the title track and "Tonight"). Other times, it fails ("Pushin' Me Away" and the fourth quarter of "Love Bug"). You can appreciate the hit and miss as their growth as musicians.

That's when the growth pretty much stops.

Remember when I noted that the album would please the tweens, but not everyone else? Well, its pretty much the truth. Virtually every song on the album (save for the title track) deals with teenage love, relationships, etc. To be fair, they are teens (except for Kevin), but if only the same attention given to production value was given to lyrical content. "BB Good", the opening track, sounds like something they would do a year ago, completely below the rest of the album. "One Man Show", a kiss-off to a girlfriend, sounds more petulant than its meant to be. "Pushin' Me Away", while it is one of the most interesting songs production-wise, does nothing lyrically. Those noted, there are some songs that show lyrical growth. "A Little Bit Longer", Nick's song about diabetes, has more depth and complexity than is expected from a 15-year old. "Video Girl", a teen version of "Gold Digger", is pretty clever in its scolding of gold-diggers.

Along with the lyrics, there is one more thing keeping this album from true goodness; their voices. To be frank, they're not good singers. They are talented, no one's denying that (and if you do, you're just being a jerk). Singing just isn't their thing. Regardless of that fact, the two lead singers Joe and Nick tend to go out on a singing, stretching their thin vocal chords, releasing screeches and squeals that are hard to tolerate. They sound better when they don't push their voices to the limit, like they believe rock stars do. "Love Bug" is a good example of their voices sounding okay, when they just play it safe. "Pushin' Me Away" is a great example of their voices sounding tragic when they push things too far. Nick is more guilty of this than anyone. On "Sorry", he sings the second verse, and its excruciating (and I'm being polite).

Song-wise, the album is a mixed bag of good, terrible, and okay.The best song on the album, no contest, is "A Little Bit Longer", with its unabashedly poignant lyrics. The worst on the album is a tie between "BB Good" and "Pushin' Me Away". The first is a step backward for the group, while the second is a vocal disaster. The other songs fall somewhere in between (Burnin' Up toward the top).

Before I end this, let me make a few things clear. One, I am not dissuading the fans from buying this. It's perfect for them. For the rest of us, I can't be too sure. Two, I do not hate the Jonas Brothers. For personal reasons, I just can't (Nick and diabetes). I have listened to this album (thanks to MTV's The Leak) and I have done my best to write a unbiased review, from what I believe makes a good album. This review was written without malice, because I have none for them. Three, hating the Jonas Brothers is both pointless and pretentious. While I'm not jumping for joy over this album, the random hate for them is dumb. They are talented, and they have appeal (they sold 201,000 copies of an album in one day, for God's sake). That should be respected. Plus, insulting a group who are still practically kids for no real reason sounds not only pathetic, but obnoxious and tactless.

Now, I give this album a 6 out of 10. It is by far much better than their last album (it was practically impossible to listen to), but they still have a lot of growing as musicians to do. They showed that they can grow and expand their sound, but they still lack both the vocal ability and the complete lyrical maturity to cross over. Disney's support won't last forever (in fact, the head honchos are probably auditioning their replacements as I type), so they need to take bigger steps into the pop world. Hopefully for them, it will only take "a little bit longer".

BWU Recommends: "A Little Bit Longer" (#2 on the BWU Hot 40 as of 8/13), "Burnin' Up", "Love Bug" (try to ignore the ending), "Got Me Going Crazy"

Coldplay – Viva la Vida or Death and All His Friends Review

I’ve finally got my ears around this album and let me tell you, this is a great piece of work from them. Coldplay’s fourth studio album “Viva la Vida or Death and all his friends” will not disappoint. I’ve been a fan of Coldplay for quite sometime – listening and like a song here and there, but never enough to buy a whole album from them… Until now. One thing you’ll notice is that the tracks have a different feel from their previous works, but they’re still defiantly “Coldplay-ish”. And that's what it appears that they were aiming for – a new sound to give to their fans. My hat is off to them, for they’ve taken that risk and have actually succeeded.

The album starts off with “Life in Technicolor”, which is a nice little song without any lyrics. Yet still, it does a good job at setting up the rest of the songs. Think of it as a sampler of what’s to come later on.

The next three songs are “Cemeteries of London”, “Lost!”, and “42” continue with picking up the album’s momentum. “Cemeteries of London” and “Lost?” are great to get lost in (particularly “Lost”… Funny, huh?) “42” has this somber feel to it and then switches to a more giddier sound.

The fifth track is actually a two in one – the first of its kind in this album. It starts off with “Lovers in Japan” and then switches over the “Reign of Love”. “Lovers in Japan” is a strong song - it’s far from being at all mellow. On the other hand, “Reign of Love” is calmer than its predecessor. It smoothes out the mood “Lovers in Japan” started and gives a nice end to the track.

Next up is “Yes” along with the hidden track “Chinese Sleep Chant”. “Yes” starts off with a bit of a drawn out melody (hard to say, but you’ll get it when you listen to it) but then changes directions in a very good way. “Chinese Sleep Chant” like the name implies features a sort of chanting voice for the vocals. The music behind it though is a very good rocky tune that is fun to listen to.

Afterwards are the two singles that have been released – “Viva la Vida” and “Violet Hill”. I, like Brandon, enjoyed “Violet Hill” but I think I gravitate more towards “Viva la Vida” for some reason. Who doesn’t like a song referring to the aftermath of a revolution? (Seriously, I would like an answer....)

“Strawberry Swing” is the 9th track and one of my favorites. There is just something about it – maybe it’s in the fairly upswing-ish way it makes me feel as I listen. I can’t say that it’s truly upbeat or anything, but it is definitely one of the more higher tempo songs you’ll find here.

And finally we conclude with the double track “Death and All His Friends” and “The Escapist”. “Death and All His Friends” starts with a catchy tune from a piano, and then after a while adds a whole array of sounds for a great climax. I still walk down the street repeating, “I don’t wanna follow Death and all of his friends!” “The Escapist” ends the album in a similar way that it began – a dreamy like beat with very limited lyrics.

I would personally suggest heading on down to the iTunes store or wherever you download your music and getting it when it’s released. I’ve noticed that after a day or two of continually listing to it, it grew on me. Going along with Coldplay on their latest musical adventure was quite enjoyable and I, for one, am looking forward of whatever else they have in store.

Note: With the iTunes download you get two bonus tracks, acoustic versions of both “Lost” and “Lovers in Japan”. They sounded really nice acoustic, but I still love their original renderings.

Favs: “Lost”, “Strawberry Swing”, “Lovers in Japan”, “Viva la Vida”, and “Death and All his Friends”