No Doubt-"Push and Shove" Review

Jeez No Doubt, what took so long? 11 years between albums is long for any artist. True, there was the greatest hits album in 2003 that signaled a hiatus, but even so, maybe it would have been best to either disband the group or record new material as soon as Gwen Stefani's solo career concluded in 2007. But come the turn of the decade, they were back to the studio and give their very patient fans their long-awaited fourth album (to put it in perspective, Enya, who usually produces albums every half-decade or so, produced her first four albums in 12 years. It's taken No Doubt 17 years to make four albums).

So how much has happened to the members of No Doubt in 11 years? Well look at the song titles, the lead single "Settle Down" describes what Gwen did after her solo career, while the other members took it "Easy" and remained "Undercover". This album is named "Push and Shove", but the first two mentioned titles would have been more appropriate. No Doubt do retain their dancehall elements picked up in 2001, but the ska punk revival is absent for the first time in their careers. They're grown out of that phase, and now they seem like music veterans who know exactly what their fans want, what they can get away with, and what musical direction best suits them for which time period. "Push and Shove" contains songwriting and maturity not overly present in their previous albums. It has been usually covered up with the pouts and the attitude of Gwen and the defiant drum beats of the other members. It's a refreshing feeling to have so much steady pop on one of their albums instead of the style and flair of their 90s masterwork "Tragic Kingdom", and this album's predecessor "Rock Steady". Although they have not completely lost their style, "Push and Shove" brilliantly keeps their street cred but while also propelling them towards a more dance-pop oriented sound. Age has definitely influenced the band, but Gwen's solo career is the heaviest influence made to their overall sound. It's a necessary move, after Gwen went into a completely different direction than her band, 11 years later they need to update to her new sound if they still want to sound like a unified group instead of four different personalities in a studio.

No, they keep their unity strong, and they easily re-unite as if this album followed "Rock Steady" by 11 months, not years. They are not so heavy on being rebels anymore, but they still appeal to the punks, and the punks at heart. Whether it's the defiant "Settle Down", the chill "Easy" or the club-groovers "Push and Shove" and "Looking Hot", this record contains a track suited for anyone. No Doubt is a lot older now, they are wiser, but they still have that radio-friendly element that was omnipresent in the back half of the 90s.

"Push and Shove" was well worth the wait.

Recommended Tracks in Bold:
1. Settle Down         2. Looking Hot           3. One More Summer
4. Push and Shove  5. Easy                         6. Gravity
7. Undercover           8. Undone                    9. Sparkle
10. Heaven               11. Dreaming the Same Dream

Enya-"Amarantine" Review

 "Amarantine" means everlasting, which this album, sadly, is not. And it's quite unusual that her fourth album "A Day Without Rain" lasted a mere 37 minutes, yet it was enough to hold over Enya's eager fans for 5 years until the release of "Amarantine" in 2005. This album is much longer than its predecessor, but also not as memorable. Also, it will not hold you over for another 5 years for new material. So it's contradicting to name an album everlasting, when its content is not a very memorable collection of tracks. But some things to also keep in mind:

1) Her vocals. True, they've always been heavenly and have captivated us from day one, but her full utilization of them here is what sets this album apart from the rest, she's finally mastered a consistent, sweet sound that is devoid of any grit or any other vocal hindrance, just pure angelic voice from the woman who invented the term "Golden Pipes"
2) The Music. Once again, her music has always been a strong aspect of her career and what ultimately leads people to buy her albums. But what she has done with this album is that she's also learned to fully use her resources and produce songs that don't just set a lovely mood, but rather soothing songs that have real substance. So she's also mastered singing insubstantially, but not making the music itself silly or fluffy.
3) The Lyrics. When you listen to Enya, you don't really hear the words she sings, just the tone of her voice and the amazing production of Nicky Ryan. She has changed that with this album by making the lyrics the forefront of her songs and not just filler to give the song a purpose. So she's also mastered the perfect balance between unearthly sound and sentimental lyrics.

All of these mentioned points are what save "Amarantine" from the possible tragedy it could've become. Yeah you won't remember too much of what you heard, but in the moment you are listening to this collection, you won't be disappointed. Highlights of this album include the title track "Amarantine", my track pick "It's In The Rain", and "The River Sings", one of three tracks in which Roma Ryan's fabricated language "Loxian" is used. Enya hones all of her abilities here, even if you forget what you've been listening too after a while, she's done a nice job in leaving you wanting more, to wait until she released yet another album with more songs straight from the hands of God himself. 

 

Recommended Tracks in Bold:

1. Less Than A Pearl        2. Amarantine       3. It's In The Rain

4. If I Could Be Where You Are                      5. The River Sings

6. Long, Long Journey  7. Sumerigusa          8. Someone Said Goodbye

9. A Moment Lost           10. Drifting             11. Amid the Falling Snow

12. Water Shows the Hidden Heart

 

Enya-"A Day Without Rain" Review



In the new millenium, music was quickly starting to change from the big ballads of the nineties to a more rap and pop-oriented mainstream. And while most artists who emerged in the 80s and 90s (Michael Jackson, Janet Jackson, Madonna, Mariah Carey to name a few) continually change their sound to suit the populus, Enya does not. She consistently keeps her trademark sound of multiple voices, synths, strings, and simplicity, no matter which generation picks up the disc. True, even Enya has to make subtle changes to her etheral music in order to keep her overwhelming interest alive, but the more subtle changes she makes, the slightly better her albums become.

Way back in 1995, Enya delivered her most enchanting album titled "The Memory of Trees", which was her first album to be entirely synthesized. That was the most notable shift she had made in the four years separating that album and its predecessor "Shepherd Moons". But Enya, her lyricist Roma Ryan and her husband Nicky Ryan still kept the sound as close to her previous albums as possible, but also stripping away the darkness in favor for more effervescent tunes. That same principle works for "A Day Without Rain"; Enya's voice brings out the magic in Roma's already insubstantial lyrics, and then Nicky wraps it up into a shiny package. They continue to keep getting brighter, lighter, and even more spellbinding. The title track, which marks this album Enya's fourth consecutive album to open with an instrumental title track, perfectly exemplifies this brightness. It is supported only by Enya's voice and her talents on the synthesizer, but yet is never heard as synthesized or unnatural. Then again, when it gets to the pizzicato passages of "Wild Child" and "Flora's Secret", it is very easy to tell that there are no live instruments here. But elements like these are so slight compared to the overall mood of the album that it doesn't matter.

Although it does seem very silly to make her audience wait 5 years for a 12-track album that's 37 minutes long, Enya makes it well worth the wait. "The Memory of Trees" definitely had more captivating tracks, but "A Day Without Rain" carried no burden or heavy darkness ("Tempus Vernum" is only a small exception, it's dark but not overly frightening). Enya brings you exactly what the album is called, a day (or rather a very small portion of it) that carries no hardship or despair, just easy listening music to part the clouds in the sky for a bit. Especially with "Only Time", which is probably her best single to date, on the track list, "A Day Without Rain" will definitely keep you occupied long after its playing time.

Recommended Tracks in Bold:
1. A Day Without Rain       2. Wild Child                 3. Only Time
4. Tempus Vernum               5. Deora Ar Mo Chroi     6. Flora's Secret
7. Fallen Embers                   8. Silver Inches               9. Pilgrim
10. One By One                 11. The First of Autumn  12. Lazy Days

Artists and Albums

Alright! After eight years and seven albums, Barbadian pop queen Rihanna has finally scored her first no.1 album with "Unapologetic". While it is certainly not her best album, it's a worthy album to claim the top of the Billboard 200. So what took so long?

You see, Rihanna is the most liked person on Facebook with 62 million likes. So she beats out Eminem, Lady Gaga, Madonna, even Michael Jackson. She has had 12 number one singles and at least 20 top 10 hits. So, why did it take eight years for her to finally get a number one album?

The Billboard 200 is a chart that ranks albums from 1-200 based on copies sold each week. This past week "Unapologetic" sold 238,000 copies, being Rihanna's best sales week ever. That's it. Her 2010 blockbuster "Loud" peaked at number 3 with 207,000 copies, and her 2011 album "Talk That Talk" also peaked at number 3 with 190,000. Why the low sales? Believe it or not, selling 238,000 copies to get a number one album isn't a lot. Earlier this year, Madonna's "MDNA" got to number one with first week sales of 359,000, and then Justin Bieber's "Believe" debuted at number one with 374,000. Nicki Minaj's sophomore album "Roman Reloaded" started at number one with 253,000. So, it looks like Rihanna can turn out multiple smash singles and sell over 60 million singles worldwide, but when it comes to her albums, she has sold a mere 25 million. Over 7 albums, that's not that much folks. That's what I wanted to discuss today, is how a person can sell millions off of one song, but their LPs fail to replicate that success. First off, Rihanna can take solace in the fact that she's not the only one who sells millions of singles and not that many albums. Let's take a look at other artists who face the same problem:

Katy Perry
Yep. The girl who sings about bikini tops, peacocks, fireworks, and kissing girls has sold millions of singles off of each song she puts out there, but has only sold a measly 5 million albums worldwide. Her debut album "One of the Boys" peaked at number 9 in 2008, and while her much-talked about sophomore album "Teenage Dream" peaked at number one, it did so on the strength of only 192,000 copies. "One of the Boys" has sold 2 million albums worldwide, "Teenage Dream" has sold 3 million worldwide. She's had 7 number one singles, 10 top 10 hits, and all of her songs go on to sell at least 2 million copies in the US alone. So even with domination of the airwaves, why are people so reluctant to buy her albums?

Flo Rida
Same exact issue as Katy. Every single he releases hits the top 5, with most of them hitting number one. His debut single "Low" spent 10 weeks at number 1 in 2008 and was named the song of the year. He has since released "Right Round", "Good Feeling", "Wild Ones", and "Whistle". He has no problem getting his songs to sell, but not only has he not had a number one album, he has only had two top 10 albums. In fact, he has only sold 2 million albums worldwide.

Carly Rae Jepsen
You know, the mastermind behind 2012's best pop song "Call Me Maybe"? It has sold 10 million copies worldwide, and is still going. She exploded onto the music scene this year and even I thought that her sophomore album "Kiss" would sell a hefty amount. I was flat out wrong. Come September 18, the album was put into stores, and after the conclusion of its first sales week, "Kiss" debuted and has so far peaked at number 6 with a disappointing 46,000 first week sales figure. That's it? She's very appealing in person and has appeared in many events to put her name out there. So why the big flop?

Kesha
Ok, I know this kind of speaks for itself. Kesha's image definitely comes before her music, and I know everyone sees that as off-putting. But even so, her debut single "Tik Tok" has sold 13 million copies around the globe, and all of her other singles have reached the top 10 and have sold millions around the world as well. How many albums has she sold? About as much as Flo Rida, maybe a little more.

So it looks even the most popular figures in music experience downfalls. So back to question, if all of the above singers can completely own the American radio stations, why don't their albums sell as well as their singles? The answer may surprise you.

You see, singles are meant to be biopsies of the album itself, so whatever the singles are, they not only have an affect on the perception of the singer, but they can directly affect album sales. Think of Katy Perry. She releases songs like "California Gurls", the song is very catchy and addictive by itself, but getting a 12-track clone of that song (or at least that's the image that gets into your head) is quite a daunting task. Also, that song makes Katy seem like a tart instead of a substantial woman who deserves the attention she craves. Same thing with Kesha, yes "Tik Tok" is an addictive dance tune, as are her other singles, but after a while they get to be ingratiating after being played on the radio so many times. Getting an entire album of this material will just whither away the interest, so it's better to just get the song and enjoy the singles as they come. It's also cheaper to buy singles instead of entire albums priced at $9.99 or more.

Image is vital to singers, and whatever material they release directly affects that image. So after many songs of partying, we have a more lukewarm reception to Katy Perry and Kesha, who seem more desperate than enjoyable. And with Flo Rida's content of degrading women and the fact that he is so unoriginal (there's only a couple songs that don't use a sample from another hit song) also lead his perception to be more of a copycat. Carly Rae Jepsen may just be seen as too sweet, and it's just too much to consume all at once, so it's better to just get her best material instead of adding an entire album to your MP3 players. But Rihanna, that's a riddle. She's probably one of the most personable singers on the market right now, Facebook proves that she's very well liked, and she causes enough stir to stay relevant all the time. Her songs also don't lead to a negative connotation of her as a person. Knowing her immense popularity, she should be selling more. Then again, maybe the fact that she releases songs and albums at and alarmingly fast rate is what off-puts her fans. Before they can settle into one album, she already has several more in stores. Maybe she should give us time to miss her, and then in turn she will start to sell more.

But whatever the case, let's congratulate Rihanna for her accomplishment. She has already broken many musical records, this just adds one more to the tally. And many one day the above artists and many more will find a way to find the balance between image and music.

Enya-"The Memory of Trees" Review

Being different can get you pegged falsely. In Enya's case, her synth-driven, slow paced music with multiple voices has led her to be put in the new age genre. It would seem like the most fitting title to someone who doesn't usually acquaint themselves outside of their norm, but one thing is certain, Enya is not exactly a new age artist. True, she's not quite pop either, but her music is too ethereal and insubstantial to be thrown in with the rest of the new-age pack. But with "The Memory of Trees", this misnomer will continue to be the public's description of music this good.

Unlike Enya's first three albums, "The Memory of Trees" is entirely synthesized. So the strings and percussion are all the product of studio craftsmanship, not actual people. But Nicky Ryan once again works his magic and carefully layers the synths and Enya's luscious voice to both compliment each other, but never take focus off one another. The title track provides a pinnacle example of this, as its swooping voice background and bright percussive effects are woven together into an enchanting opening. Then, following the pattern of "Watermark" and "Shepherd Moons", the album shifts gears and works its way into a more upbeat and driving work, this time around known as "Anywhere Is". The third track, "Pax Deorum" is where the pattern breaks. One would expect a hushed hymn-like song such as "On Your Shore" or "How Can I Keep From Singing?" but not this time. "Pax Deorum" is a chant with one underlying line repeated under several more phrases. It is without a doubt one of the most dark pieces that has ever come from our new-age/pop queen.

This change of pace is ultimately what makes "The Memory of Trees" superior to its predecessors. Even if it is all computer calculated, it rather strips away any burden that a live musician could bring and instead focuses on effects and the voice, Enya's voice, which keeps its appeal throughout all tracks. There are three instrumental tracks, all of which are strong. The closing track "On My Way Home" is definitely more pop-oriented than any of her previous work, but is also more addiciting because of it. Enya doesn't end the album on a slow and introspective note, she keeps her widespread appeal and ends it on a happy note. And even within the album, none of the songs are classic Enya. There's the overly beautiful and gentle "China Roses" and the equally magical "Hope Has A Place" that start to define Enya's music more than any of her past albums. In 1995, music as strong and as contemporary as this hard to come by.

"The Memory of Trees" is Enya's strongest, and no doubt most spellbinding, album to date.

Recommended Tracks in Bold:
1. The Memory of Trees        2. Anywhere Is             3. Pax Deorum
4. Athair Ar Neamh                 5. From Where I Am     6. China Roses
7. Hope Has A Place              8. Tea-House Moon       9. Once You Had Gold
10. La Sonadora                     11. On My Way Home

Kelly Clarkson-"Greatest Hits, Chapter 1" Review

 

 

Remember when Kelly Clarkson won American Idol? Neither do I, since she is the only artist besides Carrie Underwood to make a name for herself without the help from the show. True, that’s the way she get recognized, but it was completely up to Kelly herself to make her a star in her own right.

 
Kelly started with the early 2000s generic pop, with a debut album whose title was also as obvious and generic as they come. So to make herself more than an ordinary pop-tart, she quickly reworked her sound to just comfortable fit into the mainstream, and the result was one of pop’s definitive albums “Breakaway”. After the title track’s debut, Kelly started to crank out the hits with no effort. The ultimate break-up anthem “Since U Been Gone”, and the very personal and quite frankly heartbreaking ballad “Because of You”, all made their way to the top of the charts. But even with all of that success, it wasn’t enough for Kelly to accept a pop-py sound, so she dyed her hair dark brown, added the steel guitars and pounding drums and created “My December”, which was at best a flop. It generated the top 10 “Never Again” but it didn’t even get a glimpse of the same success as its predecessor did. But she was quick to atone for this disaster with “All I Ever Wanted” in 2009 which brought her back to her pop/rock and big choruses. It generated the record breaking “My Life Would Suck Without You” which jumped from 97-1 on the Billboard Hot 100 and it became her second number one single (her first being “A Moment Like This” which she sang as her finale song on AmIdol). But fame was fleeting for that album as well, it only generated one top ten as well as 2 more top twenty hits. So she ducked under the radar to keep finding inspiration. In 2011, she turned to light rock and country influences with “Stronger” which was her best album since her 2004 blockbuster. Its two singles “Mr. Know It All” and “What Doesn’t Kill You” both reached the top 10, the latter becoming her third number one.

In just ten years, Kelly has already made a career path that could warrant “Greatest Hits, Chapter 1” to be her final compilation. Unlike her pop peers, it seems that Kelly has actually taken a journey and has discovered her own musical nirvana in the process. She has a voice like no other in 2012, and this compilation not only hits the marks it should, it is by far the best of all the numerous compilations that have been put into stores. All of the mentioned hits are here – her new material is very strong – every song works together and compliments Kelly’s considerable skills. From 2002 to now, what has kept Kelly at the top of the AmIdol pack is her humanity, and if this really is only the first chapter, then she will definitely have more compilations to come, even if hard-core fans will have to fabricate a reason to add a compilation to their collections.

 Recommended Tracks in Bold:

1. Since U Been Gone                2. My Life Would Suck Without You
3. Miss Independent                     4. What Doesn’t Kill You (Stronger)
5. Behind These Hazel Eyes      6. Because of You        7. Never Again
8. Already Gone                            9. Mr. Know It All       10. Breakaway
11. Don’t You Wanna Stay?       12. Walk Away             13. Catch My Breath
14. People Like Us                      15. Don’t Rush             16. A Moment Like This
17. I’ll Be Home For Christmas

 

Enya-"Shepherd Moons" Review

To put it mildly, "Shepherd Moons" is a carbon copy of Enya's second album "Watermark". Just like 'Watermark', 'Shepherd Moons' opens with an instrumental title track, moves on to a piece with a more lively tone (Caribbean Blue), and then it progresses to a hushed church-like piece (How can I keep from singing?). Also, a clarinet is once again featured in the album (on the song Angeles). The second to last track "Afer Ventus" reminds me of "The Longships", the second to last track on "Watermark", and then the closing title "Smaointe" features a pipe solo, just like "Na laetha Geal M'oige" on 'Watermark'. Lastly, another piano instrumental is placed right in the middle of the album (No Holly for Miss Quinn), just like "Miss Clare Remembers" in 'Watermark'. So the similarities are abundant and very present as you listen to this album. Because of this, "Shepherd Moons" kind of pales in comparison to its predecessor. Enya once stated that she would never let anything compromise the music she wishes to make, but one can not help but feel that she could have taken another direction with "Shepherd Moons" instead of basing it on the same formula as she did with 'Watermark'. But, with all of the shared aspects, this albums does a couple things that its predecessor didn't, and these subtle changes save the album from being brushed aside as an exact replica. 'Shepherd Moons' is her only album to re-create traditional hymns (How can I keep from singing and Marble Halls), and it is her only album to feature cornets and wind instruments (Evacuee). Two of the best tracks are the dramatic gaelic tune "Book of Days" and the eerie and mystical song "Lothlorien". Now that song should send chills down your spine because of its majesty, and it ultimately reminds you of the theme of this album. Enya wishes to whisk you away to the heavens, to travel to a world that is so beyond this one. She still does an excellent job this time around, but because of its striking resemblance to "Watermark", this album would've been perfect if Enya had changed her game a little more drastically.

Recommended Tracks in Bold:
1. Shepherd Moons    2. Caribbean Blue  3. How Can I Keep From Singing?
4. Ebudae                   5. Angeles                6. No Holly for Miss Quinn
7. Book of Days        8. Evacuee                9. Lothlorien
10. Marble Halls      11. Afer Ventus       12. Smaointe...

Enya-"Watermark" Review

This is technically Enya's second studio album. Her first is "The Celts" released in 1987, which coincided with her appearance on the BBC televions series of the same name. By 1989, Enya had already established her unique and celtic-oriented sound. Although what people didn't know is that she is the only artist singing on her albums. This voice layering, supported by warm synths and the swooping string melodies, separate her into her own genre of new-age tinged pop. "Watermark" is simply ahead of its time. Minimalist techniques were just starting to surface in the late 80s, but unlike the rest of the new age pack, this is music that's both substantial and yet light on the ears. True, "Watermark" is dogged a bit by a leering darkness found in both the haunting "Cursum Perficio" and the heavy ballad "Evening Falls", but these moments only emphasize Enya's brilliance to a strong and elegant degree. She finds a balance with these haunting tunes by throwing in "Orinico Flow", a song with the most irresistable "sail away" hook on the album, being driven by pizzicato strings, and then there's the compelling "Storms in Africa" (two versions can be found, one sung in Gaelic, the other in English, but the two versions are so similar either one will satisfy you) that breathes fresh air into this otherwise lulling album. Besides the upbeat "The Longships", the rest of the tracks sound more like church pieces instead of popular music. The lovely "On Your Shore" and the fine "Na Laetha G'eal Moige" focus in on Enya's undeniable vocal ability and remind you why she is at the top of the new-age pack. And she utilizes guest artists to play outstanding clarinet and bag-pipe solo passages, put right in the middle to increase overall quiality and still retain the overall mood. Fittingly enough, "Watermark" is best suited for a bubble bath, or a lazy day in the pool. But this will also work just fine in your stereo and in your car. As slow-paced and borderline stiff as this is, it's still high-quality music. It mixes technology with timelessness, making for one smooth and sublime sophomore set.

Recommended Tracks in Bold:
1. Watermark        2. Cursum Perficio          3. On Your Shore
4. Storms in Africa  5. Exile                              6. Miss Clare Remembers
7. Orinico Folow    8. Evening Falls                9. River
10. The Longships  11. Na Laetha G'eal Moige 12. Storms in Africa, pt.2

Rihanna-"Unapologetic" Review

Ever since her unfortunate altercation with Chris Brown in 2009, Rihanna has taken that experience to heart. It was very apparent in the heartfelt and dark “Rated R” released that same year. She was able to mask the pain with her 2010 blockbuster “Loud”, and then she slowly started to slip into a slump with 2011’s “Talk That Talk”. Perhaps it was time to change the game, even though releasing yet another album would prove only Rihanna’s overly consistent nature. She bares it all on the cover of “Unapologetic”, which suggests that RiRi would be the bold and innovative just as she was in 2007 with “Good Girl Gone Bad”. But her mission for improvement seems to be more of a dream with every passing album. As the years go by, Rihanna gets colder, harder, darker, and more distant. The lead single “Diamonds” is a refreshing exception, for as simple as it is, it’s still very addictive. But unlike other pop albums in 2012, the lead single is not the best track on the album. Even though much of “Unapologetic” does not push the envelope or head in any certain direction, there are still tiny moments where Rihanna shines bright. “Lost in Paradise” is a perfect example, along with “Nobody’s Business” with Chris Brown, which is no doubt another attempt to justify Rihanna’s love for her abuser. All of these tracks are found within the second half of the album, because aside from “Diamonds”, the first half is about as generic as rap-pop gets in 2012. And while “Diamonds” has simple lyrical content, the rest of the first half has barely any lyrics, just fuzzy beats and simpering voice overlays. Even the appearances of Eminem and Future cannot breathe life into these dreary tunes. But “Jump” is another exception and the David Guetta produced “Right Now” shakes things up slightly, only to keep the interest. But while the first half is definitely flawed, the second half is only slightly better. It focuses more on rock/pop and saccharine ballads. Somehow, one always manages to eclipse the other, resulting in a mess of roaring guitars, strained vocals and clumsy beats. Even though the seven minute long “Love Without Tragedy/Mother Mary” lightens the murk, it cannot illuminate it. Perhaps Rihanna would be better off if she just faced her emotions about her and Chris’ fight instead of covering them up with this mess of an album. There’s no doubt that Rihanna’s effort to make music and make it sellable is there, but if she continues to let her own mind get in the way of her music she won’t have many hits left.

A person can change a lot in seven years. We all know RiRi is not the same 17-year old who fired up the charts with “Pon De Replay”, but her identity crisis has never been so apparent the way it is here. She can’t decide whether or not she’s fine with her assault, or if she secretly resents it, even when she proclaims her feelings for Chris. Whatever the case, the fact that her music has now started to slip into darkness is even more unfortunate. There’s nothing bold or unapologetic about this album.

 

Recommended Tracks in Bold:

1. Phresh Off the Runway        2. Diamonds          3. Numb

4. Pour It Up                            5. Loveeee Song    6. Jump

7. Right Now                             8. What Now?        9. Stay

10. Nobody's Business    11. Love Without Tragedy/Mother Mary

12. Get It Over With         13. No Love Allowed   14. Lost in Paradise

 

Ke$ha-"Cannibal" Review

The timing couldn't have been better. After Lady Gaga's blockbuster hit "The Fame", she decided to give it an extension called "The Fame Monster" to hold over her eager fans until she came up with an full length album of new material. So it only seemed right to do the same with "Animal", since Ke$ha wanted to explore a new sound but needed time to do so, so she released her own EP "Cannibal" which was designed to keep her little animals satisfied, yet hungry for more as she began to work on her second full length album. Now seeing the album cover for "Cannibal" one thing was very apparent upon first glance, this album was going to have a darker sound than its predecessor, and it does. Ke$ha was simply having fun in her debut album, but she tries (keyword, tries) to get serious with a collection of songs that have more of a grit to them, and less fluff. However her intentions don't guarantee success, because there are still quite a lot of light-hearted moments that Ke$ha is known for, and it would be unwise of her to abandon her trademark this early in her solo career. So with this in mind she kept the familiarity of "Animal" with her sound, as she continues to dive into the club-cultures of America and delivers hit after hit of non-stop motion. Her only downfall this time around is the unneeded remix of "Animal" tacked on at the end, it doesn't bring anything new to the table and it actually is a shadow of the original song. But she had to end the EP with this track because its preceder "C U Next Tuesday" doesn't wrap up the album well. So "Cannibal" will definitely leave you wanting more, but that's what she ultimately wanted, to have you on close alert for the next time she explodes onto the music scene.

Recommended Tracks in Bold:
1. Cannibal               2. We R Who We R        3. Sleazy
4. Blow                     5. The Harold Song          6. Crazy, Beautiful, Life
7. Grow A Pear       8. C U Next Tuesday        9. Animal (Remix)

Ke$ha-"Animal" Review

Most scoffed when Ke$ha released her debut single “Tik Tok”. The nay sayers claimed that its silly and repetitive nature would turn Ke$ha into a one-hit wonder and nothing more. She was quick to prove them wrong, however, by releasing her first full-length debut “Animal”. Its title is not a coincidence; this is a ravenous, dirty, and unkempt set of songs for the classless masses of 2010, an era dominated by teen moms and the Kardashians.  “Tik Tok” was a very fitting choice for a lead single, as its super-sized hook and electronic production set the album up perfectly. Lyrically and musically, “Animal” doesn’t stray too far away from “Tik Tok” territory, each song pulsates on the insistent beats and mechanical flourishes. However, this isn’t electro-pop in the vein of Lady Gaga, actually, it’s quite the opposite. Gaga has built her career on the thumping euro-disco and euro-trash of the late 2000s, while Ke$ha’s sound is strictly American. It’s not meant to be on the cutting edge, nor was it designed to dig deeper than surface pleasure (the deepest “Animal” gets is how Ke$ha compares a lost love to feeling hungover). Although, that doesn’t mean it’s not good. If this album only had “Tik Tok” going for it, then all of Ke$ha’s haters would be right in saying that her career would end when that one song lost airplay. But “Animal” is more than that, meaning there’s not just one track that hits the blinding peak of “Tik Tok”, there are several. The heavy-footed “Take it Off” is about as good as dark-club music gets, and the harsh kiss-off “Blah Blah Blah” is instantaneously catchy, even if it does appeal to your worst senses. Albums like “Animal”, built upon raw sex appeal and dizzying heights to give it a bright commercial sheen, bring back Katy Perry’s 2008 smash “One of the Boys”. Although, the difference between “Animal” and “Boys” is that while Katy used her sexuality only to put her atop the mainstream, Ke$ha’s heart is fully invested in this debut, even when it stumbles. With so many great pop songs here, consistency wasn’t going to happen, as Ke$ha could only re-work “Tik Tok” so many times before the well ran dry. As many sassy electro-pop hits there are, an equal amount of empty filler (the buzzkill “Blind” and the half-hearted “Backstabber” being the main culprits) is found. Still, “Animal” is a considerable debut coming from an artist who’s been behind the scenes for years. She knows how to make great hits, and while her vocal talent is highly questionable, ultimately it doesn’t matter. “Animal” wasn’t designed to be deep; it was designed to be a fun, sunny record for the party-goers and club crawlers across America. Ke$ha knows what material suits her voice, and all in all, “Animal” is a rare debut that has several giddy moments, and it actually delivers on its promise. If you don’t like it, then that’s purely your fault, not hers.

Recommended Tracks in Bold:

1. Your Love is My Drug2. Tik Tok                3. Take It Off

4. Kiss and Tell                 5. Stephen                 6. Blah Blah Blah

7. Hungover                           8. Party at a Rich Dude’s House

9. Backstabber                      10. Blind                     11. Dinosaur

12. Dancing with Tears in My Eyes                       13. Boots and Boys

14. Animal

Carly Rae Jepsen-"Kiss" Review

One thing that Carly Rae Jepsen consistently has going for her is cuteness. Whether she's adoring a crush from afar, or frolicking in the backwoods with Owl City, her girlish voice and chipper demeanor make it awfully hard to hate Carly Rae Jepsen, even if her breakout single "Call Me Maybe" relied a bit too much on her cloyingly "cute" persona. Of course, looks and attitude aren't everything; especially when trying to distinguish oneself from the rest of the pop crowd, the ability to sell more than one type of image is crucial. When constructing an entire album, having more than just one type of song is essential, and while the similar aesthetic of sugar and spice runs its course throughout "Kiss", Carly Rae ends up being savvy enough to throw in subtle changes to the "Call Me Maybe" formula. Though that huge lead single favored disco strings, drums, and guitars, lead-off track "Tiny Little Bows" is pure 80s fizz, while cuts like "Tonight I'm Getting Over You", featuring dubstep rhythms and heavy synths, and closing track "Your Heart is a Muscle", recalling early-2000s balladry, are modern enough to keep "Kiss" in the new millennium. So it certainly is fresh: despite the many throwback moments to Madonna and Cyndi Lauper's early careers, "Kiss" never sounds out-dated or old-fashioned. Rather, it feels like Carly Rae Jepsen is just hauling classic techniques into the present, pulling it off with surprising amounts of efficiency, considering how little time she had to rush it into stores before "Call Me Maybe" wore out at mainstream radio. However, this same rush to create a fun, effortless pop album does hurt "Kiss" as well, mostly because the songs that don't qualify as single-material drag the album down considerably. Every pop album is bound to have some filler, but on a record as hastily thrown together as this, it's not surprising to see the songs that are aimed succinctly at the middle of the road almost veer the entire enterprise off course. The Justin Bieber-assisted "Beautiful" somehow benefits from being so lightweight, in contrast to "Guitar String/Wedding Ring", which might be the aural equivalent to cotton candy: fluffy, sweet, but disappears immediately after consumption. As a whole, it can be tiring to ingest all of "Kiss" at once, but in smaller bites, the hooks become stronger and the songs start to separate themselves from each other. Whether or not that's an indication of quality is completely up to the listener; some may appreciate how CRJ has created a record that's pure pop and frivolity, while others will be repelled because of that same reason. All said and done, though, what "Kiss" does undoubtedly succeed in is delivering a stronger sense of who Carly Rae Jepsen is as an artist. She really is here to just have some fun, no matter what the cost.


Recommended Tracks in Bold:
1. Tiny Little Bows      2. This Kiss            3. Call Me Maybe
4. Curiosity                       5. Good Time         6. More Than A Memory
7. Turn Me Up               8. Hurt So Good   9. Beautiful
10. Tonight I'm Getting Over You                   11. Guitar String/Wedding Ring
12. Your Heart is a Muscle

In Defense of Lady Gaga

So I know this is WAY late, but since I just published my review of her album "Born This Way", I think it's about time to de-bunk the accusation that "Born This Way" is a rip-off of "Express Yourself" by Madonna. First of all, I will let you know that I have listened to both songs. When I first heard "Express Yourself" I thought "Really?! This is the song that everyone keeps comparing 'Born This Way' to?!" I'm sorry, but they do NOT sound alike. I will agree they compliment each other and go off the same chord progression, but they are in different keys, different rhythms, and have different messages. True, Madonna and Gaga both share the same vocal range, which is a very good possibility for why everybody freaked out, but the fact is, they are different songs. End of story. Still don't believe me? Here's a video of the two songs played side by side:

http://www.youtube.com/watch?v=u48oWMGZR3E

But as long as we're on the subject of plagiarism and ripping songs off, why don't we discuss artists who have ACTUALLY ripped off other singers. Let's start with Madonna. Yep, that's right, even the queen of pop ripped off a song. And guess what, she did it with "Express Yourself" (GASP!!). "Express Yourself" is a rip-off of the 1971 song "Respect Yourself", so if you're still following this: people get mad at Gaga for supposedly ripping off one of Madonna's songs which actually ripped off an earlier song. True story. But the harsh reality of pop today: EVERY artist does it. Pop is getting so generic to the point where beats, chords, and everything in between is just getting recycled over and over again. But no one gets mad at those artists, just Gaga. Here's what I mean, here are some songs that sound a lot more alike than "Born This Way" and "Express Yourself:

Song 1                                     Song 2
"Halo" by Beyonce                 "Already Gone" by Kelly Clarkson
"Right Round" by Flo Rida    "You Spin Me Round (Like a Record)" by Dead or Alive
"Good Feeling" by Flo Rida   "Levels" by Aviici
"Tik Tok" by Kesha                "California Gurls" by Katy Perry and Snoop Dogg
"Check it Out" by Will I Am  "Video Killed the Radio Star" by the Bugles

Especially "California Gurls" and "Tik Tok", they only difference between them is the lyrics. They have the exact same chord progression, beat, vocal range, and key. But did anyone get mad at Kesha or Katy Perry? Does anyone get pissed off at Flo Rida for not being original at all for ANY of his songs? Seriously, all he does is take a super popular song from the olden days, puts it in his song and then adds a rap to it. And I'm pretty sure no one was mad at Kelly Clarkson for releasing "Already Gone" which is a carbon copy of "Halo". So why did the public get so infuriated with "Born This Way" when it only sounds vaguely similar to "Express Yourself"? Get over it people, because recylcing old songs is the norm for pop music, don't get mad at Gaga just because she's already become one of the most famous people in the entire world. And she is definitely more original than Flo Rida and Katy Perry, who just use generic pop and hip-hop beats to their material over and over again until they become almost indistinguisable from one another.

Lady Gaga-"Born This Way" Review

Given the fact that "The Fame", and its accompanying "The Fame Monster", was such a blockbuster with over 15 million copies sold worldwide, it's a blockbuster that's almost impossible to follow. So impossible, that not even the very competent Lady Gaga could top it. Especially with "Bad Romance" on the setlist, Gaga was going to have to dig deep in order to equal the success of "The Fame". She goes as far back as Bruce Springsteen, Whitney Houston, Queen, and yes, even Madonna, whose influence on Gaga is so great every song on this record could be compared to the queen of pop (but "Born This Way" does NOT sound like "Express Yourself", which is a rip-off of the 1971 song "Respect Yourself" by the Staple Singers, thank you very much). As far as a musical identity goes, Gaga spends more time channeling other great pop and rock artists instead of finding her own sound. Her fame will still rely on her image, regardless of the strong content of "Born This Way".
You see, what Gaga lacks in an over-unique musical sound, she more than makes up for it in her message, or rather, messages, political views, religious beliefs etc. We all know she wasn't born with blonde hair, and we definitely know she wasn't born infused with a motorcycle, but her uncanny sense of who her audience is was definitely born a certain way in which Gaga not only condones but emphasizes. Both Pink and Christina Aguilera have done their magnificent takes, and Gaga's approach isn't all that different, but it's also unapologetic. She does not shy away from any challenge, even if she ends up failing, the unwavering effort is still there.

"Born This Way" is a perfect representation of her platform, but not its album. The first track "Marry the Night" would have been a more apt title. She emplores you to enjoy yourself, no matter your race, gender, or sexual orientation. On the sole purpose of build-your-self-esteem music, she offers more than enough to keep her little monsters satisfied. Especially on her rock-n-roll rebellion "Bad Kids", which captures the more gnarly side of Mother Monster. But it's also unfortunate that these self-help tunes are the album's backbone, the rest of the content is catchy, but simply not as good. There are only three exceptions: "Heavy Metal Lover" with the best "ooh ooh" hook on the entire album, her ode to Lüc Carl, "You and I", and the album's best track, "The Edge of Glory", which features saxophonist Clarence Clemons and is indeed her most personal song to date. So Lady Gaga could not avoid the sophomore slump, but "Born This Way" is the best of that lot. It leaves Gaga with room for improvement, so she can once again dominate the world with the fresh pop and even more in your face statements captured in the bold "Government Hooker" and firey "Americano". "Born This Way" is a slight step back, but only to prepare for a much superior offering.

Recommended Tracks in Bold:
1. Marry the Night        2. Born This Way        3. Government Hooker
4. Judas                         5. Americano                6. Hair
7. Scheiße                     8. Bloody Mary            9. Bad Kids
10. Highway Unicorn (Road to Love)               11. Heavy Metal Lover
12. Electric Chapel      13. You and I               14. The Edge of Glory

Lady Gaga-"The Fame Monster" Review

 

 

 

"The Fame" introduced Lady Gaga to the music scene in 2008, but in 2009, "The Fame Monster" is what solidifies Gaga's position as a pop icon. What makes this EP far more superior than its already outstanding musical parent is its key differences from "The Fame". The first: personality. Of course "The Fame" already had loads of it to go around, but it wasn't Gaga's personality, it was that of the mainstream. "The Fame Monster" now explores Gaga herself, her experiences, and her sentiments. But even though, she reminds us of her humanity by weaving her knowledge of life into tracks based on dance-beats rather than guitars and drums, the only exception being the moving power ballad "Speechless". The second key difference: she lets in a darkness and a vulnerability not at all present on "The Fame", and it makes this counterpart all the more compelling because of it. Whether its the gritty, club-ready "Monster" or the hypnotic "So Happy I Could Die", there's not a single track that is shuffled aside as filler. Gaga makes sure every single note goes noticed and every single beat makes its way into your mind until you are out of your seat, especially in her best-ever single "Bad Romance". If the Beyonce assisted "Telephone" won't get you moving, then the tribute to the great women of our time ("Dance in the Dark") surely will. In only 8 tracks and 34 minutes, "The Fame Monster" not only overshadows its predecessor, but defines the gargantuan size of pop in the late 2000s, as well as the entity that is Lady Gaga, far better than "The Fame" ever could have. Lady Gaga is here to stay, and she is determined to be like the monster she sings of and completely dominate the mainstream. If "The Fame Monster" proves anything, she will.

Recommended Tracks in Bold:

1. Bad Romance              2. Alejandro                        3. Monster
4. Speechless                    5. Dance in the Dark           6. Telephone
7. So Happy I Could Die8. Teeth

Lady Gaga-"The Fame" Review

 

When you first look at Lady Gaga, it's hard not to write her off as a Gwen Stefani wannabe. They share the same passion for fashion, the same hair color, and even the same vocal range. But while Gwen made fame being a ska punk and a Harajuku girl, Gaga became known for her antics as well as her perfect pop confections. Her sexuality and her unwillingness to be subtle are what set her apart from the rest of the pop pack. Now she can hang with the likes of Madonna, who had been doing, well, exactly the same thing back in the 80s. But, with Gaga's higher-pitched voice she could very easily pass herself of as Blondie just as well. In short, Lady Gaga is the definition of fame. She's exactly what the rap-dominated world of 2008 needed, a fresh face who could even fresher pop to the table. It was inevitable, Madonna could only change her game so much before the mainstream demanded more. Lady Gaga not only meets its expectations, she far surpasses them.

 

While new artists of 2008 sang about to cliches and current trends of the world (Katy Perry's "I Kissed a Girl" is the best example), Gaga not only mocked them, but turned her mockery into fourteen very sellable hits that fit the mold that they are trying to break, and then modify it to make pop wider and more versatile. And while the subject matter of other artists remains firmly on themselves, Gaga takes a page from Shania Twain's book and creates tales that are not about Lady Gaga, the person. Let's face it, has she really ever faced a situation like "Starstruck", where she not only gets close to a celebrity but shares her favorite music with them? No, Gaga's listeners are meant to her themselves in her songs. She has her firm grasp on what the people are in to. She knows that club goers want to "Just Dance", and that girls love "Boys Boys Boys". Her fans don't want a "Paper Gangsta", and we all have that one person with those special "Brown Eyes". She even plays into the not-so good obsessions of the world today such as "The Fame" and especially the "Paparazzi", whose obessions has lead to some unfortunate automobile accidents...

 

Still, what makes "The Fame" such a great and cohesive album IS the gargantuan glossiness and relatability that bedecks its monster-sized hooks and its perfect production. This album is an entity too big to be dealt with all at once, so its brilliance lies in the fact that you will be on your infinite spin and you still find more to love. "The Fame" is a lean album with not an ounce of fat. Sure, there will always be a couple songs for filler, but even they sound as good as the sleeper-hit "Just Dance" and the very addictive "Poker Face". This is catchy pop, feel good music, and an album that busts the door open to many more artistic and career possibilites. Not just for Gaga, mind you.

 

Recommended Tracks in Bold:

1. Just Dance                     2. LoveGame                    3. Paparazzi

4. Poker Face    5. Eh, Eh, (Nothing Else I Can Say) 6. Beautiful, Dirty, Rich

7. The Fame                      8. Money Honey               9. Starstruck

10. Boys Boys Boys          11. Paper Gangsta           12. Brown Eyes

13. I Like It Rough            14. Summerboy

 

 

 

 

 

 

Great Number Two Songs

So with "Gangnam Style" falling 2-5 on the Billboard Hot 100, the magazine issued a feature naming the best number two singles that failed to reach number one on the chart. So I decided to make a list of my own, because there have been plenty of songs that should have reached number one, but never did. And it's very fitting I do this now after I just blogged about the singles that should not have reached number one, or if they did they shouldn't have stayed there for weeks on end. From the good songs to the really good songs, here are the top 20 singles that didn't reach number one, but should have:

20. Miley Cyrus-Party in the USA (2009)
19. Mariah Carey-Shake it Off (2005)
18. Greenday-Boulevard of Broken Dreams (2005)
17. Hoobastank-The Reason (2004)
16. Tag Team-Whoomp! There It Is (1993)
15. Gnars Barkley-Crazy (2006)
14. Ciara and Missy Elliot-1, 2 Step (2005)
13. Destiny's Child-Survivor (2001)
12. Taylor Swift-You Belong With Me (2009)
11. Sheryl Crow-All I Wanna Do (1994)
10. Shania Twain-You're Still The One (1998)
9. Jewel-Foolish Games/You We Meant For Me (1997)
8. LeAnn Rimes-How Do I Live? (1997)
7. Ellie Goulding-Lights (2012)
6. Missy Elliot-Work It (2002)
5. Avril Lavigne-Complicated (2002)
4. Kelly Clarkson-Since U Been Gone (2005)
3. Christina Aguilera-Beautiful (2003)
2. Donna Lewis-I Love You Always Forever (1996)
1. Lady Gaga-Bad Romance (2010)

P!nk-"The Truth About Love" Review

What a journey Pink has taken! Starting as an R&B queen with "Can't Take Me Home", and then quickly turning to pop with "Missundaztood". She tried her hand at rock with "Try This", but later chose the dance/pop scene with her best album "I'm Not Dead". Then after a separation from Carey Hart, she became a jack of all trades with "Funhouse". And to top it all off, after re-uniting with Carey and giving birth to her first child, she released "Greatest Hits...So Far!!!" which captured all of her best moments and wrapped them all up in a nice little package. While she has taken more musical directions than any other pop artist of her generation, the problem that arises with this is: what more can she do to get even better? And that's the initial frustration with "The Truth About Love". It includes mainly hard rock with a hint of Ke$ha-esque pop, so it is an unfortunate fact that just like the last time she made an album like this (Try This), "The Truth About Love" will not generate many chart topping singles. True, she lucks out with one of the best songs of her career (Blow me one last kiss), and she even includes her trademark boldness (Slut Like You and Walk of Shame). She once again shines with her self-help anthems (Are We All We Are and The Great Escape), and then comes her straightforward tales of love (True Love, The Truth About Love, and Try). She covers all of her basics, and even throws in her straight out silliness (How Come You're Not Here?). But that's the problem, as good as this music is, it's hard to deny that Pink has finally become predictable. She swears like a sailor, she makes you feel great about yourself, she harks about the hardships of life and love, and then she lets loose and sings about the joy of just having fun. And while she showcases her best duets since "I'm Not Dead" and also fianlly conquers the challenge of a slow ballad, there are none of the instant hooks that Pink is known for. While "I'm Not Dead" and "Funhouse" were as addictive and pop-py as all great pop should be, "The Truth About Love" does not instantly catch your eye. It will take a few listens, and in the end you still may not pick up the buried hooks, but with its faults, "The Truth About Love" is an album that music NEEDS this day and age, and it is undeniably the most adventurous and fearless album of 2012.

Recommended Tracks in Bold:
1. Are We All We Are?       2. Blow Me (One Last Kiss)  3. Try
4. Just Give Me A Reason 5. True Love                     6. How Come You're Not Here?
7. Slut Like You                  8. The Truth About Love         9. Beam Me Up
10. Walk of Shame           11. Here Comes the Weekend  12. Where Did the Beat Go?
13. The Great Escape

Nicki Minaj-"Pink Friday: Roman Reloaded" Review

Wanna know why Nicki named her sophomore album Roman Reloaded? Well the majority of it is obvious, her infamous alter-ego Roman Zolanski has re-fueled and is ready to come back even stronger than "he" appeared. The first track of this album entitled "Roman Holiday" kind of explains why Roman took a vacation. It's as good as an explanation that Roman and Martha, Nicki's second alter-ego can give. As you progress through the first six tracks of Roman Reloaded, after a while you realize the musical content is merely a facade, and Roman is essentially just screaming into a microphone with "his" trademark attitude and flare. Some tracks do offer alot of promise ("Roman Holiday" and "I am your leader"), while some are just downright hilarious, and embarrassing ("Come on a cone" and "HOV Lane"). After airing the dirty laundry, Roman calms down for tracks 7-9, all of which are highlights (especially "Sex in the lounge", for obvious reasons). And Roman essentially exits after track 9, because as soon as you hit "Starships", the whole direction of the album switches completely. Now we dive into the brighter, pop-py side of Nicki Minaj. The second half is where she manages to balance attititude with fun. Tracks 10-18 are all stand-outs and very good assests to this album. After the musical ear-garbage of the first half, Nicki offers songs you just can't skip. Now there's one thing left to cover, the greatly-panned and commerically hated closing track, "Stupid Hoe". Immediately upon its release, the overhwhelmingly negative response came from her fans, most of which said she was a stupid hoe for creating that song. It seems that this vicious attack on her rival is underappreciated. Believe it or not, "Stupid Hoe" is one of the most catchy and musically sound tracks on Roman Reloaded, and it offers a good story book ending. Roman Reloaded ended just like it began, with the harsh persona of this character. Long story short, if you cut the fat from this album, you are left with the very lean and mean beats that only Nicki/Roman/Martha can deliver.

Recommended Tracks in Bold:
1. Roman Holiday        2. Come on a Cone        3. I Am Your Leader
4. Beez in the Trap     5. HOV Lane                  6. Roman Reloaded
7. Champion                 8. Right by my Side       9. Sex in the Lounge
10. Starships                11. Pound the Alarm   12. Whip It
13. Automatic              14. Beautiful Sinner      15. Marilyn Monroe
16. Young Forever        17. Fire Burns               18. Gun Shot
19. Stupid Hoe

Crappy Number One Songs

So, Billboard has just announced that Maroon 5's "One More Night" is spending a ninth week at number 1 this year. Wow, I can't believe this song even topped the chart, let alone for 2 months straight. It's not that it's bad, but come on, NINE weeks at number one? That's kind of ridiculous. I can see why "Call Me Maybe" spent nine weeks at number one this year, that song is catchy as hell. But not "One More Night", this I don't understand. But I have a bad feeling that it might become the longest running number one of 2012, and it clearly doesn't deserve it. But, then I remind myself that this isn't even the worst song to top the chart for more than one week. "One More Night" is just one in a LONG line of songs that are either ok or bad, but yet ended up selling millions of copies. Here are some examples of such songs:

Flo Rida-Whistle (2 weeks at number 1)
Lil Wayne-Lollipop (5 weeks at number 1)
50 Cent-Candy Shop (9 weeks at number 1)
Wiz Khalifa-Black and Yellow (1 week at number 1)
Brandy and Monica-The Boy is Mine (13 weeks at number 1)
Soulja Boy-Crank That (7 weeks at number 1)
Chris Brown-Kiss Kiss (3 weeks at number 1)
Beyonce-Single Ladies (4 weeks at number 1)
Nelly and Kelly Rowland-Dilemma (10 weeks at number 1)
Ashanti-Foolish (10 weeks at number 1)
Rihanna and Drake-What's My Name? (1 week at number 1)
The Black Eyed Peas-Imma Be (2 weeks at number 1)

You see? I just don't understand all the hooplah. In other Billboard news, they also announced that "Gangnam Style" falls 2-5. Thank. God. I will evaluate my disdain of the song later, but there's the other bit of news that Rihanna's new song "Diamonds" jumps 4-2 and might possibly top the chart next week. Now THAT is a song that deserves number one. But this is my opinion, do you think that "Diamonds" is better than "One More Night"?

Ellie Goulding-"Halcyon" Review

"Lights" was a sleeper hit for Ellie Goulding. It was just one of those songs that needed to be played repeatedly in order to fully appreciate it. The same principle works for Goulding's sophomore album "Halcyon". It is a very appropriate title, since its meaning of calm and serenity perfectly describes this set as a whole. Starting with the warped voices and eerie production of "Don't say a word", Ellie's musical direction is far darker than that of her debut album "Lights". And while her vocals stretch far beyond her range, this strain comes across as endearing rather than irritating. Each song is packed with emotion, so there is no filler here. Each song was crafted perfectly to fit Goulding's musical and artistic vision. From the fantastic anguish of "My Blood" to the indie paradise of "Figure 8", she proves a song can be both meaningful and catchy at the same time. She does not need any auto-tune or drum-like synthesizers to make a track superior to the rest of the pop and indie pack. She sets herself far above those peers by finding the perfect balance of electronica and raw vocals. And the synths, the beating drums, and simple lyrical content only add to the brilliance of this album. While it is not quite indie, rock, or even pop, it's rather a happy medium between those three. Just like her smash single, Ellie Goulding shines throughout each of "Halcyon"'s 14 tracks, because while the producers provide interesting and chilling music, the strength of this album comes down to Goulding herself, and the sentiments she provides. While "Halcyon" is not a perfect album, mainly due to its redundant nature and its jilted momentum, its far more mature, and quite frankly better, than any other album released in 2012. Besides the heart-break anthems of Adele, and the equally compelling rock of Florence + The Machine, Ellie Goulding is best Brit to grace the mainstream of the US in a very, very long time. "Halcyon" is not quite as sleek as "Lights", but it's still a beautifully charming effort all the same.

Recommended Tracks in  Bold:
1. Don't Say a Word              2. My Blood          3. Anything Can Happen       
4. Only You         5. Halcyon       6. Figure 8       7. Joy                                         
8. Holding On                        9. Explosions        10. I Know You Care     
11. Atlantis                            12. Dead in the Water
Bonus Tracks:                        13. I Need Your Love     14. Lights

Taylor Swift-"Red" Review

In case you weren't aware, Taylor Swift wants to break into the pop scene. She was edging away from country before, but her fourth album "Red" is her first full-on flirtation with pop. However, flirtation is the key word, not conformity. Take for example "Stay, Stay, Stay", a song that's laced with  an incessant hook and whimsical music, the framework for a pop song, but it goes against conventional wisdom and is worked to fit the country mold. The banjos, light drums, and Southern accent take the forefront to retain her country appeal, but works very well as a pop song, too. With that said, that track is a rarity on this album. It appeals to a country audience as well as a pop one, which is what Taylor Swift has been striving for since her "Fearless" breakthrough in 2008. But, that can't be said for the rest of the album.

With "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble" as the main culprits, this album is Taylor Swift's first explicit attempt to gain a cross-cultural appeal, plain and simple. Those two songs are easily some of the best she's ever recorded, the former (also the lead single) is a very successful pop-crossover hit, while the latter introduces Taylor to dubstep, sugary guitars and big, blown-out choruses. There's nothing wrong with a change of pace, but execution is also another part of the process that "Red" doesn't seem to grasp. One would make the assertion that Taylor Swift was never all that country to begin with, and to a certain extent this is very true. She always tried to shape her songs for mass consumption, and in doing so she created a good string of country-pop hits. But there's one key element that separates "Red" from "Fearless". In 2008, Taylor was still relatively new, she had yet to experience the high and blinding effects of fame (an issue in which she addresses eloquently in "The Lucky One"). But now in 2012, there's no denying that the inner diva has started to make its way forth. Mostly because four albums in, there's nothing new Swift has to say about non-relationship based material. Also, what made "Fearless" and "Speak Now" so appealing was that girlish and subtle touch that she brought to them. There's nothing subtle about "Red"; its opener "State of Grace" is riveting and cold, "Red" (the title track) is an excellent, blown out song with country influences still in tact, "I Knew You Were Trouble" features a robotic production and ingratiating hook, and all of the ballads present their subject matter with the subtlety of a jackhammer. True, it's not easy to tell who she knew was trouble, or who she had a "Sad, Beautiful, Tragic" love affair with, but nevertheless, they're still about someone in particular. It follows her trail of revenge love songs that she started with her debut, but after six years in the music game, even Taylor is running low on new and original ways to execute them. Most of the ballads here (excluding the closer "Begin Again", a soft and heartwarming tune), are too saccharine for their own good, and even the guest appearances of Gary Lightbody and Ed Sheeran can't bring them out of Taylor's simpering murk. What's also problematic is how her music is becoming increasingly similar, which only adds to the album's staidness. But most of all, it's what exactly this record is supposed to be that becomes in undoing. To be sure, it's not a country album, but it's also too acoustic to be thrown into pop. "Red" is pulled tight between these two extremes, as she holds on to her roots but is obviously hungry for mass appeal, which leaves half the album a wash of sound, while the other contains a slew of detached pop songs that are appealing, yet lack personality. As a whole, "Red" is cold and calculated, it bounces back and forth between her familiar territory and her pop ventures, and these constant shifts and the overall tonal inconsistency leave this album to be a frustrating mix of sensational and skippable.

Recommended Tracks in Bold:

1. State of Grace                     2. Red                         3. Treacherous

4. I knew you were trouble   5. All too well             6. 22

7. I Almost Do                        8. We are never ever getting back together

9. Stay, Stay, Stay                  10. The Last Time       11. Holy Ground

12. Sad, Beautiful, Tragic       13. The Lucky One   14. Everything has changed

15. Starlight                            16. Begin Again