Shakira-"Fijacion Oral Vol.1" Review

Since 2001's "Laundry Service" was a blockbuster English-speaking breakthrough for Shakira, it makes sense that its sequel was released after four years of hard work. And it's a good thing too, since "Fijacion Oral" doesn't equal its predecessor -- it surpasses it. "Laundry Service" was definitely a solid English record, but what "Fijacion Oral" reminds us of is that Shakira is at her best, both musically and artistically, when she speaks in her native tongue, therefore she's given more room to explore her musical horizons.

This time around, after gaining worldwide appeal, Shakira now aims to create versatile pop that's suited for all ages, and welcomes all nationalities. In order to achieve this, Shakira really had no choice but to split "Fijacion Oral" into two volumes: one in Spanish, and one in English. This way, her multi-purpose pop will be just as appealing to English audiences as well as Spanish ones. Right away, it's instantly noticeable that "Fijacion Oral" is the right first step in order to achieve this. On the album, you not only have the Latin pop of "La Tortura" and the fantasic disco-pop of "Las De La Intuicion", but you also have 60s jazz featured in "Obtener Un Si", and all three tracks can fit right alongside hushed acoustic pieces like the opener "En Tus Pupilas" with grand efficiency. Also, all twelve tracks are crafted big enough to appeal to the masses, but are subtle enough to expand on Shakira's roots and take her music to heights unseen since her 1998 smash "Donde Estan Los Ladrones?". And every tracks flows right into another with remarkable ease, so you can follow big dance numbers with the organic acoustics of "Die De Enero" with no problem. Although this does cause these songs to not sound distinct as a whole, individually, they are as strong as anything found in her "Ladrones" days in the 90s. This is definitely Shakira's most mature and restrained album, but yet it retains her Latin fire to an elegant degree. "Lo Imprescendible" assures her audience that her flare will never be absent from any one of her albums, and "La Pared" uses the eerie synths of The Eurythmics to prove she can do retro pop just as well and not lose anything in translation. Even if "Fijacion Oral" is completely in Spanish, it's somehow still understandable. It's sweeping and infectious emotions are easily heard through the exquisite production, and her voice is honestly much more suited for her native language, anyway. With all of its addictive pop and rousing sentiments, "Fijacion Oral" is definitely a worthy successor to both "Laundry Service" and "Ladrones", and with the increasingly compelling Latin diva behind the music, it makes for a very strong pop record, a strength unseen on any other album in 2005.

Recommended Tracks in Bold:
1. En Tus Pupilas                  2. La Pared                            3. La Tortura
4. Obtener un Si                      5. Dia De Especial                  6. Escondite Ingles
7. No                                       8. Las de la Intuicion             9. Dia de Enero
10. Lo Imprescendible            11. La Pared (Acoustic)          12. La Tortura (Remix)

Billboard Chart Review-1/31/13

First off, I would like to express my disdain for the new Billboard.com design, it's so confusing!! It's harder to tell what everything means, so it was rather difficult trying to find all the information for this week's chart review. But I did it, and this week's chart dated February 9 actually reflects the sales week of  January 22-January 28.

The Billboard Hot 100:
Song                                        Position           Last Week
Thrift Shop                              1                      1          *Airplay Gainer* *Pacesetter*
Locked Out of Heaven           2                      2
Ho Hey                                   3                      3
I Knew You Were Trouble     4                      5
Scream & Shout                      5                      6
Don’t You Worry Child         6                      7
Beauty and a Beat                  7                      9
Diamonds                                8                      8
Home                                      9                      10
Fuckin Problems                     10                    15
Alright! "Thrift Shop" logs a second week at number one! "Ho Hey" may never get past number 3 because "Locked Out of Heaven" is going to take some time to decline off the chart. The same situation with "Diamonds", it reached number one a long time ago but is still wildly popular and thus has not left the top ten in a long while. Finally "I Knew You Were Trouble" is going back up, "Scream & Shout" and "Don't You Worry Child" are dance-pop hits so of course they're going to continue to climb up the charts. Ughh, "Beauty and a Beat" rebounds, most likely because Nicki Minaj is featured. "Home" rebounds as well, wasn't expecting that (obviously). And "Fuckin Problems" is new to the top ten, it's from a rapper so I know it's not actually good, it's just popular. Outside of the top ten: Pink rises 13-11 with "Try" (its highest peak yet, can it finally break the top ten??!!), Calvin Harris and Florence rise 17-14 with "Sweet Nothing", Maroon 5 is on their way to another top ten hit as "Daylight" shoots 21-17 (I hate this song, btw), and "One More Night" is right behind it falling from 11-18. Fun's "Some Nights" falls 18-20 in its 49th chart week, Ke$ha makes a small leap from 30-28 with "C'Mon", its ascent will now slow down as songs in the top thirty present fierce competition, The Band Perry falls 28-29 with "Better Dig Two" (I just bought this song and I LOVE it), "Call Me Maybe" falls 41-43 in its 49th chart week, and "Somebody That I Used to Know" rises 45-44 in its 56th chart week. As I predicted, "Lights" is no longer on the chart, but Ellie Goulding's "Anything Could Happen" rises 64-60 this week (it has so far peaked at number 47); hopefully it will start to go up the charts again.

The Billboard 200:
Album                                     Position           Last Week
Set You Free                           1                      -
The Lumineers                        2                      7
Pitch Perfect                           3                      3
Grammy 2013 Nominees        4                      -
Kidz Bop 23                           5                      2
Babel                                       6                      9
Long.Live.A$AP                    7                      1
Unorthodox Jukebox              8                      5
Red                                         9                      4
Les Miserables                        10                    6
As Billboard had predicted, Gary Allan scores his first number one wit "Set You Free". It only sold 106,000 copies, but as previously stated: January is a slow sales month. This is also why The Lumineers shoot 7-2 this week: there is simply no competition. I'm so glad "Pitch Perfect" is still up there, that soundtrack is awesome! The Grammy Nominees scores another top ten, which is to be expected as it contains all of the great songs released in 2012. The rest of the top ten is very predictable, of course "Kids Bop" falls (it's not good anyway), of course Mumford and Sons rebound, and it's not surprising that A$AP falls 1-7, because rappers' albums only sell in their first week, and then everybody forgets all about it. Well, last week was probably the most uneventful week yet, as there are no significant jumps or falls. Adele's "21" falls 12-22 in its 101st week (if you can call that exciting news), Rage Against the Machine has the biggest lunge as their eponymous album soars
192-102, and Pink's 2008 album "Funhouse" shoots 186-139. Also, it is very odd that Michael Jackson's 1983 smash "Thriller" rises 88-52 (why the sudden re-interest?). Taking the biggest plunge is Katie Armiger as her album "Fall into Me" collapses 32-194 (and that is actually a huge drop).

Next week, reports say that Justin Bieber is bound to take number one with his acoustic version of "Believe"...yeah, America really needs to get their shit together.

The 50 Songs That Defined My Childhood

From that fateful day in 1994, I've been listening to music right out of the womb. I was able to sing my favorite songs when I was two, before I even knew how to properly speak. So, as you can tell, I've been on this nostalgia trip with all of that great music from the 90s and beyond. So, I went through all of my favorite songs from when I was a kid, so from 1994-2003, and I compiled a list of the best fifty songs that defined the first part of my life. So much great music that I would always listen to and play over and over in my head, but I did it! You can let me know if the songs that defined your childhood are different :)

50. Madonna-Music (2000)
49. Britney Spears-Baby One More Time (1999)
48. Backstreet Boys-I Want It That Way (1999)
47. Sarah McLachlan-Angel (1999)
46. Jennifer Lopez-Waiting for Tonight (2000)
45. Shakira-Whenver, Wherever (2001)
44. Michelle Branch-All You Wanted (2002)
43. Aaliyah-Try Again (2000)
42. Blink 182-All The Small Things (2000)
41. Third Eye Blind-Semi Charmed Life (1997)
40. Kylie Minogue-Can't Get You Out of My Head (2001)
39. Alanis Morisette-Hand in my Pocket (1996)
38. Mary J Blige-Family Affair (2001)
37. Christina Aguilera-Genie in a Bottle (1999)
36. Ricky Martin-Livin La Vida Loca (1999)
35. Nickelback-How You Remind Me (2002)
34. Green Day-Time of your Life (1998)
33. Nelly Furtado-I'm Like a Bird (2001)
32. Semisonic-Closing Time (1998)
31. TLC-Waterfalls (1995)
30. Dido-Thank You (2001)
29. Sixpence None the Richer-Kiss Me (1999)
28. Smash Mouth-All Star (1999)
27. 3 Doors Down-Kryptonite (2000)
26. The Calling-Wherever You Will Go (2002)
25. Natalie Imbruglia-Torn (1998)
24. Matchbox Twenty-Unwell (2003)
23. Lifehouse-Hanging by a Moment (2001)
22. Third Eye Blind-Jumper (1999)
21. Sugar Ray-Fly (1999)
20. Vertical Herizon-Everything You Want (2000)
19. Alanis Morisette-Head Over Feet (1996)
18. Nine Days-Absolutely (Story of a Girl) (2000)
17. Pink-Get The Party Started (2001)
16. Santana and Rob Thomas-Smooth (1999)
15. TLC-No Scrubs (1999)
14. Vanessa Carlton-A Thousand Miles (2002)
13. Des'Ree-You Gotta Be (1995)
12. Jewel-Foolish Games/You Were Meant for Me (1997)
11. Train-Drops of Jupiter (Tell Me) (2001)
10. Shania Twain-You're Still the One (1998)
9. Enya-Only Time (2001)
8. Avril Lavigne-Complicated (2002)
7. Coldplay-Clocks (2003)
6. Cher-Believe (1999)
5. Goo Goo Dolls-Iris (1998)
4. Alanis Morisette-Ironic (1996)
3. No Doubt-Don't Speak (1996)
2. Sheryl Crow-All I Wanna Do (1994)
1. Donna Lewis-I Love You Always Forever (1996)

Donna Lewis is my favorite, btw :)

"Pitch Perfect" Review

WHOOP! This is MaestroBlog's 100th post! To celebrate this special occasion, I will do my first movie review on a musical comedy that I can't get enough of at the moment. Enjoy!

"Pitch Perfect" Review


Arriving at a time when pop culture is dominated by singing contests and "Glee", "Pitch Perfect" might at first seem like a rushed and half-assed comedy that only plays into stereotypes of vocalists everywhere, but fortunately, that is not the case at all.

In fact, "Pitch Perfect" feels genuine. The actors' singing voices are strong -- the storyline, as rushed as it is, doesn't wallow in the characters' personal lives -- the jokes are funny -- and those performances...damn. Although the minor characters seem one-dimensional, and the main characters a little too celebrated, the cast as a whole gels very well. However, despite strong performances from Anna Kendrick (who plays Beca, a misunderstood music producer) and Skylar Astin (who plays Jesse), who's characters have such strong sexual tension it's indellible, if a little predictable, it's Rebel Wilson that steals the entire show. Her character "Fat Amy" is essential to "Pitch Perfect", so much to the point of: if we didn't have Fat Amy, there would be no movie. She's given the best punchlines, the most comedic approach to the ways of the Barden Bellas, and her interactions with the rest of the cast give this movie its backbone (as far as comedy goes).

The rest of the cast each give equal emphasis to both music and comedy: while Anna Camp does a knock-out portrayal of an uptight a-capella girl, Brittany Snow delivers a nice relief from the drama (although, getting her "nodes" removed would never result in a lowering of the singing voice), and Ester Dean, who makes her film debut, reminds us all why she's the go-to girl for pop hits (like "S&M", a number in whihc she sings in the movie). And all cast members work with the flimsy script, as they deliver their lines with sincerity to make the audience overlook the ok dialogue. While the plot of "Pitch Perfect" is predictable in every single way (even though Beca's monologue about how predictable movies are will try to convince you otherwise), what's simply incredible are the numerous musical performances. Since there are so many of them, there's little time to provide exposition (in this case, the Barden Bellas are trying to win a  singing competition), so at times the dialogue seems like filler. But come show-time, all characters are show-stoppers, and bring this film to life.

Essentially a "Bring It On" for musicians, "Pitch Perfect" is definitely cliched, but this is how cliches should be used. In fact, the predictability of this film is kind of a good thing, it makes sure that the storyline doesn't distract from the true focus of them film: music. From Anna Kendrick's stellar performances with cups, to both the Bellas and the Treblemakers' final numbers, they all provide covers that are infectious, and will keep "Pitch Perfect" a refreshing film, even after infinite plays.

Avril Lavigne-"Under My Skin" Review

Since "Let Go" titillated with no effort, expectations for its successor were extremely high. Most singers would crumble under this kind of pressure, but not Avril Lavigne, she fires again fresh off the heels of her 2002 blockbuster and does it with full confidence. Releasing an album so quickly after its predecessor might lead to the assumption that the quality would have declined, but such is not the case with "Under My Skin"; if anything, this album surpasses its predecessor.

While "Let Go" was indeed hit-ladden, it still seemed like the diary entries of an awkward and sophomoric 17-year old. And Avril was quick to admit that even she wasn't prepared for its massive success, so with an earnest debut out of the way, why mess around the second time out? Avril avoids the sophomore slump with an album that's more well-rounded and less random than "Let Go". While it's also depressing, the unadulterated hard rock and heavy emotions make "Under My Skin" a smoother listen as well. It begins with the cool "Take Me Away" and jumps right into "Together" with its synths and foreboding darkness. Much of the album is structured like these two tracks; this time there is no light-hearted pop like "Complicated" or the slow string driven "I'm With You", instead, we have the junky thrill of "He Wasn't" and the beautifully haunting "Forgotten". As the title proves, "Under My Skin" features an Avril who has found her niche, and is continuing to develop her style. To achieve this, she ditches the Matrix and Max Martin, who penned most of her debut, and works with fellow Canadian songwriter Chantal Kreviazuk to reveal more of Avril Lavigne, the person, not the pop product. Together, they craft an addictive album with instantaneous hooks, and while no song here is light in any way, it's more personal. This album offers something for any imaginable audience. "How Does It Feel?" will definitely ring with the outcasts, "Fall to Pieces" captures the anxiousness of love nicely, and "Freak Out" is the perfect party anthem. And in true Avril fashion, she ends this already depressing album with "Slipped Away", a heart-wrenching ode to her deceased grandfather. But this sad note also reveals the brilliance of "Under my Skin" as a whole: while it is more personal than her previous work, Avril has managed to create a fantasic rock-pop record with messages that are intensely relatable. She offers no apologies for who she is, and while she aimed to please her own musical ambitions, she has still managed to give her fans chicken soup for the soul in the process. And it's safe to say this is the first time where listening to an album drenched in depression can be easy listening all the same.

Recommended Tracks in Bold:
1. Take Me Away        2. Together                 3. Don’t Tell Me
4. He Wasn’t              5. How Does it Feel? 6. My Happy Ending
7. Nobody’s Home     8. Forgotten                9. Who Knows?
10. Fall to Pieces        11. Freak Out          12. Slipped Away

Alanis Morisette-"Jagged Little Pill" Review

While this is technically her third album, Alanis Morisette strikes a sympathetic chord with "Jagged Little Pill", and it seems like she's arrived out of the underground of alternative rock. However, her first two albums were centered around dance-pop, and were released well before her dramatic break-up with Dave Coulier in the early 90s. This, along with many other personal problems, led to the confection that is "Jagged Little Pill". Its title suggests an acid trip gone wrong, a description that seems appropriate yet not precisely accurate.

In context of the album's structure, "Jagged Little Pill" is definitely as jagged as it proclaims. It possesses an intense grit in both the music and Alanis' voice, which is definitely distinctive, yet it's not developed well. Sometimes it works, most specifically in "You Oughta Know", a bad-ass rocker track that tears into her ex-lover with no boundaries. But as anthemic as it can get, this album as a whole doesn't maintain a steady flow, and is either phenomenal or it completely misses the mark. Like the over-long "Forgiven", some songs play out like they were written by a sophomoric 19-year old, who has yet to settle into her own skin. And that will happen with any artistic change, especially from glossy sheens to screaming harmonicas, Alanis gets a little buried under the weight of her own ambitions. But at the same time, this over-exertion leads to some stellar moments. In addition to "You Oughta Know", "Hand in my Pocket" captures her inner-hippie very well, "Ironic" retains her pop roots but adds enough guitars and drums to make it lively, and "Head Over Feet" captures a moment when she is ready to open up to love a second time. Even if it's not completely sensational, "Jagged Little Pill" is still compelling, mostly due to its confessional nature. At its highs, this is as good as alternative rock gets in 1995, and at worst it just feels like a tired effort to show versatility. With that said, what makes this a worthwhile listen is how Alanis confronts her emotions dead on and articulates emotions so common, that most people would be ashamed to show them. From a lover once burned by love, she turns her angst into genuine and blown-out music. While none of these elements can make "Jagged Little Pill" perfect, they still craft a record that's exquisitely personal, and for the most part, it does its job of transitioning Alanis from an awkward teenager to a wise songwriter. With the help of expert producer Glen Ballard, it's sure one hell of a ride.

Recommended Tracks in Bold:
1. All I Really Want                2. You Oughta Know            3. Perfect
4. Hand in My Pocket           5. Right Through You             6. Forgiven
7. You Learn                           8. Head Over Feet                 9. Mary Jane
10. Ironic                                11. Not the Doctor                  12. Wake Up

Shania Twain-"Up!" Review

"Come On Over" proved that Shania's domination of country-pop would not let up, as no less than twelve singles were released from the album. Five years later, its follow-up, simply titled "Up!, follows the approach used on "Come On Over": super-sized country-fied pop that is versatile, never being pigeon-holed into any particular style (as supported by the fact that "Up!" is available is three different mixes, all to prove how versatile each of its 19 songs is). But, when compared to her previous albums, Shania has outdone herself in the greatest possibly way.

One thing that makes all of her albums such masterpieces is the fact that virtually none of the songs about Shania Twain, the person. She has never faced a situation like "Waiter! Bring Me Water!", and it's safe to say she wasn't pregnant at fifteen as told in "I Ain't Going Down", but that's what has made her such a superstar. Anything that can't be related to the listener is discarded, so not-present are more introspective songs that occupy most of a singer's repertoire. This principle is what she lives by, and it works wonders for "Up!" as well. In fact, 2002 needs albums like this: ones that don't wallow in desperation or pretention, but instead have plenty to offer to any audience possible. And that sums up the content of this album: universal anthems for lovers, the brokenhearted, songs to get you through the day (especially the album's best track "C'est La Vie"), and then the much needed jabs at the obsessions of pop society (very notable is "Ka-Ching", a refreshing reality-check for our materialistic ways). All of the messages here are straightforward, and then Mutt Lange blows them up, shapes them, and finishes them off with epic choruses and multi-purpose hooks. Spread over nineteen indelible tracks, this is gargantuan pop that creates one hell of a journey. Captivating in every way, "Up!" is sure to continue Shania's monster-sized appeal, even if it might take a few tries to love this album as a whole. The flow is never jilted, so it's easy to move from one song to the next and not keep track of all the hooks. But, once you find your away around the land, every song comes together in a perfect and incredibly fulfilling package. From start to finish, "Up!" is intensely relatable, and contains a high quality that's more present than any other album of 2002, and could possibly be the most sensational album of this decade.

Recommended Tracks in Bold:

1. Up!              2. I’m gonna getcha good!      3. She’s not just a pretty face

4. Juanita         5. Forever and For Always  6. Ain’t no particular way

7. It only hurts when I’m breathing                  8. Nah!

9. (Wanna get to know you) that good!         10. C’est la vie

11. I’m jealous           12. Ka-Ching!          13. Thank You Baby!

14. Waiter! Bring Me Water!                        15. What a way to wanna be!

16. I ain’t goin down  17. I’m not in the mood (to say no!)

18. In my car (I’ll be the driver)                     19. When You Kiss Me        

Song of the Day-"The Writer" by Ellie Goulding

As of 2012, I am officially obsessed with all things Ellie Goulding. Her voice, her songs, her accent, it's all so amazing!! But as I first listened to her debut album "Lights", one song really stuck out in particular. That song was "The Writer", and I have been listening to it non-stop since the beginning of 2013.

So what's so great about this song? A song's quality can be measured by two things: lyrics and music.
The music is in the key of A Major, which makes this song light and happy. It starts off with twinkling synths and a piano soon plays a lovely ballad melody. A guitar and strings keep the flow of the song and when the drums come in, they gently charge to song without piling things on. And then there's Ellie's voice...holy crap it is awesome!! She mixes breathy vocals with a gentle charm that's eargasmic upon the first listen, and when she adds more power to her voice, it also helps the song lift off the disc and into the big recesses of your mind. To put this all simply: it's instantly addictive and it maintains high quality, both in music and in lyrics.

Now the lyrics:

"You wait for a silence
I wait for a word
Lie next to your frame
Girl unobserved
You change your position
You're changing me
Casting these shadows
Where they shouldn't be"

So with this first verse, obviously this song is about a crush that does not seem to notice you. They take your breath away, but they just don't know it. Usually I try to stay away from songs like this, but as I've stated before, the music just sucks you in.

"We're interrupted by the heat of the sun
Trying to prevent what's already begun
You're just a body
I can smell your skin
And when I feel it, you're wearing thin"

Ok, so there's actually a plot to this song. Now we've moved past the guy not noticing her part, and now they've begun a romance that is heating up fast. And I'll now point out the metaphors that Ellie uses in a very clever way, her songwriting is just genius.

"But I've Got a plan
Why don't you be the artist and make me out of clay?
Why don't you be the writer and decide the words I say?
Cause I'd rather pretend
I'll still be here at the end
Only it's too hard to ask, won't you try and help me?"

Best chorus for a song EVER!! That's really all I have to say here.

"Sat on your sofa, it's all broken springs
This isn't the place for those violin strings
I try out a smile and I aim it at you
You must have missed it
You always do"

Since I'm a violinist, I love this verse a lot! This is obviously the most straight-forward verse of the whole song, so it's equally as endearing as the rest of this otherwise insubstantial song.

"You wait, I wait, casting shadows, interrupted (Repeat 3 times)
You wait, I wait, casting shadows"

Being the most repetitive verse, I don't really know how this makes sense with the rest of the lyrics, but it's still delivered with conviction, so it's still good.

The rest of the song is just the chorus again, but still, this is just an awesome song! I also encourage you to buy "Lights" (the album) if you haven't already, because most of the songs are like this, bright and shiny with great lyrics. Or at least give this song a listen, since it's the strongest track on the entire album.

Adele-"21" Review

As publicized as it was, Adele's reaction to the cataclysmic break-up with her anonymous lover was rather mature. True, maturity is something that she has been able to pride herself on, but her 2008 debut "19" still felt a little childish. It was a record that was to be appreciated, but not necessarily one to love. With the rage of her split to fuel her creativity, Adele kicks the sophomore slump in the rear and was able to produce a career defining record to heights unseen since Kelly Clarkson's "Breakaway" breakthrough back in 2004.

It should come as no surprise that "21" was the Adele's age at the time she recorded this album, and with the powerhouse lead single "Rolling in the Deep", she doesn't shy away from tackling her break-up dead on. However, while most singers would focus on the faults of the relationship and emphasize the flaws of the other partner, Adele is smart enough to realize that her split was partly her fault as well. "Don't You Remember?", a track that contains the closest resemblance to the material on "19", confesses Adele's own flaws in the relationship. And it's easy for her to do, as it is the product of true self-reflection. "21" is a record whose substance was created not only through deft studio craft, but the singer behind it also made big changes to her own life, creating a wiser, cleaner, and more aware person than in her teenage years. And she gracefully ages from an awkward teen to a woman. Had she recorded this album earlier, it would not be as endearing because the maturity would not have been present. Both lyrically and musically, Adele manages to sharpen her song-writing, while at the same time smoothly transitions into high-quality pop. She trades in slow, dreary piano pieces like "Hometown Glory" and replaces them with angsty passion in "Turning Tables" and "Take It All". Gone are the same-textured, over-grown soul pieces and in their place are energetic and refreshing tracks like "I'll Be Waiting", the closest Adele might ever get to a dance number. Even the long tracks, mainly the six-minute long "One and Only", are compelling, never sucking away the momentum and continue to satitsfy after innumerable plays. And while it gets redundant to constantly mourn over her lost love, "21" is without a doubt genuine. It posesses a maturity and grace that few albums in the 2010s (and 21-years olds) have. Don't let "Rolling in the Deep" fool you, for as over-hyped as it becomes, "21" maintains very high quality in all eleven of its songs. It's much more thrilling than its predecessor, and it's much more appealing to more audiences, causing it to be a more well-rounded and addictive album at the same time.

Recommended Tracks in Bold:
1. Rolling in the Deep            2. Rumour Has It      3. Turning Tables
4. Don’t You Remember?       5. Set Fire to the Rain          
6. He Won’t Go                     7. Take It All               8. I’ll Be Waiting      
9. One and Only                     10. Love song             11. Someone Like You

Ashley Tisdale-"Headstrong" Review

Is there any television network as shameless as Disney Channel? When they're not delivering high-fructose TV series about pop stars and fancy hotels, they inadvertantly force their actors to become pop stars. Ashley Tisdale is such a star, as with all of the Disney alums before her, a debut album was inevitable. No doubt High School Musical gave her the push she needed, but what was going to be a true test of her talent was the ability to define herself outside of Sharpay Evans and reveal Ashley Tisdale, the person. With expert pop songwriters behind her, she went into the studio and created "Headstrong", a title that was meant to describe her true persona, and indeed this album follows through on that promise.


You see, Ashley has something that her predecessors didn't: age. At twenty-two years old, she knows her identity, and she already has a palpable sense of her musical persona as well. So she doesn't hesitate, she dives right in to her music, starting the album with an intro containing a mash-up of all songs found on the disc. This stellar start leads right into "So Much for You" with no stutter, and all the way through "Not Like That", the momentum is super-charged and returns us to the good ol' days of the 90s, when ex-Mouseketeers Britney and Christina were atop the charts. In fact, that seems to be Ashley's niche, the decade she grew up in and discovered herself. The influences are very apparent in "Going Crazy" (which will definitely bring you back to "(You Drive Me) Crazy" by Britney), and "Love Me For Me", one of the two ballads here (the other being "Suddenly") that works with the rest of the songs, is covered with Christina's teeny-bop debut image. And while she pays homage to her Disney ancestors, the best tracks (consequently titled bonus tracks, most likely because they are the less Disney-fied songs on this entire set) come at the end. The album's standard closing track "Suddenly" is also a warm and sublime ending to "Headstrong", but "Who I Am" and "It's Life" wrap up the album in true Ashley fashion. Both tracks are stellar dance numbers whose hooks are instantenous. Unfortunately, this cannot be said for the rest of the album, as it is weighed down mainly because of its mopey ballads. And as they are scattered throughout the tracks, "Headstrong" becomes calculated and affected instead of genuine. Disney-fied pop will always be near the surface, and even a person as confident as Ashley cannot completely outshine the hand that has fed her career. But still, as uneven as this album can get, it's still as "Headstrong" as it promises. The dance numbers are catchy -- The overall flow is consistent -- The songwriting is impressively strong for a Disney debut, and is the best album from a Disney alum since Lindsay Lohan's 2004 debut.

Recommended Tracks in Bold:
1. Intro                       2. So Much for You                3. He Said She Said
4. Be Good to Me       5. Not Like That                    6. Unlove You
7. Positivity                 8. Love Me for Me                9. Going Crazy
10. Over It                  11. Don’t Touch (The Zoom Song)
12. We’ll be Together 13. Headstrong                      14. Suddenly
15. Who I Am             16. It’s Life

Kelly Clarkson-"My December" Review

It makes no sense to talk about "My December", Kelly Clarkson's third album, without discussing the heated argument with label executive Clive Davis before its release. His chief criticism lodged against it, was that it lacked singles and was, to put it simply, not as good as her first two records. But instead of acquiescing to her management, Kelly held her ground, fully motivated to release her third the way she wanted it. What she wanted, was to be pitched somewhere between Evanescence and Katy Rose; music that's built on boiling emotions and articulate lyrics. Playing samples from "My December" as proof, Davis took further jabs at the album, essentially stating that Kelly was biting the hand that fed her career. To a certain extent, he's right; while Clarkson won over adults and teens on "American Idol", she also wasn't content with singing plain adult contemporary ballads or glossy pop songs. Seeing as how both of those constructed her career-making records, it does seem like Kelly is turning her back on what made her a star in the first place. Then again, it's not that simple, because at this point in her career, Clarkson has successfully severed ties with "Idol", no longer required to sing whatever song is thrown in front of her because she did what she was supposed to do. She still remains the show's most successful contestant, so there's also no reason why she can't forge new ground and make a record built on her emotions, not her popularity.

Problem is, is that in the quest to thicken the rock sound, Clarkson has also stripped away anything pop-py about her songs. This is a move that may win over tortured tweens and early adults, as they are growing up with Kelly and her transition into adulthood, but all those who were won over by her girl-next-door persona may be alienated. The image of a sassy pop starlet has now been ruined, and in her place is a depressed ex-girlfriend who's been burned by love, unable to escape from her oppressing murk. Naturally, since Clarkson co-wrote all the tracks here, this abrupt change is woven into the music. Lead single "Never Again" is a prime example of this shift, as the guitars and drums are now paramount, not Kelly's remarkable voice or beguiling charm. This leads into "One Minute" an urgent track that gives "My December" a much needed spark, and for a moment, actually gives off the impression that the rest of the record could possibly be a melodic, not necessarily hooky, album built on nothing but fast-rock songs. Sadly, this is never realized, as the clanging, cluttered "Hole" comes crashing in soon after, thus destroying the thought that maybe "Never Again" was a bit misleading in the overall style of "My December". Sure there are a couple good moments past this, such as the ruminative "Sober" and the equally haunting and soothing closing track "Irvine". But the album never recovers, it just skulks along through the muddy emotions and Kelly's tattered voice. The latter is a major problem, because what "My December" lacks in hooks could possibly be compensated by Clarkson's charisma and reliably strong vocals. Unfortunately, it doesn't excel in either of those areas, perfectly illustrating that no matter how much Kelly combats it, Clive Davis was right in his argument that there are no crossover hits here, nothing to pull a listener in for multiple listens. That's not to say that it's a complete flop, it's just that it wasn't supposed to be this way. "My December" was supposed to be a triumph, Kelly's career-defining record that proved that she could shape an album all by herself, without guidance from Clive Davis of "Idol". But without somebody to bring her above her own mind, Clarkson often times gets in her own way, ultimately stifling her ambition. While it's true that "My December" is an artistic move Kelly needed to make, it doesn't prevent it from being Clarkson's worst album. The songs are insipid, the attitude is dour, and it buries Kelly's affections as a singer and her likeable persona she had on "American Idol". 

Recommended Tracks in Bold:

1. Never Again       2. One Minute                    3. Hole

4. Sober                     5. Don’t Waste Your Time 6. Judas

7. Haunted                8. Be Still                              9. Maybe

10. How I Feel          11. Yeah                                  12. Can I Have a Kiss?

13. Irvine

Billboard Chart Review-1/24/13

This week's chart dated February 2 actually reflects the sales week of January 15-January 21.

The Billboard Hot 100:
Song                                        Position           Last Week
Thrift Shop                              1                      2          *Digital Gainer*
Locked out of Heaven             2                      1
Ho Hey                                    3                      3
Suit and Tie                             4                      84
I Knew You Were Trouble      5                      4          *Airplay Gainer*
Scream and Shout                    6                      6
Don’t You Worry Child          7                      7
Diamonds                                8                      5
Beauty and a Beat                   9                      8
Home                                      10                    9
YES!! "Thrift Shop" took the top spot and finally kicked Bruno Mars off! Thank you Lord!! Anyway, "Ho Hey" still remains in the top three, impressive. Also impressive is Justin Timberlake's "Suit and Tie" jumping eighty places to number 4. It was fueled by airplay, as it was played 6000 times in one week. However, Taylor Swift's "I Knew You were Trouble" had the most plays this week, as it tops the pop songs chart, but for some reason is still declining on the Hot 100. I'm glad Justin Bieber is finally on his way out, and as expected, "Home" is looking at its last week within the top ten. Outside of the top tier: P!nk falls 12-13 with "Try" (please get into the top ten!!), "Some Nights" falls 14-18 in its 48th chart week (it will definitely log a year on the chart), "Sweet Nothing" rises 20-17, "Better Dig Two" is becoming The Band Perry's next big hit as it shoots 33-28, becoming only their second top thirty song, Ke$ha rises 48-30 with "C'Mon", "Call Me Maybe" is still here falling only from 40-41 in its 48th chart week, Gotye falls 42-45 with "Somebody That I Used to Know" in its 55th chart week, and Ellie Goulding once again proves me wrong as "Lights" tumbles 49-50 in its 57th chart week (however, I am now positive it won't rebound again, and this will be its last week). Rihanna jumps 76-58 with "Pour it Up", which is techinically "Unapologetic"'s third single, but is doing much better than "Stay", the second single. And that's it for the Hot 100, most of the excitement happened within the top ten this week. But I am REALLY excited for "Thrift Shop"!!

The Billboard 200:
Album                                                             Position           Last Week
Long.Live.A$AP                                            1                      -
Kidz Bop 23                                                   2                      -
Pitch Perfect                                                   3                      5
Red                                                                 4                      4
Unorthodox Jukebox                                      5                      6
Les Miserables                                                6                      3
The Lumineers                                                7                      8
The World from the other Side of the Moon  8                      14
Babel                                                               9                      11
Take Me Home                                               10                    10
A$AP is a rapper so I obviously haven't listened to his album, and I never will so, it is what it is. Kidz Bop is going to have to stop eventually, since their albums don't sell that well. Hooray for Pitch Perfect!! Awesome movie, awesome soundtrack! I'm indifferent about Red at this point. Take Me Home just needs to get out of there, NOW. The rest of the top ten I don't really care about so, it's just another typical week. But there are exciting things happening outside of the top tier. Adele's "21" rises 16-12 in its 100th chart week, I wonder if it could re-enter the top ten? Macklemore's "The Heist" shoots 24-15, and last week's number one album, "Burning Lights" by Chris Tomlin, collapses 1-22 (and yes, that is a HUGE drop from the top spot). This week's greatest gainer is "2nd Law" by Muse, which shoots 74-48. This week's pacesetter is "Barton Hollow" by the Civil Wars, vaulting 175-73. And Pink Floyd still makes history as "Dark Side of the Moon" rises 188-187 in its 821st chart week (yes, you read that right). That's pretty much it for this week. Albums in January either rise a few places or plummet alot. Taking the biggest fall is Blink 182's EP "Dogs Eating Dogs", which plunges 64-182 this week. Next week, country artists Gary Allan is supposed to debut at number one.

Skye Sweetnam-"Noise from the Basement" Review

If every spunky teenager had a recording contract, then "Noise from the Basement" would be the end result. Essentially an album for the brats and bratty at heart, Skye Sweetnam skips the introductions and dives right into her history of cheating boyfriends, forbidden love, skipping school, and then gives all of the hypocrites out there an anthem to justify their ways. She knows her audience, even though this is her debut. But in many ways, "Noise from the Basement" doesn't feel as flawed as first offerings usually are. All fourteen tracks flow together very nicely, and hit every possible demographic possible. Burned lovers will find plenty of solace in "Fallen Through" and "Number One", while those who don't need no education can find their place in "Billy S", and then there's the power pop for those just looking for someone to understand them. Songs like these, mostly "I Don't Care" and "", are the strongest points on this album, being as determined in their earnestess as well their production. Songs like "Unpredictable" and "Sharada" prove Skye's versatility, solidifying her talent to do punk-ish rock/pop just as well as indie-pop. And considering the fact that she is still a teenager, this is an impressive first album for someone that seems like she would be inexperienced. Even if she was making music well before this album, it's worth taking notice of the fact that she is so confident with her abilities already.

Most new artists don't have control over their career, and must walk through the motions of the label. But Skye Sweetnam is different; she couldn't hide her true feelings even if her recording contract was worth more than the music she was making. All of this freedom has lead to a stellar record, even if it ends on kind of a sour note. The bonus track "Split Personality" is a short, dark rock number that was probably put to excite the listener for the last time before bring the record to a close. "Smoke + Mirrors", the album's actual ending track, is indeed compelling, yet it leaves "Noise from the Basement" kind of unfinished. But, with the flawed ending sequence aside, the album still ends up to be a satisfying and timeless listen. And the best part, is that Skye Sweetnam actually is a fine singer, and picks material appropriate for her attitude and her voice. These elements, complete with her unwillingness to fit in, make this album one of the most endearing and relatable albums of 2004.

Recommended Tracks in Bold:

1. Number One           2. Billy S                      3. Tangled Up in Me

4. I don’t really like you5. I Don’t Care           6. Heart of Glass

7. Sharada                    8. It Sucks                    9. Fallen Through

10. Hypocrite               11. Unpredictable       12. Shot to Pieces

13. Smoke + Mirrors  14. Split Personality

Christina Aguilera-"Stripped" Review

Upon first glance, it's hard not to compare "Stripped" with P!nk's 2001 breakthrough "Missundaztood". They both are the products of musical catharsis, brought on by the same producer/songwriter Linda Perry, they both arrive at a time where both P!nk and 'Xtina' fought for musical and artistic freedom, and they both contain content pertaining to their troubled childhoods. But with all of these similarities, "Stripped" and "Missundaztood" are different albums, mainly due to the fact that one is enjoyable and the other one is tedious.

Christina's debut in 1999 was a fabrication of studiocraft and excellent, cleaned-up production, neither of which suited her voice or persona. True, "When You Put Your Hands On Me" was sensual, but what wasn't able to come across in "Christina Aguilera" as a whole is that sex is a driving force for Christina. Her debut was so squeaky-clean, it didn't leave much wiggle room for what her personality was actually like. Come 2002, after she's left her teen years and has found her identity, bright and shiny pop wasn't going to satisfy her musical ambitions. "Stripped", as the title implies, is what Christina is really like. She's sexual, not coy, she's bold, not softspoken, and she posesses a soaring and rich voice, not a simplistic one. This is her first attempt at baring it all, and while most artists would sound unsure of a change so drastic, Christina goes for it unabashed. And in comparison to its rival "Missundaztood", "Stripped" actually utilizes the Linda Perry collaborations to a grand effect, and this time around, they're not as laborious to listen to. "I'm Ok" shows vulnerability not present in any artist in 2002, and it shows that while P!nk dealt with a traumatic divorce, most of her childhood problems stemmed from her drug use. Christina has more to bare, as her mother was abused, and Christina was not only caught in the middle, she was also the target of her father's rage. Since her platform for healing is stronger, she has more to offer in "Stripped". Obviously, "Beautiful", the track written solely by Linda Perry, is the best track on the record by far. "Soar" and "Fighter" capture the angst of a victim but the strength to keep moving on in a fantastic fashion, while "The Voice Within", with its full choir and cinematics, and the closer "Keep on Singing My Song" provide the ultimate chicken soup for the soul. All four tracks are long, but yet still manage to seem not long enough. But the highest points come when Christina is allowed to let loose and explore her new-found freedom. "Dirrty" is an exact personification of Christina Aguilera, the person, and it describes the junky-thrill of the album nicely. Even though she still has a team of expert producers behind her, they are only a part of the gargantuan pop record that is "Stripped". Also notable is the anthem for mistreated women "Can't Hold us Down", and "Makeover", a full-fledged rock anthem for the abused. "Stripped" only implies the raw emotions that bedeck each of its twenty tracks. It's not all that sexy, besides the wonderful "Get Mine, Get Yours" and "Dirrty", the rest of this material is just unadulterated power-pop. It's unapologetic yet respectable, 'dirrty' yet put together, and all of its elements from the producers to the singer are woven to present an album that delivers what is promises, and then it exceedes expectation. All of these facts, and given the fact that it is a sensational journey from start to finish, undoubtedly make "Stripped" superior to "Missundaztood", and is by far the best album of 2002.

Recommended Tracks in Bold:
1. Stripped Intro         2. Can’t Hold us Down          3. Walk Away
4. Fighter                    5. Primer Amor                       6. Infatuation
7. Love’s Embrace      8. Loving Me 4 Me                 9. Impossible
10. Underappreciated 11. Beautiful                          12. Makeover
13. Cruz                      14. Soar                                  15. Get Mine, Get Yours
16. Dirrty                   17. Stripped, part 2                 18. The Voice Within
19. I’m OK                 20. Keep On Singing My Song
 

Best of...The 2000s

So, I've already revealed the best songs of the 2000s decade, but I also have thoughts about more general categories, such as the best artists, albums, etc. So, these are the people, songs, albums, that I thought were the best of the decade.

Overall Popularity:

Artist of the Decade-Usher

Female Artist of the Decade-Beyonce

Best Song-Usher, Ludacris, and Lil Jon: Yeah!

Best Album-Shania Twain: Up!


By Genre:

Best Pop Artist-Kelly Clarkson

Best Pop Song-"Beautiful" by Christina Aguilera

Best Rock Artist-Linkin Park

Best Rock Song-Nickelback: How You Remind Me

Best Rap Artist-50 Cent

Best Rap Song-Kayne West and Jaime Foxx: Gold Digger

Best R&B Artist-Alicia Keys

Best R&B Song-Mariah Carey: We Belong Together

Best Dance Artist-Madonna

Best Dance/Club Song-Lady Gaga: Poker Face

Best Country Artist-Carrie Underwood

Best Country Song-Carrie Underwood: Before He Cheats

Best New Age Artist-Enya

Best New Age Song-Enya: Only Time

Best Latin Artist-Shakira

Best Latin Song-Shakira and Wyclef Jean: Hips Don't Lie


Miscellaneous:

Best Comeback: Mariah Carey

Best Badass-P!nk

Best Collaboration-Beyonce and Jay-Z: Crazy in Love

Best Group/Band: The Black Eyed Peas

Best New Artists-Rihanna, Taylor Swift, Kelly Clarkson, Lady Gaga, Katy Perry, and Avril Lavigne

Best One-Hit Wonder-Daniel Powter: Bad Day

Best Solo Artist that was once part of a band-Gwen Stefani

Best Break-up Song-Kelly Clarkson: Since U Been Gone

Best Disney Artist: Hilary Duff

Best Artist that slowly gained popularity: Norah Jones

Best Sleeper Hit-Lady Gaga and Colby O'Donis: Just Dance


And finally, honorable mentions to artists that are just as sensational:

Britney Spears-A music veteran before she turned 30

Christina Aguilera-The best transformation

Backstreet Boys and NSYNC-Boy bands that weren't extremely annoying

Amy Winehouse, Adele, and Florence-Let the British invasion begin!...again!

Missy Elliot-Best female rapper!

Destiny's Child-Best girl group

Ciara-Princess of crunk&b

R.Kelly-Best hip-hopera ("Trapped in the Closet")

Maroon 5, The Killers, and Coldplay-Awesome rock bands

The Top 100 Songs of the 1980s, part 2

And finally, the 50 best songs of the 80s! In a little disclaimer: The top ten songs of this list are all so great, their ranks are nearly a formality. They're all number one, but I ordered them in my opinion. But, without further adieu, the remaining part of the best songs of the 80s:

50. Kenny Loggins-Footloose (1984)

49. U2-With or Without You (1987)

48. Cutting Crew-(I Just) Died in Your Arms (1987)

47. Whitney Houston-How Will I Know? (1986)

46. Men at Work-Down Under (1983)

45. Rick Springfield-Jessie's Girl (1981)

44. Steve Miller Band-Abracadabra (1982)

43. Bobby McFerrin-Don't Worry, Be Happy (1988)

42. Culture Club-Karma Chameleon (1984)

41. Duran Duran-Hungry Like the Wolf (1983)

40. Tina Turner-What's Love Got to Do With It? (1984)

39. AC/DC-Back in Black (1981)

38. The Human League-Don't You Want Me? (1982)

37. Janet Jackson-Miss You Much (1989)

36. a-Ha!-Take on Me (1985)

35. Michael Jackson-Thriller (1984)

34. Michael Jackson-Beat It (1983)

33. Lionel Richie-All Night Long (All Night) (1983)

32. Kenny Rogers-Lady (1981)

31. Lipps. Inc-Funky Town (1980)

30. Lionel Richie-Say You, Say Me (1986)

29. U2-I Still Haven't Found What I'm Looking For (1987)

28. Tears for Fears-Everybody Wants to Rule the World (1985)

27. The Bangles-Walk Like an Egyptian (1987)

26. George Michael-Faith (1988)

25. Bonnie Tyler-Total Eclipse of the Heart (1983)

24. Van Halen-Jump (1984)

23. Diana Ross-Upside Down (1980)

22. J Geils Band-Centerfold (1982)

21. Madonna-Like a Prayer (1989)

20. Stevie Wonder and Paul McCartney-Ebony and Ivory (1982)

19. Paul McCartney and Michael Jackson-Say Say Say (1984)

18. George Michael-Careless Whisper (1985)

17. Dionne Warwick and Friends-That's What Friends are For (1986)

16. Prince-When Doves Cry (1984)

15. Queen-Another One Bites the Dust (1980)

14. Bon Jovi-Livin' on a Prayer (1987)

13. John Lennon-(Just Like) Starting Over (1981)

12. Journey-Don't Stop Believin (1981)

11. Belinda Carlisle-Heaven is a Place on Earth (1988)

10. Lionel Richie and Diana Ross-Endless Love (1981)

9. Blondie-Call Me (1980)

8. Joan Jett and the Blackhearts-I Love Rock n Roll (1982)

7. Madonna-Like a Virgin (1984)

6. Irene Cara-Flashdance...What a Feeling (1983)

5. Michael Jackson-Billie Jean (1983)

4. Kim Carnes-Bette Davis Eyes (1981)

3. Olivia Newton-John-Physical (1982)

2. The Police-Every Breath You Take (1983)

1. Survivor-Eye of the Tiger (1982)