The Saturdays- Living for the Weekend Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- Living for the Weekend

Artist- The Saturdays

The Saturdays are definitely a pop force in today’s music industry, becoming a successful act not in terms of all artists, but more particularly in terms the notoriously difficult girl band market. And 2013 is definitely a great year for the girls because they finally achieved a UK number 1 single. Yet the follow up single to that chart hit performed in what many would view as a very poor chart position, and the girls have certainly taken their time in releasing a new album. So the question is, will Living for the Weekend live up to its title and give us a pop party that we can really enjoy, or is this record a disappointing anticipation that should have been highly rethought before release?

Track 1- What About Us (featuring Sean Paul)

The track that made 2013 a great year for this group after becoming their first number 1 hit, What About Us is a fun electro pop number with a slight reggae tinge and a summer song vibe. The song finds the group singing about this relationship in which things are fun but the guy drives you a bit crazy, and sometimes you kind of just want him to be a bit straight with you. The lyrics aren’t necessarily powerful but they are very catchy, with the track having a solid pop chorus and an awesome ‘na na na na’ hook. The vocally the song features some nice harmonies and some strong vocals from each member, although the Auto Tune can be annoying at times. The song is fuelled by some synth heavy production which gets you in the mood to dance, and with the charismatic Sean Paul acting as the perfect, flirtatious accompaniment to the tracks summer sound, this is a solid pop track that quite rightly deserved its status as the group’s first number 1, even if just on the pure fact that it makes you feel so summery and good.

4/5

Track 2- Disco Love

Disco Love keeps things fun and light, but somehow the sweetness factor and sugary electro pop taste is amped up, with the song featuring another big and catchy pop chorus. Here we find the girl flirtatiously talking to this guy and asking if they feel the love that is in the air. In many ways the lyrics are cheesy, but the fun personality of the girls just makes the track feel infectiously awesome, with the Donna Summer, Bee Gees and Britney Spears references being great pop culture lyrics. The song is vocally stronger than the previous offering because of the toning down of the Auto Tune, although this song does feel a bit too carried by band member Vanessa White in the chorus. Producers StopWaitGo do a great job of giving us a frenetic but catchy pop sound full of shimmering synths, punchy rhythms in the chorus and a great horn based outro that is just funky and party ready.

3.5/5

Track 3- Gentleman

The follow up single to What About Us didn’t perform as well, and in terms of sound you can kind of see why, as this is more of a risk taking song for the group. The track focuses on the girls telling us of how a gentleman is hard to find in today’s world, and apparently the 90’s was the golden age of the chivalrous man. The message is feisty and catchy, with the girls employing more of a rap sing style vocal throughout the track, a markedly different tone to the two previous tracks. And whilst the heavy synths and funky production make for a fun, fast paced tune, the song is just quite a curveball from what people will be used to from the group, and it also feels a bit too Americanised, as if the girls are too focused on chasing their American dream, making this track one of those hit and miss numbers the individual listener must place judgement on.

3/5

Track 4- Leave a Light On

A mid tempo pop ballad, Leave a Light On finds the girls going back to a safer, typically pop orientated sound that finds their light vocals layered over a forceful drum loop and quirky synth notes. The song is all about the girls telling their partners to leave a light on for them if they miss them, because they should know that they will be back with them no matter what. The message is clichéd and the use of the coming home hook draws the song into slightly dangerous plagiarism territory (i.e. sounds a bit too much like Diddy Dirty Moneys ‘Coming Home’), but the sweet, sincere quality of the track is nice and once again we are treated to a solid pop chorus. Vocally things are stronger here, although with the style of the song you do get to see which members of the band are definitely vocally stronger, and sometimes Auto Tune just makes the tracks lose that essence of heartfelt passion that should be present throughout. But with the attacking production value of the song that commands your attention, you definitely get the impression that the girls mean business with the track, giving us one of the better pop ballads from the group than some of their other records.

3.5/5

Track 5- Not Giving Up

From the pop balladry of the previous track we change pace completely and rapidly, as Not Giving Up is a stomping dance pop affair with fast paced sound and impressively fast paced vocal. Lyrically the song focuses on the girls telling this someone that they have stolen their hearts, and that they won’t give up on the love that they feel for this person. The softness of the verses is great a perfectly compliments the velocity of the chorus, whilst the girls are vocally feisty and passionate, although things are Auto Tune heavy. The songs stomping dance beats makes the song sound like a sister track to the girls 2011 dance pop hit All Fired Up, and purely because of this fact the song might work really well as a single. However, things don’t feel as fine-tuned and catchy here as they did with all fired up, and the bridge doesn’t build things up enough for the final chorus to have the impact that it should, with the tracks just over 3 minute length being too short in my opinion.

3.5/5

Track 6- Lease My Love

Produced and co-written by legendary hit maker Rodney ‘Darkchild’ Jerkins, Lease My Love is a stomping electro sound based tune with a strong RnB edge. Lyrically the song is a feisty number that is all about the girls telling this guy that he can’t get away from them and that he has made them feel bad, but he can’t lease there love. The message maybe doesn’t come across as strong as it should, but the lyrics are strong in terms of the simple chorus that finds the girls giving us a defiant, passionate vocal performance. The production value on the track is good with synths nicely being integrated with more bass heavy sounds, but at times the sound can feel a bit too overpowering. And the major problem with the track is that whilst the girls bring out the passion and vulnerability of the track out quite nicely, at the same time Auto Tune once again comes into play too often, with the robotic outro and intro courtesy of member Frankie Sandford just sounding annoying.

2.5/5

Track 7- 30 Days

Released over a year before the actual release of the album, and so weirdly being the records first single, 30 Days is a simple dance pop number that could have equally worked well on the girls last studio album, but which also fits comfortably here. The song has a romantic spin to it as the girls tell their loves of how hard it is to be apart and how they are counting down the days till they see them, carrying on the message of Leave A Light On and sounding that bit more sincere because you though this is something a band like this probably go through. The vocals are stronger and in terms of harmonies the group are a bit stronger, whilst the chorus is lyrically pure and simple and therefore very catchy. The plinky synths and punchy beats of the production gives a nice fun dance vibe to the track that is pop driven and typical but which suits the song and drives the message home whilst not making things to soppy.

3.5/5

Track 8- Anywhere With You

Coming after 30 Days, Anywhere With You is another track that finds the girls talking about being apart from their respective beau’s and being saddened by this, and so by this point we could just rename the album The Saturdays Sing About Missing Their Boyfriends. However that being said, these types of songs are actually all a little bit different in their own way and don’t come across in an annoying way, and so we can maybe forgive the girls slight over indulgence on the I miss my man front. Here the group sing of thinking about their lover and wishing that they could be anywhere in the world with them because their love is so great, with the song being another track that is wrapped around a pure pop chorus that is irresistibly catchy. The song features some slinky synths and stomping pop rhythms and is a great track on the set because here the girls really stick to their pop roots and it just makes things a bit better because they do so. Vocally the song is strong, with the Auto Tune button taking more of a step back and the harmonies once again being tighter and all-round better, whilst member Vanessa White particularly does a great job in making the songs chorus punchy and catchy.

3.5/5

Track 9- Problem With Love

Suddenly after being in a state of missing their man, the girls do a musical U-turn and want to complain about the problems of love, with these guys apparently not treating them in the way that relationships should go, whilst it is equally hard to live without love. The message is strong but clichéd and also feels like the girls haven’t fully analysed the situation, whilst the vocals take a step back to more of a robotic edge that means that the girls just come across whiny and not truly meaning what they say. The songs sound utilises a stomping dance beat and a slight dubstep influenced breakdown that offers variation in the record but which lacks originality and just feels like to much we can be so different within our music has been crammed in.

2.5/5

Track 10- You Don’t Have the Right

The records only proper ballad, You Don’t Have the Right is written by legendary singer-songwriter Diane Warren and finds the girls telling this person that they cannot just contact them after the mess their relationship and expect them to continue to be friends. The lyrics are slick and structured nicely but don’t feel powerful enough and interesting enough to make this a Diane Warren classic, whilst the girls voices are nice but aren’t powerful enough to make the song have a dramatic effect that could have made it a stand out piece. Things would also have been a little bit better if the production was stripped back to just simply a piano melody, but instead we are treat to strings and drums that just makes the songs sound to overpowering and not allowing the message of the song to the leave the impact it should.

2.5/5

Track 11- Don’t Let Me Dance Alone

From the balladry of the last track we go to up tempo dance floor ready territory with Don’t Let Me Dance Alone, a feisty musical number that finds the girls telling these guys that they need to make a move and not let them be alone on the dance floor, although they won’t get them that easily. The lyrics are ok with a nice pop chorus but some of the clichés used are just ridiculous, and sometimes you can get confused about what message the group is actually sending here. The vocals are once again Auto Tuned, but in this case it isn’t so annoying and depending on who you are as a listener you may be able to get past it, whilst the frenzied dance pop production is vibrant enough to make you want to dance.

3/5

Track 12- Somebody Else’s Life

Final track Somebody Else’s Life is a simple pop number that is all about the girls being in this magical city where there dreams have come true and they are living a great life. Serving as the opening theme music for the girls E! reality show Chasing the Saturdays, the song should have just stayed as a theme song, as the message is cheesy and executed poorly, whilst the vocals are Auto Tuned in places that is just extremely annoying and there is no sense of personality coming through in the song. The snappy percussion and dance rhythms of the song are ok but once again lack originality and make the song a sad all-round package of boring.

1.5/5

Final Review

Living for the Weekend is an album that has some nice pop tunes and which stays true to the girls musical roots to good effect on some occasions, but which at other points is cluttered by too much attempt at musical diversity and clichéd lyrics. The vocals also must definitely be improved on, because Auto Tune is just an annoying concept where this girl group is concerned that must be eradicated. So for now we can be thankful of the odd good pop tune, but The Saturdays sadly remain a singles orientated band.

Best Track- What About Us (featuring Sean Paul)

Worst Track- Somebody Else’s Life

Britney Spears- Britney Jean Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- Britney Jean

Artist- Britney Spears

Toted as the Princess of Pop, Britney Spears is already and artist who will have left her mark on the music world, with her exciting career producing such hits as ‘…Baby One More Time’ ‘I’m a Slave 4 U’, and ‘Toxic’. Britney Jean is the singer’s eighth studio album from the singer and has been described by the singer herself as her most personal record to date. But is Britney Jean an album strong enough to keep the singers pop crown, or is it about time that she was stripped of her title?

Track 1- Alien

Rumoured to be a collaboration with fellow pop phenomenon Lady Gaga, Alien is simply an electro pop number that finds Spears singing of this person being in her life that lets her know that she is not alone, and who is almost like this alien, whilst she herself is also this alien in the world. The lyrics could be better but are intriguing in that you can get differing meanings out of them. And whilst the production of the track isn’t intriguing or innovative, the song features some nice post chorus stuttering’s and has a nice mid tempo sound that makes for a simpler introduction to record than if Spears had begun things with a party track. However, the song is wrong in terms of Auto Tune, as the singer just sounds boring and leaves no impression, making this more a sub-par beginning.

2.5/5

Track 2- Work Bitch

The records first single, Work Bitch finds Spears dictating to her listener about how if they want fancy things like martinis and a Lamborghini, then they have to really work for it. The message is interesting and perhaps is meant to act as a sign of what Spears work ethic has been over the years, but at times the lyrics just don’t blend well together and seem to go off point, whilst the chorus gets to the point where Spears is trying too hard to instil her message in the listener. The vocals are stronger here but Auto Tune is still an issue, and the vocal improvement is more because of the fact that things are kept on a simple, I’m almost talking level with a weird British like accent, meaning that the song straddles the line between good or just stupid.  Furthermore, the production value of the track with its heavy EDM style is nothing new and doesn’t place Spears at the top of the music game, with the songs producers’ will.i.am and Sebastian Ingrosso very much placing Spears in their music styles rather than allowing her to flourish as an artist. It might be good to dance along to in a club after a few drinks, but if anyone was to download this onto their Ipod to listen to in their bedroom, then I would definitely have my eyebrows raised.

2.5/5

Track 3- Perfume

Released as the records second single, Perfume finds the singer in more emotionally raw territory and sees her release her first proper ballad in quite a while. Whilst it doesn’t reach the dizzying heights of her other releases (in particular the ballad Everytime), Perfume does give us a sense of a more personal Britney that hasn’t been heard for a while, and this can be commended. The song plays on the themes of jealousy and suspicion within a relationship, focusing on the idea of being able to smell a perfume of another on your lover that shouldn’t be there. The song is a bit more poetic and fine-tuned lyrically than the first two album offerings, whilst still giving listeners a solid, catchy pop chorus. Vocally Spears is also stronger here, with her vocals being less Auto Tuned and her little Britney mannerisms that have made her an icon for many people coming into play more so than we have perhaps heard in a while. The songs production is perhaps it’s only minor issue, in that although the mix of piano and strings with synthesisers is cool, it once again isn’t anything that hasn’t been done before, and is very much designed for pop and top 40 radio. Something extra was needed for the songs sound to be that little bit more intriguing, or else Britney should have just stripped things back, but finally at this point Britney Jean starts to deliver.

3.5/5

Track 4- It Should Be Easy (featuring will.i.am)

Two DJ titans, David Guetta and Nicky Romero, provide lyrical and production help with this track alongside the albums executive producer will.i.am. The song is another relationship based tune that focuses on the idea that love should be easy and questioning why relationships are so hard. The lyrics are simply structured for a solid chorus that can quickly get stuck in your brain, but again the song is made annoying through the use of Auto Tune that makes it seem like this is a robot making music, not an emotional human being. The production is intriguing, particularly with the funky guitar line that underlies the song, and although the dance beats and breakdown is typical of Romero and Guetta, it still powerful and fun enough to make the song attention grabbing and make you want to dance. It is just a shame that it feels like will.i.am was like Britney please just record this song because I want to feature on your album and make you suck in ways that you shouldn’t be.

3/5

Track 5- Tik Tik Boom (featuring T.I.)

With a title like Tik Tik Boom, this song is very much positioned as a party tune, and so the fact that Spears delivers isn’t surprising. However the song isn’t really up tempo but is more of a synth heavy dance assault on the ears that is a bit for fun and flirtatious, as the singer puts on her sex appeal to tell her man how she wants him to make her feel good in the bedroom. The singer vocally sounds better in this track as she plays the sex appeal role and the use of Auto Tune isn’t as terrible as the last track, whilst the simple repetition used in the chorus makes for another song that has a good ear snagging hook. The thumping bass and heavier essence of Spears sound is well executed and makes for a more interesting listen, whilst T.I. provides a solid rap for the bridge that sees him blend well with Spears in terms of creating a male female chemistry that elevates the song and its message.

3.5/5

Track 6- Body Ache

David Guetta and his dance, party ready attitude comes back in full force with Body Ache, an uptempo electro pop dance song that is all about Spears wanting to dance till her body aches and she knows you want to as well. The song has a bit of double entendre and is cool in this way but there is lack of a strong chorus to grab the listeners attention, and whilst Spears plays the sensual role well, she doesn’t sound as good as the previous track, and at times the vocals just don’t make the song feel like we are listening to a Britney Spears record. The snappy production with the heavy beats and strong post chorus breakdown is fun but typical dance territory and just lacks that feeling of being totally energising that you can’t help but get lost in it.

2.5/5

Track 7- Til’ It’s Gone

Til’ It’s Gone is a song that keeps the powerful, heavy beat dance vibe going, but it is more intriguing, and also finds Spears in a more emotionally vulnerable state. The song is all about Spears telling this person that he won’t realise what he had with her until it is over, whilst she also presumably comes to the same conclusion herself. The simple, heartbreak embedded message of the chorus makes for a much stronger, catchier party tune, and although clichés are used, the message is potent and is particular strong when the bridge begins. Vocally things still aren’t great but the Auto Tune is better than in other songs, whilst the production value of the song is great in terms of the use of the piano with really prominent dance rhythms and a little bit dubstep, heavy EDM influences that are that bit more vibrant and more emotionally resonant in a weird way than other songs of this calibre on the record.

3.5/5

Track 8- Passenger

Produced by Diplo and co-written alongside Sia Furler and (perhaps surprisingly) pop superstar Katy Perry, Passenger is a much more interesting and altogether better track from the beginning with the frenzied electro opening that feels a little bit Indian influenced in a weird way. The song finds Spears telling this person that she will go with them as she trusts them in a way she has never trusted anyone before, and she just wants to go wherever the wind will take them. The frenetic energy of the production and snappy tones makes for a song that immediately grabs your attention, and with some punchy guitar drums and forceful drumbeats, this is definitely a step better than the EDM craziness that has dominated the record to this point. Spears’ vocals are also stronger with this track as she seems to be truly enjoying herself, and with a great pop chorus, this song is great and it just seems a shame that Diplo and company somehow only have one track on the album.

4/5

Track 9- Chillin’ With You (featuring Jamie Lynn)

Chillin’ With You opens with a guitar riff that feels quite country and which may signal that we are getting a totally different Britney, but don’t worry, the EDM based sounds kick in, although this isn’t neccasarily a good thing. The song simply focuses on the idea of Spears and her sister Jamie Lynn telling us, this person or simply each other that they just chill with them and are comfortable. The message is sweet but quickly becomes really repetitive, and the vocals of both girls are ok but Auto Tuned and lacking some great personality that would have made it a better listen. The songs sound is also just to all over the place, trying to meld acoustic with dance beats and heavy rhythms and just coming across as over powering and annoying.

2/5

Track 10- Don’t Cry

Opening with the same, acoustic driven guitar style of the previous track, Don’t Cry is another song where we are sort of tricked into thinking this is suddenly a different record, and then that idea is dispelled quickly. However, the song is a little more understated and acts as the emotional end that the record needs. Here we find Spears at the end of this relationship where she finds closure and doesn’t want to see the person cry. The message is simple and effective, whilst the vocals are sweet and nice if not powerful enough to make the song feel as emotional as it should do. The production could have been taken down a notch but the simple rhythm and powerful bass makes the songs drama come out nicely, making this a nice if not great end.

3/5

Final Review

Britney Jean: the eighth studio album by a renowned artist who toted the record as her most personal to date, and a record that had the least amount of media fanfare going alongside it at the time of its release compared to her previous efforts. It’s a real shame then that this record doesn’t actually sound all that personal, and really could have done with more media attention just to get people interested. The record tries to be cool and innovative but fails, melding standard pop Britney with a new EDM sound that has already been done a million times before in the clubs and which is on the precipice of becoming unpopular, whilst a lot of the time the singers vocals are so Auto Tuned that she might as well being replaced by a robot. And that’s not me saying that she is a great vocalist, because sorry people but face facts she isn’t, but what I am saying is that she must have some sort of singing voice, and to just Auto Tune songs like crazy is not the way to go about trying to maybe hide vocal insecurities and weaknesses. There are some shreds of hope on the album, like the pop ballad Perfume and (although it uses a very obvious pop cliché) Til’ It’s Gone. And if Passenger isn’t a single in the future (preferably the near future) then I will be disappointed with everyone concerned with Britney Spears. But asides from this handful of songs, everything else just comes across like pop fodder where Spears is simply clay to be moulded, not an exciting artist that can still deserve the title of Princess of Pop. If there’s one thing I can conclude from Britney Jean it’s this: get rid of the crazy will.i.am, the root of all these problems, and have Britney go back to working with Max Martin, Dr Luke, and trying some more stuff with Diplo.

3.5/10

Robbie Williams- Take the Crown Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- Take the Crown

Artist- Robbie Williams

Robbie Williams initially emerged onto the music scene as one fifth  of the highly popular boy band Take That, but after leaving the group in the year 1995, Williams has found prominent success as a solo artist, with six of his albums ranking in the top 100 best-selling in the United Kingdom and being nominated for more Brit awards than any other artist. Take the Crown marked his tenth number 1 album in the United Kingdom, but is this just a result of the singer attaining a mass following, or has Williams really still got what it takes to create number 1 worthy albums?

Track 1- Be a Boy

Be a Boy is a forceful mid tempo offering from Williams that sets the tone of the record nicely. We find the singer seemingly putting down the people who may want him to quit music, as he states that he will be a boy and young forever, even if people said it was leaving him. The concept maybe doesn’t come through as strong as it could, but the sophistication of the message is actually a positive quality of the track, and the only thing that stands out a little weirdly is the fact that the singer comes across mature and so doesn’t quite meld with the tracks lyrical ideology. Vocally singer plays things on a simple vocal level, with the catchy ‘oh way oh’ hook almost giving us this ethereal quality that is nice to listen to. The best quality of the track is definitely the production, which blends together 80’s synth pop melodies with epic rock guitar and some cool saxophone solos, and so whilst it isn’t a attention grabbing opener, it is a nice, chilled but still sort of vibrant track that sets the pace of the album going nicely.

3.5/5

Track 2- Gospel

Gospel ups the tempo and pace a little bit from Be a Boy but is still in the mid tempo state of being. The song finds Williams singing of how he used to be so excited and how this girl used to be out of his league when he was young. The song lacks a really catchy hook but the lyrics are strong in terms of the nostalgic quality that is conveyed and which some listeners will find relatable. Williams also vocally brings both a freshness and maturity to the track that brings out the lyrics a bit more powerfully, although at times his voice does wear a bit thin, helped by the use of female backing vocals towards the latter moments of the track. The songs production is good with the glittering synth and punchy drums, giving a vibrant but contemplative sound for the singers musings and hiding some of the songs issues better than if the production was worse.

3.5/5

Track 3- Candy

The first of two tracks that Willaims co-wrote with Take That member and friend Gary Barlow, Candy is a big, up tempo number that acted as the first single from the record. The song finds Williams singing with vibrancy about this girl who thinks that she is great, with the singer metaphorically describing her as thinking she is made of candy. Sometimes the lyrics just feel a bit stupid in the verses, but the chorus is unashamedly catchy, particularly with the ‘hey ho’ hook. The song is also catchy because Williams vocal has a lightness about it that makes it sound like he is truly having fun singing this song, and therefore the listener can have fun with him. The use of horns and strings within the production give a big sound to the track, and coupled with the drums and funky guitar riffs, we have a sound that is just very much pop driven and infectious. It may be designed to be quite a commercial number, but sometimes you just can’t hide from a fun loving pop number.

3.5/5

Track 4- Different

The second Barlow collaboration is more of a serious affair and takes the record down to more of a mid tempo, pop ballad territory. Williams here sings of the hard times he faces within this relationship, promising his girl that he will be different, and praying that she will just stay with him. The message is quite powerful and is centred around a strong pop chorus, but unfortunately this kind of big number simply highlights the vocal weakness of Williams, as he just isn’t good enough to make this the really emotive number that it should be. The use of backing vocals once again helps the singer out, and the songs production also gives a stirring quality to the track through the use of strings and the heavy electric guitar riff. It isn’t a terrible tune, but I don’t really understand why this was chosen as the records second single.

2.5/5

Track 5- Shit on the Radio

From the serious face of Different we go to a more up tempo and happy pop state with Shit on the Radio, where Williams sings of pumping up the volume and just dancing to the music on the radio, which he seems to want to point out isn’t that good. The song is a bit too repetitive, but the message is quite catchy, and it is perhaps catchy in the way that you could see this as Williams simply making fun of himself. The more up tempo numbers are suited better for the singers voice, as the weakness of his voice is made up for in energy, and this song is also good because the grittiness of the singers voice adds a feisty dimension to the track. The singers rocker sensibilities are brought out a bit through the aggressive guitar riff that the song is built around, and with some punchy synths thrown in that sound a bit 80’s inspired, this another fun loving number you maybe shouldn’t enjoy, but can’t help enjoying.

3.5/5

Track 6- All That I Want

All That I Want keeps things tonally in the same vein as the last track in terms of the blending of quite strong guitar riffs with punchy synth notes, creating this catchy sound that does feel in some way indebted to the past. Lyrically the track is another song that lacks a really catchy chorus, but the message is cool, as Williams sings about how all he want is this girl, and he just wants to sleep with her. The message will undeniably appeal to the singers strong female fan base, and although his voice is annoyingly distorted in the bridge, the song finds the singer giving us quite a suave vocal performance. The only real issue I have with this song is that coming after the last track, the similar sound makes it seem like this is an album of few ideas.

3/5

Track 7- Hunting for You

Building in a powerful way that will make this a great number for Williams’ live show, Hunting for You is a stomping pop track with a stadium edge. The song finds Williams singing of how he loves addictive things, and he knows this girl is addictive and is just hunting for her. The message is simple but conveyed through a strong chorus and some catchy ‘ooh’s’, and vocally this is a stronger offering as it allows Williams to let go a little bit not stretch his voice to far. The simple nature of the guitars makes way for stomping drums that really grab your attention, meaning that not having this performed live just seems like a waste.

3.5/5

Track 8- Into the Silence

Taking things to a slightly more subdued state initially, Into the Silence has this dramatic tone about it that makes the record a bit more interesting and keeps things a bit more modern, particularly in terms of the subtle synth notes and the orchestral whistling that is smartly used within the production. The song finds Williams in more of a contemplative state, as he tells this girl that she won’t break his heart and he won’t fall apart. The messages is powerful and brings something different to the record, and in not keeping things in such a ballad state as Different, this song doesn’t sound too bad. At times his voice is stretched too far, but mostly the song shows off a different side of Williams that is distinctly human, and at times the texture of his voice is really quite nice to listen to.

3.5/5

Track 9- Hey Wow Yeah Yeah

With a title like Hey Wow Yeah Yeah, this song doesn’t shy away from being a fast paced, stomping number that is all about just having fun. The song finds the singer employing a sing speak style that has become a trend within todays modern pop world, and the lyrics of the song just find the singer telling us to come along and play. The lyrics are a bit stupid and not as sophisticated as the other songs, and although the singer’s vibrant personality comes out, the track does feel like he is trying to hard to be youthful, although the funky guitar riffs make for a good sound to the song.

2.5/5

Track 10- Not Like the Others

Not Like the Others finds Williams in more a rock state has more of an infectious energy than the former track without trying. The production value of the song is probably it’s best asset, with the guitar riffs and intense drum beats creating this simple but effective sound that shows an energised Williams and which will make this another good live track. The lyrics are a little more storytelling and finds Williams getting to grips with this relationship and expressing the sentiment that him and his girl aren’t like other people. The simple nature of the chorus is catchy, and although his vocals are weak, Williams does put enough passion into the track to make the song believable.

3.5/5

Track 11- Losers (featuring Lissie)

The final track of the album is a more understated affair that finds the singer surprisingly collaborating with singer songwriter Lissie. The song is all about the idea of Williams and Lissie having lived life trying to be what they see as winners, but now they accept who they are and don’t care what other think. The message is pure and powerful despite its heavy place within today’s pop world, and in keeping things going along very simply with the steady drumbeats and acoustic guitar, the track is that much more effective and builds to really get you invested in what the artists are singing. Vocally the two artists meld together well, and although Lissie is definitely the better of the two, Williams does manage to hold his own vocally, and so this is a well-rounded track that acts as a good end to the record.

3.5/5

Final Review

Take the Crown is an album that shows that Robbie Williams sadly isn’t the era defining pop star he once was, but for a game changing artist that has made his stamp on the music world, he is definitely still great in terms of how he can produce a solid pop album. At times the lyrical content is sloppy and the vocals can do with more work, but Williams has never been someone known for great vocals, and with and infectious personality that still entices the listener, as well as some great production value from producer Jacknife Lee, Take the Crown is still a deserved number 1 record that will keep Williams within the music game.

7/10

Best Track- Losers (featuring Lissie)

Worst Track- Hey Wow Yeah Yeah

Miley Cyrus- Bangerz Album Review

 

 

 

 

 

 

 

 

 

 

Album- Bangerz

Artist- Miley Cyrus

Ok, so whilst many will know her as the girl who found fame as Hannah Montana, Miley Cyrus has definitely shown in 2013 that she is not a little girl anymore. But aside from what you think of her antics, it is safe to say that Cyrus is a music force to be reckoned with, as the young star is currently enjoying some of the best sales of her career. But whilst she may be doing really good, does the music actually measure up?

Track 1- Adore You

When you look at the persona that has shrouded Cyrus this past year, it is weird to think that her album would open with a simple pop ballad that is all about love. But Bangerz opens with just that. Adore You finds Cyrus addressing a lover and telling him of her strong feelings towards him and how she needs him. The song is baced by simple beats and some nice piano melodies to create a simple pop sound. But whilst the lyrics are good and the production simple but also a bit dramatic, the best thing about this track is definitely the vocals, because here we have a Cyrus who really shows of her voice and shows the power in her voice, whilst also showing great control and creating a smooth tune that feels invested with emotion, and so whilst it may  not be the expected beginning of this record, it is a good, strong opening track nonetheless.

3.5/5

Track 2- We Can’t Stop

The track that started off the new stage in Cyrus’ music career, We Cant Stop is an uptmepo pop song with RnB and dance elements, and is a song that shows off the partying side of Cyrus’ persona. Here she sings of not being able to stop and just living life and partying, with the use of we perhaps placing her as a voice for her generation. The message is a bit clichéd and silly in places but the vibrancy that foregrounds the song makes it an infectious track, and what is cool to listen to is the fact that Cyrus still has this quite soft, Disney suited voice, and yet within this dance and RnB context she still sounds comfortable and accessible. Producer Mike Will Made It (who is now a prominent part of Cyrus’ music career) gives us some stomping bass and light synths for a good party sound, although for me the auto tuned vocal moments from him are just weird and annoying.

3.5/5

Track 3- SMS (Bangerz) (featuring Britney Spears)

Featuring one of Cyrus musical idols Britney Spears, SMS (Bangerz) is another pop song that this which contains elements of hip hop. The song is very much a love or hate song, where we find Cyrus and Spears both singing/rapping of not giving guys second chances and just ‘strutting their stuff’. The song is catchy in a way but the continual repetition of Bangerz and strutting that stuff does get annoying after a while. The rapping is also something that you will either like or just beg to be stopped, whilst the snappy beats of the production isn’t all that interesting but will keep things ticking along.

2.5/5

Track 4- 4x4 (featuring Nelly)

4X4 is another kind of a weird song where we find the singer sort of rapping, although she does do more singing. The song is more narratively structured lyrically as Cyrus plays the role of a female ‘rebel’ who is out to get bail for her lover. The message and story is just weird and annoying as it doesn’t feel like we are really hearing the true Cyrus, but the chorus is annoyingly catchy in its own way. Cyrus is vocally stronger in this song than the last track, with her playful side being nicely shown in the second verse of the song. However the problem with the track is that guest artist Nelly definitely steals the show with a guest turn, something he shouldn’t be able to do on another artist’s record. And whilst the country music elements of the production are cool and add something different to the record, after a while the sound is just once again something to keep the song ticking along.

2.5/5

Track 5- My Darlin (featuring Future)

From the country music stylings of 4x4 we transition into pop RnB ballad that takes things down to a softer and more emotionally powerful place. The song utilises a sample of the song ‘Stand By Me’ to find both Future and Cyrus singing (potentially to each other) of how they want their lover to stand by them. The song vocally shows off Cyrus’ voice to strong effect, but Future just feels like surplus baggage hear, with his auto tune heavy vocals coming off as whiny against Cyrus smooth tones. The lyrics are also sloppy, with the use of the Stand By Me sample being interesting as the songs chorus but ultimately falling flat due to the poor state of the verses which feel very cobbled together. The production is also sloppy, with the clattering synths giving us a frenzied song that just doesn’t have a clear direction for either the artist or the listener to follow.

2/5

Track6- Wrecking Ball

For many people this song will just remind them of Cyrus licking a sledgehammer and writhing around naked on an actual wrecking ball. But that is a real shame, because the song is actually really good, and probably some of Cyrus’ best work (and maybe the best). The song finds Cyrus comparing her love to hitting something with a wrecking ball and emphasising that she was encapsulated in this relationship that has now turned really sour. The song is lyrically powerful and is further intensified by a stellar vocal performance by Cyrus, who nicely plays it softly and very vulnerably in the verses before belting out the chorus to show not only the full extent of her voice but the full extent of her anguish. Pop maestro Dr Luke works his magic on the song in terms of the production, giving us a lush bed of synths and some powerful bass to make the track even more engaging, giving us a track that is potentially the ballad of 2013.

4.5/5

Track 7- Love Money Party (featuring Big Sean)

After the intensity of Wrecking Ball, Cyrus takes a step back to her partying persona with this party track. Lyrically the track is very much summed up with the title, and with this track the singer also flexes her rap muscles once again. The rapping is better than her other offerings but it still sounds a bit stupid when you know she isn’t a half bad singer. The haunting, grimy house beat that acts as the vital piece to the tracks sound is good and makes for a slick dance vibe to the track, whilst Big Sean provides a simple but effective rap feature. This song shouldn’t work in the way that it does, but it could have been a much worse offering.

3/5

Track 8- #GETITRIGHT

#GETITRIGHT finds Cyrus in a flirtatious and sexual state of mind as she sings about having this feeling coming over her and wanting to get things right with her man, particularly in bed. The lyrics are ok with a solid chorus, but the song is definitely elevated by Cyrus’ vocal delivery, with her smooth tone and infectious personality making the song that touch more believable. Current man of the moment Pharrell Williams provides producer duties for the track and creates a slick, funky sound that centres around a chopped guitar lick and some killer whistling that adds to the songs catchy feel. The track definitely sounds like a typical Williams song and for some people this may be a problem, but Cyrus still sounds comfortable and like she is having fun, which just makes for a good listen.

3.5/5

Track 9- Drive

Cyrus goes back to the emotional intensity of Wrecking Ball with Drive, another pop ballad that has a little bit more of a bite due to the dubstep elements of the song. Lyrically the track focuses on Cyrus’ telling us of all this guy has done wrong and having her heartbroken, but also being in a state where she is not fully able to leave the relationship. The track is lyrically more potent than some of the tracks on the record and definitely feels like we are hearing a song by Cyrus that comes from the heart. Equally she invests as much emotion in the vocals as she does the lyrics, giving us intense anguish and vulnerability that resonates with the listener and which definitely seems to be her strong suit. And with the wobbly dubstep rhythms of the production and the haunting essence of the tracks sound, producer Mike Will Made It definitely makes the song a complete package worth a listen.

4/5

Track 10- FU (featuring French Montana)

With the melodramatic, ‘oh you broke my heart’ opening of this track, you know this is a powerful break up number that sees Cyrus stay in the relationship anguish lane of her music. The song finds Cyrus singing about how this boy has treat her wrong and now she just wants to show him her middle finger and show that she is the stronger one. The song is lyrically potent and although the lyrics could be a bit more refined, the sentiment behind the song is enough to make this a good listen to the listener. Vocals on this track are powerful but also could be a little more refined at times, as in places the yelling style Cyrus employs is just a bit grating. However the production of the track is great, with perfectly inlaid dubstep beats, which makes up for pointless featuring of French Montana.

3.5/5

Track 11- Do My Thang

One thing about Miley Cyrus is that she seemingly doesn’t care what other people think of her, which is good for her, and this is something she shows with Do My Thang. The track is a great dance number that is all about Cyrus telling us that she is just going to live life and she will be ok just doing her own thing. The message is simple but strong and is nicely built around a catchy chorus, whilst vocally the track is good in that Cyrus playfully raps/sings in the verses and  builds up her vocal in the chorus without sounding too unrestrained and maintaining some good control. The production value of the song is also great, with synthesisers and snappy percussion giving the track a great dance rhythm, whilst the monk style ‘oh oh oh oh ee oh oh’ post chorus male vocals are a funny but equally catchy element to the track.

3.5/5

Track 12- Maybe You’re Right

Another powerful ballad, Maybe You’re Right focuses on Cyrus replaying this relationship in her head and coming to the conclusion that the fact her ex sees her as a bit crazy and foolish for him might just be right. The lyrics are confessional and emotional, whilst Cyrus once again shows her vocal chops and makes the emotion of the track feel that much more tangible and sincere. The tracks sound is equally as powerful and catchy, featuring some stellar drum instrumentation add little flourishes of gospel to show us that Cyrus’ is just superb when she really lets go.

3.5/5

Track 13- Someone Else

Final track Someone Else combines hip hop and synthpop for a stomping finish that is a little bit of a dance track in a way and which acts as a stamp of Cyrus’ change within the music industry. The lyrics of the song focuses on the end of a relationship whilst also addressing the change in Cyrus’ image, and in this sense the song acts as the perfect finish to the album. Vocally the song is strong with some nice vocal layering, but the frenzied synths of the production just feels to scattered and makes the albums end feel to off kilter. It could have been a stronger finish but its good to see Cyrus understanding herself.

3.5/5

Final Review

Bangerz is an album that maybe doesn’t live up to its title in the sense that you might have expected a lot of great party tunes. The album does live up to the title in terms of the production values being powerful, with harsh beats and some great use of different genres. However, on more than one occasion songs sound to frenzied or weird, and this is something that should have been addressed. The lyrics are good but also needed fine tuning for some songs, but what is undeniable about this record is that Cyrus’ voice is shown off to great effect. I expected more from this record, but it does have its positive, which outweigh the negatives, and therefore we can’t class this record as a failure.

6.5/10

Best Track- Wrecking Ball

Worst Track- My Darlin (featuring Future)

Song of the Week-November 25th 2013

 

 

 

 

 

 

 

 

 

Song of the Week- Hard Out Here by Lily Allen

Ok, so when Lily Allen released her version of Keanes Somewhere Only We Know as the soundtrack to the latest John Lewis Christmas advert, I thought it was nice, but definitely felt that Allen had been ‘mumsified’ after having her two children. But then she went out and gave us Hard Out Here, a this is just the tune to say I’m back!!!!!! After four years away from the spotlight, the singer has returned with a song that is as much a great analysis of today’s current music industry as it is a fun pop song and an affirmation that Allen is still her witty, tongue in cheek self. The song finds Cyrus singing about the pressures of the music industry and the double standards that she perceives, with Allen being provoking but also ridiculously catchy with her lyrical content. Yes the song is very swearing heavy, but that’s nothing you wouldn’t expect from Allen, and she actually manages to make the word ‘bitch’ seem more affectionate and derogatory in my opinion. Furthermore, her lyrics are also really great in that they are fine tuned to look at specific pop culture moments that have happened just this year, such as Robin Thickes controversial Blurred Lines. Vocally the singer is feisty and keeps things smooth and simple, and although the use of Auto Tune is a little bit annoying, this just acts as another reminder of the issues that some women have had to suffer to make it in the music industry. The stomping bass and fuzzy synths of the production gives a vibrant energy to the track and makes the song even catchier, and the sound also sounds very fresh whilst still feeling true to who Allen is as an artist. Just a great comeback track that makes me ready for more in 2014