Marina and the Diamonds- Electra Heart Album Review

 

 

 

 

 

 

 

 

 

Album- Electra Heart

Artist- Marina and the Diamonds

So apparently Marina wanted to release Electra Heart under a different moniker and embrace a pop artist identity. But her label persuaded her to not do it, most prominently so that her more alternative fan base was not alienated. But I kind of feel that anyone who has listened to Marina that she has always had a pop sensibilities and most of her songs have that pop undercurrent, and that it’s just natural for her to embrace that. And despite this album being more pop orientated, I also feel that the album still has some alternative sensibilities. Being a very concept driven record in which Marina puts on different personas, has she created a massively great modern pop record?

Track 1- Bubblegum Bitch

The opening track is a bratty, in your face vitality in which Marina puts on the kind of Rachel McAdams Mean Girls kind of persona and boldly declares that she is going to be a bubblegum bitch, all the while using sugary sweet imagery and stereotypical ideologies that make for a clichéd but catchy listen, with the hook being a strong statement and highly catchy. Vocally she keeps it on a simple level and lets the energy of the track really do the work, with the production matching the lyrics in a great way in terms of the fast paced drum beats and guitar riffs that make for an almost aggressive but cool sound.

3.5/5

Track 2- Primadonna

The first Dr Luke collaboration is a strong pop orientated affair with a cool dance energy that finds Marina vocally putting on the persona of a diva kind of girl who lives for adoration. Lyrically the track was inspired by a former beau who referred to Marina as a mega drama queen centred in this need for global love, and so she taps into this quite superficial and undesirable energy into the track to create a powerful hook within the chorus and a bratty but sweet energy that shows the dual sides of this character in a strong way. Luke brings his great pop sound to the track in a great way by allowing the chorus to be a bit more stripped back, with simple piano melodies and a kind of music box twinkling rhythm, then getting the powerful dance beats to be unleashed in the verses and helping to emphasise this personas craving for adoration. Vocally Marina is also great, employing a nice falsetto in the chorus to make for a sugary sweet listen, and then going into a deeper register for the verses to emphasise the calculated nature of this character. The melding of the high vocals and dance beats at the end makes for a powerful finish that should have you singing along by that point.

4.5/5

Track 3- Lies

The second Dr Luke collaboration is a simple electro pop affair with a ballad feel and an emotional sound as a whole. The track opens with simple layered vocals that give an almost haunting quality to the song, and then Marina begins to fully sing in an emotionally loaded way. The vocals are strong, particularly in terms of the slow lyrical stresses in the pre chorus and the transition into a strong, higher register in the chorus. Lyrically the track finds Marina singing about this relationship that has gone wrong, in which the man is too proud to say things have gone wrong and everything is just built on lies. It’s a simple ideology that is melded into a strong pop hook and which taps into a mind-set that will be familiar to many people. Production wise the song is strong in terms of maintaining the tone of the piece, with the guitar riffs in the middle section being particularly potent and allowing for a big finish, although the dance pop beats are perhaps potentially a little overpowering in the chorus.

3.5/5

Track 4- Homewrecker

Opening with a radio crackling kind of voice over where Marina speaks of the ways in which relationships and characters go in life, before she boldly sings “And I don’t belong to anyone”. The song’s lyrics find Marina putting on another persona in which she is basically the girl who sets out to ruin relationships just because she thinks its fun. However whilst the hook is a bold statement and has a catchy quality, the track is a little too lyrically repetitive and is not as tight as the previous numbers, as she vocally switches between powerfully sung hook to radio sounding spoken word verses that just become annoying after a little while. The production however is strong, being toned down in the verses to allow for a great kick in the chorus with its booming bass line.

3/5

Track 5- Starring Role

Here Marina brings a really emotionally loaded performance in which she lyrically speaks of a relationship within the metaphorical ideology of acting. In simple terms the track finds Marina singing about the end of this relationship and how this guy just won’t really open up and has just really messed up, so if she doesn’t get that place she wants in his heart and mind (a.k.a. the starring role) then there is nothing in the relationship for her. The lyrics are an intricate meshing of ideas and are really helped by a strong vocal performance in which Marina really reaches into the higher realms of her voice to give a sense of vulnerability to the number, whilst the layering of her vocals works well in giving a sense of strength to match the vulnerability. The production of the track is also another example of where the producers really meld well with the lyrics and vocals, with the two beat music box rhythm and the wind chime effect of the introduction making way for clattering, forceful beats that in the pre chorus almost feel like they border on dubstep, but instead throughout the song they keep the track in a light pop territory, with the transition back to the simple beats and wind chimes in the outro making for a nearly haunting finish.

3.5/5

Track 6- The State of Dreaming

The delicate and dark energy continues with this track which finds Marina employing the soft quality of her voice to great effect and lyrically speaking of how she is living in this non-existent state where her life is a play and she just is so much better in this life of make believe. The track starts off in a vulnerable and haunting way before building into a big, vocal and production driven number that reflects the dreaming ideology of the track and beautifully taps into that notion that many people have of losing themselves in their own minds. The big sound of the track comes through not only in the vocal performance in which Marina really belts out the chorus, but also in production with its booming bass and small moments of haunting violins. And in giving us this sound Marina draws a great paradox in the record, drawing a fine line between happiness and darkness and expressing how dreaming is both a great and terrible thing to live life by.

3.5/5

Track 7- Power & Control

This up tempo number is very much a dark fantasy kind of piece that to me has an almost dark twisted fairy-tale aspect to it. Lyrically the track is very light and basic, with the chorus being a powerful hook driven section in which Marina takes the reins and tells her lover that she has a hold of his heart and is the boss of this relationship. The tracks dark atmosphere is brought out powerfully by the vocal performance, with the chorus being a punchy layered vocal that offsets the more soft spoken verses in a impressive and grand way. The production of Greg Kurstin is also brilliant, being toned down in the choruses to simple electronic beats that still have a fast paced energy, and then transitioning into booming bass beats in the chorus that really strengthen the track and make it sound not only a catchy and dominant listen but also a really believable statement.

4/5

Track 8- Living Dead

This electronic based number to me kind of has a eurhythmics kind of a feel to it in terms of its sound, but however I wouldn’t say it is on the same level as those tracks. The lyrics of the song talk of Marina living in this state of where her life is just so monotonous and she hasn’t really achieved much, and although it’s an ideology that people will connect with, the hook isn’t as strong as her other tracks, and the sentiment feels a little bit familiar in terms of the overall tone of the record. Vocally she is strong and gives a punchy quality to the track through the way she switches between her higher and lower registers, although the repetition in the track is annoying. Production wise the track has a strong electronic base that keeps the track going but doesn’t make it a really interesting listen.

2.5/5

Track 9- Teen Idle

Many people have noted the similarities of this track with the music of Lana Del Ray, with Del Ray also stating that she was a fan of the track. Whilst there are similarities, that does not mean this is not a Marina song, and it’s definitely a rich peace that is an album highlight. The tracks lyrics are paradoxical in terms of their embracement of innocence and darkness. And lyrically it is just great in tapping into that search for identity in your younger years, with Marina vocally bringing this ideology to the fore with fragility to her voice and also highlighting the paradoxical qualities, particularly within the cheerleading quality of the line “feeling super super suicidal”. The production keeps the track on a simple but strong level, with dark but minimal beats in the beginning and then a more forceful sound as the track continues that builds and just borders on too powerful but manages to sound good.

4/5

Track 10- Valley of the Dolls

This more stripped back affair features simple drum beats and an orchestral sound that gives gravitas to what Marina is singing. The track is also cool in terms of highlighting how she is really good vocally, as the production is kept on quite a simple level and so she shows her prowess by vocally carrying the song, although the layering of her voice is a little bit excessive. Lyrically the track is of a deeper grain and finds Marina singing of this search for an identity, although the lack of  a good hook, and perhaps if the song had gone a little bit darker, means that it is a good but not great listen.

3/5

Track 11- Hypocrates

The title of the track might be a little bit misleading as it suggests that the song has a powerful depth to it. However the track is actually a very simple pop love and heartbreak song in which lyrically Marina calls out this guy for telling her how to live her life and acting as if he is perfect, thereby running the relationship effectively. Vocally she keeps a light tone that shows vulnerability but also makes for a really chilled listen, and in terms of production the track has more of an acoustic feel than the other tracks, with light guitar riffs, simple piano melodies and nice drumbeats that are a little stereotypical but also sound simple but effective.

3.5/5

Track 12- Fear and Loathing

The final tracks title would suggest it finds Marina going to a dark place musically, and indeed this is the case, but there is also a touch of hope in this track as she lyrically expresses how she doesn’t want to be in this negative state despite the fact that she very much is. The haunting production is kept on a minimal level and here Marina just really purely sings to get the message across. The last minute of the track with its echoing soundbite is absolutely pointless, but all in all a strong end.

3.5/5

US Edition Track and latest single release- How To Be A Heartbreaker

For a while this only existed on the albums American edition but has finally been released in other territories, and I just really wanted to highlight this song as I think it is a great pop number. Lyrically the song is a kind of step by step from Marina on how to be a love tease and how to play various guys, breaking people’s hearts and in the process never allowing yourself to get hurt. The song has a vibrant tone and a strong pop hook, emphasising that she would indeed make a very good, fully fledged pop artist. Vocally she is really on point, with a light tone that keeps the flirtatious edge of the track ticking along nicely and makes for a really enjoyable listen, with Dr Luke’s production keep a nice dance and guitar based rhythm to the track that will definitely make this a catchy number that doesn’t escape your head.

4/5

Final Review

In listening to this record I was fully in the mind-set that she could both incorporate her alternative quirks with modern pop sensibilities. But in listening to the record as a whole, I feel that she is an artist torn between wanting to become a pop star and wanting to remain in the roots of her music that got her noticed. And whilst in certain cases it works, as a whole the record feels torn, with the latter half being to down tempo and serious in tone, even if this does make for some great music. So for the next record she need to add more variation, give a bit more up tempo dance energy to the record, and fully decide who she wants to be as an artist.

6/10

Best  Track- Primadonna

Worst Track- Living Dead

Karmin- Hello E.P. Review

 

 

 

 

 

 

 

 

 

 

Album- Hello

Artist- Karmin

Karmin are a couple who got a lot of attention for their YouTube videos in which they put their own spin on well-known rap hits such as Nicki Minaj’s “Super Bass” and Chris Brown’s “Look At Me Now”. Their major label debut isn’t actually a full album but is rather an E.P. however it is a mainstream introduction that showcases their melding of hip hop/rap with pop. But is it a good combination, and are they actually a group that can make a name for themselves outside of the YouTube world.

Track 1- Walking on the Moon

The opening track is one that really emphasises how they want to meld the world of hip hop and pop together in an extreme way. But in this case it doesn’t necessarily work, as the rap verses don’t meld together within the simple pop hook of the chorus in a seamless way. The raps are indeed the worst part of the track, as they feel to aggressive and bratty against the chorus and the production, although certain elements of the rap are silly and so a mildly good. However the simple chorus is strong and features a great melding of Nick and Amy’s vocals for good harmonization, with the lyrics creating a strong hook to the track. In terms of production the track is great in terms of the combination of nice piano melodies with a booming bass that creates a big wall of sound and so melds with the ideology of the track.

3/5

Track 2- Brokenhearted

The records lead single is a fun and catchy pop tune that feels very current and upbeat. The track is also cool in terms of the rapping taking a little bit of a backseat, allowing for lead singer Amy to really shine as a vocalist and show that she has real power in her voice. The lyrics of the track paint a cool picture of the morning after and tap into the love struck ideology that is the songs foundation, with the chorus being a very simple statement driven piece that is extremely catchy. And whilst the subject matter of the track may be about heartbreak, the production of the track with its strong electronic beats and toe tapping rhythms make for a real upbeat and preppy sound that would work really well on the dance floor and makes the song a full package as a simply brilliant pop tune.

5/5

Track 3- I Told You So

With this song the pop attitude of the previous number is replaced by a stronger and darker hip hop edge, with the rap sections being more prominent. However the pop hook and rap verses don’t feel as abrasive as the first song on the record and so this is more of a comfortable listen that emphasises how fast of a rapper Amy really is. Lyrically the track is all about the group basically telling someone that they told you so and basically exclaiming how they are on top and are just great whilst those who perhaps doubted them are on the bottom. It’s a strong attitude that is giving gravitas by the simple nature of the hook that makes for a bold record, and the clattering hip hop beats and electronic influences make for a good sound in terms of production, if a little stereotypical.

3.5/5

Track 4- Too Many Fish

The saying “there’s plenty more fish in the sea” (particularly used in terms of relationships) is the inspiration of this pop driven track which sounds like a little bit of cheerleading track in terms of the handclapping production and the strong pop hook that pervades the track. The production is definitely the best thing about this track, giving a cool almost soulful energy to the track with the clattering beats and the use of horns in certain sections which give a punchy feel to the song. Vocally Amy is strong and the rap pre choruses are powerful, although the hook of the track is a little bit too auto tuned and so her distinctive vocals are hindered a little bit. The hook is really simple and strong and is one of those hooks that can easily get stuck in your head, whilst the lyrics of the track as a whole are simple and effective, with the bridge making for a strong finish to the track.

4/5

Track 5- I’m Just Sayin

The hip hop ideologies of the group come back in terms of the overall sound of this track which lyrically is all about how the group will get whatever they want to achieve and they are basically making no qualms about it. The verses are ok raps but don’t really leave much of an impression, and whilst the hook is as strong and is particularly effective in terms of the syllable repetition, the vocals don’t sound as strong and so the hook feels a little lacklustre. And whilst the heavy production makes for a nice groove it doesn’t feel as catchy a rhythm as the other numbers, and so this is definitely the weakest track on the record.

2.5/5

Track 6- Coming Up Strong

This track is the emotional down tempo song of the record and although it is a little stereotypical it is a great number in that we get to have a true sense of this couple being a proper group, with Nick taking a front seat in terms of the vocals. And although she is actually probably the better singer, Nick actually outshines Amy, perhaps because his sections feature a more stripped back sound and so aren’t as overpowering. The lyrics are an empowering statement in which the couple show how they will always fight their battles, however the hook isn’t as strong as the other tracks and is quite clichéd, but is saved through the sweet and comfortable vocal harmonization. The production is strong with some nice, powerful beats and delicate piano melodies, although in places it can be a little overpowering, and would have perhaps just worked better if it was a little more stripped back. 

3/5

Track 7- Hello

The title track is a strong dance pop number that does act as a good track to show who Karmin is to the world. The song is about Amy and Nick making a bold declaration and introducing themselves musically, as well as speaking of making that first move in any aspect. Set against some propulsive beats courtesy of Swedish pop greats Stargate and featuring strong vocal from Amy, this is an assured end and an assured introduction to these artists.

4/5

Final Review

Karmin are a strong pop due who really know how to make a well crafted track that features a strong hook and a great overall sound. However on many occasions the melding of the rap and pop isn’t good, and it seems that they should really keep the rapping a light flavouring on their music and focus on singing and pop quality, as this is when they work best. They also need to try and come up with a little less cliché for their first proper studio album.

6/10

Best Track- Brokenhearted

Worst Track- I’m Just Sayin

 

Conor Maynard- Contrast Album Review

 

 

 

 

 

 

 

 

 

Album- Contrast

Artist- Conor Maynard

Conor Maynard was initially introduced to the world as Britain’s answer to Justin Bieber, but with his more thought out and artistic RnB sound he quickly shrugged off those comparisons and showed that he was a powerful artist in his own right that didn’t need those comparisons.

Track 1- Animal

The albums opening number is a strong track that features a big sound in the militant beats and bouncing synths. Lyrically the track finds Maynard singing of this girl who is savage when it comes to things in love and sex, and he wants to be the next. And although it’s a bit of a clichéd statement, the vocal tone of the piece is strong, with the slow stresses at the end of each line in the verses giving a nice sensuality to the record and emphasising that Maynard is not a little kid. But whilst the track could be boring, the production definitely puts it onto a good level of coolness, with the synth driven sound being a good combination of chilled and propulsive and bringing a catchy feel to the track, whilst also sounding like it would be great for some club remixes.

3.5/5

Track 2- Turn Around (featuring Ne-Yo)

This duet with Ne-Yo is a light RnB/pop number that finds a more hopeful edge to the artist from the sound of the previous track, and features a smooth vocal combination. The song is all about Maynard and Ne-Yo telling their respective beau’s to just turn around cause together they can achieve anything and their love will feel like they are floating because it is so good. Both artist really bring great vocal performances, with both being light and rich in tone and also using some of the power in their voices to allows for a strong finish to the track. And when set against euphoric quality of the piano riffs, as well as the forceful and dance driven house beats, you can’t help but get caught up in the track and indeed feel like you are sought of floating along with the music.

4/5

Track 3- Vegas Girl

This synth pop driven affair is a very clichéd number that could easily be a really bad track in the wrong hands, but in this case it is an ok listen as Maynard brings his vocal charm to the song. Lyrically the track finds Maynard singing about all the great things that this girl has and using the idea of a Vegas girl to express her glamour, with this ideology unfortunately being the cliché catalyst in the lyrics (e.g. “roll the dice, I’ve got your number). However the light vocal tone and the slick but light beats of the track allow us to forget about what he is saying and revel in the fun and frivolous edge of the track, with the reference to “tequila” in the track being one of the best examples of those moments of revelling, even if the hook is a little annoying rather than catchy.

2.5/5

Track 4- Can’t Say No

When he released this as the lead single off the album and basically his major label public introduction, it’s not hard to see why the Justin Bieber comparisons were there at first, with the vocals having a simple boyish charm, particularly within the fast paced chorus. The track is all about how Maynard just can’t say no to these beautiful girls, and the statement is a little misogynistic but catchy, although the chorus does draw a fine line into being just annoying. Yet with the strong bass and clattering beats that give the track a bouncy synthpop energy, and a vocal that has that little bit of swag, you can also see why Maynard would want to shrug off those comparisons to the early Justin Bieber days, as his overall sound suggests he can be a greater artist.

3/5

Track 5- Lift Off (featuring Pharrell)

Another light RnB/pop number comes in the form of this fresh and synth driven record where Maynard once again puts on the charm and sings about another great girl. Lyrically the track is all about Maynard telling this girl that she is so good that they need to get together and see how far they can go in there world cause in his mind the sky is truly limit. The chorus has nice lyrical swagger energy in terms of its rhythm, although the lack of a strong hook is a minor issue. Vocally Maynard is again very on point, letting the natural light tone of his voice carry the song in a charming way, and the vocal layering in the chorus gives that little punchy quality to the track that makes for a little sweetness. The synths and clattering drumbeats, along with the strong bass, is also good in keeping a bouncy but light feel to the track without being overpowering, and so it’s a comfortable and groovy listen.

3.5/5

Track 6- Mary Go Round

With the tracks lyrics being based in the metaphorical idea of a merry go round ride, it’s easy to see why the use of a music box, school yard kind of rhythm opens the track and is a motif of the song. However rather than being about Maynard playing on a merry go round, which would probably be a rubbish subject matter for a song, this track instead finds the artist singing about this girl called Mary who plays him in their relationship, and how he is basically telling this girl that he is getting out of the relationship now because he is sick of having to question what this relationship is and all the problems they have. The metaphor is cool if a little clichéd, and although his smooth vocal tones make for a cool RnB vibe to the track, he perhaps hinders the vulnerability of the track a little, although the aggressive edge exhibited in the bridge is a strong moments. The powerful electronic bass and light synths keep the song in a subdued but strong pace sonically, having a slight groove but not going to forceful, and the only problem really being the beats used in the bridge that feel a little too familiar (a.k.a. sound similar to those used in “Animal”.)

3/5

Track 7- Take Off

The seventh track is a stomper of a number that is sonically really forceful and makes for a grand sound that makes the song really stand out as an album highlight. Maynard can here be found singing to a girl and telling her that if they run off together they can both just conquer the world, like a plane taking flight. It’s a simple if stereotypical statement that can easily sound terrible, but the hook is really strong, and vocally the track really works through the contrast of the more subdued and persuasive verses set against the booming and powerful choruses, which are great in showing how Maynard does indeed have some power in his voice. But the best thing about this track has to be the production, opening with a strong almost dubstep kind of electronic intro that sounds very euphoric, and then being joined by a stomping bass that does indeed make the song take off, and definitely makes it a track to be downloaded if you don’t want the whole album.

4/5

Track 8- Better Than You (featuring Rita Ora)

The second duet of the record is a powerful game of relationships in which Maynard and Ora create a great chemistry vocally as they speak to each other and tell each that basically when it comes to the game of flirtation and matters of love the other can always outperform the other. Vocally the track works well in terms of the combination of vocals, with both artists giving the chorus a powerful kick by reaching for the high notes, and also having light vocal tones that make for a nice playful edge, which really comes through in the final moments in which each artist name drops the other. And when setting against booming beats that give a great dance pop vibe to the track, this is definitely a masterful collaboration.

4/5

Track 9- Another One

Maynard is once again speaking of his love girls and goes back to his Can’t Say No mentality as he sings about how he has hooked up with this girl and loves it, telling these other guys that he has another one whilst there still searching. The lyrics are again bordering on misogynistic territory, but vocally there is a cool energy to his sound that implicitly emphasises that he also loves the way girls are and isn’t a misogynist. The lyrics are also cool in terms of their rhyming quality which is catchy and makes for a nice chilled but still energetic sound, also adding a sort of Caribbean flavour to the song. The productions sound is familiar but still strong, and the piano melody of the bridge makes for an impactful energy to the tracks close with its strong marching beats.

3.5/5

Track 10- Pictures

Opening with a shout out to the songs producers, this number is of a softer energy and finds Maynard using his falsetto and giving a vocal performance that shows a nice bit of a vulnerable side of his character. The lyrics are all about Maynard thinking of the good times he had with an ex and him feeling sad and angered as she took all the memories away in taking away the pictures of their love. The vocals are strong and give the chorus a catchy quality and feel fragile, particularly within the bridge. However the falsetto of the pre chorus is something that you can either enjoy or find a bit grating. Production wise the track is strong in terms of giving a softer energy to the number with a steady drum beat and some cool stop and start electronic production, as well as the twinkling piano melodies in places. The production is also good in terms of whilst being subdued, it also doesn’t mean that the track goes into a boring down tempo ballad territory, and the producers also pull back in the bridge to make for good end to the song.

3.5/5

Track 11- Glass Girl

One reviewer has cited this track as Maynard’s attempt to rewrite Justin Timberlake’s “Cry Me A River” for the dubstep generation. Yet whilst I can see what he means, just in terms of overall composition the track feels like very much a separate entity within itself and isn’t as emotionally wrought or as ballad driven as that number, which isn’t a bad thing. The strong dubstep groove can be heard most prominently within the post chorus sections, and this production makes for a forceful groove to the track, with the electric guitar riffs also giving a powerful energy to the song. The lyrics are good in that they feel a little bit more mature and polished, with Maynard singing to this fragile girl and basically telling her that he knows who she is. The vocals are good, although in places the layering is annoying, but otherwise it’s a strong number that shows a bit more depth artistically.

3.5/5

Track 12- Just in Case

The track is a kind of stereotypical end to the record in terms of a ballad like quality; however the production (aside from the piano melodies) stops it from being boring with its clattering electronic beats. However lyrically the track is a bit too emotionally loaded against the numbers preceding it and so it feels like this is one track too many for the record, with Maynard singing about telling this girl that she must not settle for anything, just in case the guy after him makes the same mistakes he did. But vocally he doesn’t bring the energy needed for the song, and it feels like he is just singing the words rather than connecting with them.

2/5

Final Review

I have been a fan of Maynard as a singles artist, but it’s only really his latter two singles that peaked my interest. However in listening to this record, I have to admit that I am presently surprised: Maynard is a complete artist who brings depth to the record and produces a great sound that is clichéd lyrically at times but is always pulled off with vocal charms and beats that have a nice RnB/pop flavour, making for a strong and cohesive debut that only becomes a bit dull towards the very end.

7.5/10

Best Track- Take Off

Worst Track- Just in Case

Jojo- Agape Mixtape Review

 

 

 

 

 

 

 

 

 

Album- Agape

Artist- JoJo

If like me you grew up listening to the powerful tones of JoJo through her mega hits “Leave (Get Out)” and “Too Little, Too Late”, you will perhaps like me have waited in great anticipation of a new, third studio album from the great songstress. Yet alas due to label conflicts that from the outside of the industry are probably hard to fully understand, and also new inspirations in terms of sound, we still have to wait for a proper album from the girl. However with this mixtape she aims to both satisfy her fans need for new music, as well as taking the listener on a musical journey into her life, with the album being friends coming together and bonding out of a mutual love of music and seeing what comes out of that.

Track 1- Back2thebeginningagain

The opening track is a powerful hip hop beat driven number that emphasise how in this stage of her career the music she is putting out to the world is kind of like a rebirth for her. Lyrically the track is highly personal and speaks of how Jojo has found herself after 22 years, during which many people told her what to do. Vocally her velvet like tones work well with the RnB sounds that she is playing with, with the emphasis upon certain notes giving a smooth quality to the track that allows for an innate sense of strength to be felt within the song. And although the male vocal section at the end is annoying, production wise this is a powerful affair with synth driven tones and a chilled groove that emphasises how she is indeed going back to the beginning again, with the rap like overtones used 55 seconds into the track emphasising that she isn’t a little girl anymore and is also sick of the conflicts that have prevented new music releases from her.

3.5/5

Track 2- We Get By

The second track is a very old school sounding RnB/pop song that features thumping and clattering beats in the production and a strong vocal performance from Jojo in which she lyrically expresses a strength within herself. The tracks all about Jojo remaining optimistic in spite of the struggles that she faces, and was reportedly  inspired by her move from South Boston to Los Angeles. The song has a strong sense of you never fitting in but knowing you will be ok, and the simple repetition of the hook is a string statement that makes for a nice light groove to the track that allows you to revel in the songs main ideology. And when set against the propulsive beats with their infectious but light groove and some cool use of piano melodies, this is a great first proper track that is hard to resist.

4/5

Track 3- Interlude Un

The first interlude on the record is one of the shortest interludes that I have ever heard and is also a very strange one that in my eyes is simply used as a kind of funny moment and an example of JoJo letting her fans really into her world. The small audio seems to feature JoJo in a studio, with one of the producers having a little moment as something has gone wrong, and it is kind of a funny moment. I don’t really think it’s something that can be simple judged as it’s difficult to understand why it is on the record and it is so short, but it does work in breaking up the heavy RnB vibe in a cool way.

Track 4- Take the Canyon

Jojo brings her sexual, I am now growing up side to this track which feels sonically and vocally sensual whilst also having that nice essence of danger. The lyrics of the track are all about cheating and have that essence of a it is wrong but it feels so right ideology. And vocally Jojo brings that this feels really good right now vibe through her almost smoky kind of vocals that feature some great stresses on particular syllables. The production is good in terms of having a propulsive hip hop kind of undertone beats and an overall sound that builds upon the sensuality of the song. However when the faster, clattering beats kick in within particular sections of the track it kind of ruins the track for me, and so this would have perhaps just worked better if everything was just kept simple.

3/5

Track 5- Billions

The pop sensibilities are a little more tangible with this song, but the pushing of different sounds and new inspiration is equally prevalent. The tracks lyrics are all about how although JoJo may go to different places both physically and emotionally, she will always come back to that special person in her life. The track is cool in that it can be related in a kind of two person relationship way but also in terms of family and friends, fitting in with the mixtapes title in a cool way. And although in terms of the production the track features a thumping bass line and potent stop and start rhythms, I feel that vocally the track is a bit more of the Jojo that people will remember as it has that undeniable pop tinge, with the slow lyrical stresses and the vocal layering in places making for a strong but also chilled affair. The songs last minute is a little weird in terms of the use of the creation of the song within the song as the final moments feature Jojo and her friends and producers just talking over the beat in the studio. But whilst it is perhaps annoying at first, it also kind of makes sense in perhaps showing that idea that she might go in different directions but she’ll always come back to the music.

3.5/5

Track 6- Interlude Deux: Joel’s Jam

With the second interlude is another weird but quite sweet and wonderful insight into the world of Jojo. The track is a short 30 second moment in which the listener can here Jojo’s father playing the harmonica, with Jojo stating that it is her dad with the song in this is a cool, funny and sweet moment kind of way. And although it’s strange, it’s also really cool in that it gives us a real sense of intimacy with this artist that perhaps wouldn’t be found on a normal record.

3.5/5

Track 7- Thinking Out Loud

The fact that this is a mixtape and not an album is really shown with this track which is a grain sounding kind of demo of a song that is simple but still a little bit emotionally loaded and finds Jojo giving a great vocal performance set against a simple piano melody, with the lyrics speaking of a relationship which is a bit fragile and that is driven by emotional responses. It would properly sound really good as a fleshed out, properly produced number, but it works in perhaps giving us an insight into the process of music making. And in speaking of hooking up with an ex and not having a fully mended heart, the track also serves nicely in reminding us that behind the RnB pop grooves she is also simply a vulnerable woman that goes through relationship troubles like anyone us.

3/5

Track 8- Interlude Trois: Love This Shit

The third interlude is a energetic interlude that finds Jojo speaking of “one drunken night” and then singing in an operatic style the line “I love this shit”, whilst an obviously drunk guy sings about how he “loves this shit”. It’s a funny moment that also perhaps emphasises the rawness and spontaneity of some of her music and just breaks up the mood nicely.

3/5

Track 9- White Girl In Paris

This cover of the Joni Mitchell track “Free Man in Paris” probably features because Jojo can relate to it in terms of the whole concept of being free, particularly in terms of how she has been trapped by her label. The cover is also really cool in terms of being a really vibrant and acoustic feeling number backed by strong guitar riffs and light accordion moments in the final section, with Jojo again showing the smoothness of her vocals and also how she can really pull off a song in an easy, flawless kind of way that other singers would struggle would do. The demo feel of the track at the start annoys me but apart from that it’s a strong track that also offers a contrast against the RnB/pop numbers, which is good.

3.5/5

Track 10- LTS Reprise              

Another interlude comes in the form of a love this shit reprise which is basically the drunk do saying the same thing again, although this time he talks about the three little bears. It’s just a weird moment that isn’t as funny as the first and feels unnecessary, with the small sonic sound at the end just sounding annoying, and so this just shouldn’t be in the mixtape in my opinion.

1.5/5

Track 11- Andre

The most full sounding song that probably wouldn’t sound out of place on an actual Jojo album is a strong RnB pop number that finds Jojo singing about the greatness of her lover called Andre, and is supposedly inspired by her admiration and attraction for rapper and former Outkast member Andre 3000. But the track is cool in that it is simple declaration of love about a man who can just be cool by being himself and just being free, and so is something that people will identify with. Plus Jojo’s great vocal performance in which she reaches some great notes to give a passionate quality to the track is backed by some great production with a nice RnB groove that fits her vocals perfectly.

4/5

Track 12- St. Patrick’s Day Interlude

Simply Jojo recording her family’s time in Boston on St. Patricks day, this interlude doesn’t really do much and to me just feels pointless.

1/5

Track 13- Can’t Handle the Truth

The final track is an emotionally loaded track that is lyrically all about cheating, but this time it is all about Jojo telling the guy that it is her fault she cheated because he is just an idiot and he made her this way. The song features some cool production with a more subdued sound than the other RnB numbers, and featuring a great string section at the tracks close that allows for a dramatic finish, with Jojo just again being really great vocally.

3.5/5

Final Review

If I am honest I am one of those people who doesn’t really understand the point of mixtapes and before this has never actually listened to an entire mixtape. But I am a big Jojo fan and so felt that listening to the mixtape might help me too understand both the mixtape world and her as an artist, and as well as satisfy my need for new music from her. And I can kind of see why people release mixtape as there is a greater sense of musical freedom and just that sense of as the listener you can understand their process a bit more. And the new RnB sound that she presents really fits well with her vocals and makes some great tunes. But I also hate this mixtape through the simple fact that it is a bit all over the place and the interludes after a while just feel ridiculous. Perhaps this was not the best mixtape to listen to for my first mixtape listen, but after this I’m unsure if anymore full mixtapes will be listened to in the future.

5.5/10

Christina Perri- lovestrong. Album Review

 

 

 

 

 

 

 

 

 

 

Album- lovestrong.

Artist- Christina Perri

After the major success of her song “Jar of Hearts”, primarily through placement on a range of media outlets, people finally started to take notice of Perri and her powerful musical style. Aside from the Twilight saga track “A Thousand Years”, arguably Perri has not achieved the same kind of success that Jar of Hearts solicited. But in listening to this album I ask myself: has Perri created an album that is worthy of the public’s attention? Or was “Jar of Hearts” just a bright musical gem in a sea of so so material?

Track 1- Bluebird

The opening track sets up the love based theme of the record in a story like way. Lyrically the song is about heartbreak, with Perri singing about this Bluebird (another girl) asking if she had seen this man who was once Perri’s and now isn’t, and now she feels so heartbroken. The song is strong in terms of the way that Perri kind of tells us a tale of love, although the chorus of the song is annoyingly clichéd. However the clichés of this number are helpfully dampened by Perri’s vocal performance, in which she applies a light tone to the lyrics that gives the listener the sense of true fragility and so makes the track more emotional. The production is simple but powerful, with the track beginning with a simple piano melody before being joined by guitars and drumbeats that allow the song to build towards a nice finish.

3/5

Track 2- Arms

Described by Perri herself as being about the fight between your heart and mind, this song is really good in terms of the way that the track builds in sound. The song starts off lyrically as typical ode to love in which Perri sings of being really happy and conjuring up the image of being swept off her feet by her love. However as the song progresses a lovesick craziness is observed in how Perri begins to question the relationship, but ultimately she realises it is great, emphasised by the repetition of the songs hook. Vocally Perri’s natural tone brings the element of love out of the track well, making it perfectly suited for a romantic comedy, and the background vocals that are more noticeable towards the end make for great harmonization that allows for a powerful finish to the track. And just as the lyrical content progresses, so does the production of the record, starting off with simple strumming of a guitar and a light piano melody that acts as the foundation of the song, before developing into an up tempo number driven by kick drums and featuring some clattering guitar riffs that shows the idea of Perri’s love just growing and her truly feeling whole.

4/5

Track 3- Bang Bang Bang

The venomous side of Perri’s personality comes out in force within this track in which she lyrically sings of this boy who has caused her heartbreak through betrayal and how she is going to shoot him down because at the end of the day karma is a bitch. The song is strong in terms of the vocal, with the bridge being a particularly great section in which Perri goes into a much lower key that then rises to make for a big finish. But the best thing about the track is the production, which provides a kind of old school, not quite but almost soul like sound, with clunky piano melodies, a powerful drum bass and aggressive guitar riffs. However the problem with the track is that the lyrics and partly the vocal make it feel a bit too clichéd, with the repetitive nature of the chorus wearing thin after a while rather than being catchy.

2.5/5

Track 4- Distance

The up tempo nature of the previous number is offset nicely here by this down tempo track. But as usual Perri wants to emphasise to the listener how love is not an easy thing, and here she lyrically speaks about how she is telling her lover that she will keep her distance so as to not create a kind of suffocating relationship, even though she does have strong feelings for him. It’s a delicate ideology that is pulled off by the simple but catchy quality of the tracks hook and Perri’s naturally light tone that brings a nice touch of fragility to the song. The production is also really good in terms of keeping a simple beauty to the track, but also creating a nice build in sound, as it begins with a simple guitar melodies and then the drums begin and just become more powerful with each moment, emphasising how Perri means what she is saying, but is also questioning what she is doing.

3.5/5

Track 5- Jar of Hearts

Perri’s most well-known to the track is a sweeping but simple orchestral based pieces featuring a heartfelt vocal that holds a nice slice of venom intermingled with hurt and fragility. The tracks lyrics feature a powerful hook that taps into the human condition of being hurt and is one of those hooks that is really memorable, with the track as a whole speaking of shunning the advances of a former flame, as they were ungrateful during the relationship and yet now want to rekindle that old flame. It’s a situation that many people will be able to empathise with, which is perhaps not surprising as Perri has stated that it was directly inspired by certain events in her life, and so the sense of truthfulness and a relatable essence is perhaps inevitable. The relatble nature of the lyrics is one of the reasons for the songs success, but another reason is the powerful vocal performance of Perri, who brings a palpable sense of sincerity in her voice and reaches into the highest points of her register for a dramatic quality to be found in the song. The rock based production also keeps things simple, with a nice piano melody and delicate strings that allow for her words to really shine and get through to the listener in an impactful way.

5/5

Track 6- Mine

With great drum beats that give a strong head bobbing groove to this song, this up tempo number makes for a nice transition from the balladry of the previous track. The fast paced and clunky piano melody intermixed with gritty guitar riffs and strong drum beats make for an acoustic but energetic sound to the track as a whole, with the more stripped back bridge adding for a dramatic finish to the track. Lyrically the track doesn’t have as solid a structure as her previous songs and so has a more powerful energy because of it, although at the same time it is hard to understand what she wishes us to take away from the track. But lyrically the track has a powerful possessive quality, with Perri singing of how she has this guy in a her hands and keeps getting together with him, but they can’t have a functioning and healthy relationship because she can’t love him, even if she says she’s mine. The only thing that weakens the track a little is Perri’s vocals, as although they are nice, they don’t necessarily have enough of a deep and perhaps gritty quality that is needed in order for the lyrics to be more palpable.

3.5/5

Track 7- Interlude

This song does what it says on the tin: it is a short, emotional sounding interlude that features some haunting, gospel like “ooo’s” and a dark piano melody that creates a powerfully dramatic listen. It is also great in its simplicity in that it allows us in listening to the album to reflect upon Perri’s perspectives on love that have already been stated, and prepare ourselves for what is left to come.

3.5/5

Track 8- Penguin

This track finds Perri talking about the softer side of love and is based around simple melodies that create a nice base for her delicate vocals. Lyrically the track is about how this love only comes once in a lifetime, with Perri comparing the relationship to the idea of penguins, who mate for life, and speaks of the work of fate. The simple piano melodies and the light guitar riffs give a lush acoustic feel to the track that emphasises the idea of the simple nature of fate, with the twinkling outro being a delicate sound of two lovers gliding off into the sunset for their life together. Vocally Perri is also really on fine form here, with the changes in key giving a nice chilled, lilting tone to the track, with the only downside of the number being the section in which the production becomes more subdued and Perri sings the line “Let go, let go of time, for you and I” repeatedly. This is because this section is just that little bit too dragged out, and the track would have just been better kept with the same production and vocal level for a simpler but sweeter sound.

3.5/5

Track 9- Miles

Miles is a song that lyrically taps into the ideology of a long distance relationship, with Perri asking her lover to forget about the distance that keeps them apart but just think about the love that she holds for him and expresses to him. However in the bridge she expresses how the relationship could not last and how she is sad about the fact that her lover felt he had to break it off. It’s a simple idea but one that feels very familiar in today’s world, and so the tracks lyrics make cut a chord with some listeners. However at this point the sound of the track as a whole is a little too familiar, with Perri giving the same kind of vocal performance that we know she is capable of, and the kick drums and guitar riffs and piano melodies creating a production base that lacks some sense of originality. So whilst it is a nice track that has a powerful end vocally and production wise because of the bridge, the track also acts as a sign that she might need to start pushing herself a little musically.

2.5/5

Track 10- The Lonely

This track acts as a sign of how Perri is at her best musically when the production surrounding her is bit more stripped back and she goes into a darker place musically, allowing for a dramatic tone to her work. Here we find Perri singing of how she is consumed by her loneliness after the break up off a once love fuelled relationship, and in the process implicitly asks herself if she can ever really love again? The swirling, delicate strings and simple but sombre piano melodies creating a great tone to the track that builds with each tone and emphasises the seriousness of the situation, whilst vocally Perri really shines as the natural fragility of her voice makes for an impactful tune, particularly through how she can settle into lower and higher registers seemingly at ease.

4/5

Track 11- Sad Song

The tone of this track is pretty much signified by the title of the track, with the song being about another break up, and so if you’re a little sick of the heartbroken Perri by this point in the record then you will join me in saying she should have stopped the record on the last track. And although she tries to interest us with the addition of heavy drums and cool guitar riffs and music box kind of production to create a transition from a down tempo to up tempo state, it’s just not enough to hide the fact that she doesn’t seem to have much range of artistic material to gain inspiration from.

2/5

Track 12- Tragedy

The final track is a heartbreak based number that has a nice venomous quality and although it is the same kind of ideology that we have come to know of Perri, it is saved a little this time by the swirling productions with is strings and powerful melodies that create a dramatic tone to the song.

3/5

Final Review

Perri is a good artist that can make really great music by looking at her past relationships and turning them into songs. Yet the problem with the record is that it is solely based upon this notion of love, and has a dramatic feel overall that after a while can feel like it is suffocating the listener with so much emotion, and so this record could have been much better if Perri just pushed herself and put a bit more variation in there.

6/10

Best Track- Jar of Hearts

Worst Track- Sad Song

Pitbull- Global Warming Album Review

 

 

 

 

 

 

 

 

 

Album- Global Warming

Artist- Pitbull

The Cuban rapper who has dubbed himself Mr Worldwide has took the musical world by storm through such global smashes as “Give Me Everything” and “International Love”.  With his seventh studio album the rapper continues with his formula of combining is sensual and powerful raps with strong pop hooks sung by a plethora of guest artists. But with each collaboration and winning formula being repeated, does Pitbull actually make a record that as a whole is worth listening to?

Track 1- Global Warming (Intro) (featuring Sensato)

This short introduction sets up the album nicely in terms of presenting Pitbull’s sample driven, rap embodied world. The tracks background music is a sample of the well-known Los del Rio track “Macarena”, and although the first time you listen it can kind of shock you in that you don’t expect that kind of sample, it also is a strong example of great production being used to really grab the listener’s attention. Lyrically the track is another Pitbull talking about how great he is with all his money and so is a bit egotistical, and this egotism is stepped up by Pitbull dissing other rappers in the game as a collective. However when he is one of the biggest rappers right now you can kind of get past the egotism and become enveloped in his swag along with him. And with Sensato providing a nice bit of Cuban flavouring to the track that emphasises Pitbull’s roots nicely, as far as intro’s in albums go this is a good one.

3/5

Track 2- Don’t Stop the Party (featuring TJR)

The first proper opening track is a stomping dance pop song with elements of house music, with the TJR feature being a result of the sampling of his track “Funky Vodka” as background music. The track is one where you really get the sense of Pitbull enjoying his life and trying to get us to join in the fun with him, with the hook being a simple statement that is totally club ready and asks us to never stop the party. The song is also cool in that Pitbull takes on both the rap and vocal sections to create a palpable sense of recklessness and just revelling in fun. The call out to the listener in the pre chorus is a cool slice of a club atmosphere, and the heavy beats are great to really get you in that mood. My only issue with this track would be that it feels so suited to a club/party atmosphere that for you to just listen to it on your iPod or on a cd at home it would be definitely just one to skip, and so it’s not one of those universally great tracks.

3.5/5

Track 3- Feel This Moment (featuring Christina Aguilera)

The third track is a strong dance pop number that is giving gravitas through the strong vocal performance of Aguilera, who belts out the chorus in her powerful diva way. The track is lyrically about taking a moment to appreciate life, and although it is a clichéd statement in today’s modern pop world, the hook is a simple statement that is catchy and so does the job nicely. But what really helps the track is the propulsive dance beats that are employed within the production, particularly in terms of the post chorus dance sections, in which the bass becomes heavier and you really get that sense of a club vibe. The track also has lightness to it in terms of the sampling of 1985 Aha track “Take On Me”, which propels the song into powerful synth driven territory. The synths also allow for the track to stand out more despite its familiar structure. And Pitbull raps in his usual charismatic way as usual, although the pop culture references such as fifty shades of Grey can easily pass you by. And although her vocals are good, in some places the auto tune used on Aguilera’s voice is a little grating.

3.5/5

Track 4- Back In Time

The records lead single was a track made for the Men in Black 3 film and played during the movies end credits, but didn’t make the soundtracks final cut. However, either way the song sits both comfortably in the world of that film as well as being just a great track in its own right. What’s great about the song is the way that it melds the old and new for a fresh sound, with the songs hook being a remixed soundbite of the Mickey & Sylvia track “Love Is Strange” complimenting Pitbull’s fast paced lyrical raps really well. The production features some powerful beats and the electric guitar before each use of the hook adds a great slice of stop and start to the record. However the production does fail slight within the middle section in which a dubstep influenced breakdown is used for a final powerful finish, but it sounds forced and doesn’t make the track any better so ruins the composition. And whilst in the simple words he speaks to a girl (e.g. the beginning) exude a great charisma, Pitbull’s raps aren’t something that really grab your attention.

3/5

Track 5- Hope We Meet Again (featuring Chris Brown)

Chris Brown here comes onto another Pitbull track, probably in the hopes that they can repeat the success of their previous collaboration “International Love”. But sadly it is not on the same level of that track. But that is just really annoying, because there are elements of the track that are great, but unfortunately as a whole package it doesn’t deliver. Lyrically the track finds Brown singing of how him and his girl being magical in the moment and him hoping that they will meet again, whilst Pitbull’s raps talk of his worldwide success and how people keep coming back for more from him. The rap vocal combination is another winning combination, and offers a nice change of pace in that the Brown sections are more subdued and feel a bit more heartfelt, although the use of auto tune in places is annoying. And the final vocal section with the background vocals creates the idea of a powerful chorus of voice that emphasises the ideology of uniting that exists within the track. However the problem with the track is the production, as this could have been more straightforward and polished to create a great song. The piano melodies of the vocal sections are great, but then the beats kick in. And at this point the song sounds bland, with the electronic sounds being too frenzied and trying to elicit are get up and dance response rather than letting it be a natural response. Furthermore, the “la la la” parts found in the post hook sections are so stereotypical for these kind of dance pop tracks that it makes it seem as if Pitbull isn’t even trying to make great tracks.

3/5

Track 6- Party Ain’t Over (featuring Usher)

This collaboration sounds better than the former because in terms of overall sound it feels like a more natural song. The tracks lyrical content is pretty much embodied within the songs title, with Usher and Pitbull forcing you to keep on dancing with their track as the enforcer. However the track is great and probably will get you to dance in that the production is strong and doesn’t feel stereotypical, with great producer Afrojack providing some Euro pop dance beats in the post chorus sections that sound unique and propulsive but not in your face party. Usher brings his RnB sensuality to his vocal sections in the track and so makes for a smooth jam, with us really believing that the party isn’t over. And the raps of Pitbull are better here as they have a simplistic energy and also feature some cool use of the Spanish language. The songs composition is also great in terms of the way the energy builds within the transitions of each section, with the only real problem being the way the song kind of finishes in a lacklustre way, as you want a little bit of a grander finish rather than the fade out way that the song uses.

3.5/5

Track 7- Drinks for You (Ladies Anthem) (featuring Jennifer Lopez)

Since the last two Pitbull, Lopez collaborations were full on, get your groove on numbers, I expected this track to pretty very similar, particularly when anthem features in the title. However I was presently surprised with this quite chilled out track that whilst definitely a ladies anthem has a cooler edge and offers the record that little bit of diversity. The electro pop dance affair is a simmering charismatic jam that lyrically finds Lopez embodying the role of the hard working woman, talking of how she’s had a long week and now she is going to celebrate. Whilst Pitbull raps of how he sees all these hard working women and appreciates there work, as his mother was a working woman. The collaboration works in that the chemistry in the pairs voices works well and gives that sense of Pitbull truly appreciating Lopez, whilst vocally Lopez is on good form, giving a chilled out essence to the track, although the vocal distortion is annoying in places. And the simple beats are great in that never stray into a full on dance mode, so this makes for the perfect track for girls getting ready for a girls night out.

3.5/5

Track 8- Have Some Fun (featuring The Wanted)

One of the boy bands of the moment collide with Pitbull’s rap pop world in this getting the party started track which gets its hook from the Sheryl Crow track “All I Wanna Do”. The track is cool in that it mixes a good sense of lightness and naughtiness into a cool way, with The Wanted providing the lightness in their vocal sections and Pitbull providing the naughtiness in his overtly sexual rap sections. The production is also great as Afrojack comes on board to provide a less stereotypical sound and contrasts the lightness of both acts sections with post chorus dance moments that feature gritty and propulsive beats not previously found on the record. However, whilst these are the positives of the track, the song isn’t as good as some of the previous tracks. In my opinion this is because of The Wanted, as we don’t get a sense of them being a collective in the track and their vocal sections sound as if they could have been sung by a number of different artists. And although light and propulsive sounds are mixed well, there is that sense of the track not knowing what it wants to be in place, with the end having no sense of a punchy finish.

3/5

Track 9- Outta Nowhere (featuring Danny Mercer)

After going back into more well-known territory with the previous track, here Pitbull throws a little bit of a curveball and shows how he’s not all about having to get the party going or continuing, instead replacing his beats for some strong guitar riffs and a fragile vocal performance by guest Danny Mercer. The track finds Pitbull rapping aggressively about how he has worked hard to get where he is and if people don’t understand him that’s their problem, whilst he also speaks of a relationship invaded by the media but how he also loves the life he has. And in the vocal sections we are treated to Mercer delicately singing about this spark disappearing when you least expect it and just feeling hurt, with the lyrics being relatable both in terms of our loving relationship with a partner, or our relationship with the world. The production features a strong rock vibe that is accompanied with clunky piano melodies that give a forceful edge to the track, and with the final note of Danny Mercer’s voice allowing the track to settle into the listeners mind, this is one of the standout tracks of the record.

4/5

Track 10- Tchu Tchu Tcha (featuring Enrique Iglesias)

The diversity of the record is exhibited again within this track with the sensual club track that is less up tempo and more about the slow, teasing kind of vocal performance. Pitbull brings on board Spanish artist Enrique Iglesias for the vocal sections where Iglesias sings of wanting this girl and picking her cause she has what he needs, with the slow lyrical stresses exuding sex appeal and complimenting the fast paced hook of the track well. Pitbull’s raps are cool and have a charismatic quality as usual, but Iglesias is definitely the star of the track. And the production of the number is really great, with the guitar based melodies and the strong beats elevating the sensuality of the track.

3.5/5

Track 11- Last Night (Never Happen) (featuring Havana Brown)

The party atmosphere comes back fully with this number which is all about the morning after a night of great sex. Pitbull raps about his sexual prowess and how great he made his girl feel, while Brown sings about how she can’t believe what happened and how she is going to tell everyone. The ideology of the track may be a little stereotypical but Pitbull has enough charisma to pull it off. However the problem is that the formula of this track feels too familiar, with the Brown vocal sections lacking enough personality to pull off what she is saying and the Afrojack production beats sounding cool but also familiar, with my first listen of the song immediately reminding me off his hit song “Take Over Control”. So this track perhaps acts as a sign that the record needs to end sooner rather than later.

2.5/5

Track 12- I’m Off That

The final track is a propulsive beat driven, frenzied sounding track where Pitbull spits rhymes about how he doesn’t like certain things but loves other things. It doesn’t necessarily sound like a good lyrical subject but as whole the track serves well in terms of emphasising a weird moral quality of Pitbull, although the Off that love that repetition becomes annoying in a quick way. The production of the track, however, is enough to make an engaging listen, and so whilst it is only ok it’s still a good end to the record.

3/5

Final Review 

Despite the lack of a big, you will really like it at some point in your life song like he had on his previous record, this is a strong seventh album that brings together a cool mixture of artists and shows us why he is one of the big rappers of today’s music world. And although many of the songs follow the same formula and so after a while it can become annoying, a sense of diversity can also be heard within different tracks, even if they are not completely obvious, and so as a whole package Pitbull creates an engaging listen, although he might want to start thinking about some more thoughtful raps, as on more than one occasion his guests outshine him.

7/10

Best Track- Outta Nowhere (featuring Danny Mercer)

Worst Track- Last Night (Never Happen) (featuring Havana Brown)