Album- Heartbreak on Hold (Deluxe Edition)
Artist- Alexandra Burke
After
pippin boy band JLS to the winners post on the 2008 series of The X Factor UK,
Alexandra Burke has definitely been one of the talent shows success stories,
with a high selling career and a massively popular debut album. However, her
second studio effort had an underwhelming response from the public compared to her debut, signalling
that her X Factor star had faded. Perhaps due to a change of sound, label
changes or simply a severe lack of radio airplay, but she seems to really need
to do something drastic to have good third studio album sales. But was this
really that bad a record?
Track 1- Heartbreak on Hold
The album’s
title track is a stomping dance beat driven declaration in which we find Burke
lyrically channeling her negative energy and speaking of how she will not let
her heartbreak consume her, instead letting music and dancing allow her to
forget her troubles and come out stronger. The statement is strong and the hook
is catchy, although the lyrics are marred a bit too much by cliché ideologies.
And likewise vocally she is both good but bad, with the songs introduction and
chorus being in sung in a powerful way and complimenting the lighter and softer
verses nicely, but the moments of Auto Tune here sounding a bit unnecessary and
not adding any value to the number. However the production is all-round great,
with the stomping electro beats really allowing what she is singing to shine
and get you up on the dance floor with her.
3.5/5
Track 2- Elephant (featuring Erick Morillo)
The
albums lead single was the first track that divided opinion through the strong
use of Auto Tune within the song and the different sound she was bringing to
her music. However whilst not a big fan of Auto Tune, I am not against it, and
I actually feel that here it is used to good effect, and can be overlooked
perhaps by the fact that rather than hiding vocal weakness we actually know
that Burke can sing really well. Taking inspiration from the old saying “the
elephant in the room”, the tracks lyrics speak of Burke telling her man that
she has had enough of this relationship that has gone sour and they need to
talk about it because she knows something is wrong. The vocals are heavily Auto
Tuned but this gives an ice cool flavoring to the number and for me makes the
statement a bit more forceful, although the chorus could be a little less
vocally altered. However aside from the vocals the strength of the song really
lies in the stomping and powerful production that comes courtesy of Morillo.
Blending cool synths with stomping electro beats and incorporating some cool
house moments in the post chorus sections, with only the breakdown in the
bridge being a moment where you think erm maybe that wasn’t the best way to go.
Even if you aren’t a fan of this type of music you have to kind of admit that
Burke’s bubbly and up tempo personality really suits this musical genre.
3.5/5
Track 3- Let It Go
The collections second single is a little bit of a 90’s throwback kind
of a number that features an up tempo sound, with Burkes smooth vocals resting
on a bed of feather light club beats. The track finds Burke lyrically moving
away from the concept of love and relationships for a change and instead
embracing a quite spiritual ideology about just letting go of the stresses of
life and turning negative into positive. It is a quite stereotypical message,
but vocally Burke brings a great sense of enthusiasm to the track and so you
can’t help but get caught up in the message. And with an infectious 90’s house
sound that still retains a contemporary feel, this is one of the records
standout numbers.
4/5
Track 4- This Love Will Survive
Love comes back full force with this song (the
clue is pretty much in the title) where we find Burke lyrically addressing her
partner and basically stating that together she knows the relationship will
survive through thick and thin. The song is based in a slightly more mid tempo
setting, and production wise is a cool change of pace as the song has a
lightness about it: the electronic sounds are still there and the dance beats
are still present, but the motif of violin instrumentation gives an airy sense
to the track, which allows for the records message to be a bit more believable
as we can believe that the singer is indeed in love. And as it is a change of
pace the sound of the song stands out more on the record and also allows for
Burkes vocals to shine, as her smooth tone really brings the tracks message across,
and the vocal layering of the chorus makes for a catchy quality to the number
that leads in well to the vocal gymnastics of the bridge that make for a punchy
finish.
3.5/5
Track 5- Fire
Described by Burke as a track for the ladies out there, when you want a
feel good track, here we lyrically find the singer singing craving for her man
and wanting to feel sexy and free. The message is a bit clichéd and the chorus
is too repetitive, but the track is saved by the lilting and smooth vocal
performance that Burke employs, as she brings a nice touch of sensuality to the
number, although the vocal distortion after each chorus is a bit annoying. The
throwback sounds of the record comes back strongly here as nice synth notes are
melded with 90’s dance beats that make for a cool mid tempo sound, although a
generic energy is present and so it could have had a better production sound.
3.5/5
Track 6- Between the Sheets
The focus on relationships remains with this
track, and the sensual edge of the previous number is also strongly retained,
although this time more dominantly. This is because the lyrics of the track find
Burke singing to her man and telling him that she can make him feel better and
they should basically just stay in the bedroom. The song is vocally strong as
the mid tempo setting and lack of vocal distortion allows Burke to shine as a
vocalist, with the harmonization making for a nice chorus. However her vocals
can’t really save the song, as the lyrics are very cheesy and feel bland,
having no powerful hook and imagery that feels like a thousand singers have
already said it before her. The production is also just ok, with the booming
bass and slightly warped feeling electronic beats just keeping the track ticking
along rather than making an addictive listen.
2.5/5
Track 7- Daylight Robbery
Easily the weakest track on the record, this
number feels a bit lack an extension of the previous number, just with a
harsher sound. Lyrically the track is all about Burke telling her man that he
has her heart as he was a like a thief, and it’s a message that has no powerful
hook and is so clichéd it is ridiculously. The production of the track is
stronger than the previous number, as the track edges more closely into up tempo
territory and the bass is stronger, although still a bit too generic feeling.
The song builds nicely, but enjoyment that you can have is kind of lost as
vocally, despite the lack of Auto Tune and the strength in her voice, Burke
gets eaten up in the overall sound of the track. And when the lyrics are like
this, even if you really listen to her you’re not going to care what she says.
1.5/5
Track 8- Tonight
The record comes back on better form with this
up tempo number that features a nice blend of delicate piano melodies with
powerful dance beats and features a strong vocal declaration from Burke.
Lyrically the track is bitterer in tone than the previous work, with Burke
telling her man that she has had enough of the way she is being treated and so
is just moving on. It’s a strong statement that is centered around a powerful
hook, with the Auto Tune moments actually strengthening the song rather than
being a nuisance. Vocally Burke also gives a great performance in the way she
fluctuates from deeper levels of her vocal register to the higher quarters,
making for a catchy tune. Producer Lucas Seconbrings some masterful production
in that he knows when to keep things simple and let Burke’s voice work her
magic before catapulting the track into full on dance floor territory with an
aggressive bass line and propulsive, although familiar, dance beats.
3.5/5
Track 9- Love You That Much
Burke describes this track as a dedication to
her fans, and this comes out in the lyrical content of the song. Here we find
Burke singing about how she feels good and employs and array of images to
express just how much she is in love with this particular person (or in her
case all her fans). The song is a powerfully cliché driven number, particularly
with regards to the chorus and the imagery that is presented, but the potential
blandness of the track is avoided by the use of the most prominent of the records
throwback sound. The tracks, production features a cool kind of band stand
sound couple with steady dance beats and a soft electronic undertone, making
for a kind of 90’s, happy pop sound that is quite enjoyable. And vocally Burke
is on point, on this occasion seeming like she is truly having fun and
capturing us with her smooth vocal tone.
3.5/5
Track 10- Oh La La
The sensual side of the singer’s personality
that has been previously expressed in the record comes out again in this dance
pop number where lyrically Burke speaks of how she is a powerfully sensual
person but this man needs to work for it if she really wants it. The song’s
lyrics are ok, with the hook being stronger than previous offerings and the
bridge being a strong slow affair that gives a strong finish. In terms of the
production the track is like the lyrics ok, providing a nice dance floor rhythm
and being stripped back in tone in the bridge which also makes for a good
finish. However vocally, unlike the previous track, it just feels as if Burke
is singing the track rather than being invested in it and making it her own, as
we don’t have any of the true power of her voice on display and the transition
between the verses and chorus just feels weak, so overall there is a sad lack
of personality.
2.5/5
Track 11- Sitting on Top of the World
A “Candy floss song” according to Burke, the
penultimate track of the standard edition is a slow but still mid tempo affair
that keeps in line with the happy in love persona that other tracks in the record
have conveyed. The message of the track is simply of how Burke and her man are
so great together that she is going to put the relationship back together so
that they once again feel like they are on top of the world. The tracks lyrics
are another example of when the stereotypical ideologies seep into the record,
and although Burke gives a nice, smooth and quite soulful vocal performance,
she can do nothing to really repair the lyrical quality, with the “I’m gonna be
be” motif just sounding annoying. The production is quite sweet and nice, with
a simple bass line and steady electronic beats that bring out the essence of
the track quite nicely and makes a nice change from the heavy dance beats of
previous songs. It’s both a strong and weak track in different ways.
3/5
Track 12- What Money Can’t Buy
Witten at the age of eighteen with her friend
and fellow musician Ben Adams, this track is the records only ballad. Written
after she was coming out of a relationship, the song is a very stripped back
affair in which we here the delicacy and gorgeous tone of the singer
accompanied by nice piano instrumentation. Lyrically the singer speaks to her
man and asks him to keep this relationship going because they are so good
together and she feels so strongly about him. The lyrics are succinct and quite
sweet, with the punch line of the song being a quite pure and beautiful
sentiment. Certain elements of the lyrics feel slightly generic, but because
the stripped back nature of the production really allows Burkes vocals to shine
the lyrical issues are nicely glossed over as a true sense of heartache and
emotional investment in the track is brought out. The song also nicely builds
both vocally and sound wise, and the only big problem is the chorus, as the way
it is initially sung feels to forced, and the track would have worked better if
it was perhaps performed as a slow and natural build in vocal power.
3.5/5
Track 13- Devil In Me
The first of the bonus tracks is a nice mid
tempo offering that features a slight funky groove and finds Burke lyrically
telling this man to come with her on the dance floor as she wants to feel them
close to each other. The fun and fancy free groove of the track comes out
nicely in Burke’s vocal performance, with the vocal layering in the chorus
making a nice light dance floor friendly affair. And in terms of production, the
dance beat driven production with the hand clapping beats and little frenzied
electronic undertones make for a nice and light just dance around and lose
yourself energy to the track, with the breakdown in the bridge being a little
bit underwhelming but still making for a strong finish and building nicely in
energy.
3.5/5
Track 14- Beating
Still
The final of the proper bonus tracks (i.e. not a reworked song) is
actually one of the best songs on the album, and is a perfect example of when a
bonus track is actually better than quite a few of the standard tracks. The
theme of love and heartbreak is powerfully incorporated within the tune in
which Burke lyrically expresses how she has been powerfully affected by love
and has been very hurt, but through music and life she has come out stronger
and she can still love again, with the hook of the track being the idea that
her heart can still work after all this time. The tracks vocals are really
powerful and although the song is sonically very powerful, Burke never gets
lost in the sound, with the Auto Tuned hook sounding really strong and giving a
light but strong essence to the track. The production is also extremely
forceful and great, with the verses being more reserved in tone with simple
electronic club beats before making way for the booming chorus with its
clattering synth undertones and propulsive energy that easily makes this track
the best number of the whole record, and me questioning how on earth this could
have ever been classed as bonus track material.
4.5/5
Track 15- Heartbreak on Hold (Acoustic Version)
A further
bonus track is a stripped back reworking of the records title track. The
acoustic version of the song works powerfully in that the singer really
showcases her vocals and the power that lies in her voice, and the lyrical
content is also given a little bit more of an emotional kick as the clarity of
what she is singing is brought out through the soft acoustic production.
3.5/5
Track 16- Let It Go (Acoustic Version)
Burke ends the deluxe edition of the record with a stripped back acoustic
reworking of the records third number and second single Let It Go. Like the
previous acoustic version of a track, this version allows Burke to show the
beauty and strength of her vocals. And the lyrical message of the track is a
little bit more potent, with the piano arrangement and guitar instrumentation
complimenting this message nicely. However although this version is good, the
previous acoustic version of a song is superior, as the sentiment of the track
works better as a club driven number.
3/5
Final Review
It may have had underwhelming sales in
comparison to her debut album, but this is not the terrible record that these
sales figures would suggest. Burke showcases some impressive vocals and the
vibrant dance driven energy of the record really suits her personality, and I
would disagree with some critics as I feel the Auto Tune used in the record
works on more occasions than it fails. However, the problem with this record is
that it is too trend driven, with Burke creating songs that are tailored for
commercial success, and although the sound suits her, she sometimes loses a
sense of personality, with many songs being ruined by heavily clichéd lyrics.
You can find some gems on the record, but I wouldn’t recommend purchasing it.
5.5/10
Best Track- Beating Still
Worst Track- Daylight Robbery
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