Sunday, 18 August 2013

Why Wasn't This Released As A Single- Sunday August 18th


Why Wasn’t This Released as a Single- Leona Lewis track Glassheart

Leona Lewis emerged onto the music scene back in 2006 when she won the UK version of X Factor, and she quickly emerged as one of the major success stories of the show due to her music making a serious mark commercially not just in the UK but worldwide, particularly in terms of her reaching number 1 in the tough US music market. But like many stars the singers success began to wane following from the mega success of her first proper single ‘Bleeding In Love’, to the point where her latest record was only slightly well received commercially in certain territories, and definitely did not live up to her musical past. In my eyes if anything could have turned around the fortunes of this singer, it would have been releasing the title track of her album, Glassheart, as a single. The song itself is a stomping dance song that also nicely combines elements of dubstep and house into Lewis’ work. The song’s lyrics are typical woe be me Leona, as she is this woman protecting her heart over fear that her boyfriend will leave her. But whilst the track is lyrically familiar, the songs dance style is markedly different from anything the singer has done before and has this vitality that is truly infectious. It also doesn’t feel like your typically generic dance track but is more sophisticated and powerful, with the singers vocals still commanding your attention but not in the bland way of her typical ballad style. I am not saying that the singer should have reinvented herself as this new dance floor diva, but in today’s modern world powerfully emotive dance tunes are a major trend, and when done to a high calibre then can be truly satisfying, which for me this song is. It’s release would have definitely shown the world that we have a singer who can be more than what many think of her and who is musically evolving, and it would have been a stronger release than the records lead single Trouble, which was a dark and slightly interesting affair but ultimately felt like a combination of this is typical Leona Lewis and this is something that co-writer Emeli Sande decided to throwaway. Glasshearts release could have maybe changed things for the singer, and with the news that she originally recorded both We Found Love by Rihanna and Burn by Eliie Goulding, to songs that have gone on to have great commercial success, it seems that Lewis’ team need to start having words with her or she is just going to become a former X Factor contestant known for some past hits, and known as the girl who passes on hit songs.

Song of the Week- 12 August 2013


Song of the Week- Roar by Katy Perry




















If anyone has read my review of Katy Perry’s amazing record Teenage Dream then some people may already know that I am a big fan of this woman, and here I have to say that she is my favourite artist and I think she is just great in so many ways. So with her latest single being released this week it can’t be helped that I highlight Roar as the single of the week. I was actually a little bit nervous in a weird way when I sat down to listen to the track, as I just felt that after giving us such great music with her last record and the whole Teenage Dream era, it may be difficult for her new music to excite me on that level. But the woman just exceeds my expectations and proved that she so deserves all the success she gets. Roar is a bold mid tempo power pop song that is production wise synth based and nicely incorporates some arena rock and glam rock elements into the singer’s pop style. What I love about Roar is the fact that to me it feels like the singer does three great things. Firstly she takes a step back to her One of the Boys days and goes back to having a little more rock edge as she was inspired by artists like Alanis Morisette. Secondly, she retains the pop sweetness and sophistication that made Teenage Dream such a special record (something I feel you really hear most within the verses). And thirdly, she seems to have this bolder, grander and at the same time slightly rawer musical edge that makes you really feel that this is another musical era that is going to eclipse her last. Perry’s vocal performance on Roar is both cute and mature in equally great measure, with the final chorus being her most powerful vocal moments in my opinion and maybe giving the indication that her newest record will show an even greater vocal maturity. And with a power house chorus that instantly becomes stuck in your head, Roar is just a musical slice of pure awesome. It may not necessarily be as big a music change and statement as the singer set it up to be, but there are still plenty new Perry music offerings to come, and Roar just acts as this blissful example of how Perry always delivers something truly great.