Katy Perry- Prism Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Prism

Artist- Katy Perry

Katy Perry is undeniably a pop force to be reckoned with, due primarily to the major success of her record Teenage Dream, which had a reckoned breaking five Billboard Hot 100 number 1 ones (that’s not including the stellar reissue lead single Part of Me), which equalled the total that Michael Jackson set and in turn made her the first female artist to achieve such a feat. Following up such a massively successful album and album campaign was never going to be easy, but with the singer finding some spiritual strength and growth after some personal struggles, she seems ready to rise with her album Prism, a record that she has described many times as a record where she ‘let the light in, and now I get to beam that light out to others’. But is this prismatic, seemingly life affirming and joyous record enough to keep Katy Perry’s crown as the Queen of today’s music world, or has she slightly let the ball drop for others to take her place.

Track 1- Roar

Album opener and lead single Roar is a feisty pop number that has power anthem written all over it. Lyrically the song finds Perry telling this person or persons that she was once held down by them, but now her voice will be heard and she is going to just do her thing. The song is wrapped in all round catchy lyrics that centre on this rich and gets stuck in your head oh so easily chorus, with the chorus being particularly great in that for me it just immediately comes across as a song that you have to sing along to when the chorus kicks in. Vocally this is some strong work from Perry, with her voice showing improvement in terms of range and featuring some powerful ad libs towards the end that will definitely have you roaring along as well. The use of an arena rock pop sound with the stomping drums gives an immediately powerful tone to the track that perfectly matches the lyrical message, showing us again why hit makers Dr Luke and Max Martin are melodic geniuses. It’s just such a powerful, positive record that is also very inspirational whilst also just been very fun, and what is also great is that the lyrics may be personal to Katy Perry, but they are also malleable to the listener and just make for a truly awesome track that acts as a great bridge between this new record and her last record.

5/5

Track 2- Legendary Lovers

After the stomping rhythms and light but strong energy of Roar we go to a cool, very Eastern, Indian influenced place with Legendary Lovers, in which Perry lyrically sings to her lover of how she wants to be with him and they can just be legendary lovers, evoking a number of past legendary lovers like Juliet and Cleopatra in the process. The chorus is catchy like the last track but is also a bit weird and funky and so definitely is great in showing a new element to Perry as a songwriter. The soft, sultry vocal tones of the record nicely bring out the theme of the track, but what is probably the most interesting element of the song that makes it that bit more catchy is the production, which kind of softly simmers in the verses before stomping on forward in the chorus, with the bhangra inspired breakdown near the bridge being a inspired moment that makes for that final rousing chorus. A song that would probably work great visually if released as a single.

3.5/5

Track 3- Birthday

From the Eastern vibes of the last track we go into Mariah Carey influenced, pop driven 90’s vibes with Birthday, a sugary sweet number that is probably the song that most closely links to the singers previous record, although that does not mean that it doesn’t work on this album. Here we find Perry using an array of double entendres centred around a birthday theme to express to her lover that he makes her feel good and so she is going to make him feel good and make it feel like it his birthday every day. The fun and flirtatious lyrics are really on point but I feel that the lyrics are definitely elevated by the singer’s vocals, as Perry nicely utilises her falsetto within this voice and shows some great range to bring out the songs flirtatious quality. The funky, disco beats of the track with the great utilisation of saxophone gives a light, airy sound to the track that just adds to the song infectious, flirtatious energy.

4.5/5

Track 4- Walking on Air

Released as the records second promotional single, Walking on Air definitely keeps the happy party atmosphere going, but now Perry goes even harder and takes her music into more of an electronic, club driven direction. Another 90’s inspired number, the song focuses on Perry expressing how she couldn’t quite believe this relationship could be so great, but it is and it is like she is walking on air. Lyrically the song is a bit lacking for me as the chorus focuses too much on the repetition of a single line, but vocally the song is great as here Perry nicely utilises her lower register and boosts the song towards the end with the use of a gospel choir. Producer Klas Ahlund definitely brings some producer magic to the track with the propulsive house beats that are bound to get you on the dance floor, and for that reason alone I wouldn’t be surprised if this was released as a proper single in the future.

4/5

Track 5- Unconditionally

Released as the records second single, Unconditionally is a dramatic love ballad that focuses on Perry telling this person that she has an unconditional love for them. The song is lyrically poetic, both sweet and dark at the same time and being relatable to listeners in a variety of ways. Opened with a hushed electronic production and then becoming this powerful pop piece full of tribal drums and a dramatic bass line, the songs sound is definitely attention grabbing and sets the track apart from any of the singers previous work. And vocally the song is superb. Katy Perry isn’t perhaps the best singer in the world, but with this track she shows off some range and nicely softens the verses to make the dramatic chorus that little bit more powerful, whilst the chorus allows the singer to say that okay I am maybe not the best singer, but I can still sing and do it well, and what’s more, her vocals feel fully invested with emotion, and you know that this is a singer who means what she is writing and performing.

4/5

Track 6- Dark Horse (featuring Juicy J)

Already seemingly a fan favourite, Dark House shows another change in musical perspective for Perry, as he she utilises a him hop beats and finger snapping grooves that shows the singer in a more urban musical state. The song lyrically focuses on Perry warning this guy not to fall in love with her, because if he does she will be the last person he falls for. The lyrics have silky, witchy feel that is intensified by the smooth, sensual vocal performance that Perry provides, combining to make the song more impactful and feeling truthful. The snappy beats and chopped rhythm of the track is a fresh energy for the singer and feels cool whilst not compromising to much on her pop identity, and although it might take a few listens, Juicy J’s guest rap is an equally snappy asset to the song that will add to its appeal.

4/5

Track 7- This Is How We Do

From the snappy, icy hip hop of Dark Horse we go to summery, 80’s inspired pop piece with a different kind of hip hop underpinning it. The song finds Perry telling the listener of all the things that she and her friends do, goofy things that some people might see as stupid but which to them is no big deal, because it is just Perry and her friends way. The message is fun and fluffy if lacking originality, but the lyrics are strong in the way that as much as being an anthem for the youth of today, we also get a sense of Perry giving us a truly retrospective song that contains details about her personal life when she was that little bit younger, goofing around with her friends and trying to make it in the music industry. The vocals are simple and full of personality, with the bridge being a great moment where Perry simply shouts to the crowd and positions the song as a great live moment. Producer Max Martin works his magic with the songs sound, giving us bouncy, heavy beats and funky 80’s pop sound that will fully position the song as a summer 2014 anthem.

4/5

Track 8- International Smile

International Smile was reportedly inspired by the singer’s friend Mia Moretti, and is a bit of a simpler pop rock affair that finds Perry telling us of these feisty, fun loving girl who exudes this appeal that means she is just this great, international woman with an awesome smile. The song’s lyrics don’t quite grab your attention in the way that the former tracks did but the chorus is still a slick pop affair, whilst the singers vocals are nicely layered in the chorus to give the song an airy flavour, as if this kind of an international song in its own way. The production of the song features a simple guitar riff that kicks the track into high gear and captures your attention, whilst the vocoder breakdown gives the song a funky electronic edge that allows for a big finish and which inevitably will be compared to Daft Punk.

3.5/5

Track 9- Ghost

A mid tempo ballad, Ghost is probably one of the most obviously personal tracks on the record in that we know Katy Perry’s former husband Russell Brand told her he wanted a divorce by text (because Katy Perry has come out and told us) and so the fact that this song references a text can’t be a coincidence. The lyrical quality of the track is sombre with a bit of hope as Perry reflects upon this substantial person who was once in her life is now just this ghost, and now she fully understands the situation. The lyrics are sharp but Perry also nicely doesn’t go into straightforward territory and brings some closure in the song rather than bashing her ex, with this element of the song being present in the soft, vulnerable but also strong vocal performance that Perry gives. With minimalist electronic production and some tribal like drums the song has a steady quality to the sound that perfectly captures the songs mood and gives us an all-round package.

3.5/5

Track 10- Love Me

Love Me is a nice retrospective tune that lyrically focuses on Perry telling us how she now realises that she needs to love herself the way that she wants to be loved. The message is sweet and isn’t impressed on the listener too powerfully, which makes the song that much better. Perry light tones bring a sense of believability that another artist wouldn’t have done, and with new collaborator and producer Bloodshy giving us some clattering electronic beats and snappy base to the songs sound that is weirdly quite dancey (and which probably makes the song prime material for a remix), Love Me is a good listen that straddles the line of chilled and vibrant and which is a good song to listen to in times of doubt about yourself.

3.5/5

Track 11- This Moment

Reportedly inspired by Perry’s listening to the audio book The Power of Now, This Moment lyrically focuses on the simple idea of just living in the present and forgetting past troubles, with a romantic edge taking control of the lyrics. The positivity is commendable and astutely focused upon, but in this case Perry doesn’t quite hit the listener in the musical jugular in the way that she normally does, and in a certain sense the song feels like a little bit of subpar version of her hit Firework. Vocally Perry nicely builds in power within the song and gives us rich tones, whilst the stomping but light bass, electronic tones and piano melodies give the song a nice sound that could just be a bit sharper and more attention grabbing, but which is nice in that it feels like the artist has taken control, due to a lack of the song being immediately identifiably produced by Swedish duo Stargate.

2.5/5

Track 12- Double Rainbow

Co-written with hot right now singer-songwriter Sia Furler and co-written and produced by the equally hot right now Greg Kurstin, Double Rainbow focuses upon Perry releasing her emotions to give us a breathy love ballad where she tells this man of how she is going to keep him forever because they truly understand each other. The lyrics are fine tuned to give us a poetic, sincere and pure state that comes from Perry’s heart, and this heartfelt quality is also nicely felt in the great vocal that Perry produces, with the softness of her tone being used to great effect within the song. Kurstin does a lovely job in terms of the songs production, giving us clattering drums and minimal electronic bleeps that gives musical weight to the song without compromising the tracks lovely airiness and sweet pop sensibility.

3.5/5

Track 13- By the Grace of God

Closing track By the Grace of God was reportedly the first track recorded for the album and finds the singer in her darkest place of the whole record. Here Perry addresses very openly the aftermath of her divorce from Brand and the depression based state she found herself in, with the song being a strong, empowering number where Perry speaks of pushing aside suicidal thoughts and rising again to become her glorious. The honest, diary like nature of the song is powerful, and the vocal performance of the song is really great as the tone of Perry’s voice allows the songs vulnerability to seep through to powerful, awesome effect. Producer Greg Wells does a great job on the song in giving us a sound that is as pure an honest as the songs message through the use of a piano melody but which also powerfully builds with the use of military drums to make things that much more impactful.

3.5/5

Final Review

Prism is definitely a self-reflective that is rich in its tone whilst also not compromising on producing some really great pop hits. The change into more an electronic based sound is nice if a bit radio-friendly, whilst vocally the sing employs her soft tones to rich effect and even shows more depth than ever before. Lyrically she is sharp as ever and makes a chorus that is irresistibly catchy seem like something that everyone should be able to do, but some more deep and personal touches to songs would potentially elevate the artistry she displays. The main issue with Prism is the track listing- after either track 7 or track 8 songs start to merge together, and we get a first half that is an upbeat explosion, therefore allowing the more subdued second half to suffer because of this. Prism is still a strong pop piece, and whilst it may not have matched the pop brilliance of her last album, that was a really, really hard thing to expect, and we still have a nice handful of awesome pop tunes on display here that could maybe allow the singer to match her record, or at least produce a good streak of top ten hits with a sprinkling of number 1’s.

7.5/10

Little Mix- Salute Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- Salute

Artist- Little Mix

Track 1- Salute

Opening with blaring sirens, Salute is a stomping opener to the album that immediately positions the record as being Little Mix’s next big stage in their career. Salute is very much a female empowerment anthem, as the girls lyrically focus on recruiting women from across the world to stand up and unite to show the power of women and essence of what it means to be a woman.  The song finds the girls vocally melding well, with the individual verses showing that each of these girls are as feisty as each other and perfectly mean what they say, whilst I particularly like member Leigh Anne’s delivery of the line ‘we don’t need no man’. The girls main collaborators TMS work their magic as producers through their great melding of stomping drumbeats, boisterous horns and an snappy rhythm that will undoubtedly have many women doing exactly what the girls are wanting them to.

4/5 

Track 2- Move

The records first single, Move is definitely a great release from the girls in showing off their new, more RnB orientated style whilst not alienating fans of their previous work. The song is an intricately assembled piece that does take a few listens to sink in, but after a while it is one of those songs that gets stuck very easily in your head. Lyrically the track focuses on the girls telling guys to move and dance if they want to get their attention, cause the guys should be the ones to make the first move and should just let loose. The lyrics are snappy and full of great hooks, with the line ‘feeling like it’s my birthday, like Christmas day came early’ being a cheesy but fun and attention grabbing section of the chorus. The vocals are strong here, with the song being particularly good in showing of some of the power in the girls voice, particularly member Perrie Edwards. The sound of the track is also fun and intriguing, utilising a clicking production that brings an acapella edge to the song and entwining this quirky bass synth to create the perfect sound for you to dance to that is that bit more interesting than typical get on the dance floor music.

4.5/5

Track 3- Little Me

Geared for release as the records second single, Little Me ventures further into an RnB state than the previous tracks and acts as an empowering anthem for both the girls and their fans. Here we find the girls wishing that they could tell their younger selves some good advice like speak out, because at that age they just couldn’t see that they could be strong, powerful women. The message isn’t original but it is done with such finesse and is designed as a smooth RnB classic that speaks to the groups fans beautifully and is well worthy of its status as a single. The harmonies are tight and the vocals have slinky quality whilst also sounding defiant and passionate, which is all you want from this song. And with the stomping bass, lush string melodies and snappy rhythm of the production, this is a great new song that shows a lovely maturity from the group.

4/5

Track 4- Nothing Feels Like You

A carnival sounding up tempo number, Nothing Feels You continues the RnB edge of the group going but is also a song more akin to some of their previous material, with the song reminding me of their previous track Stereo Soldier. However, that isn’t to say this is just a carbon copy, and it is a catchy tune in its own right, where we find the girls telling this guy that no other men compare because his love is so great. The vocals are strong but are particularly great in terms of the second half of the chorus as we get to hear the girls blend together really nicely within the higher registers of their voices, with this also nicely occurring in the bridge. With a sweet and catchy chorus and some snappy production with some powerful drums, this is a stomping and sweet track.

3.5/5

Track 5- Towers

The first piece of balladry on the record, Towers is a record that is a little bit by numbers RnB pop, but it still has a catchy feel and definitely leaves an impression after a few listens. The song finds the girls telling this boy that they could have had it all but he just left it too long to show his true feelings and now they are just in this state where their walls are up for good. Vocally I think the song is nice in terms of hearing the individual voices of the group and how they can equally convey the songs emotion very well, before they really come together to make things feel that bit more powerful. The production of the track is smooth and classic in a good way, with a lush piano melody and a strong sound that builds into a lovely crescendo of drums and strings.

3.5/5

Track 6- Competition

Competition is a song that definitely feels like the girls have been listening to some 90’s girl groups, as the song fits right into that era. But at a point where there is a resurgence of an 80’s and 90’s music sound in the industry, Competition could be a fun and feisty single treat. Here the group sing of being tired of these boys’ foolish ways and how they like competition sometimes but it isn’t great to be constantly in an annoying relationship. The vocals are good in that they don’t feel the need to belt too much and instead focus on really putting some good old fashioned sass into the music, whilst horns and snappy percussion of the production perfectly compliments the tracks feisty lyrics.

3.5/5

Track 7-These Four Walls

Another ballad from the group, These Four Walls is the emotional centrepiece of the record in term of not only its placement on the album but also in terms of how things are kept very vulnerable with the use of piano and strings, whilst the girls’ voices are pure and brimming with emotion. The girls are here singing of how they cannot help but be caught up in the heartbreak they are suffering within the end of this relationship, with the girls probably embodying the thoughts of many heartbroken girls the world over. The songs vocals are stunning, with each girl being superb in their own little sections before coming together at the end to give us a great, harmonies are superb finish. Keeping things simple and stirring with the slowly building production is great, and with this song you can definitely see why Little Mix are a bit superior to other girl groups at the moment.

4/5

Track 8- About the Boy

Taking things back to a snappier, urban flavoured state, About the Boy finds the girls telling us about this guy who has made them a bit of a fool in love because there is just something about him. The lyrical repetition is catchy and adds nicely to the song lyrical love rush state, whilst the vocals are good in the way that they are quite soft and simple with rich harmonies, whilst member Perrie Edwards hits a huge high note at the end of the bridge which is just amazing. The snappy production with its bouncy guitar riffs and fuzzy electronic beats make for a vibrant sound that perfectly compliments the message of the track.

3.5/5

Track 9- Boy

Boy is a rich piece of 90’s girl group (particularly Destiny’s Child) inspired RnB music that shows the girls giving us razor sharp harmonies that simply shows their amazingness. The listener is treat to 54 seconds of acapella from the girls which is great, and then the plunky beats kick in to bring an extra layer of intensity to the track. The lyrics are snappy in themselves, as we find the group telling this girl to forget this boy because he isn’t worth it and she is better than him, with this message being loaded with sass by girls.

3.5/5

Track 10- Good Enough

Another ballad that is led by piano, Good Enough is lyrically all about the girls becoming stronger after a bad relationship where they were made to feel worthless, but they still question themselves and whether they are ‘good enough’. The vocals are strong as always and the piano and string production is nicely created to add emotional weight to the lyrics, but out of the ballads on the album, this is probably the weakest one, and could have been given a miss.

3/5

Track 11- Mr Loverboy

A buoyant piece of RnB pop, Mr Loverboy is fun and flirtatious number where the girls exclaim of this boy making them feel so good inside because he is just so great, and so they want him to be their ‘Mr Loverboy’. The lyrics are maybe a tad clichéd, but the chorus is a solid pop piece that is nicely elevated by the way the girls stretch out their vocals and give us a slightly airier sounding chorus that makes the song even catchier. The production is as snappy and catchy as ever, and the vocals are nicely offset by the continual presence of a male vocal that just tightens up the songs appeal and finesse that little bit more.

3.5/5

Track 12- A Different Beat

Final track A Different Beat is a perfect end to the album, with the song perfectly complimenting the opening number Salute through the use of military snare drums and a ‘yea-h yea-h’ hook that makes a stomping, stand to attention sound to the song. Here the girls sing of standing strong and marching to a different beat that gives them the right to be their own person. It is a positive message wrapped around snappy production and a feisty chorus, with the vocals being great as usual.

3.5/5

Final Review

Salute is definitely a step in a great direction and an improvement upon the groups very good debut album DNA. The blend of their already defined pop sensibilities with more RnB orientated music works to great effect, with the various producers of the album doing a great job of layering the songs to make them really impactful and creating variety in the album whilst also giving us a cohesive record. The girl’s harmonies are stronger than ever and they really show off their voices well, whilst the lyrics are equally as defined and catchy. This is a stellar album, and with this record Little Mix proves why they are the reigning girl group of today’s generation.

9/10

Best Track- Move

Worst Track- Good Enough

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