Miley Cyrus- Breakout Album Review

 

 

 

 

 

 

 

 

Artist- Miley Cyrus

Album- Breakout

Miley Cyrus has had a really strong year musically speaking in 2013, producing hit singles We Can’t Stop and Wrecking Ball, as well as topping many charts worldwide with her fourth studio album Bangerz. But this year has also perhaps been an important year for Cyrus for all the wrong reasons, as the former Disney Star has conveyed a much more overtly sexualised image and has given us some risqué music performances. The singer has said that she basically compromised herself musically in order to gain enough money to support herself and her family for the future, and it is now that we are getting to see the true artist. But was the singer’s first album (completely away from the Hannah Montana franchise) really all that bad, or was the golden age of Miley Cyrus really back in the days when she was a sweet Disney star?

Track 1- Breakout

Title track and album opener Breakout is fun dance-pop number  with a slight pop rock tinge to it, where the singer lyrically plays up to her teen role and expresses the idea of escaping such things as your family and just having fun dancing around and being a bit silly with your friends. The song is sweet and readily accessible with a strong pop chorus, whilst vocally Cyrus exudes a lovely vibrancy that makes the song more infectious to listen to. The cool mix of shimmering keyboard notes, chiming electric guitar and a fast paced drum beat gives the song this quick and vibrant quality that starts the record on a good note.

3.5/5

Track 2- 7 Things

One of the singer’s biggest hits at the time of her teen stardom, 7 Things is a feisty but vulnerable, emotional tune that sees Cyrus tell an ex-boyfriend just how he has affected her. The song’s lyrics are written in the second person, where Cyrus talks of the hardships that existed within the relationship, and the refrain is fun and feisty as the singer tells her ex seven things she hates about him, but in the end the seventh thing is that despite his flaws she still loves him. The song perfectly captures the intensity of teenage love, and vocally Cyrus is great in the way that she goes from the softness of the verses to the quick aggressiveness of the chorus with ease. The pop rock production on the song nicely deviates from simple guitar riffs to stomping drum beats and a slight country feel that just adds to the emotional intensity, making this a track where you can easily see why it is was so popular at the height of the singer’s teen stardom.

3.5/5

Track 3- The Driveway

With an aggressive guitar riff, The Driveway is shown to be an emotionally potent number from the beginning. A power ballad, the song lyrically focuses on a break up in which Cyrus expresses the fact that it is too late to salvage the relationship. The song sees the singer commendably take on a powerful vocal performance, and although this is a cool breakup song, it very much sounds and feels like it is coming from a teenage perspective where you can’t fully understand things, and so this will only appeal to younger listeners. The forceful pop rock production is also a little bland in terms of the sound feeling familiar for this kind of pop ballad, and it might have worked better to just keep things a bit simpler, even if the use of guitars towards the end of the song is great.

2.5/5

Track 4- Girls Just Wanna Have Fun

Girls Just Wanna Have Fun finds Cyrus taking on a Cyndi Lauper classic and changing the reggae infused pop of the original track, making her version more of a forceful pop rock offering. As a result some of the charm and light, infectious fun of the original song is lost, and although she doesn’t murder the song vocally, it does come across with this version like Cyrus is trying too hard to show that she is having fun, and she may actually not be doing so. The stabs of strings within the song adds a cool texture to the sound and for the singers teen audience at the time the song would probably work, as they would most likely not know the original track, but I am just grateful this was never released as a single or we might have had a little Cyndi Lauper Miley Cyrus feud going on.

2/5

Track 5- Full Circle

Featuring a stomping drum beat and light guitar riffs, Full Circle is an emotionally loaded song in which Cyrus lyrically expresses her feelings for this person and how she will not quit on this relationship. The song features a great use of different hooks which makes the song very catchy, and vocally Cyrus is strong as she doesn’t overuse her voice and shows of some nice range. The pop rock production is a bit overpowering and safe, but it suits the lyrical message and simply caters well to a teen audience, whilst working well with the overall sound of the record.

3.5/5

Track 6- Fly on the Wall

Cyrus changes things up a bit with Fly on the Wall, a song that still has an influence of pop rock but which also incorporates more electronic vibes into the singer’s music. Furthermore, the lyrics are also more intriguing and catchy in the way that they can be related to a variety of topics. Here Cyrus things of how this person/s would want to be a fly on the wall to discover what she was doing all the time. With a snappy, solid pop chorus, the song is fun as it can simply relate to a controlling boyfriend, or can have a bigger meaning, such as the singers life being full of paparazzi (which Cyrus has stated was the primary concept of the track). Cyrus vocally imbues the song with a feisty and also slightly flirtatious attitude, with the chorus being catchy through the use of vocal layering. The stomping pop rock sound with the vibrant electronic notes and handclapping fun of the bridge makes for a strong sound that is both radio friendly and a bit more intriguing than some of the other songs.

3.5/5

Track 7- Bottom of the Ocean

From the feisty fun tone of the previous track we are transferred to a mid tempo, emotionally wrought level with contemporary ballad Bottom of the Ocean. The song finds Cyrus expressing how she will have to find the love that she once had with this person in another way, whilst also moving on, even if it is buried deep and if it is hard to understand why things have changed this way. The song is lyrically a bit more sophisticated even with some of the clichéd statements and the annoying ‘do do do do’ hook. Vocally we get to hear a softer side to the singer’s voice and she shows off her voice to better effect. And the production is cool in terms of the more minimalist approach, with the use of atmospheric synth flourishes giving the song this riding on wave’s quality that perfectly melds with the lyrical message.

3.5/5

Track 8- Wake Up America

Taking things back to an up tempo pop rock state, Wake Up America finds Cyrus instilling positive messages into her audience and reflecting on how she doesn’t quite understand the whole thing about global warming, but she believes that people should do something and that we should make this a better place for the next generation. It might feel a bit silly coming from such a young woman but she astutely focuses on the topic and gives a voice to a cause, showing that this is a smart young woman. Vocally the singer gives us an attitude filled vocal in the verses as she seems to play the role of someone who doesn’t really care, before she simply launches into the chorus and emphasises that everything that we do does matter. The simple production value of the track gives the song a light pop sound with a fun guitar riff that just makes the lyrical message more pure and simple.

3.5/5

Track 9- These Four Walls

These Four Walls is a ballad that finds the singer delving into her country roots more prominently. Lyrically the song comes from an interior perspective where the singer analyses this situation and how things broke down to the point that she just wishes things were back to the way they were. The song is lyrically not that strong and clichéd, but vocally Cyrus shows some of the power in her voice and gives a twang to her vocal performance that shows that the country genre would be a strong sound for her, whilst the style of the vocal also gives an extra layer of emotion to the track. The songs sound also melds more of a country vibe into the singers music in terms of the style of the guitar riffs and the forceful drums, and the only issue with the sound is that it gets too powerful too quickly, and it maybe would have been stronger to just here Cyrus’ voice in a simpler setting.

3/5

Track 10- Simple Song 

Simple Song is not that apt a title for conveying the lyrical message, as here we find the singer giving a voice to the perils of coming of age in which you sometimes really can’t understand things and just alienate yourself. The way the song floats from this really aggressive rock, angst driven teenage sound to a barer, piano driven sound nicely conveys the personality of being a teenager, but musically this means that the song will only really appeal to a teenage audience, with the vocals also exemplifying this as the singer very much sounds her age.

3/5

Track 11- Goodbye

Goodbye is a soft, more acoustically driven song in which Cyrus expresses the idea of remembering simple times with this person and becoming upset by this, whilst she wishes she could forget the fact that she has said goodbye to this person. The lyrics are simple and catchy with the song being elevated by the singer’s vocal performance, which has more of a raw, rootsy tone that is great to listen to. Production on the track is great in terms of the blend of strings and guitar to create a powerful but more natural sound to accompany the singers vocals and really let the artist shine, and at this point it would have been nice to just here a little more of this side of Cyrus.

3.5/5

Track 12- See You Again (Rock Mafia Remix)

Second single and closing song See You Again is a remix of a track that originally appeared on the album Hannah Montana 2: Meet Miley Cyrus. The song is a fun dance pop track that lyrically focuses on a teen romance. The songs verses find the singer reflecting upon her perceptions about her love interest, before the catchy chorus kicks in and Cyrus focuses on the different times she has been with her love interest and how she cannot wait to see him again. The stomping dance rhythm of the track is fun and more forceful and interesting to listen to, whilst vocally the singer plays the role of a love-struck teenager very well.

3.5/5

Final Review

Breakout is a fun pop record from Cyrus that shows that she could make some good music back in her teen idol days. The albums pop rock orientated sound is simple but effective whilst vocally the singer embodies the spirit of each track quite well. Lyrically the songs are smart and catchy, and so Breakout is just a fun record. That being said, some of the songs are terribly clichéd, and vocally the album is a bit patchy, with Cyrus coming across as an annoying teenager on some occasions. The pop rock production also becomes bland after a while, and this very much feels like a teen pop record that works well for a certain audience but won’t appeal to the majority. People may not like it, and her music may not have been that bad in the past, but now the singer has decided to grow up, and her music is stronger because of this.

5/10

Best Track- Goodbye

Worst Track- Girls Just Wanna Have Fun

Song of the Week December 30th 2013

 

 

 

 

 

 

 

 

 

 

Song of the Week- Still Into You by Paramore, from the album Paramore

My song of the week is my personal song of year, which comes from the awesome American band Paramore. From the moment I heard Still Into You I loved the song, and it is a track that I have been constantly listening to throughout 2013. The song is irresistibly catchy, full of really strong pop hooks and having a catchy chorus that doesn’t feel clichéd like other pop songs, even though it just might be. Hayley Williams is not only a stellar front woman for the band, but she is just brilliant on this track, giving us a vocal performance invested with sincerity and love and captivating you all the more. Furthermore, the best thing about this song for me is the fact that the sound definitely shows an evolution of the group. Known for their heavy guitar riffs, here we are treated to a up tempo number that is decked out with bubbly synths, preppy drum beats and even the presence of a glockenspiel, for a sound that is just extremely fun and uplifting and shows that the band can definitely continue to grow and be exciting with their music. Still Into You is the best pop offering of the year and the most rich but accessible love song I have heard, and it just shines as a song that makes Paramore more than your average pop rock band.

Katy Perry- One of the Boys Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- One of the Boys

Artist- Katy Perry

Katy Perry is one of the biggest pop stars of today’s music industry, producing such hit singles as Firework and Roar. But the singers journey has been a long one, with Perry being signed to a variety of different labels before becoming involved with Capitol Records and finally releasing her major label debut album, One of the Boys. But just why was this album such a success, producing hit singles and catapulting the singer into the mainstream? Or is One of the Boys actually a poor record that only had a handful of nice songs?

Track 1- One of the Boys

Title track and album opener One of the Boys is a fun up tempo pop rock number that finds Perry taking on the role of a girl who at first is one of the boys, but then changes her mind, becomes all girly and tries to make this boy realise that they should be together. The song is simple and lyrically strong with a romantic comedy narrative style that is slightly clichéd but ultimately fun. The song works well in showing off the singer’s bright personality from the outset, with Perry’s vocal performance being feisty and airy in the right places and placing her in this changing girl role very well. Producer Butch Walker creates a vibrant pop rock sound with jittering guitar rhythms and punchy drum beats that just creates a fun and feisty pop edge to the track that works well with the lyrics.

3.5/5

Track 2- I Kissed a Girl

Perry’s first big hit on charts worldwide, I Kissed a Girl is a fun and flirtatious number that finds the singer in a (controversial for some) state of kissing a girl and liking it. The song is just a fun party track with a strong pop chorus and a catchy hook. Vocally the singer imbues the song with a cheeky personality and makes the song more charming than awkward, whilst the bridge is awesome through the way that Perry utilises her higher range and gives us an airy vocal that just creates an added kick to the final chorus. Producers Dr Luke and Benny Blanco work their magic with the songs aggressive guitar riffs and stomping rhythm that creates this really powerful sound that immediately grabs your attention.

3.5/5

Track 3- Waking Up in Vegas

Perry keeps the fun going with Waking Up in Vegas, another up tempo pop rock number where the singer seems to have been doing things she shouldn’t have yet again whilst in an intoxicated state. Here the singer has seemingly married her boyfriend (or just a friend) and done a whole load of other things, but at the end of the day neither of them should complain, as this is what happens in Vegas. The song is nice in terms of the quirky narrative led verses and the simple, instantly memorable chorus. Vocally Perry seems to have as much fun and energy as she does within the lyrics, and the songs sound is really nice with the blend of preppy guitar riffs with lighter notes and some upbeat drums.

3.5/5

Track 4- Thinking of You

Now the album slows down for us to hear the first ballad offering from the singer. Thinking of You focuses on Perry not wishing to move on from a former lover and being nostalgic about the relationship whilst she is in another relationship, but ultimately realising she has no choice but to move on. The song is quite poetic and sharp in terms of the emotional lyrics, whilst Perry doesn’t compromise on the songs accessibility and strong pop chorus, and this song is made more brilliant by the fact that Perry wrote this entirely by herself. Vocally the singer isn’t the best but it is nice to hear the slight weakness of her vocal within the vulnerable context of this track, whilst the emotional intensity is beautifully brought out with the clashing drum beats and more acoustic instrumentation, with the song also being great in the way it starts and ends really softly and builds in power.

3.5/5

Track 5- Mannequin

Mannequin is a snappy pop rock number with sharp, twinkling piano melodies and lyrics that show the satirical side of the singer. Here Perry sings of wishing for this man to show some emotion, but in the end he is just a mannequin and not a real man. The critical, feisty nature of the song will resonate well with the singer’s fans, and the use of the mannequin imagery puts a fun spin on the idea of a partner being cold hearted. Perry shows off the range of her voice nicely within this track and also just goes a bit more volatile with her performance to really bring out the songs sentiment. The punchy rock guitar rhythm isn’t as attention grabbing as some of the other songs but melds well with the lyrical substance of the track

3.5/5

Track 6- Ur So Gay

Released as a buzz single from the album, Ur So Gay finds the singer mocking a metrosexual ex-boyfriend, and once again she shows her satirical side and her ability to really critically analyse some of her ex-boyfriends. The lyrics are catchy in a way but it is a bit of an awkward song as Perry sadly will inevitably come across as making a slightly homophobic song to some listeners. Once again the singer utilises the range of her voice well and gives us a preppy, snappy vocal performance that compliments the lyrics. The fun thing about this track is that it changes up the record a bit, having a trip hop based sound with a cool acoustic guitar loop, whistling melodies and blasts of horns that creates this upbeat, airy and cool vibe to the song.

3.5/5

Track 7- Hot n Cold

Hot n Cold finds the singer teaming up with Dr Luke and Benny Blanco once again, but this time her sound is a bit more electronic pop rock. The song focuses on Perry being in this relationship where the boyfriend cannot make up his mind, and just comes across as this ever changing emotional person who needs to either invest in or leave Perry. Vocally the singer is snappy and fierce, perfectly embodying the role of a girlfriend who is sick of her man. Luke and Blanco do a great job with the production as they bring diversity to the record by combining the snappy rock guitar and thumping drums with some stomping electronic notes, showing that Perry isn’t just a one trick pony.

4/5

Track 8- If You Can Afford Me

Things turn back to a more pure and simple pop rock sound with If You Can Afford Me. The song is a fun up tempo number in which the singer tells this boy that if he wants to be in a relationship with her then he just has to pay the cost. The lyrics are fun and witty with the song having a nice chorus and sharp verses where Perry details the type of girl that she is not and the things the boy can’t have. Vocally things are light and simple whilst the scattered guitar riffs and solid drumbeats just create a light and bouncy rhythm for the song that allows the lyrics to really work on the listener.

3.5/5

Track 9- Lost

Described by Perry as the most personal song on the record, Lost is a mid tempo pop ballad that finds the singer taking things to a more acoustic level and sounding a bit worn out. Here the singer taps into her life events of searching for musical stardom, and the song is emotionally powerful and shows the vulnerability behind the pop persona. Vocally this is another track where the singer isn’t really strong but really brings passion and humanity to the song and just belts out the notes with the right amount of intensity and vulnerability that is needed. Producer Ted Bruner does a nice job in creating this dramatic sound that matches the passion of the lyrical journey, with the flourishes of strings adding an extra layer of power to the songs good guitar based sound.

3.5/5

Track 10- Self Inflicted

Self Inflicted is a thumping pop rock number in which the singer is in a relationship that is quite volatile and probably emotionally bad for her, but she is addicted to this boy and will take the pain as it is her own choice to do so.  The message is strong and catchy but it does feel like the singer is trying to emulate Alanis Morisette a bit too much, whilst the vocals are slightly annoying as it straddles the line of powerful and childlike. The pop rock production is also quite bland as the mix of guitar and drums is a very typical sound, and so by this point it might be a good thing for the record to end.

3.5/5

Track 11- I’m Still Breathing

With I’m Still Breathing Perry focuses on another past relationship in which she recognises that things have failed and she is ok and will carry on. The song is quite smart lyrically as it is catchy but also feels a bit like we are peeking into the singer’s diary, whilst vocally the song is nice in terms of the layered style of the vocal, although the main vocal is a bit weak. Producer David Stewart creates a nice blend of a simple backbeat with atmospheric piano and haunting guitar notes that just creates this airy texture to the song that makes it more of a potent listen.

3.5/5

Track 12- Fingerprints

Final track Fingerprints could be a bad finish to the record as the pop rock sound wears thin at this point. But whilst the sound of the track may feel too safe and familiar, lyrically this is a much more fun and intriguing listen. This is because, instead of giving us a romantically focused song, Perry creates a feisty anthem in which she sings of making her mark in the world and defying all the people who said that she couldn’t succeed in what she wanted to do. Whilst some of the lyrics may be clichéd, it is ultimately a catchy song that is elevated by the forceful and sincere vocal from Perry, and in the end this is actually the perfect end for the record.

3.5/5

Final Review

One of the Boys isn’t probably the best album from Katy Perry, and with this album it is maybe easy to imagine that she could have faded into musical obscurity. The sound of the record just becomes bland after a while, and vocally at times it can be challenging to listen to because she maybe isn’t the rock chick kind of girl that she aspires to be or is inspired by. What One of the Boys does do well is act as a blueprint for the artist and show that she can grow. The record is packed with fun pop hooks and lyrics that are really crafted into catchy tunes, whilst the singer diversifies sometimes to show that she can take different musical avenues with future records. All in all, One of the Boys is a solid debut that tails off at the end and just shows the ability for the singer to create hit songs, whilst also showing that she still has some growing to do as an artist.

5.5/10

Best Track- Hot n Cold

Worst Track- Self Inflicted

Taylor Swift- Fearless Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Fearless

Artist-Taylor Swift

Taylor Swift has definitely had one of the biggest years in terms of success as an artist in the year 2013. Not only has her latest record Red shifted 6 million copies worldwide, but she has gained another string of successful singles that have also performed very well internationally, and she has delved into different musical genres and shown great growth as an artist. But it is safe to say that Swift became a power house artist that captured the public attention and hit the big time with her sophomore set Fearless. Not only did she find greater success in America, but the singer also gained a prominent international breakthrough, with the record going on to sell 10 million copies worldwide. But just what was so great about Fearless?

Track 1- Fearless

Title track and album opener Fearless is a light country pop song that lyrically focuses on the concept of the fearless nature of love and jumping into things to experience magical moments in life, with the lyrics reading like a sweet story that romantic comedies will probably pool from. From the beginning Swift shows her knack for a really catchy chorus, whilst her soft vocal tones brings a cute quality to the track that brings out the head rush of love sentiment very nicely. Production wise the track features a simple guitar and drum based sound with an awesome guitar solo for the bridge and a build in power to make this fearless love story really come to life.

3.5/5

Track 2- Fifteen

A mid tempo country pop ballad, Fifteen finds Swift giving us a more emotionally loaded vocal performance that highlights the vulnerability of both the age perspective she is singing from and the wise words that she is trying to convey to her listeners. Lyrically the song focuses on the love and heartbreak and awkwardness that come with being fifteen years of age, with Swift giving her listeners some nice advice that will probably make the track a fan favourite. The songs sound features quite a preppy, fun guitar rhythm against some striking but equally as light drum beats that captures the love-struck teenage feel and offsets the cautionary lyrical quality of the song.

3.5/5

Track 3- Love Story

The song that really broke Taylor Swift into international markets and remaining her biggest selling track in the US to date, Love Story is another country pop tune that finds Swift taking on a romantic perspective inspired by Romeo and Juliet, with Swift seemingly taking on the role of Juliet. The first person narrative and sweet tone of the chorus makes the songs lyrics instantly catchy, whilst Swifts delicate vocals with a nice bit of layering just makes the songs romantic sentiment that bit more potent and powerful for the listener. Things are bright and simple with the tunes melody, creating this ever rushing pace that highlights the power of this love story, whilst the slight twang of the guitar brings an earthy, country rooted element to both the song and the story.

4/5

Track 4- Hey Stephen

Reportedly inspired by Swifts hidden feelings for Stephen Barker Liles of the band Love & Theft, Hey Stephen is lyrically all about Swift telling this story of a love not expressed and the placing of this guy on a romantic pedestal. The song’s lyrics are sharp and well thought out to bring purity to the songs message, whilst Swift’s delivery of her vocals gives a lovely rise and fall effect in the song that shows this is really a girl with true feeling. The ‘ummm ummm’ hook is great and the laidback groove of the guitar and finger snapping percussion gives the song a brilliant sound that shows Swift can really create a whole package of a song where each of the elements really capture the whole emotion behind its creation.

3.5/5

Track 5- White Horse

A weepy country ballad, White Horse finds the singer’s fairy tale visions and love-struck sensibility broken apart and displaced with disillusionment and pain, as you realise the relationship isn’t all that great. The lyrics are more powerful coming after the love songs of the albums beginning and bring a lovely sense of light and dark to the record. The song features a breathy vocal performance from Swift that is rich in its vulnerability, whilst the sparse production with its acoustic guitar, piano and accents of cello creates a simple, pure sound that allows the vocals to take centre stage.

3.5/5

Track 6- You Belong with Me

Another of Swifts biggest hits, You Belong with Me brings the record back to a more upbeat state but also still finds the singer tackling a different kind of love. Here Swift sings of the boy next door who doesn’t realise that you are perfect for him and that you are meant to be a couple. The chorus is instantaneously catchy and although some high school clichés are employed the lyrical quality of the track makes it extremely enjoyable, nicely capturing the spirit of unrequited young love.  Backed by a cool mix of banjo and New Wave guitar instrumentation, the songs sound has a vibrant and infectious sensibility in its own right and perfectly compliments the lyrical message, whilst Swift’s twangy vocal gives the track different shades of depth and light that makes for an interesting country pop number.

4/5

Track 7- Breathe (featuring Colbie Callait)

Taking things down to a lighter, more acoustic level, Breathe finds Swift teaming up with American singer songwriter Colbie Caillat, who serves as the records only featured artist. However Caillait’s presence in the song is really only in giving us some nice backing vocals, and so her appearance on the track can’t be said to add much appeal. The song focuses on the two artists singing about the end of a friendship/relationship that is I heart-breaking in a way but which is sadly inevitable and that eventually we learn to move on. The message is sweet and simple but doesn’t quite grab you in the way the other songs have, although you can’t deny the singers amazing ability to really analysis typical life situations and make good pop tunes out of them. Backed by simple acoustic guitar with some string flourishes, the songs sound builds in intensity to be in tune with the dramatic and climatic feel of the lyrics. Caillat and Swift blend well with an airiness that brings out the songs vulnerable tone, although as said Cailliat could have done with more of a presence in the song.

3/5

Track 8- Tell Me Why

A track similar to Hey Stephen in terms of being inspired by a love interest she was never romantically involved with, Tell Me Why is an upbeat country pop number that is different in that here Swift lyrically vents about the changing attitudes of this boy and how he is sort of playing with her emotions to a point where she is just constantly questioning things. The feistiness of the song is particularly elevated by Swifts snappy vocal delivery, and this song just provides a different feel within the record that shows that love and feelings can go in different ways. The song has a bigger sound than some of her other material with more aggressive guitar production that gives a slight rock tone to the chorus, whilst the banjo instrumentation gives a frenzied country twang to the song that is almost a bit like an Irish jig.

3.5/5

Track 9- You’re Not Sorry

More of an old fashioned kind of ballad, You’re Not Sorry is probably the most emotionally charged, vulnerable moment on the record. Here we find Swift singing of the end of a relationship where she comes to the conclusion that ‘prince charming’ wasn’t all he was cracked up to be. The lyrics are powerful, but what is much stronger in this song is the vocal performance that Swift gives, utilising her real life despair and putting this essence of herself into her performance, showing how her songs can be read as much as diary entries as they are simply nice country pop tunes. The swirling string arrangement and lush piano melody on the track gives the song this greatly intense feel and is nicely backed by the thumping drum beats and storming electric guitars, making this a good break up tune if you just want to kind of sit down and cry.

4/5

Track 10- The Way I Loved You

From the intense heartbreak of the last track Swift changes things up and gives us a song that actually revels in the sometimes volatile quality of love. The Way I Loved You lyrically finds the singer narrating this story in which the guy has done all these things and she is driven a bit crazy, but at the end of the day it is just kind of why she loves him and she sails along with the intensity of the relationship. The chorus is once again really catchy and Swift taps brilliantly into her emotions, whilst she delivers a vocal that builds along nicely with the tracks production and features another storming delivery of the chorus that shows a cool side to the singer. The song is more of a teenage love song but the heavy guitar and drum sound of the track gives it a bit more of a pop rock country feel that will maybe resonate outside of her core fan base, whilst the use of strings in the verses is great in really allowing the chorus to make a dramatic impact.

3.5/5

Track 11- Forever and Always

Out of all the songs on the record that Swift didn’t release as a single, Forever and Always for me is definitely the one that stands out the most as having that hit song potential, with the song being nicely primed to work on both country and pop radio formats. Inspired by the singers relationship with fellow teen star Joe Jonas, the song is lyrically a scorching kiss off to a former beau who said they would be with you forever but who were really just telling an array of lies. The song nicely borders the line of vulnerable and venomous, which is strongly brought out in Swifts vocal delivery that is simple and shows her in a kind of I am a strong woman light. The light acoustic guitar mixed with the heavy electric guitar tones gives a catchy vibrancy to the track that adds to its appeal, whilst the middle section is extremely powerful with its awesome guitar solo that once again highlights the sadness in the fact that this actually wasn’t a single (but I guess that just shows Swifts awesomeness in a way).

4/5

Track 12- The Best Day

Things are taken down to a softer, acoustic vibe with The Best Day. Dedicated to the singers mother, the song is really the only song on the record that isn’t focused on romantic love and is instead all about the friendship the singer has with her mother and the way that she has grown up to become a lovely woman because of this person. The message is sweet and will probably make the hearts of mothers around the world melt, whilst vocally Swift keeps the song very pure and simple and makes the song all the more heart-warming because of this. With the soft guitar rhythm a light tone is created that perfectly captures the sweet texture of the lyrical message and just adds to the songs brilliance.

3.5/5

Track 13- Change

Final track Change is a stomping, big end to the record inspired by the singer’s inner strength and the fears she initially had over achieving her dreams on a label that was relatively small and new at the time of her signing to the label. Instilling hope into both herself and the listener, the song finds Swift singing about overcoming obstacles and then revelling in your triumphs that other people thought you wouldn’t achieve. The message is powerful and once again Swift wraps it beautifully around a really catchy, easily accessible chorus. Her vocal performance exudes this lovely inner belief in herself that affects the listener as well, whilst the pop rock production gives a fierce edge to the track that makes it the perfect rumbling and roaring end to the record.

3.5/5

Final Review

Fearless is an accomplished set from a singer songwriter that to me kind of feels like she is already in this state of being wise beyond her years. The songs are all sharply defined with catchy but also slightly complex and astute lyrical compositions, whilst vocally Swifts light and airy tone perfectly captures each songs emotion and gives the emotion extra oomph. The songs are also nicely produced with a smart blend of country, pop and rock that allows the record to appeal to a variety of people. So with these great elements of the record all coming together, Swift gives us a strong thirteen song set that thoroughly deserved the immense success it has got.

8.5/10

Best Track- Forever and Always  

Worst Track- Breathe (featuring Colbie Caillat)

Hot Chelle Rae- Whatever Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Whatever

Artist- Hot Chelle Rae

Hot Chelle Rae really came into the mainstream with their hit 2011 single Tonight Tonight, and has really ridden that wave of success and delighted audiences with the exuberant personality. The groups second studio album Whatever should see them capitalise really well on the success of their singles, but is this actually a record where the title maybe sums up your feelings about the album?

Track 1- I Like It Like That (featuring New Boyz)

Opening track I Like It Like That is a simple pop rock and pop rap tune that has a preppy just living life sensibility that will appeal to a younger fan base. The song finds the group singing/rapping about what they are going to do and how they like to do things in certain fun and quite summery ways. The message is delivered in a feisty way but ultimately is just typical, clichéd content that only young music fans will find appealing. Lead singer Ryan Follese gives us a light and high octane performance that is enough to make you feel like partying, but isn’t enough to make this feel like a proper party anthem, whilst the New Boyz guest raps are bland and feel like a waste of time. The snappy guitar and electro rhythms give the song a groove that is infectious in a way, but ultimately adds to the songs lack of originality.

2.5/5

Track 2- Tonight Tonight

Becoming the group’s biggest hit to date, Tonight Tonight is an upbeat pop and pop rock tune that is a bit cheesy but ultimately just really enjoyable. The song finds the group throwing away the troubles of the week and just living life up by partying on the rooftop. The throwaway your troubles message is helped by the catchy ‘la la la’ hook and exuberant vocal performance that is given, with the song also having a slight quirky sensibility in certain sections of the lyrics and becoming even catchier because of this (i.e. the Zach Galifinakis bit). The preppy guitar riffs and funky drum beats give the song a light groove that is designed to have you bouncing around, and so whilst a bit silly, it is ridiculously infectious and was a deserved summer hit at the time of its release.

3.5/5

Track 3- Honestly

A lighter in sound musical offering than the previous songs, Honestly is another upbeat number from the group where they are seemingly speaking to us very honestly. The song is a bit of a goodbye song as the band lyrically speaks of not caring about the feelings of an ex and just partying and living life, as this girl is just wrong. The repetition of the title is annoying and the lyrics are lacking a bit, but the frivolous tone of the track is infectious and is helped by the simple, light tone of Follese’s vocal performance, as he comes across just like a guy who doesn’t care. The vibrant guitar strumming and quirky pop beats give the song a nice rhythm that is just light and fun enough to dance around to, making this a further solid pop effort from the group.

3.5/5

Track 4- Keep You with Me

The light pop sound is still kept strong, but now the emotions that the group convey are thoroughly changed, as this time the group sing of this relationship which can’t end, basically telling this girl that I’ve got to keep you with me. The strong chorus and more emotionally powerful tone of the track makes up for the use of pop clichés, and although Follese may not be the best vocalist, his vocal performance here has a slightly rough texture and feels passionate enough to make this a strong listen. The heavy bass and simple guitar riffs creates a light pop sheen that acts as a dramatic but also contrasting sound emotionally, giving us a lively but different sort of pop tune from the group.

3.5/5

Track 5- Radio (featuring Bei Maejor)

Radio is like the young cousin of Tonight Tonight in terms of its pop driven sound that also sounds quite similar to Want U Back by Cher Lloyd. The song finds lead singer Follese singing of how he is going to use his radio to express his feelings of love for this girl and how he misses her. It is a sweet concept with a cute rap from Bei Maejor, but the chorus lacks a truly great hook and feels like something that the group produced in 30 seconds, whilst the lack of an original pop sound means that the heavy bass and punchy synths extremely lack the impact that they should have. Folesse’s voice also just feels silly and bland here, creating a tune that will mostly just appeal to young listeners under the age of 13.

2/5

Track 6- Whatever

Title track Whatever is another tune that is full of pop clichés right from the beginning and creates the idea that Hot Chelle Rae are a group that don’t really have that many musical ideas. The song is about just shaking off your troubles and acting like you don’t care, just have fun. The message is wrapped in a strong pop chorus but the verses are poor in terms of the use of clichéd rhymes, whilst Follese’s rap sing style just feels a bit too childish for this song to appeal to a wider music market. The slightly heavier synths and musical intro and outro gives the production value a slightly better quality, but ultimately this is more electro pop rock designed for the kids.

2.5/5

Track 7- Forever Unstoppable

Beginning with an echoing vocal intro from Follese, Forever Unstoppable is less of a juvenile pop offering from the group and more of a fun, live life, youthful pop tune with a much better musical composition. The song is about this relationship where Follesse and his girl can just run away and live off their love, running away from the bad qualities of life and just living together as if they were unstoppable. The chorus is catchy and optimistic, whilst Follesse gives us a vocal that is vibrant and fun but also has an air of delicacy and sincerity about it that makes this a powerful listen. The punchy electric guitar riffs and glittering synths creates a throw yours hands in the air, euphoric energy to the track that makes this one of the finer moments of the record.

3.5/5

Track 8- Why Don’t You Love Me (featuring Demi Lovato)

A duet with American singer songwriter and teen star Demi Lovato, Why Don’t You Love Me is a touching ballad from the group where Follese and Lovato act as two people who are in this relationship where the guy wants to know why this girl doesn’t love him, as he cares so much about her, whilst the girl just can’t express that she is scared, as she has been heartbroken before. The songs twofold narrative edge makes the lyrics more potent, whilst the simple questioning tone of the chorus makes the song very catchy. Lovato’s and Follesse’s voices nicely complement each other, with both singers giving a powerful performance full of emotion, whilst the shimmering production value with the guitars and drums creates a strong pop rock sound that perfectly captures the songs lyrical intensity. It is at this point the group show a different side and go beyond childish, one tone pop.

4/5

Track 9- Downtown Girl

With the opening ‘what’s up girl shout out’, Downtown Girl seems determined to emphasise that the group are now taking you back to a clichéd, up tempo pop state. This time the group are telling us all about how this girl is this fancy type of girl from downtown who isn’t going to have her way in their affections. The idea of a downtown girl isn’t anything new, although the song is slightly better in the way that it almost pokes fun at the girly, Hollywood stereotype. Follese’s  vocals are light and fun if a bit shouty, whilst the production is preppy and upbeat with vibrant synth notes and fast paced guitar riffs, but ultimately Downtown Girl takes us back to a place of poor clichés and poor messages that won’t see the group gain a larger fan base.

3/5

Track 10- Beautiful Freaks

With a kind of mix of a circus and cheerleading feel to the electronic base of this song, Beautiful Freak is another fun loving but clichéd song that is all about the guys telling people that if they think they are freaks they should just revel in it, whilst also bringing some romantic elements to the track. The message just feels lyrically annoying and uses so many romantic comedy images it is annoying, whilst Follese’s voice lacks a charismatic appeal that would make the song sound truthful and fun. The quirky breakdown of the bridge is fun but otherwise the production value of the track is boring synthpop that only kid’s radio will play.

2/5

Track 11- The Only One

Final track The Only One almost shows a cool, more acoustically driven lane that would be great for the group to go down to, but the clichéd sentiments start to creep in and the band lyrically just prove that they are maybe destined to be forever that band just designed to make music for kids. The song focuses on Follese singing to this girl about how she is the only one who can make him see himself and life the way he should, with the message being sweet but lacking any originality. Whilst the vocals are strong and passionate some of the vocal layering highlights the weakness of Follese’s voice, whilst the pop rock production that surrounds the vocal is such a typical sound for this kind of track it wouldn’t be surprising if some other band of the past claimed that the group had ripped them off.

2/5

Final Review

Hot Chelle Rae are a fun pop band that can produce some joyful songs to dance around to, but after a short while that shtick just doesn’t work enough for this album to be any good. The production value is kind of dated and all too often melds to the point where tracks sound to similar, and whilst the exuberance of Follese is commendable, his vocals aren’t that great and he isn’t enough of a frontman to carry this band. Furthermore, the songs are really weighed down by clichéd lyrical statements that are awful to be heard, leaving us with much to be desired from the record. Aside from the lovely Demi Lovato collaboration, this is ultimately an album that parents just have to buy to shut kids up.

2/10

Best Track- Why Don’t You Love Me (featuring Demi Lovato)

Worst Track- Beautiful Freaks

LMFAO- Sorry for Party Rocking Album Review

Album- Sorry for Party Rocking

Artist- LMFAO

Dance pop based music duo LMFAO were the reigning party Kings of 2011 thanks to their hit tracks ‘Party Rock Anthem’ and ‘Sexy and I Know It’, but since then the band have announced that they are going on a hiatus so they can be known as solo artists and then come back renewed. But is this an album that shows we should have the duo back, or did they just manage to produce two good party tracks?

Track 1- Rock the Beat II (Intro)

Linking the bands last record with this record, this album is a dramatic electronic dance music intro that immediately establishes the groups and the records philosophy in terms the idea of just partying and rocking out. The song has a dramatic monologue style that opens the record in a cinematic way, and although the hands up lyrical end of the song is annoyingly clichéd, the track has a vibrant sound with the production mixing some forceful dance beats with some dubstep infused bass, and so this works great as an intro .

3.5/5

Track 2- Sorry for Party Rocking

Title track Sorry for Party Rocking was the fourth and final single released from the record and finds the group immediately giving us an electro house tune designed to keep the party really going. Lyrically the track focuses on the guys apologising for their partying ways, but at the end of the day they are just gonna party and not care what other people say, with the guys talking about typical things like drinking a lot of alcohol and sleeping with girls. The duo have a funky charisma to their raps that makes the track feel very lively, and the song works in terms of the twisted lyrical concept of apologising but partying anyway, although much of the raps are annoyingly clichéd. The production of the track features frenzied electro bass and vibrant dance beats that just gives this fun energy, and so this is a silly but enjoyable number that works well in getting the party atmosphere of the record really started.

3.5/5

Track 3- Party Rock Anthem (featuring Lauren Bennet and GoonRock) 

The worldwide smash hit that really launched the group as widely successful artists, Party Rock Anthem is an electronically powerful dance pop tune that is designed to be the perfect party track. The track has a vibrant dance bass line and fast paced synth notes that blend together nicely and give the song this fun dance energy that will get you on your feet and clapping your hands. The song lyrically focuses on the guys wishing for everyone to have a good time and just be shuffling on the dance floor, with the lyrics having a silly but ultimately catchy quality that is made stronger by the simplicity and crowd singing together feel of the chorus. The duos vocal performances have this tone that feels like they are enjoying themselves, and so this makes us more likely to have fun, although the vocal moments of singer Lauren Bennet feel lifeless and a bit pointless. This is just a fun dance track that is powerfully silly and infectious, and so whilst it should never go down in pop history as a great song, it should be highlighted as a simple but fun party song of the past that had a cool this is how to dance to this song quality in terms of the ‘everyday I’m shuffling’ lyric.

4/5

Track 4- Sexy and I Know It

LMFAO’s second worldwide number one charting hit, Sexy and I Know It is another silly musical offering from the group that is based in this funky, electro house sound. As the title would suggest, the song focuses on the guys telling us of how they work out and are just able to walk into a place and own it with their body. It is an egotistical statement, but if you don’t take it seriously you can have fun and maybe instil a bit of confidence into yourself. The song is vocally simple with a quirky charisma that makes this more of an enjoyable listen, and with the vibrant dance grooves of the production, this track is just a silly number that works well within a club environment, but will look weird if you enjoy listening to it by yourself.

3/5

Track 5- Champagne Showers (featuring Natalia Kills)

Released as the records second single, Champagne Showers was described by the duo as the ultimate party song, but ultimately fails to live up to that claim. With slightly more of a straightforward dance pop edge but still retaining the funky electro house energy the group are known for, the song is all about the group being the ultimate party people who are going to make you sweat and give you a night you won’t forget, presumably through intoxication by champagne. The message is highly unoriginal in execution, and the vocals are so heavily Auto Tuned that it feels like we are listening to robots making music, and you can’t understand why Natalia Kills is even credited on this track. The only fun thing about the track is the frenzied nature of the dance driven beats and the way the song dips and rises in energy, but ultimately this is a very passable party song.

2/5

Track 6- One Day

Featuring a little bit of a Euro pop sound mixed with the group’s typical style, One Day is another party tune that has a lightness about it that suggests this might be a good track to listen to in summer party destinations like Ibiza. The song lyrically focuses on the group rapping/singing about how one day they are going to get this girl, with the concept being sweet and less bland than some of the other tracks, but ultimately being hindered by clichéd references to money and partying. The song is also vocally poor as once again the use of Auto Tune is so heavy the songs personality just seems to evaporate. The punchy dance beats mixed with the lighter synth notes gives the song this fun dance sound that is infectious enough to move around to, but by this point in the record LMFAO seem to firmly establish that they are a one tone duo.

2.5/5

Track 7- Take It to the Hole (featuring Busta Rhymes)

Take It to the Hole is an electro house tune with a slight urban feel in the production that is designed purely for egotistical guys who just care about their looks and sex. The songs title is repeated a ridiculous amount of times and just becomes really annoying, whilst both LMFAO and Busta Rhymes just come across as horrible men who don’t have any sense of charisma and who will waste their life away. The production is the only thing that is mildly appealing in terms of the frenetic sound and fuzzy electro bassline, but at this point the sound is also very familiar and so is definitely not enough to make this a good listen.

1/5

Track 8- Best Night (featuring will.i.am, GoonRock and Eva Simons)

Best Night is more of a refined dance tune that is still very clichéd but is sophisticated enough to be a much better listen than some of the other tracks on the record. The song finds the group talking about this girl having this great night and how they and this girl just want this night to last forever. The message is sweet in a way but ultimately becomes annoying because of the Auto Tuned raps of LMFAO and will.i.am, who just come across as lifeless. Simon’s smooth vocals lifts the quality a little bit in terms of her light vocal giving us a catchy chorus, but equally her voice is annoyingly distorted and lacks vocal passion. The punchy dance rhythms of the track with the heavy bass and clattering electro beats gives the song a lighter and nicer dance sound, but ultimately this track is a typical dance track that is better than the other offerings from the record but which still feels subpar, particularly because of the vocal performances.

2.5/5

Track 9- All Night Long (featuring Lisa)

All Night Long is a clunky synth based pop tune with a slight shiny, 80’s pop feel to it. Here we find the group telling us of how this girl is playing with them and how they could be together all night long, so very simply the group give us there typical shtick and just sound annoying. The lyrics also get too sexualised in some places and are just uncomfortable to listen to. Vocally things are extremely annoying, as the guys try to sing a bit more and are just a real Auto Tuned mess. Guest artist Lisa is equally as annoying and Auto Tuned, whilst the snappy synth production just keeps the track ticking along and just elevates the annoying quality of the vocals.

0.5/10

Track 10- With You

Final track With You is another pop party tune but ends the album on a lighter 80’s synth pop feel and is a bit sweeter in sentiment (if only a little bit). The duo here rap of annoying things like taking shots and being with their crew, but the chorus is nice and quite catchy, with the robotic style vocal also sounding cool rather than annoying. The chorus is also nice in terms of the sentiment of only enjoying life with this person, with the duo nicely showing off their camaraderie with some of the lyrics. With the songs production the duo blend funky synth notes with a bouncy pop texture that feels light and fresh and fun to dance to, and so whilst the last minute of the song is really annoying, this actually isn’t a bad track to end the record with.

3/5

Final Review

Sorry for Party Rocking is a dance pop mess. Whilst LMFAO may be fun to listen to when you are drunk in a club, they definitely only have one style and over an entire album it is ridiculously annoying. The raps are the same, the beats are the same, and the vocals are Auto Tuned so badly it makes me wish I hadn’t even listened to this record. This is an album that very few people should have bought, and I suspect that the shocking statistic of 1.4 million people reportedly buying the record all just like to get drunk a lot.

2/10

Best Track- Party Rock Anthem (featuring Lauren Bennet and Goonrock)

Worst Track- All Night Long (featuring Lisa)

 

Joe McElderry- Wide Awake Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Wide Awake

Artist- Joe McElderry

Winning a show like the UK X Factor seems like you should be destined for a long career of success, but in many cases the winner has actually had less success than the runners up. Such an example is Joe McElderry, a young lad from Newcastle who, after winning the show, gained a number one single, a follow up top ten single and a top three placing album. Yet his sales were much poorer than they should have been, and as a result McElderry was dropped from record label Syco Music. McElderry has had quite a successful career since, with 3 more top ten placing albums under a new label Decca Records, but his success pales in comparison to other acts like Leona Lewis, One Direction and Cher Lloyd. But was McElderry’s debut album really all that bad, or were people too quick to judge McElderry as actually not that worthy of being an X Factor winner?

Track 1- Ambitions

A cover of a song originally recorded by Norwegian band Donkeyboy, Ambitions was the records lead single and is a bouncy up tempo pop number that is lyrically all about reaching for your dreams and how McElderry is following his ambitions and making his life turn out the way he wants. The message is happy and the pop chorus is good, but vocally the singer’s voice just doesn’t fit the track, as his falsetto just makes the track sound whiny and almost too chipper. The light synths and preppy pop production is nice but ultimately makes this feel like a Mika reject that somebody just told McElderry to record, and it just shouldn’t have been his post X Factor, this is my future sound kind of single.

2.5/5

Track 2- Someone Wake Me Up

Second single Someone Wake Me Up has a slight Wham! feel and finds the singer taking on a mid tempo ballad which really lets his voice shine. The song is more of a comfortable listen than the previous track, and although the lyrics are clichéd, the sentiment of being woken up by the power of love is sweet. The song has a dramatic, playful and passionate quality that allows the singer’s voice to be flexed to the full, with the use of vocal layering making the chorus more impactful and heartfelt. Keeping the production simple with the shoe tapping percussion and strong string arrangement creates a grand tone for the track that lifts the lyrics a little, and the only really annoying bit is the Auto Tuned bridge, which feels very unnecessary.

3.5/5

Track 3- Superman

Superman finds the singer covering a song original by Five for Fighting, and with this track McElderry once again gets to show off his vocals a little more. The song focuses on the singer reflecting that life is not easy but he has to dream and fight through life. The song finds the singer really opening up his voice, giving us soft verses and showing the depth in his voice before launching into the final chorus and giving the song a final, powerful kick. In terms of the sound things are maybe a little safe with the piano and string arrangement, but the sound suits the singer’s voice, and there are subtle electronic elements to the production that adds an extra, vibrant layer to the track. This would have made more sense as a single for the singer over Ambitions.

3.5/5

Track 4- Real Late Starter

Here McElderry gives us another cover song, this time taking on Real Late Starter by singer songwriter Nerina Pallot. The song is a bouncy dance and teen pop number, changing up the original tracks pop rock feel in favour of a more synth heavy sound. The jazzy piano instrumentation is fun but the synths are too powerful and typical of the genre. The singer vocally shows off his range but once again comes across as a bit whiny, with the Auto Tune being annoying, and it is another song which feels like the singer is being put into this mould that doesn’t suit him. The song is sweet in terms of the lyrics as McElderry reflects on his shyness and how he is late to the party, but it still feels all-round to shiny and cheesy.

2/5

Track 5- Until the Stars Run Out

With this track things turn a bit deeper into dance pop, and the song has a cool euphoric essence that is quite fun to listen to. The song has a strange sample of Wham!’s hit tune ‘Faith’ but apart from that the lyrics are quite catchy, as the singer states that this song is for the person who will love him for life, or at least until the stars run out. The song shows off a different side to the singers voice a little bit and has a languid feel that makes the tune more appealing. Furthermore, whilst other tracks have seen the production be more annoying and out of sync with the singer, the dance rhythms and stabbing string notes of the track creates an atmospheric feel that shows McElderry can actually fit into the dance pop genre without sounding like a total idiot.

3.5/5

Track 6- Feel the Fire

A bouncy pop number, Feel the Fire finds McElderry being this over the top character where something is burning inside him and he just wants to release all the energy he has. The song is very poor lyrically as the lyrics are built on dozens of clichéd statements, whilst there also doesn’t feel like there is any real purpose to the lyrics. McElderry’s light vocal tone works well within the track and he has a nice personality that works well within the context of the song. Whilst the snappy rhythm of the production is a bit of a rip off of the sound of pop group Alphabeat, it is a fun pop sound that still manages to work, particularly with the vocals.

2.5/5

Track 7- Fahrenheit

Farenheit keeps the happy, bright feel of the record going but has more of an electronic feel to it. The bubbling synth base of the song is really nice and creates a fun dance sound for the track. Here we find the singer telling the listener of how he knows that the idea of passion is on their mind and they should just let go. It is more solidly composed than the previous track but the lyrics can feel a bit awkward in places, whilst the vocal is slightly hit and miss as the verses are ok but the chorus is pitched to high and just sounds annoying.

2.5/5

Track 8- Wide Awake

Title track Wide Awake is a good mid tempo pop ballad that shows the singer off at his best and shows that his voice is much better suited to ballads. McElderry sings of how he was in this relationship with this person which was great but went a bit too quick, but now he is wide awake to the fact that he has lost this person. The lyrics are a bit more impactful and the chorus immediately captures your attention, whilst the singer shows off his range to better effect within the song and shows more passion. The stomping drums and twinkling piano melody of the song creates a strong sound that brings out the passion of the lyrics very nicely and shows that McElderry can bring some substance to his work.

3.5/5

Track 9- Smile

A cover of a song originally by country music artist Uncle Kracker, Smile is a song that is lyrically pure in its intent as the singer simply tells this person of how they make him smile and just forget his troubles and live life. The song is an inoffensive pop number, but the vocals don’t really grab you and the pitch is a bit annoying. Furthermore, the acoustic production with the shiny guitar riffs just creates a nice but safe sound that makes this song just an album filler track.

2.5/5

Track 10- Love Is War

Love Is War is a feisty pop number that has a slight George Michael feel. The song focuses on the idea that if love is like a war then McElderry will fight for this person, because he is only complete with them in his life. The message is typical pop territory but the chorus is a nice pop moment. However, the vocals are awkward throughout the song. The verses are nice and soft but then there is an annoying pitch and layered style to the vocals in the chorus, whilst Auto Tune also comes into play in some sections to just make the song more annoying. The track features a funky guitar riff and a vibrant pop sensibility that is nice to listen to but which cannot hide the poor quality of the vocal.

2/5

Track 11- The Climb (bonus track)

Final track The Climb was the singers X Factor winner’s single, and is a cover of a song originally by American singer Miley Cyrus. The song focuses on McElderry telling the listener of how he has had to overcome obstacles and there will always be obstacles in life, but the journey is worth it and you can get where you want to eventually. The song works well with the singer’s journey through the X Factor talent show and his fight to win, whilst vocally McElderry sounds passionate and comfortable within the song. Production wise things are kept nice and simple with the arrangement of drums, strings and piano, creating a strong power pop ballad sound that suits McElderry’s voice. Whilst it might have been an obvious choice for a winners single, McElderry puts his stamp on the cover and makes this just a sweet and lovely tune.

3.5/5

Final Review

Wide Awake is not a terrible album but it is not an album that you want from an X Factor winner. There are some decent pop songs in the set, and whilst his voice is naturally suited to ballads, he does produce some nice up tempo pop moments for the record. However, a lot of the time the lyrics are annoyingly clichéd, whilst the singer’s vocals suffer from going too high into his range and using Auto Tune very poorly. The production of each song also feels like a bit of a conglomeration of the sound of different artists, creating a slight rushed feel to the album that makes it seem as if people really didn’t know where to go with McElderry’s music direction. It could definitely have been a worse album, but sadly I can definitely see why people didn’t buy many copies and why he was dropped from his label, although it does slightly feel like it was more the labels fault.

4.5/10

Best Track- Until the Stars Run Out

Worst Track- Real Late Starter