Fergie- The Dutchess Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- The Dutchess

Artist- Fergie

During the first hiatus from the band and before will.i.am was setting the music charts on fire with his big name collaborations in his solo career, Fergie was definitely the major star of the Black Eyed Peas in terms of solo success, releasing her debut album The Duchess to worldwide success, with the record selling over six million copies worldwide. The album (whose title is a derivative and misspelling of the Duchess of York, with the whom Fergie shares a nickname and surname with) also set a record in the digital era for the most multi- platinum selling singles from one album, with five multi-platinum singles, a record that was held until 2012. In the wake of the singer having some new solo success in her contribution to the 2013 Great Gatsby movie soundtrack, and news that she  has begun recording a second studio record, I look back to see why The Dutchess was such an impressive debut.

Track 1- Fergalicious (featuring will.i.am)

Featuring her fellow Black Eyed Peas member and friend will.i.am, Fergalicious is a an electro and hip hop song that comes across as a kind of self-love anthem. Employing a rap style in the vocal, the song focuses lyrically on Fergie being in a state of self-pride where she raps about besting all other woman, whilst telling us that no other man is worthy to date her. The raps and singing has a strong vocal performance from Fergie who brings a nice sensuality to the track, but will.i.am should have just stayed as a producer of the track, as his small moments of rap don’t really add much appeal to the track. The frenzied state of the production gives the song this cool vibe, featuring a great utilizing of synthesized strings to give the song its fast paced energy. The track could be cut down a bit, and is border line egotistical, but if you want a song to kind of make you feel cool and good about yourself then this should do the trick.

3/5

Track 2- Clumsy

Sampling ‘The Girl Can’t Help It’ by Little Richard, Clumsy is a mid tempo bubble gum and electro pop track that is very much a love song, as the lyrics center on the singer being a bit clumsy because she is falling in love. The lyrics are slightly clichéd but the use of the Little Richard sample gives the song a snazzy quality that makes the track more appealing. Vocally the song nicely shows of the smoothness and a little bit of the soulfulness of her voice, keeping things simple and showing off a bit of sass in the snappiness of the bridge, which finds the singer speaking of how this is not the first time she has been this clumsy. The sweetness of the song feels true, and is made snappy by the electronic beeps of the production that gives the song this nice, laid back groove.

3.5.5  

Track 3- All That I Got (The Make Up Song) (featuring will.i.am)

Will.i.am comes on board once again as a guest artist, but this time things are a bit slower and more soulful, with a touch of 1960’s glamour to it that fits well with the Dutchess concept of the record. The song finds an emotional Fergie asking her man if he will be there for in the future, as she will really give him all that she can offer. The song shows off the power of the singers voice and feels like a true plea, with the ‘do do do do’ hook of the track being very catchy and giving the song this old school air. The production is also cool and offers a bit of diversity through the more organic tone of the track that comes complete with dramatic strings and laid back drums and guitar. The only issue is that once again will.i.am doesn’t really add anything to the track and provides a dismissive and small rap section that is purely excessive.

3.5/5 

Track 4- London Bridge

The records lead single and Fergie’s debut single as a solo artist, London Bridge is feisty hip hop and dance song that strongly utilizes some horns in the production. With a moderate hip hop groove the song contains another element of self-pride in some of the lyrics, and finds the singer giving us a little bit of a hard to decipher song that finds her addressing some things and poking fun at stuff that is written about her, whilst the chorus focuses on the use of a sexual euphemism that just feels snappy and catchy. The song has a touch of Gwen Stefani’s ‘Hollaback Girl’ about it and finds the singer in a feisty frame of mind vocally, showing us some smooth raps and singing. The production is also feisty in its own way, with club stomping beats and jazzy horns. The English ending of the album version is weird, but as a whole this is a good song that acted as a strong debut for the singer.

3.5/5

Track 5- Pedestal

A snappy hip hop and RnB tune that features snappy electro beats with more organic string and piano melody, this song features Fergie once again in more of a feisty state of mind. However here things are more anger fuelled and relationship based, with the lyrics focusing on Fergie bluntly telling this guy that he is not as great as he thinks and should come down off the pedestal he has put himself on. The song features cool and sexy vocal performance from the singer that makes the tune more powerful in the way that it isn’t too aggressive but still has that strong undertone, and makes putting this guy down more impactful. The use of a nursery rhyme within the song is also intriguing and a little mischievous sounding, whilst the production has a snappy backbeat and nice blend of other instruments to just give the track this snappy but laid back feel that shows that Fergie is actually better than this guy.

3.5/5

Track 6- Voodoo Doll

Things are perhaps a little too slow to start with this song, but the slightly rockier edge of the opening is intriguing and so keeps your attention peaked. The whole track itself once again employs horns and has a moderate groove with a slight reggae quality. The song finds the singer in a warped state of mind where guys come across as simply players and she just doesn’t know what to do with herself. The song is cool lyrically but lacks a strong catchy hook. However the vocal performances have a cool and light quality in places that makes things believable, whilst the bridge has a feisty quality, with the horns bringing a powerful sound to the track. Something could be done to make things more powerful and catchy, and the final 20 seconds of the song is just weird rather than cool, but on the whole this song is ok.

2.5/5

Track 7- Glamorous (featuring Ludacris)

An airy pop and RnB tune, Glamorous became the singer’s second solo number one on the Billboard Hot 100, and finds the singer in a smooth groove with a slight 1980’s vibe. The track is probably the song that lives up to the Dutchess titling of the record. Here we find Fergie singing about how she is living this fast lifestyle of mainstream success and widespread fame, she remains true to herself and her roots, being a song that has an autobiographical tone. The song has a some snappy rapping style vocals in the verses from Fergie, whilst the airy vocal tone of the chorus gives the song this Glamorous feel and makes things contrast well with the staying true to your roots ideology of the lyrics. Ludacris brings us a snappy guest rap that just mixes things up nicely in the song and stops us from getting bored. And the production of the song is really great, with producer Polow da Don giving us a nice bland of snappy keys with techno beats, and just creating a moderate rhythm that allows for the vocals and lyrics to really shine.

4/5

Track 8- Here I Come (featuring will.i.am)

The last of the will.i.am guest features on the record, Here I Come was a promotional single release and is a hip hop, dance and soul track. The song once again utilizes some sampling of older music tracks very well and blends the modern the sensibilities very well. The track is an upbeat number where Fergie raps and sings about how she is feisty and ready, and so people should prepare for her entrance. The song finds the singer in a commanding state, and out of all of the will.i.am guest features this is the one song where the rapper actually provides a strong rap guest feature that feels cool and like Ludacris mixes the song up a bit. The production features a simple bass and hand clapping beats that makes the song light but snappy, and makes this both a feel good and chilled track.

3.5/5

Track 9- Velvet

Like the title might suggest, things take a bit of a softer and more sensual edge with this track that really finds the singing ramping up her sex appeal. With the lyrics we find the singer telling this guy that he makes her feel so good, and he should just come and make her feel good again. The song has more of straightforward quality that some of the other songs, and vocally shows off the singers voice nicely in terms of the smooth tone, with a smoky quality to the vocal that makes things truly sensual. The production of the track is also smart, with a simple bass and airy tone that simply allows the vocals to really be the standout component of the track. The bridge shows off the power of the singers voice well, and the final few seconds of the track ends things on a really cool, sexy note.

3.5/5

Track 10- Big Girls Don’t Cry

Simply featuring writing credits from two people, Fergie and Toby Gad, Big Girl’s Don’t Cry is also intriguing in the way that here we have a straightforward pop sound that incorporates acoustic and classical elements. Lyrically the track finds the sing in a fragile state where this relationship has ended and she has to deal with the issues surrounding that, but she purely states that she has to be strong. The song is very lyrically astute, with a purity that really makes the song empowering. Keeping the production light with the simple bass and great use of strings just creates a great sound that in its own way feels delicate and emotional. The production also really works in allowing for the singer to really show off her vocals, with the vocal performance being delicate but powerful and nicely showing off the range that she is capable of, whilst not be annoyingly over sung or overproduced.

4.5/5

Track 11- Mary Jane Shoes (featuring Rita Marley and the I-Threes)

Featuring the widow of late reggae legend Bob Marley and her former group the I-Threes , Mary Jane Shoes starts off in a little bit of dark atmosphere before developing into this light reggae and hip hop based tune. More lyrically sparse than some of the other tracks, here we find the singing telling us about how these Mary Jane shoes make her feel nostalgic, safe and just all-round cool, acting as a nice metaphor for the things in life that just make you feel comfortable, like family and home. The vocal performance has a light and airy quality that makes the singer come across very carefree, with Marley and the I-Threes providing some nice background vocals that give the song some great harmonies. The production has a light sound with a laidback groove. However the final minute of the song is a bit strange in the way it diverges into this rock sound and then this just weird vocal section, and is something some people might like but to me just feels like the song is being dragged out.

3.5/5  

Track 12- Losing My Ground

Opening with a breathy vocal from the singing, this song has a more a sensual edge to the vocal performance and a lighter quality, but still shows of the power of the singers voice and shows more emotional power. The singing is lyrically in a state of turmoil as she is unsure of herself and her surroundings and just feels like she is losing herself. The song has simple but powerful message and perhaps nicely addresses the difficulty of dealing with fame, with Fergie giving us a vocal that really commands us to listen to what she is singing, but not in an overpowering way. The pop state of the production with the light drums and acoustic guitar melody acts as a both a soft but forceful sound, and with the use of an orchestra the song really builds and makes more of an impact on the singer, with the repetition of the lyrics having this almost pleading tone because of this dramatic impact.

4/5

Track 13- Finally (featuring John Legend)

The closing track and the song that ended her streak of top five hits on the Billboard Hot 100 (and which failed to chart on that chart), Finally is a pop soul ballad that ends the album on a real delicate state. Lyrically the song has a sincere and honest quality as Fergie sings about growing up and finally beginning life in a renewed way where she realizes that she can really open herself up. The lyrics have a poetic quality that is powerful, and once again this is a simple song that allows for the singer to show off the range and power of her voice, giving s a performance that feels as grand and powerful as the production. Legends feature comes in the form of the piano within the track, which is the most fragile quality of the track that acts as the song backbone and blends well with the orchestra to just create this deep but also light and dramatic but not too overdoing it sound, just creating a softer, emotional song that acts as quite a beautiful end to the record.

3.5/5

Final Review

The Dutchess is definitely an album that deserves the success that it had, showing off feisty, sensual and emotional sides of the singer very nicely. The album also features a great meddling of genres and old school with modern sensibilities, whilst Fergie always gives us vocal performances that in a way command our attention. The only thing that I feel is a small issue with this track is that sometimes the songs feel a little bit familiar to some of Fergies contemporaries, but this is only a minor issue, and as a whole package this record is exciting, engaging and makes me want some new music from the singer soon.

8/10

Best Track- Big Girls Don’t Cry

Worst Track- Voodoo Doll

Adam Lambert- Trespassing Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Trespassing

Artist- Adam Lambert

Adam Lambert is another one of the great success stories of American Idol that shows that the program can produce some real talent, as Lambert, with his powerhouse vocals and strong charisma, has gone on to achieved worldwide success and create some cool pop music. Trespassing, his second studio album, debuted at number 1 in the USA and making history in the process as the first openly gay artist to do this. But is this real an album that deserves such a place in history, or was this just a weird thing where people were just taken in by his charisma?

Track 1- Trespassing

The records title track and album opener is a stomping track with a toe tapping rhythm and cool, kind of suave tone that finds the singer teaming up with producer and all round awesome guy Pharrell Williams. Lyrically the song is all about how Lambert is a powerful guy who knows how to live life, with the chorus depicting him as this guy entering into this town who doesn’t like visitors, but Lambert doesn’t care and will show them how great he is. It is a cool message that is a bit inspiring as it could potentially refer to the people who aren’t that big a fan of Lambert, and with his vocal performance he gives a really confident quality to the track mixed with a smooth but snappy tone. Williams is great on the production of the track, as the toe tapping rhythm is quite addictive and the infusion of rock guitars gives the song that little bit of grit, showing that on this record Lambert means business.

3.5/5

Track 2- Cuckoo

Track number 2 brings sings more to an electro pop level and a little bit more of a vibrant, lose yourself energy. As the title would suggest, the song is all about Lambert saying how he wants to be a bit crazy and just party like he means it, creating an anthem for the wild nights of many people who just want to throw away the stresses of everyday life, with the chorus having a simple distilled party essence that is really catchy. Vocally Lambert keeps things on a nice simple level until the bridge kicks in and we get that crazy, powerful vocal with the diva like ad libs that make for a proper exciting finish. The production is a little bit stereotypical of this type of pop song, but still has an energy that captures you and works well in creating a smooth rhythm, with the breakdown in the middle section being a little bit of a twist that makes the end that bit more exciting.

3.5/5

Track 3- Shady (featuring Nile Rodgers and Sam Sparro)

Inspired by the first night that Lambert met his former boyfriend Sauli Koskinen, Shady is a dark pop track that is still party inducing but has a forceful electronic underbelly and shows Lambert in a really confident persona. Lyrically the track finds the singer going on about how he is feeling shady and needs someone to kind of unleash him, a cool lyrical concept that unfortunately fails here a bit as the chorus just feels repetitive and lacks the catchy punch that it needs. Although Lambert tries to really grab us with the vocal performance that is gritty and feisty, and Sam Sparro offers a nice bit of smooth sophistication in the bridge, the song feels a bit bland, with the electro pop rhythms of the production having a static tone that doesn’t excite you in the same way as the last two tracks did.

2.5/5

Track 4- Never Close Our Eyes

First of the two collaborations of Lambert’s with pop producer and current hit maker Dr Luke, the fourth track is an nice electro pop tune that features elements of dance pop and euro pop, and which was also created with Bruno Mars and his production team The Smeezingtons. Lyrically the songs is about living life to the fullest and partying till dawn, and although this would be a cliché in today’s pop world, the song is given that bit of substance that is needed through the idea of enjoying your time with that special someone, because we never know when life ends. Vocally the singer is really strong, with the smoothness of his voice coming out in the middle section and the lilting tone at the end of each line in the chorus, although as a whole the track feels a bit safe and loses some of the vocal spark that other Lambert tunes have. The production is snappy with a propulsive beat intertwined with melodic sensibilities that creates a pop sound that is light but strong and gets you in a happy, let’s just get up and dance mood.

3.5/5

Track 5- Kickin’ In

Another Pharrell Williams assisted tune, Kickin In immediately catches you in terms of that difference in sound from the previous song, with a little bit more of an acoustic feeling nature at first and a sense of urgency that grabs you. The hook in the song is really catchy, with the whole song focusing on this lyrical concept of a woman who is getting happy off of the music, playing with the idea of taking drugs (although you can just take the song as being about being drugs). Although repetitive, the fast paced quality gives the track that catchiness rather than an annoying quality, although I am not a fan of the way the track fades out. Lambert is once again strong vocally, although he doesn’t show off his voice to its fullest, but that is also something to commend the song for in that it shows how he can be restrained yet still create a positive, catchy tune. Williams also creates another snappy sound in the production with a slight tinny texture and smooth mix of electronic tones with finger clapping tones.

3.5/5

Track 6- Naked Love

Lambert goes into little bit more of a typical pop rock energy with this track that is based in a bouncy guitar rhythm and finds the singer lyrically in a state of happiness and love. Here we find Lambert singing about how he once his man to take it off and show him love tonight, and although you can take it as talking about sex, it’s a bit deeper, rather talking about how he wants his partner to show him what lies underneath his persona. Vocally he brings a light and punchy quality to the song, with the chorus being really catchy and strong in the final section, as the bridge really allows for a build to the finish. Production on the track with the pop swirls and bouncy rhythm is a little bit typical of the genre but works in keeping the tracks sentiment going and just creating a light pop tune that as a listener you can easily enjoy.

3.5/5

Track 7- Pop That Lock

Pop sounds continue with this track, but things are a bit more hard edged and feisty with this song where Lambert  sings about forgetting the stress of life and unleashing that free side of yourself, and how you can only party by breaking down the things that hold you back. It’s such a simple message that is given catchiness with the simplicity of the chorus and the nursery rhyme like post chorus sections. Vocally his voice is a bit distorted in places to give the song a cool, twisted sensibility alongside the simple craziness, with the final moments of the song allowing Lambert to show his vocal power with some really nice ad libs. The production is simple but effective, with the thumping electro pop bass being a catchy sound, and the bridge being another breakdown that is cool and allows for a grand finish.

3.5/5

Track 8- Better Than I Know Myself

Things get a bit more serious with this song that is the second Dr Luke collaboration and finds Lambert singing in a different format for a change, as the track is a nice electro pop ballad. The tracks lyrics find Lambert in a little bit of a state of regret as he sings about a lover who knows him inside out, but who he has treated a little badly and how he just desperately needs. The song has a beautiful sense of honesty to it, intermixed with a cool, icy kind of tone that brings the desperation out that little bit more. Lambert is really strong vocally, being restrained in the verses to give the chorus that little bit of passion, with the high not of the final line of the chorus being very emotional, and the final section showing how much power he has in his voice. The production is equally emotive and great, with a thumping bass beat and retro synths that just give that touch of drama and emotional resonance needed for the song, but also at the same time just sound really catchy and sounding like it would fit on pop radio really well but still stand out from the other tracks from other artists.

4/5

Track 9- Broken English

Another song about his former boyfriend, Broken English reflects the challenges and rewards of that relationship and finds Lambert vocally a little bit grittier in the chorus and a bit more back to the glam rock edge of his debut, but having a smooth, steely tone in the verses that allows for a really catchy chorus. The song is for the people out there who struggled to find the words to express their feelings, as Lambert himself can’t find the words, and him and his partner just have this body language. It’s a moody kind of sentiment that is given more by the frenetic edge of the production with the scatter beats and the high octane essence of the bridge that allows for that final chorus with the really strong vocal tone.

3/5

Track 10- Underneath

Lambert goes even darker and more emotional with this song that is slightly more stripped back in tone than the previous tracks, although it still has a really grand feel and strong tone. The song is all about Lambert letting go to show his partner who he really is, and in that sense just wanting to be accepted for what lies underneath. The song is emotionally impactful, particularly in terms of the fragility and desperation that Lambert seems to convey within the vocal performance, although the song is a little annoying in terms of the over repetition of the word underneath. However, this is kind of made up for with the power of the vocal and the dark, moody essence of the production with that beautiful piano melody that gives a delicacy to the verses, and the harshness of the chorus that just makes everything that bit more powerful.

3.5/5

Track 11- Chokehold

Things are still kept within a darker tone with this track but the ballad form takes more a back seat for a punchier sound. Lyrically the song is all about a relationship which is a bit volatile and shouldn’t work, but Lambert knows he will just continually want this man back in his life, and the song is given its catchy quality through how the song is just really honest and doesn’t try to go to deep lyrically. It also really works as a track as vocally Lambert just keeps things simple, giving a sense of passion to the song but not necessarily going overboard in telling this guy he will want him back. The thumping bass is really strong and cool, and the rock elements are so great and a nice change of pace from the pop elements of the first half of the record, with the guitar riffs being really gritty and having a great, powerful undertone, whilst the last few seconds give a subdued moment of nice reflection.

Track 12- Outlaws of Love

The final track on the album is the most political song on the record, as the song is lyrically about the legalization of gay marriage and draws on the ideas of how gay marriage is treated as something wrong by certain people and how people are mistreated within society. It has a simple emotional honesty that is given gravitas by the vocal performance of Lambert who produces a really delicate one within the track and shows how this is a matter that is really close to his heart. And in keeping the production really simple with the steady drum beat and nice guitar melodies, you really get the essence of passion within the song and focus more on the potent lyrical content.

3.5/5

Final Review

With this second studio album Adam lambert has once again showing why he is a star that shows American Idol has talent, as he has such a great voice that is full of charisma and produces really catchy tunes. This album is really strong as it feels a little more polished and attention grabbing, and also finds the singer pushing himself into new territories of sound that really works. Elements of the generic are there a little, and I am a bit on the fence about whether the divide of the album in terms of the happy, upbeat first half and dark, moody second half works, but all in all this is a solid album that is catchy and shows he still has a lot to offer us in terms of musical delight.

7/10

Best Track- Better Than I Know Myself

Worst Track- Shady (featuring Nile Rodgers and Sam Sparro)

Demi Lovato- Demi Album Review

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Album-Demi

Artist- Demi Lovato

I have wanted to avoid looking at albums from the same artist on this blog. However, since her high profile role on the X Factor USA has seemingly had a strong impact on her career, and her statements that this is the album to truly launch her globally, I felt that I should actually disobey that thought in the case of Demi Lovato, as I really wanted to test whether this record actually does what she thinks it will do, especially when I felt her last studio effort Unbroken was a stellar album, and when she claims that every track on this album was made with the idea of them being single ready.

Track 1- Heart Attack

The records opening number and lead single definitely brings the idea of this record being a global selling album to the forefront, as it ticks all the boxes that you want to make a great and extremely catchy pop song. The lyrics deal with Lovato having these feelings for this guy who makes her act all girly and how she can’t show her love as she feels that she will be extremely hurt if she does fall in love, to the point where she thinks she will have a heart attack. It alludes to the idea of her being hurt in the point, and has a simple concept that is strong in the way that it plays on the idea of love in that here Lovato is vulnerable but not in the way that she has been hurt from a relationship, but rather she is vulnerable because she can’t actually show her love. This interesting spin on a relationship is something that Lovato has done before with her last single Give Your Heart a Break, and this is great as this isn’t a rehash of that track and really shows how she is different from the pop crowd around her. The chorus is very simple but powerful in tone, with lyrics that become instantly memorable, and this memorability of the track (particularly the chorus) is brought out not just by the lyrics but Lovato’s vocal performance, which is great. Lovato has always had a strong voice, but this song definitely shows how she has grown as a singer and can really give a track some power, with the chorus here having an anthem tone through the way she belts out the words in a strong and intense way but also allows that layer of vulnerability to seep through, and so creates a great layer of catchiness to the song. Producers the Jason Evigan and Mitch Allan create a great sound to the record that is as equally powerful as the vocal performance, with the blend of electro pop and drum and bass instrumentation sounding excellent, and the guitar loop just means that the song cranks up its level of catchiness. If she wanted a song to make her go global, I think it would have been very hard to find a better track for her than this.

5/5

Track 2- Made in the USA

Made in the USA is kind of the antithesis of Heart Attack in that here Lovato is totally in a love drunk state as she exclaims of how she wants the world to know how much she wants this man, and that they can’t fail in love because there love was made in the USA. If she showed a bit insecurity about being girly in the last track then this song definitely throws that out of the way, and although the songs are perhaps different in sentiment, the way that they are placed back to back on the record like this is great, as it shows different sides of the singer: she is young and wants to have fun in life but also can be serious and really works hard when it comes to her music, and isn’t afraid to be vulnerable, and so she indeed can appeal to a wide audience. She produces a vocal that is light in tone, with the chorus once again showing the power of her voice and being complimented by the softness and little bit of sassiness that is the verses. The production has a bit more of an organic feel than the last track but keeps with the pop vibe, and although it is perhaps a little bit familiar in terms of similar pop tracks, it indeed a sound that simply suits this kind of song and still sounds catchy, with the guitar riffs and thumping bass having an almost euphoric quality when mixed with the lyrical sentiment. Pop done to a great standard.

3.5/5

Track 3- Without the Love

I have read one reviewer complaining about how this track feature references to Joe DiMaggio, referring to the fact that she could have sung of a more current man in today’s celebrity world and not be dated in the way that the DiMaggio lyric perhaps does. I just wanted to highlight that because people don’t like this song for the wrong and stupid reasons. It’s simple a lyric that is catchy and rhymes and I personally think it might lead to a small education of some young people who will go and find out who she is referring to. Anyway, the track is another light pop offering that is a little similar in sound to Made in the USA but has more of a mid tempo feel and some prominent differences, one of these being that the lyrics here aren’t about being in love but rather being in this relationship where the guy isn’t treating the girl right, and the chorus focuses on how the guy is acting as if he loves her by singing love songs, and yet he simply plays her and she knows there is really know love between them. The light tone of Lovato gives the track a nice layer of fragility, with the chorus again being more powerful and complimenting the softness and also the slightly slower tone of the verses nicely. The bass is a little similar to the last track but the ‘oooh’ background vocals give the track a different element of catchiness, whilst the use of strings makes for a bit more of a dramatic tone.

3.5/5

Track 4- Neon Lights

With Neon Lights the pop nature of the record stands firm but this time we enter more into electronic and dance orientated music. Flipping back in to a state of happiness and love, here we find the singer telling her beau of how he is all she can focus on, and that together people we see them in love as if they are shining in the sky together like neon lights. Arguably this is one of the best vocal performances on the record as she brings so much power to the song, with the verses being a little softer and having a slightly lighter, breathy quality, whilst the chorus is really strong and features a great wobble on the end of the word ‘lights’ that I think is both subtle and extremely catchy. The lyrics (helped along here by One Republic frontman and talented songwriter Ryan Tedder) are another batch of instantly memorable and catchy rhymes that you will be singing, and this is once again helped by the vocal. But whilst these elements of the track are once again strong and perhaps sound familiar, Lovato definitely changes up the sound here in terms of the production, with sings starting off softly with a simple piano melody that remains as the base of the record, before being melded together with strong dance orientated beats and being given an all-round propulsive energy that makes the song that bit more unique and fun, and offering a great bit of diversity to the record.

4/5

Track 5- Two Pieces

Things are slowed down with this mid tempo ballad that is a little bit more emotional and is a song that fans of the singer will likely find a bit empowering as although a love song, the lyrics have that tone of finding your place if you feel like a bit of a misfit, and the song can have different meanings for different people. This is because the song focuses on how people are just trying to find their way in the world, with the chorus focusing on Lovato telling this person that she will get lost with them because they are like two pieces of a broken heart and everything will be fine with this person, and for many people that other piece of themselves can be a variety of people, from boyfriends to girlfriends to simply best friends or even just a member of your family who gets you through life. Lovato brings a passion to the track that is infectious and touching, with the softness of the verses having a lilting quality that makes you feel chilled, and then the chorus kicks in with the vocals that are so loud and intense you just immediately go on the ride with Lovato and truly believe in what she is singing. The military style drumbeats, simplicity of the piano instrumentation and the building of the volume of the sound just sounds so powerful and attention grabbing, and just means that the song is even greater.

4/5

Track 6- Nightingale

Lovato goes even more emotional and simpler in sound with this track that was inspired by the death of a close friend many years ago who she still feels close to. Lyrically the track finds the singing being in a bit of dark state in the verses and simply wishing for someone to help, with the chorus being a plea for someone to help her and be her metaphorical nightingale. The emotional intensity of the track does really grab you in terms of attention and makes you feel in the same way a little bit, and the song lyrically has this nice sense of honesty about it. Although I feel that at this point the vocal is perhaps a little bit too familiar in terms of the transitions of soft to powerful, by the end you forget the similar quality of the vocals as there is that tiny catch in her voice that feels heartfelt, and things are made more powerful by the use of a choir of voices to give a gospel tone to the end. The production likewise is perhaps a little bit too safe and familiar, but the piano and string led sound still compliments the tracks lyrical message and does give a platform for the emotional intensity that is nice.

3.5/5

Track 7- In Case

We keep things going into down tempo state with this song that is a piano led ballad and that deals with the end of a relationship. The song focuses on Lovato realises that she will have to let go of the things that tie her to ex eventually, but even though things have ended she wants to keep these things just in case the relationship starts up again and this guy wants to be in love with her once again. The songs sentiment taps into the pain of relationships ending very nicely and will be something that many of the singers fans will identify with, whilst the production of the track is great in that things are kept on a much simpler level by just having the piano and Lovato’s voice, and so this offers another slice of diversity to the record and creates a slice of true emotion with the stripped back quality. Vocally the singer is very good with her voice carrying of the intense heartbreak of the song well, however I do think that she perhaps should have toned down the vocals a little as it feels that tad bit as if she is out to prove how great she is at singing, which we know, and the song perhaps would have just worked a little bit better on a simpler vocal level in my opinion.

3.5/5

Track 8- Really Don’t Care (featuring Cher Lloyd)

From the piano balladry of the last track things are kicked into gear with this up tempo number that is simple pop fun at its best. Produced and co-written by Carl Falk and Rami Yacoub, leaders of the pop world noted for the creation much of the work of global boy band One Direction, Lovato is definitely not in a state of happy, I am in love with this song, even if the sound is light and very pop orientated. The song instead finds the singer in a bit of a bitter but for the most point I’m moving on frame of mind as she tells this guy how she can’t believe what she has done for him (e.g. writing songs about him) and simply is now telling him that even if fate draws them together she just won’t care about him. The song has another chorus that is hook driven and catchy, and the song is really catchy in the way that vocally Lovato brings some real bite and angst to the song. However the song is really good vocally in that although the singer still brings some power to the vocals, her voice feels here a little bit more controlled and doesn’t go too much into the higher depths of her range, so the song feels different from the other tracks and brings another layer of diversity that makes her appeal to some other consumers. The production of the song has preppy beats and guitar riffs that complement the song nicely in the way that the anger of the track contrasts the quite happy energy of the songs sound, and so you really get more invested in the tune, with the production sounding very nice even though it is very much catered for radio. British singer Cher Lloyd provides a cool guest feature that gives the song a sassy, fast paced rap ditty that makes the final chorus that bit more powerful, and by the end you will be letting loose and not caring alongside Lovato.

4/5

Track 9- Fire Starter

Fire Starter finds the singer in a very confident frame of mind as she sings about melting hearts and being a fire starter, presumably in the field of relationships and love. With references to being a female James Bond and having an S under her clothes (being Superwoman) we are perhaps meant to take the fact that she is a fire starter as a good thing, but then she goes on about melting hearts and being a wild child, which is kind of bad. Either way she is a feisty lady who is a force to be reckoned with when it comes to relationships. The song has a reserved essence in the verses through the way singer has a smooth tone and places longer stresses on the end of each line, before the chorus kicks in with that punchy exclamation of ‘I’m a fire starter’. The electro pop edge of the track keeps a thumping bass going that propels the song into a nice state of believability. However, perhaps because the last track was so catchy, Fire Starter falls a little flat, as the chorus doesn’t have that sing along quality nor an impressive hook, and the sound of the track combined with the repetition of the chorus wears thin towards the end, as you are pretty clear on the message.

3/5

Track 10- Something That We’re Not

Bringing back the sass and light pop vibrancy of track number 8, Something That We’re Not is a fun pop affair that is designed to sing along to through the catchiness of the “ba da” motif that gets the song in that immediate state of it’s going to be stuck in your head. Lovato plays the song in well in singing in a simpler tone that doesn’t go too powerful but shows off a nice slice of her vocal range and has a bit of bite in the chorus that makes the song memorable. This is very much a typical pop song in terms of the punchy vibrancy of the production with the use of guitar refrains and bouncy rhythms, but this works in the songs favour through the way the lyrical message is feisty and is also a little less stereotypical of this kind of sound: in today’s pop music world you would expect this to be a bit of a soppy love song based on the production, but the song has a surprisingly more mature edge lyrically that invokes the idea of a guy being too clingy when the girl isn’t interested, with the p’ referencing to ‘hooking up’ emphasising (if only slightly) that she isn’t a simple Disney teen star anymore, which is cool when that is kind of the albums aim in a way.

3.5/5

Track 11- Never Been Hurt

I remember reading one comment on the album on YouTube highlighting the similarities between this record and her last studio effort in terms of the songs that were on display, and whilst for the most part I disagreed with them, it is hard not to admit that when you listen there isn’t a spark of this being a simple rehash of the title track of her last album Unbroken. This is because the lyrical sentiment of rising from hard times and loving someone completely without this sense of baggage is pretty much identical, and the way the song builds into each chorus is very familiar. If you ignore the similarity here you can enjoy the track, but here there is a distinct lack of this dark, intense sense of passion that made Unbroken quite a fan favourite, and the way the final word of the chorus (‘hurt’) is stressed so prominently doesn’t do her vocals justice and comes off as a bit whiny. The electro pop production also burns with the same energy, and although it starts of in a nice way that is a bit intense, it all to easily falls into typical pop territory, and so this is very easily the poorest track on this record.

2/5

Track 12- Shouldn’t Come Back

Another Carl Falk and Rami Yacoub collaboration, this time things are kicked down into a much slower and chilled rhythm, and we find Lovato in a vulnerable mode that is made more prominent by the acoustic level of the track. The song find Lovato singing about this boy who she is having a little bit of a hard time getting over, and tells him that he shouldn’t come back to her, because with him she does not feel the good way she should in a relationship. The chorus is very nice in the way that it acts as a simple plea to this former love, whilst the verses have a nice storytelling tone to them. Vocally the stripped back nature of the track really illuminates both the power of Lovato’s voice, but also the way she is able to really convey this true sense of emotion to the listener, going from quiet vulnerability to intense hurt in a way that seems seamless. Yacoub and Falk are stellar in keeping the production based in light guitar instrumentation and potent strings that give a nice tone to the record that layers the track with this added sadness, but also never goes too powerful in its sad tone to become annoying.

3.5/5

Track 13- Warrior

Designed as a little bit of a sequel to her 2011 hit “Skyscraper”, which announced her musical comeback after her highly publicised treatment in rehab over a number of issues, Warrior ends the track on a very vulnerable and poignant note that reminds us that at the heart of all this fun and vocal power Lovato is like many people: simply a vulnerable human being. An there is a touching sense of honesty, particularly in the terms of the lyrical content, where Lovato confronts the demons of her past and comes out of the hard times a stronger person. I wouldn’t say that this song has the power and drama of Skyscraper, but the lyrical content does have a little bit more of a personal tone, which makes sense when Lovato actually had a hand in writing this track compared to Skyscraper. Vocally she is really strong, showing some vocal runs that are very powerful and just giving this song and innate sense of strength that perfectly goes with the lyrical message. Keeping things on a simple level in the production with the piano and strings just makes things feel more potent and shows how she is really letting herself go here musically, although I do feel there is touch of drama missing to the production, as although I perhaps shouldn’t, I can’t help comparing this to Skyscraper, and that just had much more of a finish to it and felt slightly more impactful, even though this song packs a serious emotional punch.

3.5/5

Final Review

If Demi Lovato wanted to create an album for global success, she has done a very good job with this record. Although I disagree with the idea of every song on here having the potential to be a single, the album does feature a number of tunes that are impactful and would stand out on radio. The lyrical messages do have a touch of cliché but there is always a catchy quality to every song, and Lovato nicely offsets the happy pop numbers that are great to bounce along to with strong, emotional ballads. And at the centre of everything is the fact that with this album Lovato really does show why she has the potential to be a great artist, as she uses her voice so powerfully and knows how to make a song commanding every time, although on the odd occasion I feel she might just go overboard slightly. She is still kind of growing as an artist, but here she sounds like she is having fun making her music and creates a collection of songs that many people can easily find enjoyable.

8/10

Best Track- Heart Attack

Worst Track- Never Been Hurt

Song of the Week- July 21 2013

Song- Rock N Roll

Artist- Avril Lavigne

Avril Lavigne is definitely one of those artists who people can have polarising views of, as her musical styles have seemed to really change throughout the years, primarily in terms of her I am a rocker to her I am a pop star persona. But with Rock N Roll the singer just tells the people who hate her to go get a life, and creates an extremely catchy tune in the process. Now firstly it needs to be noted that whilst the title may be Rock N Roll, this isn't a rock song: rather it is a pop rock song with a little bit of an electronic feel. So people should not hate her for claiming to be rock and roll but then creating a not all that much rock song. Rather the message of the track is all about how we should just let her and her fans do their thing and just live life in the way that she has for years. The song is weirdly empowering, with a ridiculously catchy chorus that unites you with each other and makes you want to sing along with Lavigne's killer vocal performance. And whilst Max Martin may be your typical commercial pop producer, his sound is awesome and that is the reason why his pop tunes are so successful, because he can really make a song sound super catchy. Plus things are also a bit different here with a heavier bass and some necessary rock elements such as the sick guitar solo that comes before the final big finish. Makes me super excited for her soon to be released fifth studio album.

SORRY!!!!!!!!!

Apologies to anyone who may have noticed that this blog suddenly seemed to just stop without any explanation. Basically what happened was that I tried to take on too much and expect too much of myself with this blog, so that eventually I was just scrambling to keep up. So when I say daily I don't necessarily mean everyday as I set out to do, as I have now realised that life can get in the way as you do as equally important things, But I am back with more reviews and hopefully aim to really kick start this blog again and maybe get some people inspired to purchase new records or just listen to them, as music is one of the best things in the world.