Justin Timberlake- The 20/20 Experience Album Review

 

 

 

 

 

 

 

 

 

Album- The 20/20 Experience 

Artist- Justin Timberlake

Justin Timberlake: the ex-boy band member who has a solo artist probably found even bigger fame, being the guy that every girl really wants to be with, and the guy that every guy just basically wants to be. New music from the RnB pop master has been eagerly anticipated for some time, but with this third studio album he aims to satisfy his fans with a powerful experience, with grand tracks inspired by the likes of such epic artists as Pink Floyd and Led Zeppelin. But does Timberlake actually deliver, or is the record just a prolonged affair that isn’t actually all that good when you get down to it?

Track 1- Pusher Love Girl

The opening number starts the album off in terms of its grand tone and finds Timberlake getting into his love driven swing. Lyrically the track finds Timberlake talking about the power of his girls love and comparing to it like he is on drugs, with his lyrics and vocals showing how the song is all about being an ode to sex and love. Vocally the track is really powerful as Timberlake employs his rich falsetto to great effect, giving off that sense of him truly being high of the love of his girl. But what really makes the track is the cool production with its elastic soul groove that is that is driven by some great use of horns, a squelchy bass line and retro synths that make for a strong head bopping kind of simple and chilled but powerful groove. The song also opens up in a great way in terms of the orchestral intro, which feels like it belongs in a big film piece and so emphasises the grand tone of the record. And when the futuristic and handclapping hip hop beats take over the funky main section at the five minute mark we get a strong finish to the track where Timberlake sensually compares his girl to several narcotics. The only issue is that the final moments of the track are a little dragged out, but this is only a minor issue.

4/5

Track 2- Suit & Tie (featuring Jay Z)

The lead single off the track is both a weird and wonderful comeback which is on the one hand he is so brilliant and on the other hand what was he thinking. This is because the funky, soul driven number doesn’t feel as strong and polished as his past hits. However, in a way it is a great comeback song in that you get the sense that this is an artist who is just making music like this because he loves doing it, and in many ways that’s all you want from an artist. Lyrically the track is an ode to the joys of being handsome and well dressed, which when broken down into that simple statement it sounds like a completely weird and potentially stupid subject matter for a track. However with his powerful falsetto and smooth tone Timberlake makes it sound natural and right to talk about. The retro feel of the record continues with this track in which Timberlake’s vocals sit on a nice laidback groove with powerful horn blasts and finger clicking beats. The track also has a powerful sound in terms of the slowed down synths and powerful drum beats of the intro that give a big, start stop rhythm and a sense of grandeur to the track, whilst the outro completes the track with hypnotic beats. The Jay-Z feature also provides a little bit of swag and modern chic to the number, making this easily one of the stand out tracks (and also one of the best in that it’s not directly about this great girl or love). And although it may not grab you on first listen, after a few times you will definitely get into it.

4/5

Track 3- Don’t Hold Up the Wall

With this track the love rush air and falsetto edge of Timberlake is replaced by a more subdued sound both vocally and in terms of production. The track starts off in a kind of love way in terms of the “oo la la la” vocal intro, but this is quickly replaced by some handclapping drums and a forceful production that is given an Egyptian influence and finds Timberlake singing in a more to the point way. The lyrically the track finds Timberlake telling his girl to just let go cause he isn’t as bad as they might say he is, with much of the lyrics also having a prominent sexual vibe when Timberlake speaks of his and his girl’s proximity. The vocal performance finds Timberlake in a lower register, which makes for a cooler listen and emphasises the seriousness of his statement. And the production is strong in terms of the clattering beats and exotic flavourings with the distorted background vocals. The lullaby like middle section is also strong, and the way that this transition the track into a powerful hip hop based final section makes for an impactful end. However the track becomes annoying within this final section as it feels dragged out, and the track also lacks the charm that Timberlake is really known for, even if he still brings a sensual edge to the track. And the Timbaland ad libs employed throughout are just plain annoying.

3/5

Track 4- Strawberry Bubblegum

The fourth track on the record to me kind of feels like a Pusher Love Girl 2.0 in the way that it kind of has the same ideology, with Timberlake singing about how great his girl is in a strong metaphorical way. However this time Timberlake lyrically refers to his girl as being like strawberry bubblegum and talking about how she is just the best flavour. Either way the same kind of sentiment is clear, and with his powerful falsetto being employed again here the essence of believability is again given to the track, with the slow lyrical stresses of this track also giving a powerful sensual feel to the track and emphasising the flirtatious element to the lyrics. However the retro sound of the record her takes more of a backseat, only really being present through the small violin tones of the record and the kind of old TV starting up intro that only last for a few second. Instead the production of the record brings us back to the modern, RnB influenced just of old, with some cool electro beats and smooth but strong bass, as well as some more handclapping beats. However this tracks issue lies within about the five minute mark in which the electro, hip hop production takes place and gives a little bit of a more fast paced energy. Whilst it makes for a nice finish, this section of the track doesn’t necessarily add any substance to the track and also feel quite similar to the previous section of the track, unlike the other numbers, and so it has that sense of Timberlake just dragging the track out because he wants to rather than it making for a great listen.

3.5/5

Track 5- Tunnel Vision

Once again Timberlake is singing about the power of his girl and how awesome she is, this time comparing her to the idea of tunnel vision and lyrically speak how his attention is so much on her that it is like he cannot see anything else and she just sums up his whole world. The track may be familiar lyrically but the hook is still strong, particularly through the way it is half spoken by producer Timbaland and half sung by Timberlake, making it sound like they are a twofold musical force. And vocally the track is great in the way that the Timberlake transitions throughout the song, with the low sung verses nicely building into a falsetto driven pre chorus and then settling back down into a lower sung chorus. The production is also strong with its frenetic energy and modern sensibilities, with the clattering beats and distorted female background vocals making for a more intriguing listen. The arrival of the orchestra into the track makes for a dramatic finish, but unfortunately it is once again an example of self-indulgent Timberlake as the songs length holds no benefit for the listener.

3/5

Track 6- Space Coupe

The retro feel of the record comes back into play with this soul number. But by this point you can become a bit annoyed with Timberlake as you totally understand how great his girl is and so don’t need to be reminded. But lyrically with this track Timberlake still wants to do that, singing of how his girl is so great he just wants to take her into space where they can glide among the stars and make sweet love. And whilst once again his powerful falsetto that would arguably melt many a RnB/pop hater works really well in the track and brings out the sexiness of the song, it isn’t enough for this to be a song that you need to listen to, more being just a so so number. The production is cool in terms of the forceful quality of the bass and the grand electric guitar solo that makes up the bridge and gives and epic feel to the song, but it’s a little bit safe and familiar. And here the length of the track is just ridiculous, with the distorted female noises employed in the song being overtly sexual to the point where it is a little uncomfortable to listen.

2.5/5

Track 7- That Girl

The shortest track on the record is a very old school affair that beings in a really cool way with a spoken introduction in which Timberlake is introduced as JT and the Tennessee kids, as if he is performing the track in a live but intimate club venue. Then the clattering beats and powerful horns kick in, and the grandness of the track is shown from the very beginning. The track is another love based number but is a bit more interesting in that although he stereotypically exclaims of the beauty of that girl there is also a sense of their love being viewed as wrong, with the lyric “so what if you’re from the other side of the tracks” perhaps suggesting Timberlake was inspired by Romeo and Juliet. With his smooth tone and the slow stresses on certain syllables make for a chilled out and potent listen, with the small rap style sections also giving a sense of urgency to the love. And for once Timberlake doesn’t feel the need to keep the song going and so makes for a really well rounded number, with the fading out of the track making for a cool chilled finish.

3.5/5

Track 8- Let the Groove Get In

With the powerful and fast paced statements of the songs hook opening the track and the handclapping beats being much more energetic than usual, this track stands out more from the other listens in that it is a little bit different sonically and has a grittier energy. This is perhaps brought out through the lyrical message of the song, which has a strong sexual vibe and is all about making sure that Timberlake’s girl is comfortable and lays there so the groove can get in, a subtle and cheeky smattering of innuendo that is smart and a welcome pace changer from the more stereotypical and potentially cheesy love tracks. The production of the track is really great in terms of its vibrancy, with the background vocals giving the track the epic feel it needs and sounding similar to Michael Jacksons “Wanna Be Startin’ Somthin”. And the vocal is strong, melding well with the production and giving a nice intensity to what he is singing.

3.5/5

Track 9- Mirrors

This track brings the record back to Timberlake simply talking about how amazing and awesome his girl is, with the lyrics of this song speaking of how Timberlake doesn’t want to lose his girl because she is so great and they are so in sync it is like he is looking at his reflection when he is looking at her, because they belong together that much. However with this track a deeper sense of passion and honesty can be observed in the lyrical boldness and strong vocal performance of the track, making this definitely one of the standout moments of the record. The mid tempo pop ballad also sonically sound great in that whilst it fits comfortably on the record it is also different and so stands out a little more, being driven strongly by a buoyant chorus and powerful synths alongside some dramatic string laden melodies. Vocally Timberlake is also strong in terms of the way he manipulates his voice, with the layering of his vocals creating some powerful and wonderful elements of harmonization and the falsetto being kept on a more minimal level that gives a raw intensity to the number. The final three minutes of the track are again indulgent and find the falsetto coming in more, but it also works and gives a sweetness to the track, only getting to the point where you want it to stop after about nearly 7 minutes in.

4/5

Track 10- Blue Ocean Floor

The final track is a stereotypical down tempo song that is given gravitas by the fact that it is the most subdued Timberlake has been on the entire record, and so feels like a natural end. The deepness of the song comes out not only in the vocal which has a fragile quality, but also in terms of the lyrically quality, where we find Timberlake singing about how his woman just needs to give him a sign and he will find her. The distorted synth driven production gives a strong sombre tone to the track that fits the lyrics beautifully, and the use of the violins and sea wave undertones in places also allows for a dramatic impact that gives a cinematic quality to the song, perhaps an example of how his focus on acting has also influenced Timberlake’s music. Perhaps the best thing about this track, however, is that with the final song comes the most fleshed out tune, with the length of the song sounding really natural and never at any point getting to the place where you are like ok Justin that’s enough. With the small issue of the hook being a little too repetitive, this is still a beautiful end to the record.

4/5

Final Review

When he said he was going to take us on an experience in terms of the title, Mr Timberlake was not lying. The question is, is it the right experience? On the one hand he shows that he has a strong passion for his music and creates powerful lyrical messages matched with strong production that blends the retro and the modern to great effect. And throughout the entire album he knows exactly how to use his voice and gives a charming quality to the record that emphasises why he is highlighted as one of the best artists of the 21^st Century. However, in many ways the album is annoying in that the record is heavily based upon the idea of love, particularly for this one girl, and so after a while the lyrics and overall sound begin to feel too familiar and songs just feel like they have been reshaped into a slightly different form when they are basically the same thing. Furthermore, he may have looked to artists like Led Zeppelin for inspiration in terms of the length of the tracks, buts in almost every case at some point you just wish he would have ended the track you are listening to sooner, and you get the sense that he is just being self-indulgent. So while he creates a cohesive and potentially innovative record that does show he deserves his place in the musical sphere, he also creates a record that is unbalanced by prolonged sounds and rehashed ideas that show that for his next record he needs to sharpen up and make shorter, to the point RnB, pop extravaganzas like “Cry Me A River” (and to do that he may need to start tapping into some negative emotions, cause the best music normally stems from those kinds of places)

6/10  

Best Track- Mirrors

Worst Track- Space Coupe

Beyonce- 4 Album Review

 

 

 

 

 

 

 

 

 

Album- 4

Artist- Beyoncé

She may have started out in the mega power girl band Destiny’s Child, but even then she was always really the star of the show, and since her mega hit “Crazy in Love” Beyoncé has been a staple of the contemporary music scene, creating hits that are so powerful and catchy they will truly stand the test of time. With this album she brings another batch or RnB and pop treats that will appeal to many people, but also features a more old school and sonically different sound that pushes Beyoncé as an artist. Yet with the title of 4 for this fourth studio album being a little bland, could Beyoncé potentially being going downhill?

Track 1- 1+1

With the very beginning of the record comes a prominent example of the honest and tender side of herself that Beyoncé really conveys within this record as a whole. A slow RnB and soul influenced ballad, we here listen to Beyoncé smoothly sing about the power of the relationship between herself and her love and how they just make perfect sense together, with the hook being the idea of the comparing their relationship to the mathematical sum of 1+1. Lyrically it is perhaps a little clichéd, but with the low key instrumentation of piano and guitar melodies, the believability of the track and the essence of sincerity are powerfully conveyed by allowing the beautiful quality of Beyoncé’s vocals to bring out all of the emotional points of the track. And vocally she shines in that there is a grittiness and raw sense of urgency within the vocal performance that she gives, emphasising that she is truly invested within this relationship. The electric guitar employed towards the end makes for a grand finish that gives the ideology that their love will eclipse all.

4/5

Track 2- I Care

In this track Beyoncé vents out her emotions to an indifferent partner, declaring that she still loves him and cares for him even if he doesn’t. The RnB power ballad is strong in terms of it complex production, which features screeching guitars, synthesiser, dense percussion and thrashing drum beats that make for an epic soulful sound a little reminiscent of such tracks as Prince’s “Purple Rain”. However, the song isn’t in the same league as that track in that although she puts on a good vocal performance that is layered with a sense of vitality and aims to maintain the relationship, the lyricism of the track doesn’t feel as astute as it should be, with the hook coming off in a lacklustre way in terms of the repetition and the “lalala” motif being stereotypical.

3/5

Track 3- I Miss You

This mid tempo ballad finds Beyoncé’s vocals set against a simple but powerful metronomic beat. Co-written by the brilliant Frank Ocean, the song’s lyrics speak of Beyoncé ruminating over an ex love interest and showing a raw, human quality in that she is very conflicted and confused about her emotions. However the song’s strength lies in that vocally she does not get too emotionally invested in the track, keeping things simple and understated and in this way emphasising how the track is built on a sense of subtle tension and is both a mixture of hopeful longing and powerful loneliness. The songs production is powerful, maintaining a simple intensity through the use of tinny 808 drums and ambient synthesisers that expand and contract in a subtle but strong way.

3.5/5

Track 4- Best Thing I Never Had

The balladry of the record continues with this dominant, mid tempo pop and RnB power ballad. The track lyrically finds Beyoncé singing of the breakdown of a relationship and how this suits both Beyoncé and her lover. The lyrics also contain a quality of revenge and karma, themes that are given gravitas by Beyoncé’s punchy vocal performance, with the chorus being a particularly potent moment in which the richness of her voice really comes through. The chorus is also really strong in terms of both the hook and the gospel quality that is incorporated within the track. In terms of production the emotional piano melodies, strings and strong bass drums combine to create a big wall of sound that gives grandness to the song and gives it a sort of stadium feel.

4/5

Track 5- Party (featuring Andre 3000)

The fifth track provides a bit of relief from the balladry of the record and it’s strong emotional level that is based on love. The mid paced RnB track shows Beyoncé playing her sensual side of her persona, acting as the female protagonist who is ready for some loving and speaks of having a party for two. The use of a simple drum machine and bubbly keyboard tones combined with synthesisers that are bouncy and strong make for a funky musical quality to the track that gives a nice swag rhythm to the track. Again Beyoncé is vocally on point, with the layering of her voice and the lyrical stresses really bringing out the sensuality of the track in a tangible way. The fast paced rap of Andre 3000 is cool in providing a kind of two person perspective conversation to the song, as well as bringing a naughty side to the track that makes for a strong finish.

3.5/5

Track 6- Rather Die Young

Here the balladry that dominates most of the record comes back into play in the form of another RnB and soul influenced power ballad. The track is another example of Beyoncé tapping into the human condition and emphasising that she is as emotionally vulnerable as anyone else in the world. Within the lyrics she speaks of the inability to fight what the heart wants, even if you know it is wrong, with Beyoncé prostrating herself at the mercy of a lover who is indifferent but who she can’t live without, otherwise she would rather die young. The laid back drum beat and simple guitar riffs along with piano instrumentation make for a sound that is familiar on the record, but still sounds a little bit different in that it is that bit more uplifting in tone. And vocally she brings out the passion of what she is saying as usual, but the song is given a bit of variation and power through the layering of her vocals that create powerful harmonies that sound like the old fashioned girl groups of eras gone by.

3.5/5

Track 7- Start Over

The balladry of the record is here given a little bit of change and power through the use of a pop rock influence within this track. The songs hook is a powerful statement that has a resonating sort of feel, and lyrically the whole track finds Beyoncé asserting her individuality whilst also speaking of how she feels this strong love for this man and so attempts to start the relationship all over again, because she doesn’t want to lose it. The loud processed drums and gleaming synthesisers make for an innate strength within the track that really heightens the lyrical and vocal message of the song, with Beyoncé once again being vocally on point and giving a sense of grittiness and drama to the track within the chorus.

3.5/5

Track 8- Love on Top

This track means that the balladry of the record comes to a conclusion as we enter into Beyoncé’s more up tempo world. The track is quirky vocally and has a strong vibrancy to it in terms of the message that she is trying to convey, with the high number of key changes invoked in the track showing the giddiness she feels when singing of her feeling. Lyrically the track is all about how Beyonce is so grateful to have her man in her life and how he just makes her feel so good. And in her vocals she just brings out that sense of joy within the track and so really captivates the listener. Production wise the song has a prominent retro feel, with cool synthesisers and a strong, distorted bass groove that acts as a simple bed for Beyoncé’s vocals to really work their magic, although the peppy saxophone instrumentation is a nice way of bringing that big feel to the track. The only thing that lets this track down a little is the lyrical repetition; however she pulls this off by changing key so much it just sounds so good.

4/5

Track 9- Countdown

The up tempo Beyoncé continues with this lyrically fast paced number that is all about the ways that Beyoncé’s man shows her love and just how great he is, with the chorus being a powerful and literal countdown of the things her man that is very much addictive to listen to and so catchy you’ll start counting down with her. The song keeps in the same vein as the previous track lyrically and so runs the risk of sounding bland. However Beyoncé successfully avoids this by keeping a fast paced but slightly more same level vocal performance (bar the pre chorus) and providing a cool mixture of genres. The production gives the track a frenetic, almost club like edge, with the use of a brass riff giving a small reggae flavouring to the track and being set nicely against the military like rhythms and staccato horns that combined make for a fun and slightly frivolous listen that is suited for a girls getting ready for a night out kind of jam.

4/5

Track 10- End of Time

A declaration of co-dependence in which Beyoncé professes her everlasting love for her man, this track keeps that cool up tempo energy and features some variation vocally in terms of the rap style vocal that is employed within certain sections of the track, a little bit reminiscent of her Destiny Child days. The tracks military style back beat and marching band style drums are strong but also feel a little bit samey at this point. However the way the introduction of the tracks builds towards the simple but powerful vocals of Beyoncé’s is cool, and the effects laden backing vocals give a frenetic and nice undertone to the track.

3.5/5

Track 11- I Was Here

The balladry of the record returns for a moment in the form of this song which is the sole song not co-written by Beyoncé: instead the track is merely written by the legendary songwriter Diane Warren, and with the powerful and potent subject matter and all-round grand quality of the track it is perhaps easy to single this out as a Warren song. The song’s lyrics find Beyoncé singing about how she wants to leave her mark on the world so that she won’t be forgotten and her impact will be remembered. The lyrics are dramatic and very impactful, with the chorus showing that simple human vulnerability of wanting to leave the world not being forgotten. And vocally the strength of her voice really allows the message of the track to shine. The production is also strong, being based in heavy synthesisers and a powerful drum bass that makes for a forceful song. The issue with this track is that it feels out of place in the record against the up tempo tracks, however I also understand that it might not of fit with the other ballads, and it is still worthy of the place on the record. Also, at the age of 29/30 at the time of the tracks recording, is she really old enough to be singing about such a subject, even if vocally she can pull it off?

3/5

Track 12- Run the World (Girls)

Kind of like a Single Ladies 2.0 in my opinion, the final track and lead single is a powerful and forceful song where Beyoncé simply speaks of how girls are so great and they just really run the world, with men not being able to match their abilities and should just let the girls do their work. The song is a strong statement but doesn’t match the pizzazz of Single Ladies in the same way, and the lyrical repetition is here a little bit annoying. Vocally Beyoncé brings a great swag and dominating presence to the track, with the rap vocal style bringing a commanding energy to the track and being complimented nicely by the sensual pre chorus. The dance hall production with its military drum beat and heavy synth pangs allows for a punchy quality to the track, but sonically it stands out against the other track and so feels like it both belongs to the record in terms of the big, good finish but also doesn’t belong in terms of being perhaps too different.

3.5/5

Final Review

The title might not be all that good, but with 4 you definitely get the sense that Beyoncé is stepping up her musical game. This is because there is this sense of maturity to the record and a firm grasp of who she is as an artist, with each track having a unique power but also blending together to make a great and cohesive record. Vocally she just sounds stunning, and the more retro, RnB, soul, funk vibe that she uses is a great melding of genres that shows how she is evolving musically as she takes in influences from the world. There are a few issues, such as the lyrics being a bit similar in sentiment and not always astute, and the way the tracks seem to be split into a ballad driven first half and an up tempo second half. But despite these flaws the record works and is a great listen that is not flawed by any kind of filler tracks, and so with her fifth studio album apparently out soon, I am actually excited to hear what Beyoncé has in store next.

8/10

Rihanna- Unapologetic Album Review

 

 

 

 

 

 

 

 

 

 

Album- Unaplogetic

Artist- Rihanna

Since she arrived on the scene all the way back in 2005 Rihanna has become one of the biggest superstars that the whole world seems to know, and it is probably safe to say that like Michael Jackson and Whitney Houston before her, she is one of main prominent and powerful music acts of today’s generation. With this seventh studio album released in almost as many years, Rihanna has continued her domination of the music world. But with each album coming in such quick succession, does her music really match her superstar nature, or does she just produce albums so quickly because she knows they will sell.

Track 1- Phresh Out the Runway

The opening track is a stomping hip hop and rave number that means the album opens with a bang and presents the listener with the feisty, in your face, I am the best Rihanna. Lyrically the track talks about this boy seeing Rihanna and how Rihanna knows he wants to come closer and just have her because she is so good. Most of the lyrics are actually just very frenzied and conjure up images of money and power, but although the fast paced energy has a cool urban energy, the tracks hook isn’t as strong as it could be. Vocally Rihanna plays it well within this track where she really brings her urban and rock chick persona to the fore and makes for an aggressively sounding record, although the layering in the chorus is a little annoying. The beats of this track however are definitely what makes it a decent listen, with David Guetta  providing a heavy bass and distorted synthesisers that create a chaotic and dense array of muscular beats that might just make you feel like a pop star.

3.5/5

Track 2- Diamonds

The albums lead single is a mid tempo ballad with a prominent pop, electronic and soul sound. The track is different in terms of being chosen as the lead single in that it is a more slowed down state of Rihanna and finds her being more emotionally deep rather than party banging let’s get going mode that proceeds many of her records. Co-written by girl of the moment Sia, this track is lyrically all about an embracement of love and how Rihanna and her man have such a great relationship it sparkles to the point where they are like diamonds in the sky. It’s a nice change of pace for the singer and when sung with her smooth vocal tone and powerful dramatic attack the song feels light and positive and really stands out, with hook being extremely powerful. The production also gives a sense of burning energy that mirrors the vocals and also mildly builds in sound, but also never runs the risk of being too overpowering or too party time mode, with the synths and orchestral rhythms just making the floating, sparkling essence of the song all the more believable. It might not grab you on first listen but after a few more times you’ll be singing along with her.

4.5/5

Track 3- Numb (featuring Eminem)

The third track on the record is the third collaboration between Rihanna and Eminem after the separate versions of their worldwide smash “Love The Way You Lie”. And in this track is controversial in that lyrically it plays as a homage to getting high. However if you don’t really take the lyrics to seriously then you can enjoy the track, with the hook being cool and catchy. The vocals are a little grating in terms of the layering, and although this works in the chorus and in terms of the overall message of the track is makes for a little bit of an uncomfortable listen. The heavy beats and Egyptian flute riffs of the production are interesting and make for a child but powerful listen, although in places the sound overall is a little overpowering. And Eminem’s feature is alright but doesn’t neccasrily add any value to the track and can easily be forgotten.

3/5

Track 4- Pour It Up

This cool and sexy kind of vibe of a track features the most prominent example of Rihanna putting her swag on to great effect and reminding us why she is such an interesting pop phenomenon. Lyrically the track is simple but cool in terms of how Rihanna turns a strip club anthem into a song about independence where she declares how cool  and rich she is and how she is just going to party. The vocals are simple but have a rich deepness and give a sensual edge to the track, whilst the production features hypnotic club beats with a subtle but potent hip hop edge and powerful handclapping.

3.5/5

Track 5- Loveeeeeee Song (featuring Future)

A nice slow jam that features some cool synth beats and has an overall relaxed atmosphere, this song is sweet ode to that need for love and affection and makes for a cool sensual bedroom kind of track. The song features Futures rap/singing style computerized vocals nestled nicely against Rihanna’s smooth and sensual tones that make for a magical pairing. And when set against laidback, melodic beats that have a real sensual vibe, this track is a nice affair dealing with the essence of love.

3.5/5

Track 6- Jump

The sixth track is a strong dubstep number that lyrically interlopes the 1996 track “Pony” by Ginuwine. The track lyrically speaks of Rihanna telling this guy of how she won’t be chasing him anymore, and it’s a strong message that is given gravitas by the singers smooth vocals which have been compared to Justin Timberlake’s vocals in his hit “Cry Me A River”, and do indeed have that kind of quality in terms of emotional vulnerability but innate strength. The song also vocally features a powerful rap from Kanye West that is aggressive and cool, although it is weirdly not credited. The tracks production features a kind of slow buring energy with a strong dubstep breakdown after the chorus that is powerful but also kind of leaves you wanting more. And that’s probably how I feel about the track as a whole, being one of those songs that you can really enjoy or one that you can just feel is missing something and isn’t powerful enough, with the chorus sample being perhaps a little crude and miss matched against the lyricism of the verses.

3/5

Track 7- Right Now (featuring David Guetta)

After the heavy dupstep of the previous track, this David Guetta collaboration finds Rihanna settling into her well known electronic and dance music world, although a dubstep kind of wobble could potentially be observed. The song’s lyrics speak of living for the moment because life will pass us by and the past has been and gone, so all we really have is the present. The message of the track may be something that’s quite stereotypical in today’s modern pop world, with songs like fun.’s “We Are Young” and Ke$ha’s “Die Young”, but nevertheless the chorus of this track is potent and has a nice sense of urgency as well as being really instantly memorable and catchy. The tracks vocals are really strong and dominating, with Rihanna making a kind of declaration from the beginning in singing the chorus that she is ready to party andshe believes in what she is singing. And although the electronic edge of the track is familiar Guetta territory, the chorus features a nice simple undertone in terms of the electronic beats, and the breakdowns after the chorus have a powerful frenetic energy that is intriguing and a little bit left field for Guetta in a small way.

4/5

Track 8- What Now

The party atmosphere of the previous track altogether disappears with this vulnerable ballad which feature an epic, bass driven chorus. In terms of the lyrics Rihanna speaks of this uncertainty she feels in this relationship and what is actually happening and how inside she is just wanting to scream out her frustration and questioning. Vocally she is really strong, with the light verses sung in a lower register really complimenting the punchy and vocally strong chorus with it’s high note questioning. And in terms of production the track is really good, featuring booming drum beats in the chorus, sombre piano and guitar instrumentation throughout and epic electric guitar riffs in the closing section that make for a really emotionally dramatic and impactful track.

4/5

Track 9- Stay (featuring Mikky Ekko)

With this track comes perhaps the most emotional song on the record, in which we find Rihanna in pop and RnB ballad mode. The track has a true lyrical depth to it, with Rihanna and Ekko talking of a failure to resist true love and always being consumed by this fiery temptation. Both artists are really strong here, with each going into higher reaches of their vocal registers to really bring a sense of passion and vulnerability to the track. And when the production is kept really simple with smooth and light piano and guitar chords, the lyrical and vocal impact of the song is all the more powerful. It may have been written by Ekko, but both artists bring a sense of truth to the song, with Rihanna perhaps showing an identifiable quality with the song because of her heavily publicised relationship with Chris Brown. It’s another song that at first listen you can easily label as bland but after a few more listens you will start to really like.

4/5

Track 10- Nobody’s Business (featuring Chris Brown)

The track that was highly anticipated and controversial due to the very public nature of the two artists relationship after the domestic abuse Grammy scandal of 2009, this song features Rihanna and Brown talking about how their relationship is really good and how their relationship isn’t anyone’s business but their own. Rihanna has spoken about how the track embodies what she believes in terms of the way her personal life is looked at. And when set against a four on the floor kick drum and light strings and piano it’s a fresh and airy statement that is still strong. Vocally both artists are really strong, and the male female vocal combination really makes the songs ideologies come out in a stronger way and acts as a nice kind of two fold conversation. Set aside all the personal life of these two artists and any feelings about that you might have and you can’t deny that this is a good and solid pop number.

3.5/5

Track 11- Love Without Tragedy/ Mother Mary

This two fold track is an electronica and New Wave number in which Rihanna starts off by singing about love and then goes into a more confessional mode where she sings of a moment of her life which she regrets. The first part of the track features an 80’s pop sound and is powerful vocally, with the hook being a simple but effective and potent statement that is set against a nice booming base heavy synths that are then removed to transition into the songs second half. The simple retro production is created to make a potent and confessional kind of down tempo number that features a vulnerable but uplifting vocal from Rihanna that is made stronger when the bass kicks in. This song both really annoys me and is also something I really like. Although it is cool to see Rihanna be a bit more emotionally deep in her work, the song is a dragged out affair that seems like it is desperately trying to paint her as a vulnerable, love sick woman rather than the party person the media portrays her as. And whilst the tracks do blend well together, I feel that they would have worked much better as separate tracks in their own right, with the first section being stronger for me and so creating a lacklustre affair in that you don’t end on the high note.

3/5

Track 12- Get It Over With

Another down tempo song that is a real chilled out affair, this track is all about just going with the flow and just in the end getting it over with. It might be a chilled out affair but by this point the balladry is a little annoying, and when set against the other down tempo moments, this track definitely stands out as the records weakest moments. The production is cool and nicely chilled with the strong strings, and the vocals are nice enough, but lyrically the track is very annoying, with a highly repetitive edge that just feels like Rihanna and her team aren’t even trying to make a good song. Should not have made the record.

1.5/5

Track 13- No Love Allowed

The penultimate song finds Rihanna showing off her roots with a prominent reggae vibe and a bubbly, dubbed out groove. Vocally it is a bit different in terms of the prominence of her accent within the track that gives a cool island vibe to the song, and the synth and clunky guitar melody of the song is cool and creates a simple groove that makes for another chilled out affair but is this time it is nicely sonically different. However the song’s lyrics are another example of where her music begins to fail, with chorus not being catchy and much of the verses just really having that kind of it will go over your head sort of quality.

2/5

Track 14- Lost In Paradise  

This mid tempo ballad with its frequent tempo drops is a cool electronic affair that makes for a strong end to the album. Here we find Rihanna talking in sombre but hopeful mood about this delusional love that has cause her hurt but that if she opens up her eyes she will be in paradise. The track is vocally rich with a booming chorus, and the synth laden production with the vocal smatterings of co-producer Labrinth are cool tempo drops that make for an almost euphoric kind of affair.

3.5/5

Final Review

I can totally see why people complain about Rihanna producing so many albums in such quick succession in that her records do feel rushed in sound and prolonged in terms of the amount of tracks. Yet I also can understand why she creates so much music in that today’s music audience is a powerful machine always hungry for more, and she just wants to satisfy her fan base. So this is a strong record that features some strong pop numbers and has some nice lyrical depth, although this depth does mean that the second half of the record is a little ballad heavy and so is annoying. And although it is a good record, she could perhaps be an even greater artist if she takes a little bit more time with her music and has a little self-control in certain respects.

6.5/10

Jessie J- Who You Are (Platinum Edition) Album Review

Album- Who You Are (Platinum Edition)

　

Artist- Jessie J

Another example of how the Brit Critics Choice Award really does get it right when it comes to the most promising new artist, the 2011 recipient has had massive global success and sixth top ten singles and a million selling debut album in the UK alone. But does this album really deserve all the hype and success? Or is it really just an example of how when the critics say listen and buy this, the public are all too willing to do exactly what they say?

　

Track 1- Price Tag (featuring B.O.B)

The opening track is a proper feel good track with such a catchy chorus and sound that you cant help but really love it. Lyrically the track is really smart but simple and effective, talking about how we need to forget all the money issues and costs of today’s world and just live life, with Jessie talking about how she wants to make the world dance. The song features a powerful vocal from Jessie, with her light tone bringing a nice groove to the song, particularly in terms of the word repetition. The track sits on a bed of slinky guitars and a vintage backbeat that have cool reggae vibe an make for a great up tempo mood, happy mood. The B.O.B feature is cool and gives bit of swag to the track, plus provides a great bridge that makes for a strong, get up and dance right now finish.

5/5

Track 2- Nobody’s Perfect

This track brings us down to a more mid tempo setting and is a bit more raw in that it is lyrically about the end of this relationship in which Jessie has basically messed up and she just wants to be forgiven, as she has realised nobody is perfect. The song is production wise given a powerful base and clattering drum beats and string moments that are strong but don’t feel as powerful as the previous track. However vocally she lets rip more in this song, particularly in terms of the bridge and final chorus, and so an essence of believability to the song. It’s not bad but I would recommend getting the single version of the song instead as that features heavier beats and a re-recorded vocal that makes for a more polished and all-round nicer sounding song.

3/5

Track 3- Abracadabra

The up tempo record comes back with this shiny, Americanised number that is another brilliant collaboration with producer Dr. Luke. The songs lyrics may be a little clichéd but they definitely have a sense of charm about them, with Jessie talking about this person who is so good she just is so in love and what tem to stay and she just has to have them, using magic to get her way. The song maybe clichéd but the vocals are brilliant, with the layered pre chorus being cute and quirky and the chorus being really punchy but light and just immediately catchy, with the hook being nice and simple. Dr. Luke uses a powerful bass and some subtle synths that just give bouncy, up beat sound and so you cant help but smile.

4/5

Track 4- Big White Room (Live)

One of the most emotional and personal songs on the record is a stripped back affair inspired by when Jessie was in hospital and she saw a young male friend of hers praying to God, but who sadly died during an operation the next day. All about how wishing to not be in this place of illness and just wishing to be free to live life. The song is set over simple acoustic guitar and is backed emotionally by a powerful vocal that is full of licks and trills that many singers would be envious off cause she pulls it off so well.

4/5

Track 5 Casualty of Love

This track is a soft pop number with a sing along chorus and a bordering on soulful kind of feel. The track is according to Jessie about finding your inner strength, but lyrically it just doesn’t feel as snappy and catchy as the previous numbers. And although her soft vocals and powerful tone is strong and does have that kind of uplifting quality, the track features very Alicia Key’s esque in tone, particularly in terms of the piano instrumentation in the background. So whilst she says she had to fight for the song to be a record, its similarities with the work of other artists and pretty much all-round you can just skip it nature makes it seem like those who were against it being on the record were totally right.

1.5/5

Track 6- Rainbow

With a powerful trippy beat that makes for a very much RnB vibe to the track, this mid tempo number is a kind of Price Tag 2.0 in my opinion in terms of its just bask in the amazing quality of the world and get up and dance. The songs production features powerful clattering beats that just give a really great groove to the song, and here her powerful vocals really shine well and feel really inspiring. The tracks lyrics employ the use of imagery and are all about how there are many different types of people in the world and we are just part of this rich tapestry of life, like a rainbow. It’s a simple but strong ideology that is pulled off with pizzazz in terms of the catchy chorus.

3.5/5

Track 7- Who’s Laughing Now

Took to the bosoms of many listeners as an anti bullying anthem, this track is lyrically all about he people who bullied Jessie for her music earlier in life and who now show interest in her cause she Is “famous”. But whilst the song is definitely strong and very resonate with many listeners, the song also is a little bit awkward in that it feels a little bit too personal, with Jessie being a little catty towards those people who mocked her. Yet with some cool hip hop kick beats and flourishes of piano that are combined with a strong vocal and diva-esque ad libs that are really strong, we can forgive her cattiness and just sing along with her.

2.5/5

Track 8- Do It Like A Dude

With a strong pop and RnB sound that feature some great rock guitar riffs, this debut single of Jessie’s is a powerful tongue in cheek but empowering number where we find Jessie talking about how she can just be as cool and commanding as any dude in the world. Its strength lies in how it’s empowering but it isn’t an annoying I hate men stereotype of a song. The production is commanding, and the vocals have cool swag and potent tone that really makes you think she is speaking the truth. It may be sonically different but it still sounds great on the record.

4/5

Track 9- Mamma Knows Best

Described by Jessie as being about self esteem and making a comeback, this high energy bluesy jazz number finds the singer talking about how her mother (and father) are always their to just pick her up when she’s down, whilst also telling her guy to just leave. The songs big band sound really fits well with her strong vocals which feature a lot of ad libs and a vocal that is really just quirky but also effortlessly cool. It’s not as catchy as it could be but it has enough lights energy and forcefulness in sound to make for a good track.

3.5/5

　

Track 10- L.O.V.E

This track is really embodied within its title. It’s sweet, cute and heartfelt and lyrically talks about how she wasn’t going to write about love but when it feels this good she just has to. Although the message does feel quite stereotypical, the lightness of her tone makes the message sound less corny. And it’s just sweet and strong vocally, with production being simple and just creating a nice groove. It’s a little bland when she says this is completely honest, but either way it’s a nice listen.

3/5

Track 11- Stand Up

Here we find Jessie again in I want to inspire people mode, and so at this point it feels a little bit like she is trying to hard. However the track does work in terms of the simplicity of its sound and the almost acoustic kind of production. The vocals are good but at this point are a little annoying, and the lyrics just are to strongly trying to inspire, with the talking bits just being annoying.

2/5

Track 12- I Need This

This song was surprisingly recorded first by Chris Brown and featured as a bonus track on his third record Graffiti. However as a stronger vocalist and perhaps with her writing the song, the track works better for Jessie and feels very welcome on her album. The song is all about how Jessie need to take a break from the relationship to get her head clear and she doesn’t want to be held back, but she will come back. It’s a potent message that is given finesse by her smooth vocals that are so powerful you cant help but get a sense of passion from her as a singer. The songs features a strong piano melody and booming drum beats and guitar riffs that make for an awesome, epic sound and bring the album back to a stronger musical state.

4/5

Track 13- Who You Are

The album’s title track is an emotional ballad that is emotionally and lyrically beautiful, with an epic sounding production that is simple but strong. The sound is very acoustic, with light guitar strumming in the verses then being backed by a stong but steady and nice drum beat, as well as cool electric guitar in the post chorus. The song is all about staying true to yourself and not getting caught up in any situation where you will lose yourself. It’s a message that could have been so bland, but here Jessie gives it a poetic feel and with her strong vocal you know that she has struggled with this herself and is really just trying to help people and inspire them to not lose themselves, but not in an annoying this is what I am trying to do way.

5/5

Track 14- Domino

The first of three bonus tracks on the platinum edition of her record is a up tempo pop number that is deliciously infectious and instant attention grabbing number you have to love. The songs lyrics speak about this person just making Jessie feel so good and knocking her out emotionally like a domino, and they just all round feel fun and have a really catchy chorus. The pop rock production is light and dancey and just makes you want to smile, and vocally she’s strong but also doesn’t use to many tricks vocally and so doesn’t sound annoying as she potentially could have made the song. Like the artists that inspired the song made many tracks, this is a timeless pop number.

5/5

Track 15- My Shadow

The second bonus track is a down tempo ballad where Jessie speaks of how her lover is like her shadow in that they will always be around in her life. The songs a sweet number that features a nice hook but is a little bland in terms of overall composition ,with the vocals being stereotypically breathy and the production being a smooth but bland tone.

3/5

Track 16- Laserlight (featuring David Guetta)

The final bonus track is a strong dance pop affair created after the pair originally collaborated for Guetta’s album Nothing But the Beat. The track is all about this person making Jessie feel so god and in that way acting as her personal laser light. Her soaring vocals a matched perfectly with the high octane beats of Guetta’s production that is both shimmering and light but also really forceful and energetic, particularly in terms of the post chorus dance moments. Although it feels a little unoriginal in composition, it also showcases anew side to Jessie and shows that she could be a great artist in the dance pop world.

4/5

Final Review

It’s both easy to love Jessie and easy to hate her. This is because whilst she makes some really, really good tunes that are parts empowering and inspiring, and parts fun and vibrant, the record as a whole is really eclectic. Whilst it is really good in my opinion to be musically diverse on a record, you also still need to have a sense of cohesiveness, something which I believe is lacking here. I also think that she should have perhaps produced more pure pop tracks, as these are the songs where she really shines. So whilst it’s an interesting debut, there is work to be done, and it would have perhaps worked better as record if some of the songs were cut for a shorter, more compact but solid debut, and if she had held back sometimes with the ad libs.

7/10

Duffy- Rockferry Album Review

Album- Rockferry

Artist- Duffy

I saw this in HMV today (a great DVD and CD store in the UK that has sadly been announced as going into administration because of the recession). To be honest we haven’t really heard much from Duffy since this record. I mean she did release another album but that just didn’t match the success and since then she’s had no new music. So I thought it would be cool to look back at the record and see why the public fell in love with Duffy and her music in the first place.

Track 1- Rockferry

The opening track is a grand sweeping ballad that conjures up a kind of ethereal, 1960’s based imagery. The track is powerful in terms of how it opens the listener up to Duffy’s distinctive vocals which feel very past influenced, particularly reminding me of Dusty Springfield. Lyrically the track is all about how Duffy is moving to this place called Rockferry and in the process is moving on from a relationship. The message is potent buut I feel within this song in takes second place to the strong, soaring vocals and the cool production with its piano and tambourine based melodies which lead into a 1960’s guitar section at the end that is a great finish.

3.5/5

Track 2- Warwick Avenue

With this song Duffy continues on an emotional level but with this song she is even more personal and stripped back. The lyrics here are poetic and beautiful, with Duffy talking about the hurt that she is feeling and how she will get to Warwick Avenue where she wants her baby to see what he has done and not be fooled by the fact that she has come to see him. And vocally she plays it great in terms of making the song delicate and soft in tone but also powerful and in a minor way aggressive. The songs production with its violins, pianos, guitar and drums just all combine to create a powerful sound that really creates for beautifully moving song.

4.5/5

Track 3- Serious

This more mid tempo groove of a number features a cool acoustic sound that feels a bit preppy and compliments the songs ideology well, with lyrically Duffy talking about this relationship where she questions whether it will actually go anywhere and whether her man can be serious at all. The songs chorus is powerful vocally and she really brings a sense of passion and contemplation within the track, particularly with regards to the chilled but powerful way she sings the songs title. The guitar riffs and percussion give a chilled vibe to the record and make the lyrics really stand out well.

3.5/5

Track 4- Stepping Stone

The fourth track is an emotional ballad about how Duffy wont be treat like just an object by her lover and she will go out in the world and stand strong. The lyrics are melancholic but have an innate strength, with the chorus being a powerful declaration that many will identify with. Vocally she keeps it a little bit more on a lower register, with the contrast of the delicate verses and stronger chorus being a powerful combination. However the chorus is also good in that it’s just a simple statement that is not over sung. The production has a smoothness to it with simple piano and percussion that makes for a chilled out affair, with the orchestra moment of the songs middle section being a nice pace changer that makes for a simple but effective finish.

4/5

Track 5- Syrup & Honey

This very simple down tempo number features a very stripped back sound and is nice in that it’s not about heartbreak but is about the power of this relationship and how Duffy just needs her man’s love. The songs brilliance lies in its deep simplicity, with the track featuring powerfully stripped back sound that just consists off simple light but strong guitar riffs. This makes for a sound that is both real and vulnerable, and also works well in terms of highlighting one of the best things about Duffy as an artist: her voice. The vocal performance of the track is of an amazingly superb, with Duffy really pouring her heart and soul into the track, and the best moment being when the guitar stops and she just sings on repeat the word “baby”. So good.

4/5

Track 6- Hanging on Too Long

This slow slightly moody and sensual sounding number is all about a relationship in which Duffy talks about this relationships in which these mistakes have been made and they have just kept the relationship going out of false hope that it would be ok. With her lilting tone and smooth vocals Duffy makes for a great sound to the track, with the chorus being a passionate declaration of how it is wrong to hold on to things for the wrong reasons. The production makes for a soulful feel to the track, with the chorus having a big band kind of sound that is really strong and makes for a catchy quality to the track.

4/5

Track 7- Mercy

The records big stomper of a number has been described by Duffy as being about sexual liberty, and within the lyrics we find Duffy showing an intense longing for this attractive guy. The vocals are distinct and give a smooth but smoky kind of tone to the track, with the chorus being particularly powerful, specifically in terms of the high note of that last line. With a stomping rhytm brought out by the soulful and bluesy production, complete with organs and strong drum beats. Easy to see why this was her big, number 1, breakout hit.

5/5

Track 8- Delayed Devotion

This track is all about how Duffy just needs to move on from this relationship because her beau has taken too long to show how much he feels for her and so her feelings for him have in turn really changed. The song’s lyrics are simple but deep and are offset nicely by a mid tempo production that features some smooth violins and nice percussion that almost border on the upbeat in a weird way. As usual the vocals are nice and smooth and so make for a nice chilled listen.

3/5

Track 9- I’m Scared

This haunting song really well in sound with the songs message, with the track opening in a strong way with powerful strings and then leading into simple piano instrumentation and then a soulful drum driven groove. The songs message is all about Duffy being scared where this relationship is going, and it’s just another sweet number with emotional vulnerability

3.5/5

Track 10- Distant Dreamer

The final track is a clattering end with a big wall of sound that makes for an epic conclusion. The track is all about how Duffy dreams of better things even when faced with the harshness of reality. It’s a potent message that taps into the human condition, and with strong vocals that are set against a powerful bass and all round cool sound it’s a great end to the record.

Final Review

Soulful, beautiful and emotional, this is a record where it’s just best to listen to it yourself and realise why it is such a good album.

8.5/10