Cody Simpson- Paradise Album Review

 

 

 

 

 

 

 

 

 

Album- Paradise

Artist- Cody Simpson

A young, cheeky blond chap with a charisma that will appeal to many teenage girls, Australian singer- songwriter Cody Simpson has become a teen star in his own right, with his pop persona being akin to the worldwide phenomenon of Justin Bieber, although maybe a bit more summery. However, whilst he has a loyal fan base, commercially the singer has not necessarily had the commercial success levels of some of his teen star peers. So the question is, is Paradise actually a good album that people are just missing out on?

Track 1- Paradise

Opening to the sound of waves and birds chirping, the first song and title track is a real summer anthem that evokes beach imagery and seemingly positions Simpson as the guy who can make us just forget our troubles. Paradise is lyrically a pop song that is based in the notion of love as Simpson sings to this girl about how great she is, how great she makes him feel, and how being with her is like being in Paradise. Simpson vocally has a youthful and light tone that gives a breezy quality to the track, with the “oh yeah yeah mm mm” hook of the song and the whistling in the bridge being cool and catchy and reminiscent a little of the song MMMBop by Hanson. The guitar strumming and light and airy tone of the production is typical pop territory, and so this is a track that opens the record nicely and will appeal to many of Simpsons female fans, although it does not really stretch any boundaries and is a bit typical young male vocalist/boy band territory.

3.5/5

Track 2- Got Me Good

Keeping with the light and acoustic tone of the previous track, Got Me Good is a breezy number where Simpson is once again telling this girl how she is making him feel really good and he really needs her, as he is sick of the same type of things coming up all the time. Placing the first two tracks side by side like this seems like a really terrible mistake, as this song is okay but doesn’t have as catchy a hook as the previous song and feels like it could have been written right after the last song was finished, particularly when one of the lyrics in the verses feature the idea of Simpson being in paradise with this girl. He brings another light smooth vocal performance but the production is just too simple and familiar, and so this is a song that only the fans of the singer will really enjoy.

2/5

Track 3- Be the One

Co-written by Colby O’Donis,  Be the One keeps the guitar strumming lightness and charismatic appeal of the record going, but it is also paired with a cool dance rhythm and a little bit of an RnB tone, so it is not another annoyingly similar song. Lyrically the song is once again another happy track where Simpson is so focused on one girl, as here he is singing about how all he wants is this girl and he doesn’t care what other people think. It’s a catchy and fun statement at first but by the last like 30 seconds of him singing it is a little bit like ‘ok Cody we understand’. Vocally he keeps a nice light tone and plays to the strength that is his boyish charm, although the emphasis on the vowels at the end of each line of the chorus is perhaps a little annoying. And whilst it is still a bit of a pastiche of the teen pop genre with a base that is reminiscent of One Direction, the sound is a bit more punchier and catchy here with the introduction of a bit of electro pop sensibilities, and so we have a nice if simple pop tune.

3/5

Track 4- Hello

Okay, so by this point you just want to say to this singer that we get it, you really like this girl. This is because it seems that he has no other lyrical inspirations: we’ve had him going on about how being with this girl is like being in paradise, how she has him good, how he wants to be her one, and now he just can’t get her off his mind and just wants to get her number and hear her say hello. It’s something that young girls will find appealing, but other music fans will not, with the repetition of hello in the song just becoming really annoying. The song intriguingly starts off with cool, electronic tones within the production, but all to quickly sinks into simple teen pop territory that is something people will have heard before. Although Simpson gives us a nice if simple (and a bit too layered) vocal performance, it is not enough to make this an interesting song to listen to.

1.5/5

Track 5- Tears on Your Pillow

With the title of this track I had hoped he was going to go into a bit more of an emotional place lyrically, even if he was still focusing on the idea of a relationship. But yet this is another song that is all about how this girl is great, with the only difference between this and the other tracks being that we have the idea of the girl crying, the only emotional element that is invoked within the record so far. As Simpson sings about telling this girl that she is and how he won’t take her crying on her pillow, we believe him with the cute vocal performance that is light in tone, and the production is simple pop territory but has a little bit of a Caribbean tone and so is nice in terms of bringing us in a holiday, relaxing state of mind, even if we are not. But the lyrical content is so bad, with the crux of the chorus being extremely over repetitive, and the song is marred by terrible clichés such as the idea of Simpson being a soldier of love.

2.5/5

Track 6- Wish U Were Here (featuring Becky G)

Finally this is a song that offers a bit of a change in the record and actually is something cool and exciting to listen to. Co-written by current hit makers Dr Luke and Bonnie Mckee, as well as fellow musician Taio Cruz, wish you were hear is not markedly different from the other tracks in that there is still this intense focus on this one girl. But the song has more of an emotional level, as Simpson sings of how he can’t live without this girl and just wishes she was with him. It is a strong concept that is centred around a solid and catchy pop chorus, and vocally Simpson sounds really strong, with the layering of his vocals giving a soft, smooth tone to the track whilst still holding this sense of fragility. Up and coming rapper/singer Beck G provides a charming and highly catchy rap as the bridge that offers a little sprinkling of a female perspective in the song that echoes Simpsons sentiment, and the production of the track is solid with the solid dance pop rhythms and light but forceful bass that makes for a simple pop song that is deliciously great.

4/5

Track 7- I Love Girls

Things are kept in more of an electro pop state with this track that finds Simpson going back to simple boyish sensibilities and focusing his attention on how great girls are. This song is a bit of a change in that he is thinking of girls as a collective rather than a specific individual, as he thanks God for making such beautiful and all-round great women. Clichés are employed that are annoying, but vocally Simpson brings a charm to the track that is really needed to carry the lyrical message, with the Auto Tune on the track here working to give this cool essence to the vocal that marks the song out against the other tracks. The production melds into the standing out of the track as well, creating simple bass that is catchy and having this little bit of a simple but frenzied electro energy.

3.5/5

Track 8- Back to You

The record takes a little bit of a softer and organically driven musical edge with this track that finds Simpson in more of a apologetic tone and giving the album bit of variation. The song has a strong RnB/ hip hop flavour in terms of the way the song begins, and how this becomes a motif of the track, and the handclapping beats of the production have that snappy RnB love song quality. This sound is appealing when mixed with the light and smooth vocals of Simpson, who comes off really quite charismatic within the song, and this charisma gives the track a little bit more of a believable quality. The lyrics are strong and a bit more touching, as Simpson apologies for letting this girl down and just wants to know how to makes things right so they can be back together. The only issues are that the chorus becomes annoyingly repetitive just a little bit, and the bridge is to clichéd in terms of its book metaphor.

3.5/5

Track 9- Summer Shade

With the clunky but light guitar rhythms and lilting quality of the vocal, this song is signalled as a summery kind of tune from the outset. The song brings the record back to a sound and lyrical concept that is familiar Simpson territory, as he simply sings to this girl about how he just wants to be with her all the time, preferably in the summer shade. Although he has a vocal tone that brings a sweet edge to the track, and the vocal ‘oohs’ of the bridge make for a stronger finish, the track just feels bland to a point if you are not a teenage girl, whilst the chorus is once again repetitive to the point of annoyance. The production is just too acoustic and summery, although the subdued electronic tones that simmer in the song are nice, and if they were a bit more prominent the song could have perhaps stood out a bit more.

2.5/5

Track 10- Gentleman

The final track is a typically soft way to end the record and finds the singer in a mode that is so familiar you will think by the end of this record that apparently the singer has only one side to his personality. The song is all focused on how Simpson will care for this girl, and asks her if she will let him be her gentleman. The song shows of a bit of delicacy in the vocal performances and a few flourishes of nice falsetto, but as a whole this track is just another song that is designed to appeal to a youthful fan base of girls, with the lyrics practically spelling this ideology out. The only thing I feel that this track should be commended for is the production, as although the acoustic guitar driven sound is by no stretch of the imagination orginal in terms of the rest of this album, there is a slightly more subdued quality to the guitar instrumentation that makes this more of a chilled, less of a summery kind of song, with the guitar to me having a slightly European feel.

3/5

Final Review

Cody Simpson has the potential to be a bigger kind of a teen star than he perhaps is at the moment, but the probably is that he either isn’t being given the right material or just can’t hear the fact that to most of the world he will just come across as bland. The singer has a light and quite charismatic vocal tone, but all too often his acoustically based sound with a strong summer vibe just blurs into one, and there is this really annoying sense of familiarity. The glimmer of hope here is the sixth track, which shows that if he mixes things up with a more polished pop sound then he could create a little bit more of an engaging record. And I’m not saying this to show favouritism over one genre, but I feel that whilst it can work for some people, too much of a similar thing and you quickly become bored. There is potential, but some work really has to be done if the singer is to really stand a chance in the music market.

Best Track- Wish U Were Here (featuring Becky G)

Worst Track- Hello

Gavin DeGraw- Sweeter Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- Sweeter

Artist- Gavin DeGraw

American singer songwriter Gavin DeGraw has seen his career take more of an upward turn with the release of this album, or more importantly, the release of the hit song Not Over You. DeGraw does love and heartbreak very well, and has a vocal tone that is very appealing, with his work being heavily featured on the teen show One Tree Hill because of this. Yet whilst he may be showing signs of complete renewed success, the question is whether as a whole this record shows that he deserves his stake in the music market.

Track 1- Sweeter

One of two tracks co-written with One Republic frontman and hit song maker Ryan Tedder, the opening number is a cool slice of funky pop where we find DeGraw lyrically fantasizing about being with another guys girl, with the lyricism being slightly sexually charged and employing an array of metaphors to express his feelings of jealousy and kind of lust. The song is strong vocally as the verses have a gritty tone that shows that DeGraw is strong in his feelings, whilst the chorus has a catchy, would sound great in a live show feel through the way that DeGraw employs his great falsetto. The production is forceful but not too overpowering, with the hand clapping drum beats and gritty bass guitar giving the song a nice, slightly dark edge that makes the song a little more intriguing and contrasting well with the lyrical ideology of the track. All the elements of the song combined make this a song that sounds like it really suits being played in a live setting, and the song works really well in opening the album up in a rather intriguing way.

3.5/5

Track 2- Not Over You

The second of the two Ryan Tedder collaborations is more of a straightforward, heartbreak pop song that DeGraw has described as ‘riding that line between vulnerability and pride’. The track finds the singer lyrically and vocally in a state of deep depression as he sings of the difficulty of getting over a former love, and the song has a strong, catchy quality in the way that the chorus is very simple and finds the singer really being honest to the listener and tapping into a dark emotion. The vocal performance of the singer is quite delicate and really layers the song with emotion that the listener can feel. Production wise the song is also stellar in the way that the sound simple utilises jangly piano and an artificial drumbeat that together just sounds like an emotionally layered sound that isn’t too forceful and makes the song even catchier but also really elevates the lyrics and the vocals. This is a strong collaboration from the pair that feels both familiar and unique at the same time, and it is simple to see why so many people like this song and why DeGraw has found renewed success because of it.

4/5

Track 3- Run Every Time

Things are kept on a slower, more emotional level with this song. However, things are changed up a bit with this track, as rather than being the one in a state of heartbreak, DeGraw is actually the heartbreaker, as he won’t let himself get comfortable with a girl and although he is sorry for the hurt he causes this girl, he just can’t commit, with the singer telling us of how he runs every time. The lyrics have a nice quality in the simplicity of DeGraw stating his actions and his flaw, whilst the vocal gives the song this passionate sense of the singer actually being sorry for what he does, despite the fact he will probably continue down this road. The production is strong in giving us a grand sound through the mixture of piano and guitar with the drumbeats that brings out this sense of pain and urgency, and so this is a further track where the different components of the song really come together.

3.5/5

Track 4- Soldier

Featured on the final episode of teen TV series One Tree Hill, Soldier finds the singer in a more loved up state where he is standing firm in his love. This is because the lyrics of the song are all focused on DeGraw promising this girl everlasting love, and if she needs it he’ll be there to fight for her. The song’s lyrics are slightly clichéd but the vocal tone of the singer has a purity and charisma that is very appealing and so you forget that sometimes what he is singing is a bit stereotypical. The ‘la la da da da’ hook elevates the track to a greater level of catchiness, whilst the singer’s vocal performance has a soulful quality to it that makes this feel like a passionate song. This passion is also enhanced by the production of the track, with producer Butch Walker blending together a nice mix of piano, hand clapping beats and simple drumbeats to create a sound that is slightly breezy but has a strong undertone, and the gospel flourishes in the latter choruses make for a great finish to the track and make us truly believe in DeGraw.

3.5/5

Track 5- Candy

With the production of this track there is this cool mix of sounds creates this almost urgent tone that to me feels a little bit reminiscent of Journey’s ‘Don’t Stop Believin’. The song finds the singer lyrically focusing on how a relationship can’t survive on this simple level where things are just sweet but things are never taken to the next level. Some people may find the metaphor the track is based in annoying, but I feel this is a strong metaphor that gives the track more of a catchy quality than if DeGraw had been a bit blunter lyrically. The vocal performance is once again strong, with a powerful rise in the performance that makes things feel more grand and impactful on the listener. The blend of fast paced drum beats, simple piano melodies and slightly funky guitar creates a great sound to the track that like the vocals really builds and makes an impact on the listener, and the way the song ends in this quite soulful with the guitar and piano is really great and creates this kind of chilled moment where you can think about what he is singing.

3.5/5

Track 6- You Know Where I’m At

An uplifting tune, You Know Where I’m At finds the singer in a positive frame of mind despite the vulnerable tone of the song. The track lyrically finds DeGraw telling this girl that things are better now that things are over, but if she ever needs him she knows where he is and that he’ll be there for her. The track nicely balances out the funky quality of the previous track with a simpler sound that starts off vulnerably with just the piano and then builds through the use of drums and strings to really make this a dramatic piece. However, this track does suffer a little bit in quality in terms of the vocal performance, as it doesn’t feel as smooth as the previous tracks and comes across as DeGraw going to high and trying too hard to really give the track this emotionally intense level.

3/5

Track 7- Stealing

Starting off with this simple soulful piano melody that acts as the backbone of the song, Stealing is another song where things are a bit more vulnerable and chilled. The track finds DeGraw singing about how he and this girl were once so good, but she has stolen his heart and now he wants it back, because this relationship is over, and he will love again. The lyrics are nice but don’t have the catchy quality of some of the more emotional songs, whilst the lyrics do feel slightly clichéd. The vocals are strong in the way that things are kept simple and on this level of almost bitter sweetness, with the singer working the song really well as he stresses some lyrics really nicely and also is never too powerful with the vocal performance. The production has smooth tone with a jazzy rhythm and simple drum beat that gives the track a chilled tone and this sense of emotional honesty where DeGraw has no hidden agenda; he just wants his heart back.

3.5/5

Track 8- Radiation

Another track that is more RnB driven with a sensual edge, Radiation lyrically finds the singer telling us off that late night phone call you make to someone who you shouldn’t, but if the mood strikes you will ultimately end up doing it anyway despite the badness of it. The song is strong in terms of the concept and is made catchy by the ‘na na na’ hook of the songs opening and middle section. The song finds DeGraw giving us a charismatic and sensual vocal performance that sounds smooth, and will make many women wish they got a late night phone call from him. The production is simple with the steady hand clapping beats and funky guitar riffs that just give the song a nice groove, and so this is a fun track that to me sounds like it would be a great moment when performed live.

3.5/5

Track 9- Where You Are

Bringing us slightly more of a typical DeGraw sound is this track that is simple acoustic guitar strumming and nice piano melodies that just give the production this simple but powerful texture. The song is lyrically all about DeGraw being really in love with this girl to the point where he just wants to be where she is, as he feels the same as when the relationship began and he really will work hard for her love. The sentiment is nice but it does feel a little bit like something that DeGraw could easily produce lyrically. However the vocal performance is nice, having this smooth but emotional tone that is a bit akin to ‘Not Over You’, and so this track does have a bit of an impact on the listener.

3.5/5

Track 10- Spell It Out

DeGraw ends the record on a really stripped back level with just him and the piano. This level of the production is really powerful and is great in the way that it allows the singers vocals to shine and really all of the songs emotion rests on him. The song is lyrically about the guy being saved by this woman, and doesn’t want to turn back. I think the song is a little difficult to understand lyrically, as I am actually unsure what he is really saying, but this is perhaps the beauty of the track. It’s a nice way to end the record, although the vocal is a little bit all over the place and could be better.

3.5/5

Final Review

Keeping the set a short 10 tracks long was a smart move by DeGraw as it means the risk of us getting bored with him is curbed. This is a good album that features a great mix of soul, RnB, rock and pop influences for a record that feels a little bit dynamic and always emotional. The singer has an appealing vocal tone that is both made for emotionally loaded tunes but also has a slight charisma about it. The record isn’t without its issues, with some of the lyrics not capturing our attention in the way that some of the other songs do, and the record could do with a couple less emotional and mid to down tempo songs and more upbeat, slightly funky and preppy tunes. But these songs as a whole are nice and catchy, and this feels like a record that deserves the renewed success the singer is having.

7/10

Best Track- Not Over You

Worst Track- You Know Where I’m At

 

Sophie Ellis-Bextor- Make a Scene Album Review

 

 

 

 

 

 

 

 

 

 

 

Album- Make a Scene

Artist- Sophie Ellis-Bextor

Sophie Ellis Bextor burst onto the music scene with her collaboration with Spiller, ‘Groovejet (If This Ain’t Love, and since then she established herself as a powerful force in the pop and dance music world, with hits such as ‘Murder on the Dancefloor’ and ‘Get Over You’. Yet the singer has not had a top ten hit since 2007’s ‘Catch You’, and this album only charted at number 33 in the UK album charts. But is Bextor really as bad as her record sales would suggest, or is the public just missing out on some great pop music and not truly appreciating her?

Track 1- Revolution

Revolution is a stomping, energetic electro pop number that utilises a lot of repetition. Lyrically the track is a bit non-sensical but at its centre is this idea of a revolution occurring on the dance floor. Although the concept is quite clichéd, the repetition of the song and the fast paced mood make the lyrics catchy and something that can easily get stuck in your head, whilst Bextor gives us a vocal that flits between sweet and commanding to good effect. Current popular producer Greg Kurstin provides thumping bass and heavy electro pop grooves for a fun sound to the track, and so this is a great fun and vibrant way to begin the record with.

3.5/5

Track 2- Bittersweet

Released as the albums third single, Bittersweet is a euphoric dance pop track that is all about being unable to fight your feelings. Lyrically the track finds Bextor as this girl who knows that the relationship is bad and that she should run away, but something keeps pulling her back to this guy. The simmering quality of the track lyrics is brought out powerfully by the breathy vocal performance Bextor gives the listener, with vocal layering giving the track an airy tone that makes for a euphoric listen. Producers Freemasons provide a cool synth pop bassline to the track that feels slightly 80’s pop influenced, and the overall the sound blends together punchy electro pop beats with smooth synth notes for this sound that you can both day dream and dance to, and so whilst this is perhaps a little cheesy pop, it is pure pop at its best and also works really great in highlighting the singers tone and reminding us why we liked her in the first place.

4.5/5

Track 3- Off & On

Originally recorded by singer Roisin Murphy for her album Overpowered but ultimately being cut from the track listing, Off & On is one of only two tracks on the record not to feature a co-write from Bextor. The track is a simple dance and synth pop song that features a funky electro groove and thumping dance beats courtesy of current music star Calvin Harris. The track focuses upon this relationship where the singer has tried to get this guy to really be in the relationship, but he has just seemingly been switching his feelings all the time and now she is just over it. The song is perhaps  a little weak because of the repetition, but the lyrics nicely emphasise the poor state of the relationship, although a flourish of anger perhaps would have made the track really stand out. Vocally Bextor plays things safely and gives us a simple vocal performance that shows a deep vocal level that is helped by vocal layering, adding this sense of delicacy to the lyrical message. The distortion of the singers vocals at the end is also a nice twist, and so although this could have worked better, it is a nice synth pop tune that feels like it fits comfortably in terms of the rest of Bextor’s music that she co-wrote.

3.5/5

Track 4- Heartbreak (Make Me a Dancer) (with Freemasons)

Released as both the promotional lead single for this record and as a promotional song for the Freemasons record ‘Shakedown 2’, Heartbreak (Make Me a Dancer) is a up tempo disco and house track that blends dance rhythms with fragile vocal and lyrical content. The song focuses on Bextor getting over the pain of losing her ex by using the dance floor, with the concept being a simple but effective idea that is handled well in terms of the catchy quality of the lyrics. The light tone of Bextor’s voice makes the delicacy of the song come out powerfully, whilst the layering of her vocals adds some power to the chorus, which is also made catchier by the way that the singers English tone really comes through and gives the song a unique quality. Production wise the frenzied rhythms and twangy electro feel of the track feel slightly unoriginal but still have this infectious and vibrant energy, with the use of strings in the middle section being a great touch that gives the final chorus and extra kick.

4/5

Track 5- Not Giving Up On Love (with Armin Van Buuren)

Another fully credited collaboration between Sophie Ellis- Bextor and another artist, Not Giving Up On Love served as the records fourth single, and the second single from Buuren’s album ‘Mirage’. The track is a trance song that features a cool dance sound that blends euphoric synths with pulsating beats, for a typical but cool sound that you can easily dance to. Bextor gives us a smooth vocal performance that has this light and glamorous feel and so is very appealing. But the problem with this track is that the lyrical content about focusing on the relationship because you are so in love and not giving up on love is just too stereotypical and is executed in a bland way, and so this is an ok but ultimately uninteresting addition to the trance genre.

2/5

Track 6- Can’t Fight this Feeling (with Junior Caldera)

The final round of Bextor’s collaboration’s finds the singer pairing up with DJ Junior Caldera for a disco house tune that served as the records second single and as the fourth single for Caldera’s album Debut. The track ups the tempo and dance energy from the previous track and employs a cool disco sound in the production with clattering dance beats that feel like a little bit of a throwback sound whilst being thoroughly modern at the same time. The lyrics of the song focus on the idea of Bextor succumbing to her feelings and becoming lovers with this man because she can’t fight what she feels. The lyrics have a simple catchy quality, although the chorus is slightly hindered by the repetitive nature of the lyrics. Vocally the light vocal performance of the singer gives the song this euphoric and almost sensual edge, with the breathy tone of the bridge making for a strong finish to the track. However sometimes the vocals are annoyingly hindered by the use of Auto Tune, and so this is a strong dance offering, but it does have its issues.

3.5/5

Track 7- Starlight

Things become a little mellower for this track that works as both a chilled sun lounger track as well as a sway along in the club night time track. The singer has a wistful and psychedelic tone to her voice that is very appealing and gives this cool euphoric essence to this glittering disco pop ballad. The track focuses on Bextor telling her lover of how they are naturally bonded together and they love so strong that they are like one, and you can find them under the starlight. The imagery is really appealing as it has this beautiful quality, and the lilting synths of the production create this light and lose yourself in the music tone that is quite powerful. The use of Auto Tune is a little annoying, but for the most part this is a great pop number that also acts as a master class in sophistication.

3.5/5

Track 8- Under Your Touch

Under Your Touch brings things back to a more forceful, get up and dance sound that builds in the beginning and becomes this stomping dance floor sound that is cool and slightly infectious, although it is a little bit one tone and simple. Bextor sings about being ready for love and just wanting to be under the touch of this man, a statement that is given power by the lilting and sensual vocal tone of the singer. The problem with this track is that the song feels slightly lacklustre in the way that it is executed, with the small moments of Auto Tune making the track feel like she isn’t quite ready for love. The chorus is also perhaps a little repetitive, and so this stomping dance pop number is cool and fun but lacks some flair that would mark it as a great tune.

3/5

Track 9- Make a Scene

Title track Make a Scene is a slightly funky synth pop tune with a touch of house music about it and a quirky tone that makes it a standout on the record, although perhaps not for all the right reasons. Lyrically the track focuses on the singer instilling this message of letting yourself go through the idea of making a scene, with the song having a cool almost rap style vocal. However the problem with the track is that the lyrics have a feistiness and positivity about them, but the singers voice feels thin and doesn’t have the dramatic punch to really make the song feel like she means what she is singing. The punchy sound of the track mixes a funky horn driven bass with aggressive electro stabs, and although this style of dance music is infectious, it perhaps acts as an overpowering force against the vocals and lyrics, and so this could have been a better tune if it was more balanced.

3.5/5

Track 10- Magic

With Magic the singer ups the dance intensity of the record and gives us a powerful track that finds her back in this euphoric state of love. Within the song the singer expresses her feelings for this man and how she believes in him like she believes in magic. The tracks lyrics have slightly more of a poetical essence about them, and the track finds the singer on better vocal form as the song features some smooth and delicious vocal harmonies that make this a standout in terms of the singer’s vocal performance. The aggressive dance floor edge of the track is cool if slightly unoriginal, but the song does nicely blend some strings and a prominent back beat with funky rhythm, and so this is another nice and sophisticated offering from the singer that is only ever so slightly dragged out.

3.5/5

Track 11- Dial My Number

The singer keeps us in a up tempo, you should be dancing state of mind with Dial My Number, another forceful dance pop tune that nicely blends a strong bass with cool synths that also give the song a little bit of an 80’s flourish. The song is however cool in the way that the singer changes things up by pairing the dance music with wistful and fragile lyrical content where she expresses her feelings towards this man of how he doesn’t understand her, and it won’t be enough to just call because she just isn’t in love. The song nicely builds in vocal power, with the bridge being a powerful moment, and the vocal layering of the chorus makes this a standout number in terms of the chorus’ catchiness. The vocals are also smooth and exude both a delicacy and confidence that is infectious, and so this is definitely a good slice of pop from the singer that could have been bland but which packs a musical punch.

3.5/5

Track 12- Homewrecker

Opening with a weird organ like synth intro, Homewrecker is another song where the forceful dance pop sound is definitely the main factor of the song. Lyrically the track acts as an anthem for the sweet girls of the world who hate those kinds of girls who steal their boyfriends, with the singer giving us a vocal that is both feisty but also still maintains this essence of sophistication that proves she is the better woman. The song suffers a little bit because of Auto Tune that makes the song lack a bit of personality, but the funky rhythms of the track give the songs sound a unique twist that is powerful enough to command the listener’s attention, even if by this point the dance pop thing becomes a bit too familiar.

3.5/5

Track 13- Synchronised

The second track not to be co-written by Bextor, Synchronised takes things down to a more mid tempo level and is more relaxed compared to most of the previous songs. The track finds the singer expressing her feelings for this man where she thinks that is in sync with this man. The light and airy tone of the production is nice if a bit typical of this type of a pop ballad, but the track is nicely bookended by these soft guitar strumming moments, and the song also works really well in showcasing the singers vocals and really allowing her voice to bring this passionate edge to the music.

3.5/5

Track 14- Cut Straight to the Heart

Final track Cut Straight to the Heart is another pop ballad that is a bit more relaxed in its musical tone. Here we find the singing expressing of how she doesn’t want this guy to let to go, as her cuts straight to her heart. The message is nice and also fragile, but the song does feel a little clichéd, and vocally the singer gives us a delicate performance, but in the chorus she goes a little too high and for me shows off a bit of her vocal weakness. The songs production also nicely blends moody dance beats and shimmering synths with this emotional piano instrumentation, which is also very good, but the sound is also perhaps a little too overpowering, and so this track has potential but in this state doesn’t quite leave the impression it should on the listener, and isn’t suited as the final track to round off the record.

3/5

Final Review 

Make a Scene is cool pop offering from Bextor that nicely encompasses different genres and which acts as a master class in the power of musical sophistication. The track features some cool collaborations and has this cool cohesiveness, but the tracks do suffer from so poor lyrical choices or too overpowering a sound. Overall this is a strong offering from Sophie Eliis-Bextor that  I think should have had more success than it did, but since the music market has changed, maybe Bextor should just except that only long term fans will really love this record.

6.5/10

Best Track- Bittersweet

Worst Track- Not Giving Up On Love (with Armin Van Buuren)

 

Jennifer Lopez- Love? Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- Love?

Artist- Jennifer Lopez

Jennifer Lopez has been one of the few people in the world who can seemingly perform well in whatever they wish to pursue, with her acting career balancing powerfully with her music career, as well as other entrepreneurial pursuits. Yet she is also someone who has suffered within her career, with her films and music both taking a setback within the late 2000’s, and so the highs do truly balance the lows. With her high profile American Idol judge role and a change of label after a number of issues, Lopez set out with this album to prove that she was still a cut above the rest musically.

Track 1- On the Floor (featuring Pitbull)

This up tempo dance pop number was the track that brought J.Lo back to prominence and saw her having the bestselling single of her career, as well as one of the most viewed YouTube videos of all time. The songs carefree message of partying and just having fun on the dance floor is a simple statement that could be boring, but the incorporation of Los Kjarkas composition “Llorando se fue” in the melody makes for a catchy sound, with the hook being simple but effective. Vocally Lopez plays it  safe here and sticks to a low register, which is great as it keeps the song on the just a simple tone and so never gets too aggressive. Production wise one of the producers of the moment, RedOne, provides some nice electro pop beats combined with heavy synths to make a dancefloor sound that is never overpowering. And the Pitbull feature adds a nice cool rap section that makes for a strong finish. Yet whilst this is a good track,it also feels slightly annoying that this was her big comeback single, as the tracks production does lack originality from RedOne, and the track lacks that sense of personality that Lopez has exhibited before in such hits as “Get Right” and “Jenny from the Block”.

3.5/5

Track 2- Good Hit

Described by Lopez as potentially a good summer single, it is a good thing that this was never released as a single. Universally panned by critics, the track definitely deserves it’s negative reaction, as it lacks any personality and just sounds like any singer in the world could have sung it. This is primarily because Lopez’s vocals, which are so Auto Tuned it is ridiculous and means that the track just feels bland, with the bridge being the only sign of the sexy Lopez personality that we know is there. The lyrics are no better, with the “la la la” motif being ridiculously stereotypical and the references to objects and clubs being likewise stereotypical, making it seem as if she isn’t even trying. The only good thing about the song is it’s dance pop and RnB sound, with the forceful beats having a neck snapping quality that allows for a good pace and would have probably sounded better if paired with different lyrics and vocals.

2/5

Track 3- I’m Into You (featuring Lil Wayne)

This mid tempo pop track is a nice sensual sounding kind of affair that brings the record onto a much better form. Built around an Island flavoured hook of “na na na” that is infectious, the song find Lopez singing of how great her man is and how she is just lost in her love for him. Vocally Lopez is strong but sensual, with a breathless kind of quality in the pre chorus and chorus that makes the ideology of the track a little more believable. And although the production isn’t ground-breaking, the sparkling synth heavy beats and island tinged percussion make for a great, slightly reggae influenced track that feels like a good summer jam, with Lil Wayne providing a cool guest rap that is a little cheeky and gives a good male point of view. It may sound familiar in today’s pop world, but sometimes great songs do sound familiar.

4/5

Track 4- (What Is) Love?

First heard with Lopez’s 2010 film “The Back-up Plan”, the album’s title track is a mid tempo electro pop number that borders upon ballad territory but sparkles on a bed of synths and so sounds like more of a commanding listen. Written by Wynter Gordon and Emile Dernst, the tracks lyrics simply reflect on the question of what it means to actually be love, with Lopez singing about her life and how she has been in so many crap relationships and situations and now just wants to be with the man who can show her what she really wants. Vocally Lopez is strong, perhaps not putting her own strong stamp on the track but bringing a sense of glamour and also allow for some of the power in her voice to show in a good rather than annoying way. And the heavy electro pop bass line of the production is strong and makes for a commanding track, although the “na na na” refrain feels a bit too familiar coming after the previous song.

3.5/5

Track 5- Run the World

Seemingly a snap shot of Lopez’s relationship with her former husband Marc Anthony, the track contains a hopeful lyrical message in which Lopez sings about this love in which where these two people come together they just really make things better. The track features a simple but catchy hook, but in certain places the clichés that are employed are a little too overpowering and bland. Production from the The-Dream and Tricky Stewart is great as the mid tempo pop vibe with the heavy synth beats and head bobbing sound gives a cool urban flavouring to the track that reminds us of Lopez’s roots and harks back to her “Jenny from the Block” sound whilst still sounding very current. However whilst vocally she keeps a simple tone that makes for a chilled affair, the reliance on Auto Tune is annoying and so the track lacks a little pizazz.

2.5/5

Track 6- Papi

Another RedOne produced number, this track features the most prominent use of Lopez’s Latin roots in terms of the overall sound, with a Latin and electro flavoured production that is powerfully up tempo and features a melody that is driven strong beating drums and pounding synths. The lyrics centre around Lopez’s love for dancing for her man, and in this sense the track is very much an anthem for the ladies. Vocally the track is kept on a simple light tone, with the vocal harmonization in the chorus making for a strong dancing sound and contrasting with the more sensual verses well. The sensuality of the track is also powerfully brought out in the middle section, in which the Spanish ad libs emphasise how she is totally invested in what she is singing. The middle section breakdown is also strong in terms of the thumping bass, and so the song ends on a strong note and so as a whole this is definitely one of the albums highlights.

4/5

Track 7- Until It Beats No More

Once again Lopez sings of the power of love in this soft rock pop ballad that lyrically speaks of a love that never dies. The lyrics have a breathless honesty and emphasise the ideology of someone coming into your life and making you feel again when you are at your lowest point. And Lopez brings out the strength and rebirth ideology of the lyrics beautifully within her lyrics, with the vocal harmonization in the chorus giving a nice euphoric kind of tone, and the stripped back tone of the verses really allow her vocals to shine and feel sophisticated and glamorous. The production of the track is also great, with the simple piano melodies allowing for a sense of honesty to permeate the track, and the strong drum beats in the chorus make the statement that little bit more powerful.

4/5

Track 8- One Love

This light RnB number is a groovy and quite chilled affair that finds Lopez questioning what love is again, but this time asking if there is such a thing as one love. The soul mate ideology is powerfully and effectively surmised in the tracks hook, and the verses have a nice essence of honesty as critics have noted the indirect references to Lopez’s former relationships. The light lyrical content is very catchy, and Lopez compliments this nicely with her vocal performance in which she keeps a simple but strong and light tone that makes for a catchy listen, and the synth laden production make for a simple but nice sound that makes for a well-rounded track.

3.5/5

Track 9- Invading My Mind

The up tempo energy of the record arrives again in the form of this number in which we find Lopez singing of how she is being overcome by this rush of feeling that this man is producing in her. The tracks sound is similar in composition to “On the Floor” but with harsher beats and a more of a groove feel and more prominent electro keys, just giving a great Euro pop dance energy than that song. The vocals are strong if a little monotone, but the playing off of a female and male (albeit highly distorted male) vocal in the verses gives a cool energy to the track, and the production gives a cool dance energy that compensates for the slightly repetitive lyrical content.

3/5

Track 10- Villain

Villain is a strong slice of electro pop with an RnB flavour in which Lopez puts on the persona of a wicked kind of femme fatale as she sings about being a player in love and just using this man because she just thinks of herself, whilst the man has also done exactly the same thing to her. The slow and lilting vocal tone Lopez employs makes the message a little bit more potent, although after a while it sounds a little lifeless. And that is the problem with this track, as the strong dance back beats are good to listen to at first and “love love love love” motif is kind of catchy, but after a while you get bored of it.

2.5/5

Track 11- Starting Over

The ideology of the penultimate track is perfectly encapsulated within the title as Lopez puts on a fragile persona and sings about being broken after the end of a relationship and this powerful love, but even though she is still in love it’s not enough and she has to start again, although it is difficult and she is afraid. The song is given gravitas by Lopez’s personal life, as she split with her husband at the time of the albums recording. And so as she brings that fragile essence of the song in her quite subdued and delicate vocal in the verses before making a kind of plea in the chorus, we can totally believe what she is singing about. The production also plays a nice line between giving the song an innate strength but also still retaining that essence of fragility, with the handclapping beats and electronic bass line making for a catchy sound.

3.5/5

Track 12- Hypnotico (bonus track)

Originally recorded by artist Tami Chynn for her debut album, Lopez recorded the track after Chynn’s album was cancelled, with the song remaining unused for many years and seen as a lost cause by songwriter Claude Kelly. The track is a light dance pop number that is driven by a chunky beat and retro, 80’s synths that give a nice up tempo energy to the track. Vocally Lopez gives a light and fun performance, being both fun and sensual at the same time, and the use of Auto Tune just brings out the lightness and great energy of the track rather than hindering the song in anyway. Lyrically the track finds Lopez singing of how great her and all her girls are and how they make the boys go crazy, being a very flirtatious message that is powerful when set against the tracks booming bass line. It may be just a bonus track but it is actually a great number that is perhaps better than some tracks on the record.

4/5

Final Review

Lopez definitely makes a comeback statement with this album has she has created a strong and cohesive record that really lives up to its title, but she keeps it light and always creates catchy dance pop tunes that are in many ways infectious. Aside from the odd track each of the songs is strong in different ways and provides a fresh spin on the topic of love, with Lopez retaining her upbeat Latina personality as well as showing a sense of vulnerability alongside the dance, happy Lopez. If you want an album full of catchy tunes then you should look no further than this record, and it is safe to say that Lopez showed she was back on form with this record.

Best Track- I’m Into You (featuring Lil Wayne)

Worst Track- Villain

The Band Perry- Pioneer Album Review

 

 

 

 

 

 

 

 

 

 

 

 

Album- Pioneer

Artist- The Band Perry

After breaking into the music scene with their huge selling hit “If I Die Young”, the Band Perry have been a strong staple of the country music scene, with a platinum selling debut album and a seemingly ever growing fan base. With this new album the band seem to have a bolder sound based on their single releases, but have the group actually created a record that shows a progression from their previous album?

Track 1- Better Dig Two

The opening number and the records lead single is a dark country affair that is backed by a cool rock vibe against the twangy banjo riffs and typical country sounds. The songs is centred around a simple hook that is catchy as lead singer Kimberly Perry plays the role of a wife who sings to her husband and tells him that should he die before her, then she would rather die and be buried next to him than live without him. The songs sentiment could easily be misconstrued as a sweet message, but when you actually listen to the track the song as a definitively dark aura about it with the stop and start rhythm and punchy chorus that is strong in its statement that she will die. The song is also really dark in some of the lyrical content and the transitions between the chorus and the verses which are powerfully orchestral based and sound melancholic. Furthermore, Kimberly has a delicate vocal within the track in certain sections, whilst the chorus is punchy and works well in contrast to the softer moments. The mid tempo track puts a cool spin on the idea of love, and although the sound is quite typical of today’s country market, the chorus has a strong catchy quality and Kimberly brings a sense of sincerity to the number, making this a strong opener and a good lead single.

3.5/5

Track 2- DONE.

From the dark mid tempo sound of the latter track we are transferred into a strong up tempo mode which is less dark and just more in your face aggressive. Chosen as the records second single, I feel it is a good song choice in showing a side of the band that casual listeners probably haven’t seen before. And furthermore it’s just a really catchy country number. It is almost the antithesis of the previous track in terms of the lyrical sentiment, as Kimberly sings about this man who just isn’t doing his best in this relationship and is acting like a kind of jerk, and so although her mother taught her to play nice, she’s giving up on this relationship and is aggressively moving on cause she is firmly done. The lyrically quality is strong, with the chorus being very catchy and the verses having a cool story telling quality. Vocally Kimberly is also really great within the song, bringing a great sass to her vocal performance and just sounds very powerful throughout the whole track. The clunky guitar rhythms and forceful drum beats and are also really strong, with the guitar solo at the end of the bridge sounding really great and being that moment where you and the band can both let go. A great song that will definitely sound great live.

4/5

Track 3- Don’t Let Me Be Lonely

From the punchy and aggressive edge of the previous number we transiton to a more subdued in tone but still powerful in message song that draws on a familiar country style in terms of the way that it builds. The track is powerfully based in love as Kimberly powerfully sings of life and how you can just go through it and it quickly goes, and she doesn’t want to be left lonely in the world and needs her heart opened by someone. The message is both sad and sweet, with the message being powerfully distilled in the emotionally loaded hook. And Kimberly sounds vocally strong within the track, with the boys backing her up in terms of the backing vocals and harmonising well. The sound of the track with the light guitar riffs that build and are joined by heavy drums is quite similar to the sound of other groups like the Band Perry, but with the ideology of the track this sound really works, and so we can forgive the band for this, particularly when at the end Kimberly really shows how powerful and awesome her voice is, and when the band do sound really emotional in what they are singing and almost a little fragile.

3.5/5

Track 4- Pioneer

A softer edge is shown on this track that is a little similar in tone to the bands previous work, such as “If I Die Young”. The title of the track to me sounded like a weird name for a song, but in listening to the song it makes complete sense. The basis of the lyrics are focused upon Kimberly telling this person that she will go anywhere with them, asking where they are going but not caring as she knows she will go, because this person is one who will just venture into the unknown. She also tells this pioneer to be careful and not let his heart be trouble. With her light and lilting vocal performance Kimberly makes the song a chilled listen and gives a sincere quality to the track, before the powerful bridge kicks in with it’s grand and fast paced urgency that builds to a powerful finish that shows that Kimberly and her pioneer will venture out no matter what. The lyrical content is good in that it has the capability to have different meanings for each listener, with the pioneer potentially being a family member or a partner. The production of the track is also strong in the way that it builds, having a light tone through the use of delicate strings and simple guitar instrumentation before the steady drum beats begin, and then the bridge starts with it’s stomping stop and start rhythm and faster guitar riffs, whilst the harmonization of the group becomes stronger to give some power to the final section before ending on a sweet note.

3.5/5

Track 5- Forever Mine Nevermind

Co-written by another big country star of the moment, Brad Paisley, the fifth track puts us back into an up tempo state and brings back the biting angst of DONE. as Kimberly sings of this guy who send that he would be hers forever but that was in fact a lie, and she’s just really not happy about it, employing an array of imagery of people losing things to show how she’s angry and happy about losing this mind. Opening with a both cool and weird “na na na” intro that becomes the hook of the song, the lyrical content of the track is not as strong as the previous numbers, as although the create a catchy chorus, some of the verses come across as too much of a cliché, and the “na na na” hook draws a fine line between catchy and annoying. Whilst the lyrics aren’t as great as they should be the vocals maintain the same power as the other tracks, not quite having the sass of DONE. but still having a powerful tone and drifting nicely between sweet innocence and feisty woman. The production is also really strong, with the light guitar riffs making for a good up tempo sound. The bridge is also a particularly strong moment with its gospel like qualities that make for a really strong finish, with the electric guitar moments of the final section allowing for a catchy close to the track.

3/5

Track 6- Night Gone Wasted

Kimberly states in one particular potent lyric of this track: “Oh my heart is banging to the beat of the band”. And with this track The Band Perry seem to wish to do exactly the same in a send up to the good times of just getting drunk and having fun, centred around the idea of a night gone wasted (i.e. you might have technically just got drunk and therefore wasted the night, but you also just got wasted from alcohol and just had fun because of it). The song powerfully distils the fun of such activity and is helped by the vocal performance of Kimberly, who brings a kind of gritty tone to this piece and really lets rip in the bridge to get you up at least by the songs finish. In terms of the production the band also keep things really cool and vibrant with a clunky guitar rhythms that acts as the base for the heavy drum beats and grand electric guitar riffs, with the bridge being another moment where a guitar solo is employed to great effect. The track also really works in the way that it has a hip swinging tone but isn’t annoyingly extremely up tempo, and so excites you even more because of this. A big country stomper that also works in the divergence from the love based theme.

3.5/5

Track 7- I Saw a Light

After the stomping have fun atmosphere of the previous number we return to a more traditional love based country tune with this light and sweet song that sounds like a good track for lovestruck teenagers. From the moment this track begins the country sensibilities of the band come powerfully through in the use of the banjo instrumentation and accordion sounds that immediately signal a folk/country sound. And this sound is just built on as the track continues, with the chorus having a typical country sound with the employment of the thumping bass drum and grand guitar riffs. Yet whilst the sound is perhaps something country fans will find familiar, over all there is lightness to the sound that welcomingly ties in with the lyrical message, and so it just sounds fun and fresh. The lyrics have a powerful basis in the idea of love as Kimberly plays the role of a girl who has been struck powerfully by love and just has this strong feeling for this boy, with the hook cementing the strength of her emotions with the idea of seeing the light, a saying commonly associated with religious behaviour. Vocally this is one of Kimberly’s best moments and is cool in how it flips the dark and delicate qualities of the opening track, instead showing the lightness and power of her vocal abilities. A slight issue with the track is that initially the role of this love struck girl doesn’t seem to suit Kimberly or the record, but the song really builds and at some point you will be easily won over.

3.5/5

Track 8- Mother Like Mine

Love seems to be a key theme for the group with this record, but they keep things interesting in the way that they approach the concept, never always going for the boy girl combination. Instead this acts as a love song for the bands mother, as Kimberly sings of the greatest of her mother, using an array of imagery to express how she has had a powerful effect on the siblings, and furthermore expressing the idea that if the world had a mother like theirs then life would be so much better. It’s a really sweet sentiment that is executed to good effect with the catchy chorus and the simple hook, and although the imagery is clichéd, Kimberly’s light vocal performance gives a nice touch of sincerity to the track, and so the clichés can be ignored. The vocal performance is also great in the way that Kimberly conveys a sense of warmth to the listener through the emphasis on the last word of each line in the chorus, which gives a lovely lilting tone to the track. In terms of production things are kept quite simple with a steady drum back beat and delicate guitar instrumentation that just keeps things chilled and allows the message of the track to come through even more powerfully. A really sweet track, this is a song that would be great for mother’s day and is a song that all the people who love their mother strongly should really listen to.

3.5/5

Track 9- Chainsaw

Another one of the few songs that the band didn’t right themselves, this track brings us back to a more faster tempo and aggressive personality. The track is reminiscent of the bitterness of DONE. as Kimberly sings of how her and her man were so in love and wrote their names on this tree to mark how it would last forever, but things changed and now she’s going to cut down the tree out of bitterness. The chorus has a catchy quality and second chorus has a dark statement that cuts into the heart of what it means to be in love. Vocally Kimberly is strong, with the verses being softer and providing a nice contrast with the edgier chorus. Production wise the group also keep it simple with a familiar country sound of heavy drums and banjo riffs. Yet whilst it is a good song, it does feel a little bit like we have heard what is being sung already, and vocally (and to a certain extent lyrically) the track likes the sass and venom that really makes for a bitter song that stands out.

3/5

Track 10- I’m a Keeper

With the beginning of the track and it’s slightly distorted guitar bass line I thought this would be an intriguing song, and it is indeed this in terms of the slightly more pop orientated vibe of the track, although the country roots are still there. The production is really powerful with the bouncy instrumentation of the guitars and the steady drum beats aligned with some cool and quirky piano instrumentation that is reminiscent of a western saloon sound. The track is also great in the production in how the bridge is a moment that really builds towards a strong finish, something that by this point is seemingly something that the band can always pull off and always make sound great. The bitterness of the previous track kind of continues with this number as Kimberly sings how she is a unique and sweet individual who can survive without this guy, because she is just an awesome and someone that a guy she really hold onto. The chorus is extremely catchy and the hook immediately grabs your attention. And this attention grabbing is also really helped by Kimberly and the boys who exhibit some nice vocal harmonization, whilst Kimberly once again gives a powerful vocal, with the final chorus really showing that she is perhaps one of country music’s newest divas as she ad libs to perfection to give the track pizazz and sass. It’s a great song in terms of the potential to show how they are a potential great country/pop crossover act.

3.5/5

Track 11- Back to Me Without You

Things become a lot more subdued and mid tempo with this song in which the band show a sense of fragility. The track finds Kimberly focusing on this guy who has been like another limb in her life for so long, but now things have ended so she has to get back to a state where she can function without this song. The track has a dark undertone and is lyrically strong in terms of the passion of the chorus and the simple statement of “back to me without you”. Vocally Kimberly is once again very strong, but the boys of the band also come out a bit more within this song and nicely emphasise how this is a group, whilst also perhaps offering a small two fold perspective to the track. The potentially dark quality of the track comes out prominently in the catchy production, which begins with a fragile and simple piano melody before the haunting organ kicks in and then the guitar instrumentation and forceful drum beats come into the fray. The bridge is also once again another epic moment which gives a cool slice of almost Italian flavouring to the track and a fast paced urgency to the final chorus that is such a strong finish.

3.5/5

Track 12- End of Time

The album ends on a typical fragile and down tempo country number that is quite beautiful in it’s simple country tone. The track also offers both a closure in terms of the album but also in terms of the idea of love, as Kimberly sings of how things have just changed and it is the end of time of this relationship, which is sad. It is another powerful number where vocally Kimberly is extremely strong and production feels very polished and nice in terms of the way that it builds to always capture us by the end. It’s another solid number that is a nice album closer and which shows that this is a group that can do very little wrong.

3.5/5

Final Review

The Band Perry is just a great country group in the way that they created a sound that has a true wide spread appeal, with tight lyrical concepts and executions that will appeal to many, vocals that always have a flawless quality and bring a sense of power and personality to nearly every track, and production that is really polished and tuned into what works with the songs message and what will sound great for the listener. They also create a sound that is very much rooted in country in tone, but which could very easily slip into mainstream pop, and so this is a very exciting group that will definitely remain in the music scene for a while if they keep producing albums like this.

9/10

Best Track- DONE.

Worst Track- Chainsaw