Toni Braxton - Pulse (2010)

Yesterday
A lone piano starts off 'Yesterday' before Toni starts singing and a strong drum beat sets the mid pace for the track. This additional force helps to convey the lyric that is about Toni being over her ex-partner, who is now Yesterday. This sounds like something that could easily feature on a Leona Lewis album and the choruses make this one of the best tracks on the album and a worthy single release.

Make My Heart
You may be forgiven for thinking that Braxton plans on easing us into the new album but she cranks it right up with 'Make My Heart': Made for the dancefloor. The video for this is on Toni's website. The song makes use of the same sample used by Mis-Teeq for 'Can't Get It Back' and the lyric is to the lover who Makes Toni's Heart 'get pumping'. After a clumsy first listen, the song rapidly grows on you.

Hands Tied
'Yesterday''s reign as top track is short-lived as track three is former Tune of the Day, 'Hands Tied'. If you have not headed over to www.tonibraxton.com to check out the seriously sexy video for this, shame on you. The title is brilliant and adds a strictly grown up twist to the playground boasts of being capable of doing something with your hands tied behind your back. This beggars the question as to what Toni Braxton is capable of doing with her Hands Tied. Answer: Loving you. The staple piano features, though there are layers to 'Hands Tied'. There's a beat and electric guitar that make this as hot a song as it is video. We see Toni up on stage with a room full of men eating out of the palm of her hand, which are tied in red silk scarves when she is not pole dancing. Thoroughly recommended and perfect for... you know.

Woman
A Coldplay introduction to a Delta Goodrem cover earns a smothering of Toni's breathlessly low vocals and guitars, which build to the self-affirming chorus sang to a lover whose heart is no longer in the relationship. Strings sound great in the second verse and introduce a pitch change and vocal that gets stronger by the second for Chorus Two. Toni needs love and simply being someone's Woman is not enough for her. The bridge highlights Toni's position as 'more than just a friend' before an Idol/X Factor break where the song comes back as the kind of thing Leona will be releasing at Toni's age, with a textbook Lewis last note. For me the song ventures into cheesey territory in the last section, where I would normally expect to see hear Braxton too cool for school: See 'Hands Tied'.

If I Have To Wait
The piano is the protagonist on another slow jam, that sounds almost country with the guitar melody in support. The western falvour dominates what threatens to be a rock ballad chorus and distracts from another smooth vocal. Braxton says that she will make do waiting until the end of time for the person to whom she sings should she need to. I can't help but ask myself what happened to the feisty Braxton that we know and love in order for her to sing about being at somebody's beck and call?

Looking At Me
The introduction to this sounds like 'Put It In A Love Song' by Alicia Keys and Beyoncé and 'Single Ladies (Put A Ring On It)' by Ms. Knowles herself. Thankfully the album increases the tempo just as 'If I Have To Wait' was in danger of becoming one ballad too many. Toni has fire in her belly once more and she is calling the shots, just as we like it! She is looking good and looking at a man who is looking at her. She gets tired of waiting, gets the drinks in and asks if her eye candy would like to take things out of the club; ordering him to not let her get away and introduce himself. Quoting Richard Vission, 'I Like That'.

Wardrobe
The album could go either way, having followed the last dance track with slow jams. The piano and acoustic guitar give little away until the beat comes in and shows that not much in the way of pace is to be lost. Toni is cleaning out her closet and the pleasingly staccato chorus reveals what she plans on filling the space in her Wardrobe with: Sombody else. She is on the lookout for someone who 'wants to hold me tight and keep me warm at night'. This is a catchy little number and easy on the ear.

Hero
This time the pace does drop back for the introduction to Hero; which, as the song progresses, morphs into Justin Timberlake's 'My Love'. The song constantly threatens to kick right off but never quite manages it, even when we hit the chorus where Braxton acknowledges that her heart has never had a Hero. Nonetheless, this is a good track.

No Way
The acoustic guitar introduces this mellow, summery track. Toni asks for a certain someone to let down their walls so that she may come inside and get the loving started. She promises not to break her partner's heart should he let down his guard. No Way. The song is a little too fast for the subject matter and I feel that a reduction in speed could have made this a real baby-maker. That said, it's the perfect speed for a slow dance at the end of the night, which leads everything in the right direction. The question on everyone's lips is, Is Toni going to make it easy on a fella with the next track or pick up the pace and ruin the groundwork that this song does?!

Pulse
A slow piano melody and violins provide the introduction to the title track, which continues in the same vain as 'No Way'. Toni is finally calling the shots again (damn her) and letting us know that we are not yet done with the romance. The vocal is slow, in keeping with the music and Toni sings how others are predicting the end of her relationship but, although she recognises that they have had problems, it's not over yet. She can still feel a Pulse in the partnership, allbeit a weak one, and is convinced that she can bring it back to life. The song builds for the choruses and falls back for each verse and, although this ballad is likeable, it is not quite up there with Braxton classics such as 'Breathe Again' or 'Unbreak My Heart'.

Why Won't You Love Me
Two songs for slow dancing appear to be enough in Braxton's book and finally we get a suitable soundtrack. She ensures a good performance by asking 'Why Won't You Love Me the way I need to be loved' but the stripped sound oozes an abundance of intimacy so as not to put anybody off their stride. The lyric is almost begging for reassurance (uncharacteristcally Toni Braxton) but, taking a step back, the minx is only manipulating us to raise our game, go that extra mile and fully deliver the goods. Hats off to the lady!! Outside of the bedroom, the song is beautiful but does get you to thinking about getting there sharpish.

Yesterday (Remix) feat. Taio Cruz
Pretty much the same version of Track Three; though this features Taio Cruz. The song does work well as a duet though, and Cruz sounds good, with the two sounding remarkably similar, sometimes making it difficult to work out who is actually singing. An improvement on the original version.

The above songs complete the tracklisting of 'Pulse', which contains songs recorded to replace the songs below that were originally picked for the project but scrapped after leaking over the internet:

Stay
Stay has an acapella start and a faster beat that 'Pulse'. The piano melody plays second fiddle to the restrained drum beat but the highlight of the track is the harmonising of the main and backing vocals during the choruses. The song never faulters, is consistent throughout and this is the key to its success. It never lacks anything, though never becomes overbearing. This helps to convey the lyric of how Toni is asking her man to Stay, realising that she can sometimes make the wrong move and push him away. The music adds a composure to the request and conveys Braxton's self-assurance in the relationship and, despite her mistakes, the fact that the man is not going to be going anywhere.

Clockwork
Heavy on the percussion, softened by the piano, this has a sexiness to it that rivals 'Hands Tied': The perfect support for the explicit lyrics. Never one to shy away from a risqué lyric (You're Making Me High for example), Toni manages to be overtly sexual whilst remaining classy; making this song another hit in the bedroom. 'Clockwork' refers to Toni's body, wanting her partner 'on the regular'. A good track.

I Hate Love
The acoustic guitar strikes up a fresh sound for another mid-paced track. Despite the title, the sound is upbeat as Toni sings how she hates being in love as it hurts when she has to say goodbye to her partner and hates wishing he were with her all of the time. She is so much in love, which feels so good when they are together, that she cannot bear to be apart and jests that she hates love. Where the lyric is misleading, the music is true to the song and stops you from wandering down the wrong path. I love this about this song.

It's You
Piano and strings are back from the word go on 'It's You'. The drum beat has you nodding your head, clicking your fingers and the tone of the pre-chorus is just great. Toni sings that everything that she never wanted to want, It's You. She never meant to feel like this and wishes that her head could rule her heart as far as her latest fancy is concerned. Christmas bells at the very end of the track are a strange choice but make the song no less-likeable.

Don't Call, Just Text
Finger snaps, the piano, car tyres screeching, a dirty laugh and the snare drum begin a soft, street track that I for one really like. An almost whispered vocal takes us through the punctuated verse and into a slurred chorus. Despite the laid-back, lazy nature of the track, Toni is living it up in the VIP of a club and telling her lover Don't Call, Just Text as she won't hear him speaking with the music of the club. What she wants is a text detailing what is so important to interrupt a night out that she has spent a week planning. Note to self, although a picture paints a thousand words, with Phone Text, less is more!

The Wave
This song is all snare and percussion. Verse One is practically acapella but come the bridge, we have more in the way of accompaniment before the chorus announces to everyone eyeing her up that she is taken, that the ring she wears is forever and that the man that gave it to her doesn't like to share. We go back to square one for Verse Two before Toni gives The Wave (of her ring) again in the banging chorus, which then too gets the acapella treatment. This song gets in your head.

Melt
Whilst the pace drops for 'Melt', the bass goes nowhere and combines perfectly with the softness in the vocal and minimal accompaniment for this track that explains how Toni's partner makes her Melt, 'like an iceberg in the sea': A fresh metaphor if ever there was one. The beat sees this song sit on the fence between baby-maker and dancefloor shaker; demanding that you listen to it. I like this one a lot.

Toni Braxton makes sexy albums and her sixth studio album, 'Pulse' is no exception. 'Hands Tied' is one of the best songs I have heard for a while and the video, as I have mentioned, is great. Although highlights of the album are real stand-out tracks, some of the songs can be easily missed and, as a whole, 'Pulse' fails to live up to the outstanding 'More Than A Woman'. There is a song for every occasion on the release however and I do like the flow of the songs and what I perceive to be Toni's true intention of the project. It is therefore not necessarily a bad thing that some of the original tracks were excluded, which may have compromised this effect. Braxton did work with some musical heavyweights during the two year period over which the album was recorded, Robin Thicke and Usher to name but two, so the album could easily have packed more of a punch had these collaborations made the final cut. The subtlety of the end package turns out to be its charm and it does catch you unaware, takes you by surprise and makes me smile. Toni always sounds great, this album is quite rightly all about the voice and gets my recommendation.

Toni Braxton's Official Website: www.tonibraxton.com

LeToya - Lady Love (2009)

Lady Love
This is the best introductory track that I have heard since 'FutureSex/LoveSounds' by Justin Timberlake. A music box melody introduces the song, with some heavy, dark strings and three harmonised vocals from LeToya that all lead to the point where the beat drops, the voices unify and the ride begins. We know we want a girl like LeToya, she sings: The 'Change your world type of girl'. The song is all about the singer; who is a lady that can cook, clean, put it down in the bedroom and make enough money to be able to invite you into her Mercedes Benz. She hits the nail on the head when she says that we can't resist this as it is very true. This is a fantastic stand alone track that is the perfect opener to Luckett's sophomore effort.

She Ain't Got...
Single Two and Track Two of the project, this is a hard track, that is just as likely to blow your speakers as to serve as warning as to what is going to happen if you are caught cheating. LeToya has been forced to wear the trousers in her relationship since her man has been up to no good and it is up to her to sort this out and 'Take out the trash, as soon as I find out who she is'. LeToya is singing about the other woman and what She Ain't Got is sh*t on LeToya. Once caught, LeToya likens her man to a 'Puppy on a leash' that she lets out to play but he 'ain't playing fair', meeting strays and bringing home fleas. Not only is LeToya going to keep her man in check, she is going to put her rival in her place and, to quote the lyric, put her 'foot down on home girl's neck'. The feistiness of the track is reflected in beats as well as the fantastic video for the song, part set in the club. The lady capable of doing everything that she said in 'Lady Love' is capable of a lot more and, oddly, given that she is about to kick some ass, you sympathise with the artist, who is still able to sound sweet, despite the threats that she is making. The song literally breaks down for the bridge in contrast to LeToya's tough exterior, when it poses the questions, 'Does she kiss like me?, Care for your kids like me? Keep a secret like me? Does she cook, clean do all the things? amongst a multitude of other rhetorical questions, the answer to all being 'No'. The song breaks down one more time before the whole thing is wrapped up and you need a sit down to get over what you have just heard.

Not Anymore
The lead single from the album has a more relaxed pace to it, all though the bass is still heavy and the message is similar to that of 'She Ain't Got...', if a little more restrained. The video (short movie would be a better description) that accompanies the track documents the cheating nature of the partner that LeToya doesn't want Not Anymore. Set in the Sixties, the video sees LeToya's rise to fame and her becoming a Number One artist and, with songs like this, art is surely going to reflect real life. Another brilliant song.

Lazy
Strings and the piano start of this song that has a spoken introduction from LeToya telling the man trying to get with her that it is not him, it is everyone that has hurt her in the past that means that she doesn't want to start anything new. Her heart is tired of opening up and tired of being hurt; the result being her heart is lazy, knowing that the only thing that it is missing by not taking part in the game of love is pain and heartache. The song is anything but Lazy, however, with a fast beat and layers of instrumentation that would have you believe attack is the best form of defence. She is making no bones about pushing this would be suitor away and making it clear that she has no intention of changing her mind.

Good To Me
This is the latest single to be chosen from 'Lady Love' and the video for this premiered last week. The song is dedicated to all of the good men and is a slow jam that lists LeToya's demands in a man: He's got to be able to cook, look good, be good in bed, go to church with his momma, not be about drama and be the kind of man that LeToya can take home to her dad. LeToya doesn't think that this is too much to ask for and, when she finds him, she is ready to give him all of her good love and blow his mind until he can't get enough. The bridge is sung directly to the 'ladies in the house tonight' who are encouraged to throw their hands in the air if they have a good man in their life or see a potential one for LeToya. The piano accents the heavy bass that means that the song does not venture into ballad territory. In interview, LeToya has said that this is her favourite song on the album and, the more I listen to it, the more this is coming true for me too. A wise choice for a later single release than the three previous cuts as this song is more of a grower but I predict big things for this track.

Over
The piano and a muted vocal from LeToya singing 'Over' begin the song about what would happen if LeToya found out that her man were cheating. Ever the straight-talker, she tells him categorically that it would be Over, with no chance for reconcilliation. The song is a slow song for nodding your head to rather than for dancing. It actually demands that you actively listen to it and appreciate the message that LeToya is sending out; something worth sitting up and listening to should you be in a relationship.

Regret feat. Ludacris
The piano and finger snaps start the third single release from the album, over which Ludacris states 'He don't deserve you, he gonna Regret that he hurt you'. The snare drum beats over the handover from Ludacris to LeToya who is singing to the partner that she had before Ludacris, who left her. The Regret that inspires the title is what this ex must be feeling since it was LeToya that made this man who he was on the scene with all of the things that she bought him. Now that they are over, his pimping isn't what it used to be and LeToya feels sorry for him. It appears that LeToya is correct when she says that her ex 'Must regret the day that you left me' as he is now 'Still trying to get back with me'. When he does, the snare drum comes in once more, which is the only instrument to feature other than the piano, tambourine, percussion and the finger snaps. The simplicity of the music is reflected in the stunning video, which has Letoya and Ludacris in front of a black screen for the most part. There is a confrontation in the club that shows when Ludacris raps how he is the new man in her life and how he treats her the way that the ex should have. After a few listens and, especially viewing the video, you cannot help but love this song, which I currently have on repeat all of the time.

I Need A U
A slower, softer sound and vocal feature on this track with brushed percussion and strings on musical duty. The chorus is sung a little stronger, where LeToya acknowledges that she Needs A U. The music and lyric are both sexy and this track can be used in the bedroom. The whole thing strips back for a spoken vocal where LeToya reveals that she doesn't like to be alone and makes it known that she has one or two tricks up her sleeve. As she does, a dirty electric guitar solo ensues that shows she means business. Another song that I like. A lot.

Take Away Love feat. Estelle
A conversation between LeToya and Estelle is used as the introduction to this track. LeToya is sick of explaining herself to somebody how she doesn't want a relationship, she is still trying to get over her ex. Estelle comes up with the solution, Take Away Love. LeToya takes this on board and then sings to the latest man how, although he says that he loves her, she can't imagine him being part of her life. It sounds as though she is using the man to get over her ex but, in the second verse, she makes it clear that the sex they were having is over for Estelle to come in with a rap to sledghammer the point home. This is a mid-paced song, with electric guitars, percussion, hand claps and a feisty Estelle who puts in a good rap and ad libs through to the end.

After Party
The beat bounces along to this, making your head do the same. The vocal is quite fast and upbeat, which would seemingly be in contrast to the lyric about the end of a relationship. Rather than focusing on the end of the partnership, LeToya looks forward to the After Party, when she is free and single. This song is a fine way to start that party.

Drained
Finger snaps and electronic beeps start this song, which build when the chorus drops and LeToya sings about Draining her ex partner's love. She recognises that she was the one that caused the breakdown of their relationship, blaming her past relationships for the pain that she caused her ex from the day that they met. The catchy song ends with her asking for forgiveness and another chance to pick up the pieces of the heart that she knows she has shattered.

Tears
Stuttered sounds begin the track, with a low, almost monotone vocal, that begins to rise, peaking in the chorus where LeToya lets the man in her life know that he has got her in Tears. In Verse Two, there is more variation in pitch, where LeToya tells how this man touches her soul and makes her lose her senses. She doesn't know what this man has that makes her so emotional, feel so warm and bring her to tears. Thankfully the tears that she cries are tears of joy rather than sorrow, which allow the listener to relax a little bit and let the song flow over them. A few listens make this a great track that could well be described as a baby maker.

Matter
LeToya is in love with a man who already has a girlfriend, who LeToya is convinced is not up to the job. The song is about LeToya convincing the man that the other woman doesn't Matter and that he should choose her. It's a mid-paced song, with some old school elements to it, which appeal to me. The frustrated beats convey how LeToya is feeling, as well as letting it be know that she means business.

Love Rollercoaster feat Mims.
Mim's rap begins the track by saying that his life is like a Rollercoaster ride. Things are moving so fast with his music, that he is able to treat Letoya to the good things in life and take her around the world, she just needs to keep her hands in the ride and go along with it. The chorus, sung by LeToya shows that she is not too happy to do this. Throughout the album, LeToya has said that she doesn't want any drama and doesn't want to go round and round, up and down in her relationships. Mims doesn't let it go and raps a second verse to say that he doesn't want this to end but the chorus comes back at him, followed by LeToya's verse confirming that, although she thought they were truly in love, she's lately seen another side to him, which brings unwanted problems and she wants to get off the Rollercoaster that has become her love life. The bass guitar and keyboards feature heavily on this track, which grows on you.

Don't Need You
Beatbox is the introduction and main accompaniment for this track, over which piano chords and a simple mid tempo drum beat support LeToya's beautiful vocal. The chorus sees hand claps and keyboards help convey the fact that LeToya Don't Need You. You being the ex that changed her from an independent woman to somebody submissive. Despite this, LeToya is going to keep smiling, keep it moving and not give up on love, making the song something positive with the focus being on the future rather than the past, which has put LeToya in the position in which we find her: Alone and lonely weighing up her options. Thankfully, she realises that she can do so much better and get through this and the song ends with laughter. I like this a lot.

Swagger feat. Bun B, Killa Kyleon and Slim Thug
The last song on the album is hard. Aggresive strings and a rap from the guests start things off and the whole thing sounds a little like Kelis' 'Bossy'. If anything, LeToya is a little overshadowed on this song, as though she is providing backing vocals for the three rappers, who take care of the verses. The jury is still out on this song for me but I have a sneaking suspicion that, with time, I will start to like this.

In a recent interview, LeToya has said that she was tricked into becoming a solo artist after leaving Destiny's Child and not quite getting Anjel off the ground. We really need to thank the tricksters as 'Lady Love' is rapidly becoming a favourite album and sales figures in the US would show that I am not the only one feeling this. Whilst appreciative of her success in her home country, LeToya has said that she would like the whole world to pick up on her music and my belief is that this is just a matter of time. 'Lady Love' is a fantastic album.

Monica - Still Standing (2010)

Still Standing feat. Ludacris
Before 'Still Standing' actually starts we get a spoken introduction to the album with some piano accompaniment. Monica says, 'Momma always told me, you gotta walk by faith and not by sight. Real talk. You Gotta Listen'. Smart words. You don't get much chance to mull these over before the drums kick in with dirty electric guitar rifts. Monica commands that she be listened to since she is still 'Champion of the Game', despite being 'Up against the ropes'. She sings how she is Still Standing, both in her professional and personal lives, despite everything that has happened to her and what has been said about her. She will never give in and show the white flag. Ludacris' angry rap affirms the fact that he too is Still Standing and that his name is going down in the history books. Monica is at a point where she knows who she is and that she can overcome anything that life throws at her. This is a great start to what promises to be a great album. Thing is, you start off strong, you've got to get stronger...

One In A Lifetime
Track Two has a softer sound, with a piano, strings and percussion holding the reins. What the song lacks in beats, it more than makes up for in lyric. The song is about only getting One love In A Lifetime and Monica has just split up from hers. She sings how she needs her man back in her life, how she is so used to being whole that it is hard being half again and that her tears have been steady falling like the pouring rain. She asks whether the forecast will change and, when she does so, we hear the desperation in her voice. The pre-chorus and chorus make the song and, if I had to find something to criticise about the song, it would be the laziness of the metaphors used in the bridge: We've heard all about walking across the desert and climbing mountains a hundred times before but the rest of the song is box fresh and more than compensates for this. This has already been Tune of the Day and is rumoured to be in the running for a single release. I am more than convinced that this is up to the job and recommend that you give this a listen.

Stay Or Go
The piano provides the only back up to Monica as she sings about how annoying her current situation is and that she would tell her partner to grow up if she thought that it would make any difference. To quote Katy Perry, her man is 'Hot N' Cold' and Monica is asking whether he plans on Staying Or Going. The beat drops and speeds up and up and up some more as she sings that she is just about getting fed up of waiting around and is about to make the decision herself. Some seriously sassy backing vocals sound great and give rise to a 33rpm harpsichord track being played at 45. The vocal remains cool and collected over the erractic, frustrated beat and the two styles marry perfectly before the whole thing winds back down to the lone piano, with us left hanging as to what decision has been taken. I like it.

Everything To Me
Fans spoke, Monica listened and has gone with 'Everything To Me' as the lead single to the album. Many have welcomed the return to Monica's former glory: Rn'B Soul, pure and simple. This is a slower song, with a fantastic vocal over a full-on orchestra. We have percussion, strings, wind and brass all on duty; demonstrating whole-heartedly that the lover to whom the song is dedicated is her Everything. She wraps things up simply by saying, 'I Need You' and it is easy to see why so many people have been taken by this song. Check out the video on Monica's Official Website and you will see that she is looking as good as she sounds.

If You Were My Man
Missy Elliot features on this and states that this is 'Hot Sh*t' and 'Eighties'. She is not off the mark. The music is heavy for the verses: synthesizers and bass and the choruses are light by comparison. The music may be a throwback but the lyrics are bang up to date, with a rap from Monica telling a man that, in no uncertain terms, she can love him better than the girl who is going to break his heart can. This does take a few more listens than the previous tracks to get into but, especially if you are from that era, you will grow to love this too.

Mirror
From the eighties urban sound of 'If You Were My Man' we move to the slowed down nineties dance sound of 'Mirror'. Out of the two, this one just about takes the edge. The start of the song is a little bit like 'Thriller' before the nineties euro dance sounds join the handclap percussion and slower vocal. Monica is singing about what means the most to her and it is not the fame, the clothes, the money or the sold out shows; it's the way that her man looks straight through her, leaving her exposed. Picking up where 'Still Standing' left off, she sings that she is comfortable with what she sees, she doesn't have to be ashamed. She sees her man with her and she is solid. So is this track.

Here I Am
A chorus of 'Yeah, yeah, yeah's' start of the song with stuttered bass and minimal musical accompaniment. Monica sings about hitting up another man whilst her own is out playing the field. Whilst he is out with another chick, Monica is packing up her shi*t and about to leave him for the man she is saying 'Here I Am' to. If 'Stay Or Go' sounds like a vinyl album being played at the speed of a single, the opposite could be said for 'Here I Am'. The sound is slow but punctuated with bass and the repeated 'Yeah, yeah, yeah's'. She leaves no doubt in neither her potential new lover's nor the listeners' minds that she means what she says and is ready to move on.

Superman
This song has a more organic sound than the rest of the album; with more live, acoustic instrumentation. Monica sings that there is no other place that she would rather be and no other face that she would rather see than that of the Superman she wakes up with each morning. This is a love song with some nice touches, such as the emphasis on the bass of the second verse; hammering home the fact that she loves this man like no other. He's her hero. Her Superman. This is a nice song.

Love All Over Me
You are smacked over the head by the agressive introduction of this song that paves the way for the opening lyric of, 'Must not have been paying attention'. The introduction serves as a wake up call and, now Monica is paying heed to what is going on around her, she has gone from the bottom straight to the top in the arms of a new man. She is surrounded by love; has it All Over her and sings that she is not about to give up on it. After the initial shock of the introduction, the sound smooths itself out into something a little more in keeping with a love song, which gives Monica the opportunity to steal the show with her voice.

Believing In Me
A slow drum beat and the acoustic guitar start of the final track of the album, which is a show stopper. Monica sings about moving on from somebody that wasn't right for her, someone who was completely wrong for her and who kept her from believing in herself. Now that she is free, she is going back to a place where she belongs and this is a fitting song with which to conclude the album. The very end of the track reminds me of Beyoncé's 'Dangerously In Love', which is perhaps the perfect description of how Monica was feeling in the relationship that has just ended. Dangerously in love, since she was at risk of forgetting herself and being trapped in a dead end relationship. I like this one a lot.

Blackberry (Bonus Track)
Missy Elliot features once again on this listed bonus track about being the kind of girl that checks her boyfriend's phone when he goes to sleep to see just what he has been up to. As you may have expected, Monica's man is up to no good and this song serves as a warning to the women that are trying to encroach on her territory. Despite the agression in the lyrics, the style is laid back, conveying the confidence that she has in her relationship and that she is the woman who is going to come out on top. This doesn't stop her giving her man a talking to in the second verse, however. Missy hits the nail on the head once again when she describes 'Blackberry' also as being 'Hot Sh*t' before Monica starts divulging that, in addition to seeing who is texting her man, she also looks through the photographs as well as listening to his voicemail. As the song progresses, she becomes more and more angry and eventually leaves her boyfriend to his playing ways. A brilliant bonus track.

'Still Standing' has debuted at Number One on Billboard's Rn'B/Hip Hop Album chart and Number Two on Billboard's Top 200 and Digital Album Chart. Such success is indicative of a good album. USA Today describes the album as a deliberate and effective revisit to the past in a 'Gimmick-free set of cool R&B tracks'. Concrete Loop describes the project as 'Real R&B' and if that is your bag, you are going to love this. To a certain degree, my initial fears of the rest of the album not living up to the explosive start are realised; though the album has no fillers and 'Still Standing' winds it back up to finish as strong as it started. Future releases have to include the title track and 'One In A Lifetime'. This is easily the best thing that Monica has recorded both pre and post 'After The Storm' and, she is far from finding herself against the ropes turning in a project of this calibre.

Monica's Official Website: www.monica.com

John Legend - Evolver (2008)

Good Morning (Intro)
The birds sing, Legend yawns and the piano and soft brass start a new day. John turns over to whisper 'Good Morning' into the ear of his lover and how he has been waiting all night long, just to do this.

Green Light feat. Andre 3000
Given the acapella start and Legend's form, you could be forgiven for thinking that this is going to be a ballad. The guest artist and breathing noises that he makes over this hint that this will not be the case, which it most certainly is not. Pure Andre 3000, the beat is quick, although the vocal remains slow. John is asking a lady to give him the Green Light so that they can get together. He sings that she would be his only partner and that he is 'Ready To Go Right Now'. Andre 3000 raps over the chorus, confirming that all signs seem to be pointing in the right direction and that if he were her, he would go home with himself. This is like nothing John Legend has done before and he shows that he can turn out a dance track as well as soulful classics and love songs.

It's Over feat. Kayne West
The title gives away the subject for this collaboration with Kayne West. John asks why he keeps calling the girl with whom it is over and answers that he guesses that he is just used to getting his own way, he's spoiled. This refreshing lyric makes this song, which is upbeat, despite being about saying goodbye to all of the things that he enjoyed about the relationship. Kayne's rap is distorted with auto tune, stuttered and overshadowed by John Legend himself; who sounds as good as ever. This will get you moving.

Everybody Knows
The acoustic guitar and drums set a mid tempo over which Legend sings a low vocal, rising to falsetto in places. The lyric is that Everybody Knows that nobody really knows how to make love work. The song bouces along nicely.

Quickly feat. Brandy
Percussion and keyboards set a sombre mood for this mid-paced song. The lyric talks about dying slowly and having to love quickly as a result. They have to love eachother like the world is about to end since the sky is falling, the globe's warming, their country's warring, their leaders are lying, time is running, things are lower than low, with nowhere to go. This makes for an interesting take on the current state of affairs and by turning this political song into a song about love, it has much more impact. Brandy sounds fantastic and there is such emotion in their performance that the song resonates deep and hits the message home. One of the best tracks on the album.

Cross The Line
The song begins with a harder beat and snare dreams; all of which drop back when Legend starts singing his slow vocal. It's a mid paced track and the song is to a female friend, who John wants to become lovers with: Cross The Line. The song is good.

No Other Love feat. Estelle
Estelle is fast becoming a regular guest artist, having made appearances on tracks by people such as Robin Thicke, LeToya and David Guetta to name but a few. If the truth be told, she is yet to make a bad choice in song partner and 'No Other Love' is no exception. Guitars provides the vast majority of the backing, which is reggae in style. The beat is infectious and has you rising out of your seat. Brass adds weight to a catchy chorus and Estelle is on fire for the bridge that she sings. The song is about two lovers singing that the other is the only one for them and the harmonies between her and Legend show that they fit together perfectly. This is up there with the best tracks on 'Evolver'.

This Time
John's instrument of choice, the piano, introduces us to a slower track more reminiscent of his earlier material. This Time Legend wants it all, is laying his cards on the table and is giving all of his heart to his lady. Electric guitars threaten to turn the whole affair into a rock anthem, though give way to sweeping strings, more in keeping with the style of the song so far. As John sings more powerfully and with more conviction, the instrumentation increases and backing vocals make an appearance, all fading away briefly when John sings about being alone in his room, missing the love of his life. It's a great ballad.

Satisfaction
This is a good song! Electronic instrumentation repeats the melody of the track for the introduction, though the bass drops in time for Legend's vocal. He sings that his partner doesn't love him the way she says she does and he asks for some Satisfaction from her. He asks for her to put the magic back in their relationship as he think that things may be over since, in autumn, she is giving him the cold shoulder. This is a bit of a slow jam but manages to be catchy at the same time and will be doing the rounds in the head for a while after you've listened to it.

Take Me Away
This a slow song, with a fast Samba beat. Take Me Away is what the female subject of the song says to John so they can end up somewhere where love is like breathing. A good track.

Good Morning
This song starts just as the album did, John is singing Good Morning (his favourite love song) to his partner. He asks that she stay in bed with him; the perfect start to his day. The song is slow and a bit repetative for me at times but it is romantic. One for the ladies methinks.

I Love, You Love
Another slow jam. The electric guitar starts off things and both that and the drums stutter, never really playing continuously. As the song progresses, organs provide support to a brilliant vocal. The song is simple and this is its charm. There is less going on than 'Good Morning' but this has more success. I like this a lot.

If You're Out There
John is calling every woman, every man. We're the generation that can't afford to wait. The future has already started and its up to us to change the direction in which humanity is heading. African beats accompany the second verse that starts after a powerful chorus that inspires the listener to make changes for the better, to destroy hunger and end war. The song has a similar message to 'Quickly', though this time there is no hidden message or metaphor. Politics has never sounded so good.

Can't Be My Lover (Bonus Track)
The first bonus track is great! Reggae in style with a guest rap and brilliant backing vocals that are straight off of 'Get Lifted'. Legend is singing to a femme fatale that is trying to lure him away from his current partner and fails. The volume demands to be turned up for this and, like 'No Other Love' this song is for dancing to.

It's Over (Teddy Riley Remix) (Bonus Track)
The second bonus track is a remix of the Kayne West collaboration that is Track Three of the album. The sound is organic dance and is an improvement on the original.

Legend caught me by surprise with 'Evolver'. He has experimented with different styles and shown a versatility to his undeniably smooth voice. Each collaboration works brilliantly and there is not one bad song. Legend can sing as well fast as he can slow, he can tear it up as much as he can tug at your heart strings. 'Evolver' has to be in your collection.

John Legend's Official Website: www.johnlegend.com

Mary J. Blige - Stronger With Each Tear (2009)

Tonight
A muted hip hop beat starts off proceedings, which will have you smacking your speakers to make sure that they are working properly before Mary starts Oh-ing over the introduction. Mary is in New York City and singing about what is going to happen Tonight. Her man and her find themselves in the same city for once and they are going to catch up. Mary can hardly wait, fighting with herself to be able to wait the few hours until he gets there, not to call him to see where he is. This is a great song with which to kick off thew album, it will have you nodding your head and looking forward to what comes next.

The One feat. Drake
A darker, Darkchild-produced, sound drops for Track Two. Hand claps, electronic beats and disjointed backing vocals feature over the verse to be sped up and joined by the snare drum for the chorus. Mary's voice is auto-tuned a little, as it was in 'Tonight', though Drake's rap receives this treatment in spades. Mary is singing that she is The One, how the other girls that the man she sings to has been with have nothing on her and how lucky this man is to be with her, since all other men want to be with her. She is telling the man she is with that he can stop looking now that they are together as; to quote Jay-Z, 'What's higher than Number One?' The track gets stronger the closer it gets to the end, where the autotune comes back in over a faster vocal which Mary speaks over to tell us that we're not ready for this. She acknowledges that finally she is standing up for herself and saying that she is The One. Another solid track.

Said And Done
This song has a hip hop vibe to it and the harpsichord accompanies the heavy beats of the introduction before everything strips back for the first verse. The backing vocals that join in just before the chorus soften the whole affair before Mary realises that when everything is Said And Done, she will still be loving her man and will do anything to see him smile. The song takes a darker turn when she asks her man to look back over everything that they have been through together, adding an extra strength to the track, exposing the strong foundation that they are built on. More of a grower rather than an immediate hit, this is still a good song.

Good Love feat. T.I.
A trumpet blast introduces us to 'Good Love', which is an upbeat party track. The brass features from start to finish, along with hand claps, drum beats and electronic melodies. The hand claps work to give this a gospel vibe that makes the song a celebration: A celebration of the Good Love that Mary is coming to get whether T.I. is ready or not. She asks whether she is coming on too strong but the question is rhetoric since she is going to get hers. T.I. encourages this behaviour with his rap; telling woman to be more aggressive in the game and how they need to stay away from little boys and go for real men like him, with enough Good Love for each and every woman out there... The track will have you smiling and get you up on out of your seat.

I Feel Good
The introduction to this song leads us down a Dance path, that switches to a more refined, soulful vibe when the piano leads into Mary's vocal about being the centre of attention, walking around as though she is someone important, getting jealous glances from haters but looks of approval from those who know her. Mary feels good and is unapologetic about this. She asks for others not to try to bring her down, less for fear of their success, more for them not to waste their efforts. The tone has a calm serenity, giving the lyric more credibility than if the song were a reproduction of 'Just Fine' from 'Growing Pains'.

I Am
The most beautiful strings drop back to minimal percussion and piano accompaniment to Mary's vocal about nobody being able to come close to satisfying her man the way that she does. The chorus and second verse have more in the way of musical support, not that Mary needs this as she is more than convincing on her own and sounds incredible. This is fast becoming a favourite from 'Stronger With Each Tear'.

Each Tear
'I Am' leads straight into 'Each Tear', which has been recorded with a veriety of guest artists for various releases all over the world. The Italian version with Tizianno Ferro acheived great success in Italy and I love the version with Jay Sean recorded for the upcoming UK release of this project. Mary sings how, with Each Tear, there is a lesson to be learned that will bring you closer to your dreams and make you stronger than before. There is no amount of crying, pain or heartbreak that can take you away from what you are meant to be and if you remember this, it will make each tear easier to shed. The song ends with the statement, 'We can't be held down', providing words of encouragement for anybody enduring when they should chance upon the song. Musically, there is a regimented beat to the song, bird-song strings and a sweet piano melody that all add to lift the mood of the song. Fantastic.

I Love You
There is electonic accompaniment, tribal beats and an auto-tuned, stuttered vocal from Mary that says how she feels that her man is holding back on her, whilst she is loving him one hundred per cent. She sings that this is not fair and that, whilst she does not want to live a lie, she needs this man in her life. Mary is sure of her emotions but doesn't know how her man feels and the fast pace and music convey this confusion perfectly.

Hood Love feat. Trey Songz
Strings give rise to a Spanish guitar that starts the track with a slow melody which is echoed by the percussion accompaniment. Mary is singing to her man and explaining that their love is so good that it is going to go down in the history books as one of the greatest love stories of all time. 'Hood Love' is what they have, which is a relationship with plenty of ups and downs. At times, Mary will be cussing and screaming as though the relationship is over and the next minute she will be craving her partner. Hood Love is Real Love, which is not always plain sailing. The music drops back when Trey Songs begins his section, which gives the listener the feeling that Mary is the more Hood out of the two and the one possibly wearing the trousers in the relationship. This one is a grower.

Kitchen
A heavy beat and low strings start off this song, which the piano makes a lighter affair with the bouncy notes that it brings to the party. This is a mid paced song about Mary calling a potential love rival before they have a problem with her trying to make a move on her man. Mary's confidence is there, acknowledging that she could get somebody else but she says that she considers what she has done for her man an investment, likens taking her man to taking her money and that just ain't happening. Mary is not professing to be worldy-wise, though she offers ladies the advice not to allow other women to cook in your kitchen. They'll first be in your fridge, next thing you know they'll be in your stove with their eyes on your man and their hands on your pot. The song ends, leaving you to mull over the pearl of wisdom you have been offered, for Mary to come back and hit the point home one last time before fading out again.

In The Morning
The piano and strings feature once more on the introduction, though this time the brass provides the accompaniment, adding weight to the track. This is a slow jam about a shadow of darkness hanging over a relationship. Mary knows that she loves her partner and, although he says that he loves her too, she does not quite believe him. The darkness is the arguments that they are having and Mary asks that once that have worked through these and the light dawns, will her man love her In The Morning? The pre-chorus, speeds the song to a climax just before the respite of the actual chorus, where the morning comes and there is calm after the storm. As the song progresses, the question becomes more of a request, with Mary explicitly asking her partner to stay with her and not give up. The emotion that Mary brings makes the song and you will be caught up in this, before the finger snaps start and the high strings bring a whisper of optimism to the situation. The song leads straight into:

I Can See In Color
Taken from the soundtrack to the movie 'Precious', this is another ballad about reaching a point in your life where you can finally See In Colour. The organs provide minimal support to the lyric that shows how for the very first time, life is full of promise for Mary. She likens this point in her life to the spring time, the beginning of her life and she realises that she is on the cusp of great things. Despite the positivity of the lyric, the tone is somewhat sombre, in direct contrast to what is being said. The consequence of this is that, although you want to believe the emotional Mary, you can't help but think that she could be mistaking Spring for Autumn and find herself back in the darkness of winter all too soon. The simplicity of the track is its charm and, with Mary telling things as they are in her life in her music, it has been a good three albums since we have heard such a raw Mary J. Blige now that things are going swimmingly for her. Take the time to get to know this track and you are going to love it.

Stronger (Bonus Track)
The acoustic guitar introduces us to the listed bonus track 'Stronger' that recognises the close calls that Mary has had with her partner. After weathering the storm that they have done so together, Mary knows that she will survive anything with her man by her side and there is no doubt in her mind that she is Stonger than before. High strings accompany the chorus along with a male backing vocal and what sounds like electronic woodwind. A good song with which to end the album.

Whole Lotta Love (Additional Bonus Track)
This Led Zeppelin cover is so good that I couldn't wait another twenty-four hours to make it the Tune of the Day and it bumped LeToya's new joint, 'Good To Me' straight outta there. As soon as the famous electric guitar rift comes in, the song just does not stop. Mary belts this one out and the additional beats and revs that she has added force you up out of your seat. This is an absolute powerhouse of a track and, although Mary adds more Hip Hop beats to it, she keeps it true to the song's rock roots with a blinding guitar solo. When you think it's all over, Mary just strikes it back up again and goes another round. I love this track!

I Can't Wait feat. Will.i.am (Additional Bonus Track)
The introduction sounds exactly like Robyn S' 'Show Me Love' before Will.i.am announces the arrival of the drums. The dancefloor feeling continues throughout the track, with a slower vocal than the music accompanying it. Mary is singing that she Can't Wait for the night to fall so that she can let her hair down, have some fun and party all night. Rather than making me want to hit the dancefloor, the song becomes annoying and repetitive to the point where it sounds like the needle is stuck on the record over a short rap by Will.i.am. The vocal that drops just before the very end of the track is the best thing about the song, though not worth the wait.

City On Fire (Additional Bonus Track)
The introduction to this song is strange. It is oriental, epic crunk. This description is appealing, though the song is anything but. A sampled, distorted spoken vocal provides Verse Two, making the song even more weird and I just don't get this. Gospel elements go some way to redeeming the song around three minutes in and the track ends much better than it begins indicating that, with more work, the song could turn into something brilliant.

Stairway To Heaven (Additional Bonus Track)
The guitar, clarinet and strings introduce this slower track, which is another depature from the rest of the album and another Led Zeppelin cover version. Less successful that 'Whole Lotta Love', this is potentially a grower as I do like the orchestral feel that Mary has given the song, though it is in danger of being one rock cover version too many.

Mary J. Blige has been on fire lately, she sounds much better these days than she has done before and is turning in good song after good song. 'The Breakthrough' and 'Growing Pains' are amongst her best work and, whilst 'Stronger With Each Tear' is a little below the standard of these two, the difference is marginal and there are some fantastic songs on this that warrant the purchase. 'Tonight', 'The One' 'I Am', 'Good Love' and 'Whole Lotta Love' are all begging to be released as singles. Given the single choices from 'Growing Pains', however, I am interested to see whether Ms. Blige agrees and what she will go for. On top of the album, there is 'Bridge Over Troubled Water' with Andrea Bocelli on release for the recent disaster in Haiti. There seems no stopping the Queen of Hip Hop and Rn'B and long may she reign!

Mary J. Blige's Official Website: www.mjblige.com

Dannii (Minogue) - Girl (1997) [Reissued 2007]

All I Wanna Do
Dannii bounced back onto the scene in 1997 sporting a brand new blonde look with a harder, less commercial sound and her sexiest video to date. The new direction paid off and the lead single from Dannii's third studio album gave her the highest chart position that she had held up until that point in UK: Number Four. All I Wanna Do is an all out dance track written by the man that went on to write 'Believe' for Cher. As well as the bass, there are electric guitars and a hands in the air chorus that begs for a comedy word change...

Heaven Can Wait
Drum n' Bass on a Dannii album? Affirmative. The upbeat tempo is reflective of the mood of the song: The sun is shining and the birds are singing...literally. Dannii sings that Heaven Can Wait now the man in her life is by her side. Guitars and brass punctuate the chorus and the beat is removed for the second chorus that adds weight to the subsequent section of the song. Dannii pulls off this style and turns in a summery classic.

So In Love With Yourself
Dannii's sister appears on 'So In Love With Yourself', doing duty on the backing vocals. Just in case you didn't know, Dannii's sister is the world famous singer, Kylie Minogue. A slow vocal with little accompaniment does not give away the direction that this song is going to take until after the chorus is sung and the beat slams in. From that moment, it's a non-stop dance attack on somebody that is so full of themself that they are unable to love anybody else. Marvelous.

Am I Dreaming?
The best song on the album and should have been a single. The vocal is low, the melody is simple and the song will have you under its spell in no time. Dannii can't deny the thoughts that she is having about a man that has become her obsession. She asks whether or not she is Dreaming and whether or not the man feels the same.

Everybody Changes Underwater
Interesting. Very interesting. The beat is drum and bass once again but this time the vocal is whispered and documents a dream-like journey across meadows, under the sea and into space. Where radiant, glowing stars pulsate, the song does just that. It pulsates and you're there on this journey. A lesser-known third Minogue, Dannii's brother Brendan, pops up on this as one of the voices that beckons her like angels, making this a family affair. It takes time to get this but it is good. Fact.

Everything I Wanted
The second single release from the album, with a seriously cool video. Dannii and her then boyfriend Steve Shaw (photographer), flew out to the US, hired a drop top and drove out to Vegas. The whole thing is shot on an old handheld camera, that gives it a retro finish and they even stopped off at the hotel used in 'Leaving Las Vegas' for some underwater shots in the outdoor pool. The song is as cool as the video, co-written by Dannii and Drum n' Bass in style. The album version of the track has longer choruses, that do sound better on the single version without the additional lines. This version is still great and proof of the fact that when Dannii experiments, she comes up with the goods.

If It Moves - Dub It
This is a dub mix of Moving Up, with little vocal and little purpose. As a shorter interlude, I think it would work quite well though this goes on a little too long for my liking.

Disremembrance
The third release from 'Girl' and a cracking song. The video for this is dark, Dannii has chipped nail polish, nude makeup, a black polo neck and hair that makes it look as though she has been dragged through a hedge backwards. She has glycerine injected into her eyes to make it look as though she has been crying; bodies and eels are writhing around on soaked floor; the video is played part in reverse and some of the dancers look rather devious. The sound is much simpler than the single version, though the strings that dominate the track are still out in force and sound arguably better than the version that got released. There is no Josh Wink 'Higher State Of Conciousness'-esque interlude on the album version, which does not distract from the sentiment of the song. The lyrics are contradictory and when asked what 'Disremembrance' means, Dannii admits that she herself is not too sure! All of this chaos comes together what many describe as Dannii's anthem song. Phenomenal.

It's Amazing
The only ballad on the album, which starts with heavy breathing. The lyric goes on to say how 'Inside I may be falling down but outside, I'm as tall as trees'. Dannii is putting a brave face on the fact that she is in love with somebody that appears to be using her for just one thing. 'Tonight your touch it feels so right but then daylight makes me feel a fool' she sings as 'It's only when I need you and I can't feel you I realise that piece by piece I've given myself to you'. When they are together, things feel 'So fine, so right' for Dannii and it is this that she finds amazing. Amazing the emotion that this man stirs inside her or amazing how she can feel like this, 'Wishing that you were wishing for me', we never know. What we do know is that this is a good song and has elements in keeping with the rest of Girl so as not to sound completely detatched from the dance style of its peers.

Movin' Up (Original Extended Mix)
Movin' Up is a bass heavy nineties dance track, with fast beats and a strong vocal. The sound is a little dated compared to current styles but the track has a good melody that can still cut the mustard.

Keep Up With The Good Times
This song did not feature on the original release of 'Girl' but comes as a welcome addition to the Deluxe Edition. Testiment to the era from which it comes, this is Piano Handbag House, with some fast, heavy beats once again. The vocal is equally quick and the chorus stirs something in the listener and you can see yourself in the middle of the dancefloor, with your arms in the air with a smile on your face. Even by today's standards, this is a stomper of a track showing that Dannii was definitely pushing it back in the day. This is what artists should do and hopefully, with her new material, she will continue to blaze a trail for others to follow.

Someone New (Flexifingers Radio Edit)
Another track that was not included on the original release and another gem. Whilst the beats are as hard and fast as we have come to expect, the vocal is slower and lower for the verses. The bridges are catchy and the choruses pull no punches about telling the man in question that Dannii is over them and looking to find Someone New. She recognises that the tables have turned, that it is time to walk away and sticks the knife in but telling her ex that each night she was alone with him she could picture herself with somebody else. Dannii is no longer the sweet and innocent girl that she was when they were together (and during the verses) now, due to how she has been treated, she is coming out fighting and taking control.

Coconut
Originally a hidden bonus track on the album, this Harry Nilsson cover was an Australia-only single release that had a video that was a collage of the videos for 'All I Wanna Do', 'Everything I Wanted' and 'Disremembrance'. The needle drops on the record, we hear the feedback, the melody begins and Dannii sings to a point where the bass drops and the relentless beats that have been present throughout the album blow the track up. The song takes a little getting used to and I do prefer the calmer, original version that Dannii recorded that can be found on the 1995 Sessions but, with time and almost against your will, you will find yourself enjoying this.

All I Wanna Do (Trouser Enthusiasts Radio Edit)
The first of the remixes on the first disc of the Deluxe Edition would not sound out of place in a club today and the additional vocals recorded for the track work well. The beat throughtout the verses add a sense of urgency to the vocal that now sounds restrained by comparison. During the chorus, these beats climax and rise with the vocal that make this a crowd-pleaser.

Everything I Wanted (Xenomania Radio Edit)
Proof that Dannii was amongst the first to work with Xenomania, an accolade all too commonly bestowed upon Dannii's X Factor judging colleague Cheryl Cole and her Girls Aloud bandmates. This adds a more dancey dimension to the left of the middle drum and bass original that fails to improve on what was already a fantastic song.

Disremembrance (Trouser Enthusiasts Radio Edit)
The haunting strings that make this song are replaced by the piano in a clubbed up version of a classic track. The vocal is not conveyed as successfully with the remixed sound which does do what it is supposed to and makes the song more suitable for the clubs.

In addition to this first disc, the Deluxe Edition features a second disc that features an additional three mixes of 'All I Wanna Do' (12" Extended, Qattara Club and Tiny Tim & The Mekon Dream Dub); two mixes of 'Everything I Wanted' (Xenomania 12" Club and Jupiter 6 Soul Surround); two mixes of 'Disremembrance' (Full Orchestral 12" [FANTASTIC!!] and Twyce As Nyce 1:40am Club); the Trouser Enthusiats Cloud Nine Mix of 'Heaven Can Wait'; the Gettin' Harder Mix of 'Movin' Up' and the Xenomania 12" Mix of 'Keep Up With The Good Times'.

It is often said that Dannii is ahead of her time and she works with a lot of now established people on this project back when they were up and comers. Dannii had recently split from her husband, undergone plastic surgery, posed for Playboy, died her brown hair blonde and dropped her famous Minogue moniker at the time of 'Girl'. She was shaking loose of everything that had gone before and made a fresh sound with a fresh name and a fresh look. As a title, Dannii says that she picked 'Girl' as, aged twenty-six, she felt that it was the last time that she would be able to get away from it; though it is also indicative of the fact that musically, this was just the first steps that Dannii was taken in a new direction that she has since made her own. Although commercially, the success of this was only moderate, it did provide Dannii with her biggest hit up until that point and it was critically-acclaimed; earning respect in an industry which had all too often criticised her efforts. On its 1997 re-release however, the initial pressing was not enough to satisfy demand and subsequent pressings have had to be made, allbeit without the updated album cover inlay. Yes, this sounds dated in parts but the vast majority of the album, which is now thirteen years old, is still relevant and with parts that can still be classed as experimental. If you were going to choose one album to test the water with Dannii Minogue most people would recommend 'Neon Nights'. I myself would go with 'Girl' every time.

Dannii Minogue's Official Website: www.danniiminogue.com

Sugababes - Sweet 7 (2010)

Get Sexy
The lead single from the album and the last one to feature Keisha Buchanan: the final original Sugababe. This song, that headed towards the top of the UK charts, showcased a fresh sound, not only for the Sugababes, but a fresh sound full stop. The verses are almost spoken without much accompaniment. Amelle's hook and bridge follow in a similar vain, with some electronic backing, which leads to a Right Said Fred inspired chorus. It sounds odd but this works.

Wear My Kiss
The current single starts with an almost rock introduction, which reminds me of JC Chasez's brilliant 'All Day Long', especially when the hand claps begin to feature. There are dah dah dahs which I would not ordinarily be too keen on but do I like them, as well as the verses and Amelle's rap. The choruses are catchy and my only critism is the Ah's that back up Heidi's pre-chorus. All in all a good song but there is better to come on Sweet 7.

About A Girl
The second single from the album and the first to feature the latest Sugbabe recruit, Jade Ewen: The UK's representative in the 2009 Eurivision Song Contest and about to be solo star with the fantastic 'My Man'. This track is produced by man of the momenet: Red One. It's a party track that went Top 10 in the UK, which hopefully is demonstrative of the acceptance of Jade in the band. Her voice is much better than Keisha's and the band look and sound the best that they ever have.

Wait For You
Yet another up tempo track with a more trancy sound than the songs that we have heard so far. The verses are comparable to Madonna's 'Get Together' but there is no comparison to be had with the brilliant chorus. Jade is on duty for this and belts it out. The lyric is, as the title suggests, about the girls' willingness to wait as long as it takes for the man that they want. This song is deserving of a release.

Thank You For The Heartbreak
This song is also upbeat and has an almost staccato sound to it, with a chorus that has a heavy Abba influence. It's not terrible, though this is not one of my favourite tracks. It is about thanking a former partner for ending the relationship as, if they hadn't, they wouldn't be on the dance floor having the time of their life.

Miss Everything feat. Sean Kingston
This should be the next single as it would blow up! It has a summery sound to it, which may explain why, in winter, this has not yet been chosen to promote the record. The sound is categorically Sean Kingston, which is no bad thing. Amelle's pre-chorus is the best bit. The song is relentless and will have you up out of your seat, guaranteed.

She's A Mess
Please do not let the Techno introduction put you off this song. This is a harder track and sounds a little like Get Sexy during the verses. Auto tune distorts the vocal and provides pretty much the only pitch change. My favourite part is Amelle's rap asking everyone to go psycho in a distinctively London accent. It's a grower and fast becoming a favourite.

Give It To Me Now
This song is fantastic and showcases the girls' voices brilliantly. There is very little musical accompaniment, just a simple drum beat and some electronic sounds. The choruses bounce along nicely and you'll be nodding your head to this, assuming that you can resist the temptation to get up on your feet. The new line up harmonises well, especially when they demand that you 'Put your money where your mouth is'.

Crash & Burn
A ballad about a relationship that has fallen apart (crashed and burned) and how the wreckage is so bad that nothing that can be salvaged. The Sugababes sang an acoustic version of this in session that they did for The Sun newspaper, which you can see online and the album version has a rockier edge to it with heavy drums and the electronic guitar; though the sound is most definitely pop. The song is fine, the girls have just done much better slow stuff; namely 'Too Lost In You' from 'Three'.

No More You
Another slow jam, with Jade on vocals for verse one. It has a faster lyric and the chorus makes this more of an anthem then Crash & Burn. Amelle picks up verse two and her voice sounds as great when she sings soft as it does when she is tearing it up. She is fast becoming the Alesha Dixon of Sugababes. Heidi always sounds sweet and she has the bridge. The song is dedicated to an ex and declares that the girls are 'Gonna do what I wanna do, No More You'.

Sweet & Amazing
This song has the hand claps of 'Wear My Kiss' and an acoustic sound similar to 'Ugly'; a song that I never much cared for from 'Taller In More Ways'. The lyric says that life can be Sweet & Amazing if you know what you want and make the most out of everything that it brings your way.

Little Miss Perfect
A complete sound change for the final track of the album sounds a little like Alicia Keys with the piano and string accompaniment. Heidi takes the vocal for the first verse and Amelle shows that she is a diva in the making with a flawless vocal for the chorus. This works well as the last track, since it is a total departure from the rest of the album and the girls sound the best that they ever have.

This third change in the line up of the Sugababes is the best yet. The girls look and sound like never before and have turned in their strongest album in a while. The girls are one of the most consistent bands and, let's not forget, the most successful UK girl band. This album is for getting ready for a night out to, with the last few tracks great for putting on when you get back. Three singles have now been released from Sweet 7 and there are a couple more on the album. The girls should use these to be working with Jade on a new album into which she has input, rather than singing lines that were intended for somebody else. Jade's solo stuff is hard Rn'B and My Man is a fantastic song. I would be very interested to see what the new look 'babes can come up with. In a nutshell, I like Sweet 7 but I am more intrigued as to what album number 8 will bring. This album, the first for the Sugababe's new label, deserves to be a success to ensure that they get to release it.

Sugababes' Official Website: www.sugababes.com