All They Want Is Music

Toni Braxton - Pulse (2010)

2010-04-22T10:27:00.010+02:00

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)

2010-04-13T16:20:00.007+02:00

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)

2010-04-04T17:48:00.004+02:00

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)

2010-03-19T20:10:00.008+01:00

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)

2010-03-16T18:53:00.009+01:00

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]

2010-02-26T19:53:00.006+01:00

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)

2010-02-26T19:50:00.007+01:00

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

Sugababes - Taller In More Ways (2005)

2010-02-26T19:40:00.009+01:00

Push The Button
The lead single from the album and a UK Number One for the 'babes, who at this time were Mutya Buena, Keisha Buchanan and Heidi Range. Halfway through the album, Mutya disbanded and was replaced by Amelle Berrabah and it is the re-recorded version of the album that I am going to review. The beat on this, as well as the melody, is quite repetitive and I am surprised that the song did as well as it did. There is a fine line between catchy and annoying and this song gets to me a little. I am obviously in the minority, since this song more than did its job for the girls. The lyric is about the Sugababes waiting for a boy to ask each one of them out and, if they are ready to do so, they need to Push The Button to let the girls know. The video likens this to calling a lift/elevator; making it stop on your floor.

Gotta Be You
Turn the lights down low, introduces the song with a lyric that is almost rapped, suiting Amelle much better than it did Mutya and showing that she was the right person to be added to the band. The beat is harder than in 'Push The Button' and the song is a head nodder rather than for dancing around your handbag to like 'Button'. The subject is a break up, directed to the recent ex and describes that, since the girls are not at fault, it's Gotta Be You.

Follow Me Home
The second single release to be taken from the album after the addition of Amelle Berrabah and last release from 'Taller In More Ways'. The style is in direct contract to the first two songs, since it is a ballad, though once again it is sang direct to the men in question. The Sugababes recognise that love can sometimes hurt and invite their partners to Follow Them Home so that they may weather the storm, whatever the cost. The song is beautiful, strings feature heavily over the choruses that have perfect harmonies, as well as more contemporary elements, such as scratching. For me this is the best song on the album.

Joy Division
The electric guitar, gets scratched into a Reggae-influenced, bass heavy track. The vocal is low for the verse, high for the chorus and catchy. The lyric is about not being a piece of meat sitting in a Delicatessen (seriously) and turning somebody down. Not the best song on the album but not so bad that I would call it a filler either.

Red Dress
The third cut from the album and first single with Amelle as a fully fledged 'babe. The bass guitar calls the shots on this dancey track and the second chorus (this song has two) sang by Amelle lets us know why she was chosen to replace Mutya Buena. The song is about the girls pulling the strings in what men believe is a man's world and how they don't need any tricks to wrap men around their little fingers. It is catchy, well worth the single release and shows that the departure of Mutya was not going to stop the Sugababes.

Ugly
The second single release from the album, the final to feature Mutya and another smash hit for the girls. The sound is more acoustic than the rest of the album and has the message that, no matter what you look like, 'People are all the same And we only get judged by what we do. Personality reflects name And if I'm ugly then so are you.' The girls take it in turns to recount the names they were called when they were younger, which got them down and how, as they got older, they got comfortable with their own style, grew 'Taller In More Ways' and realised that the name calling was out of envy rather than anything else. A lot of people liked this for it to head towards the top of the charts but I myself am not really a fan. I find the song a little flat and lacking that certain something that the rest of the album has.

It Ain't Easy
Acoustic guitars start off this song, with electronic feedback, which gives the song an urgency reflected in the quick vocal. What isn't easy is being with the girls, since they have strong minds, won't be controlled and it is all about them. The bridge, sang by Heidi, sounds almost medieval, like 'Broken Glass' by Annie Lennox and there are a lot of Glam Rock moments. Such a mish mash of styles should sound disjointed but comes across as feisty, in keeping with the lyric; bullying you into liking the track.

Bruised
This song is all about the bass guitar too. The rest of the accompaniment is perussion, some electronic sounds and the harpsichord. The strange combination does work with moderate success, though fails to make this a stand out track. The vocal is quite low and the lyric is about being in a war with a partner and telling them to leave you alone until the love has gone and you can move on.

Obsession
This song is pure eighties and sounds great! The girls used this to open their set for the tour that accompanied the release. Someone has caught the 'babes eye and they need to 'possess' this person. The lyric does convey the obsessive nature of their affections: I will have you, Yes, I will have you. I will find a way and I will have you. Like a butterfly, a wild butterfly, I will catch you and capture you. You are an obsession. You're my obsession. Who do you want me to be To make you sleep with me? The performance made the song more tongue in cheek rather than stalker and, taking the song with a pinch of salt will have you reaching for the dance floor rather than the straight jackets.

Ace Reject
The girls love their bass and the guitar features on this with plucked, verging on reggae, additional rifts. The vocal is catchy and slower than the pace of the song until we get to the chorus, where it speeds up. The song is about a relationship and its ups and downs. They are currently on a down and the bridge, sang by Heidi, is about realisation that the relationship has probably run its course. She says, 'Ain't if funny how sweet I dream but the bed keeps getting colder'. It's safe to say that the spark has gone out of the relationship but not out of this track, which is one of my favourites from 'Taller In More Ways'.

Better
Being brutally honest, I don't like this song. It sounds as though it could have fallen off a Disney soundtrack and has some frankly bizarre 'oohs' during the chorus have me skip this more often than not. The song is uptempo and is about dusting yourself down, picking yourself up and facing each day with a smile and positive attitude. You control your own destiny. The sentiment is good. The song is not.

2 Hearts
The pace drops for this almost acapella song that sees Heidi sing over the acoustic guitar at the beginning. When the music drops in, we have drums and strings that sound a little out of place. The music is disjointed, which reflects the lyric about being in one relationship as two hearts, two minds and two mouths. The girls are wondering whether they and their partner can make it through the storm together and, as the uncomfortable strings beome more of a protagonist and harmonise with the style of the percussion, the answer would appear to be yes. I think that this will take a few more listens for me to start feeling it but it is not bad.

Now You're Gone
The girls have been dumped and they are upset. Low strings accompany a fast drum beat and another heavy bassline, which later sees the introduction of the electric guitar. The lyrics are sad and leave us feeling down at the end of the album, which is good in so much as it will leave you thinking about what you just heard but you don't always want to be depressed by music and the album could have maybe done with just one more song to raise the mood a little.

'Taller In More Ways' starts strong and ends a little weak. Following the release of this, the girls released their 'Overloaded' singles collection (which they criminally left 'Follow Me Home' off (as well as two of the singles from their first album). On listening to 'Overloaded', you are reminded of all of the brilliant tracks that the Sugababes have turned in and, whilst 'Push The Button' was the girls' biggest hit up until that point, the girls are more capable than what this project would have you believe. The 'Overloaded' single release: 'Easy' is a welcome return to form and will no doubt feature as Tune of the Day soon! Stand out tracks from 'Taller In More Ways' are 'Follow Me Home', 'Red Dress', 'Obsession' and 'Ace Reject'. I would recommend listening to these first before deciding to invest in the whole album.

Sugababes' Official Website: www.sugababes.com

Mutya Buena - Real Girl (2007)

2010-02-26T19:26:00.006+01:00

Just A Little Bit
The fourth single release from the album starts off proceedings, with the emphasis being firmly on the bass guitar. The song received only moderate success, stalling outside of the UK Top 40, peaking at Number 65. This is surprising when you actually hear the track. The lyric is about giving more than Just A Little Bit in a relationship in order to make it work and has applications to all sorts of situations, meaning that you can't help but connect with it. It is one of the stronger tracks on the album and a good choice for pole position.

Real Girl
The title track and first full-on solo single release from the album (after the release of the George Michael duet), 'Real Girl' contains excerpts from 'It Ain't Over 'Til It's Over' by Lenny Kravitz. The lyric is about having no regrets, not wanting to change anything and being true to youself. This was Mutya's biggest success and peaked at Number 2 in UK charts. The guitars over the pre-chorus are a particular favourite.

Song 4 Mutya (Out Of Control) with Groove Armada
The third single release has a completely different vibe to the previous tracks, given the collaboration with the excellent Groove Armada. The sound is dance and Mutya sounds great. She starts off the song with a spoken vocal saying that, seventeen months on from the break up of her relationship, she feels fine, believing her ex to be the one suffering. There she is, driving in her car, Prince on the stereo; she pulls up at a right light and sees said ex with his new girlfriend. Although she sings that this is a 'Sure fire way to ruin my day', she recognises that she 'Can't go back now' and must 'Look ahead now'. This is a real pleaser, that received rave reviews and landed in the Top 10 in New Zealand as well as UK. Even if you don't listen to the rest of the album, listen to this. Song 4 Mutya (Out Of Control) also features on the Groove Armada album 'Soundboy Rock'.

Breakdown Motel
A low hummed vocal introduces us to this slower paced, heavy on the percussion track. Low strings also accompany the slow vocal about being made to stay at Breakdown Motel, whilst her partner goes off to do whatever he wants. In the song, Mutya has hit rock bottom, she has been forced to check in to Breakdown Motel having been 'knocked out' by her partner. She realises, however, that he should not have put her in this position and promises that she will 'come round' from the knockout and stand back on her feet. An interesting track that deserves the few listens that it takes to be appreciated.

Strung Out
The piano provides the slow introduction to 'Strung Out' and, with a slow drum beat is the only musical accompaniment until Verse Two when the pace of the drums picks up and the backing vocals come in. The piano does not speed up ever though and stops the sound from moving from sombre to positive. The Mid Eight provides the moral of the song: 'Don't live your life in vein'. It's hard to be sure whether Mutya is singing about her time in the Sugababes and the reason behind her departure, or about another failed relationship. The lyric starts by saying that when they started out it was fun, nothing heavy, they were chasing dreams and flying high. This euphoria later turns to tragedy when Mutya sings about her words not getting through, begging for God's help whilst there is still something left to save, about being in pain every day and how everything is now gone. The Mid Eight continues to say 'Strung out, flowers on the grave, The angels are calling out your name, It's all gone, ashes in the rain'. I like this.

It's Not Easy
The high hat introduces this song to Mutya's unborn child. The pace is quicker than the last couple of tracks and the first verse is a multitude of questions that Mutya asks herself about the child that she can feel in her skin, deep within. The title recognises that becoming a parent will not be easy as she will have to be right all the time. From all of the songs that deal with a similar subject matter, there is only one parent to child song that I like: The brilliant 'To Zion' by Lauryn Hill. 'It's Not Easy' could easily have been left off 'Real Girl' without being missed.

Suffer For Love
The glockenspeil is the instrument of choice, along with strings, for the introduction to 'Suffer For Love'. This is a mid-paced song whose title can be misleading with regards to the lyric. In this song it is not Mutya who is suffering. She has ended a relationship for which she has given everything and asks why should she have continued in it when it just ain't happening and Suffer For Love. She wants to be happy, wants to be laughing and will keep on trying and although it does hurt when a relationship ends, she has faith in Cupid and will keep taking chances.

Not Your Baby
The style of this track is like nothing on the album so far. The pace is fast and the instrumentation is bold and brassy. This reflects the lyric about not being willing to be a notch on somebody's bedpost. She is in a club being checked out by somebody that is obviously with another girl. She tells him that, unless he has something to say to her, to stop staring and turn back to his girlfriend as she is not the kind of girl to go along with what he wants. Mutya does make it very clear, however, that she has everything that the man in question could want and then some to make sure that he is firmly in his place. One to have the ladies dancing around their handbags, this one.

Wonderful
The piano starts off this song and is the main protagonist throughout, although the violin also features along with some soft percussion. The verses are low, the pre-choruses emotive and the choruses simply beautiful. Mutya doesn't want to go through life alone and is willing to go 'Whichever way the wind blows cos I know there's something out there Wonderful'. The Middle Eight showcases the power in Mutya's voice and leaves no doubt for the listener as to her ability to come out of the Sugababes and make it as a solo artist. This is another great track, that winds up with trademark Mutya in her London accent stating, 'That's where it ends, innit', should there have been any doubt.

B Boy Baby
The final single release from the album and a song that, on paper should have reached higher than the Number 73 position in which it found itself. The song is a derivative of 'Be My Baby' written by Philip Spector, Ellie Greenwich and Jeff Barry, which features on the soundtrack to 'Dirty Dancing': The classic Patrick Swayze and Jennifer Grey movie. Amy Winehouse even steps up for backing vocals and has the perfect voice for this sound. Mutya's additional fast vocal sings about all of the good things about her man and how he is her 'Rainy day sunshine' and 'Heat in the cold of winter'. Another good track.

This Is Not (Real Love) with George Michael
The first single release from the album, which also features on George Michael's Greatest Hits package: 'Twenty Five'. The song reached Number 15 in UK and is a ballad that comes in at just under six minutes. The snare drum regiments this song about a couple that have been deceiving everybody that everythings fine between them and that they enjoy 'Real Love'. The combination of Buena and Michael is great, the track is believable and they styles fuse perfectly. Scratching punctuates the orchestral verses and I like this song.

Paperbag
The introduction sounds like it could have come from New Amerykah Part One (4th World War) by Erykah Badu but soon gives way to a smooth reggae beat. Throughout the relationship that has just ended, Mutya put together a collection of momentos in a paperbag. She has concert tickets, gift cards and photos and can't believe that everything that is left of the relationship fits inside the Paperbag that she must now get rid of. She finds throwing this away difficult since the cards and letters and so on reflect all of their love and all of their dreams. Throwing away the Paperbag will mean letting go of all of that but keeping it will mean that she will 'Go under' not being able to move on. I like this song a lot.

My Song
The last song on the album is another one of my favourites. It has a slow, smooth beat and is a narrative from Buena regarding a taxi journey that she takes to get away from it all. She dedicates this to anyone that the world has come crashing down on, anyone that has suffers in silence and anyone that doesn't want to deal with real life no more. She advises you to take it anyway you want to, accepts that this may not be much but it is her song. The taxi driver tells Mutya that he will take her as far as she pays for when she tells him that until she is in a different time zone, she will not be far enough away, but he offers her some free advice about having faith and how she will not find the answer to her problems running away in his taxi. It's a simple song and a great end to a solid debut album.

Coming out of a group and releasing a solo album is always going to be difficult, there are always pressures, comparisons and speculations about the reason behind the split that can detract from the music. Mutya was always one of the stonger members of the band, with one of the best voices and an individual style that interests me in her as an artist. Her first album is diverse, with power ballads, reggae, rock influences, rhythm and blues, dance and pop. There really is something on 'Real Girl' for everybody. As a collection, it works well with only one, possibly two, songs that don't appeal as much as the others. It comes recommended and you have to admire Mutya for her no nonsense lyrics, style and behaviour. Having made the decision to leave the Sugbabes, she states in her album notes that, 'I hope this as my 1st album does well and gives me the step forward to my future. If it doesn't then I know I've tried. We all have to start somewhere and mine's just beginning'. After a strong start, the album limped home and resulted in Mutya being dropped by her label. She is working on a second album at the moment given her increased profile following several musical collaborations and an appearance on Celebrity Big Brother in UK. She is also rumoured to be working with Keisha Buchanan on her solo debut and trying to get the three original Sugababes: Siobhan Donaghy, Keisha Buchanan and herself back in the studio to take on the latest version of the band that features no original members: Heidi Range, Amelle Berrabah and Jade Ewen. I would prefer to see Mutya concentrate on new solo material and, given that a lot of the lyrics on this album are about letting sleeping dogs lie, hopefully this will be the case.

Mutya Buena's Official Website: www.mutyamusic.com

The 411 - Between The Sheets (2004)

2010-02-26T19:24:00.006+01:00

On My Knees feat. Ghostface Killah
The debut release from The 411 featured Ghostface Killah from The Wu-Tang Clan and a sample from 'Ain't My Style' performed by Main Ingredient. The sample is used as the chorus to the track which has a string, percussion and piano accompaniment. The girls speak the verses and harmonise over the sampled chorus and this single was a huge hit. It got to Number Four in UK and reached similar positions all over the world. The lyric recounts a relationship from start, where they meet on a train and fall in love; to finish, when Killah hits the girls due to paranoia over a previous infidelity. Ghostface Killah comes back at the girls to apologise for being aggressive towards them, tells them that he loves them and wants them back in the crib. Whilst he doesn't get his wish, we get a fantastic song. Prepare to see this as Tune of the Day soon!

Teardrops
The third release from the album features another sample, this time 'Danube Incident' as performed by Lalo Schifrin. Portishead also make use of this sample on 'Sour Times'. The percussion and guitar add weight to the sample to convey a lyric about an unfaithful ex partner that is finally getting his comeuppance. Revenge is a dish best served cold and it is now the girls' turn to see the ex suffer the way that they did when they were with him. He wants them back but they are unrelenting, despite his tears and the pain that he is feeling. His hurt gives them a natural high and has them ask him to think about the times that he walked all over them. Rather than have the girls take pity on him, his Teardrops set them free. This is another great track.

China Girl
Heavy bass, oriental drums and strings provide the soundtrack to this song to a girl made of china rather than coming from there. The fragile girl to whom they sing is on the streets, sleeping around, with no money to her name and ashamed by her current lifestyle. They encourage her to return home, where there are people who love her are waiting for her safe return. Not the obvious choice of topic for a pop song and not an immediate hit but, given time, this song does grow on you. So far, so good.

Chance
A fast acapella introduction to this song, gives rise to a funky/dancey number with a good drum beat, strings and a whole lot of bass guitar. This is one for the disco and the lyric is about a man missing his chance with the girls. They sing for him not to be surprised when he sees them in the club with another guy and to remember that it was him who said goodbye after using them for their money. The line 'It ain't your birthday' signals that the party is over for the two of them and there will be no going back. Yet another good song.

My Friend
The pace is slowed down for this electric guitar-led slow jam. The girls sing about a friend of theirs that is in hospital, at death's door, following an arguement with her boyfriend that got out of her hand in verse one and a second friend in Verse Two who got caught up in the drug scene and murdered on the streets. A rap advises the listener to make wise decisions and to make the most of themselves. You need to have self belief in order to get on in life and not to let others control you. Another strong message in another good song.

Between The Sheets
The title track of the album begins with the acoustic guitar and strings. A slow drum beat drops in time for the girls to start singing how they can put everything wrong in their relationship right Between The Sheets. They have had an arguement with their partner and are ready for the safe make up sex. (Safe as they lift the same message from Spice Girls' '2 Become 1'). The bridge is fantastic, its tempo reflecting the rhythm of what is going down and makes this song what it is: Brilliant.

Dumb
The second single release from the album and the biggest hit for The 411, peaking at Number Three in UK. The pace picks up once more, which reflects the fact that the lyric takes place in a club. The girls are out and are being checked out by somebody that makes them think how fun it would be to 'get some'. In the bridge, they sing that there is no way that they are going to play, knowing that their man is at home, looking at his wedding ring, waiting for them to get home. Cheating is what would be Dumb but the girls do no succumb and make it back to their baby boy who is on his own. Another potential Tune of the Day? I think so!

Forever Begins
A fast piano melody receives string accompaniment before the beat drops and the girls begin to sing about a woman on the beach at sunset, seeing the image of her dead partner in the reflection of the sun on the ocean and smiling. The reason that neither she, nor the song is sad is that she knows that he is in a better place and that it will not be too long until she too will move on from this Earth and be reunited with him in Heaven. Another totally original lyric that draws the listener in.

Jumpin'
Reggae is the order of the day and the girls feel like Jumpin', Groovin' and generally getting their freak on. The reason for this? Their man. They sing about him making them hot and feel like a woman should feel. They want to move the Jumpin' from the dance floor to the bedroom. All. Night. Long. I like this.

What If It Was You?
The pace drops back for this track that has acoustic guitars, drums and brass. The first verse concerns itself with a girl having to sell her body on the street and the second with a homeless man begging for change. The chorus asks you to put yourself in their position before judging and laughing at them and their misfortunate. It pulls no punches and asks you to consider 'What if it was you down on your luck? What if it was you and no one gave a ....?'. The song does send out a good message but its success has nothing on that of the magnificant 'Salvador' by Beverley Knight.

I Don't Want To Talk About It feat. JP Esq.
The harpsichord introduces the song, giving way to the piano, strings and acoustic guitar. The vocal is fast in comparison to the music, until we reach the pre-chorus where the girls let slip that they know that their man has another girlfriend. The heartbreak that this causes makes this topic off limits for the girls and JP Esq. tries some damage control, asking to still be friends but the girls cannot get over the revelation from the friends of the other woman and the fact that he has been lying to them all the time. Another fantastic song, which ends with the sound of rain, just like 'Cry Me A River' by Justin Timberlake; which deals with a similar subject matter.

Can't Fight Love
The final track of the album starts with the girls themselves, the piano and strings. It is by far the slowest song on the album and the minimal musical accompaniment allows the girls to showcase their vocal abilities. The stripped style is not in keeping with the rest of the album, which means that this track would not have worked had it been placed elsewhere on the album and that it can easily be overlooked with the listener keen to skip straight back to the start of the album and the sick 'On My Knees'. The song is about falling in love with a friend and taking the step to move the relationship forward and go from friends to lovers. Even though this is potentially not the smartest of moves, given that love doesn't come around every five minutes, you can't fight it and they should take a chance.

The debut album and success of the early singles indicate that there was more life in The 411 that one brilliant debut. Sadly, the band split after 'Between The Sheets' and, despite reforming several times, have been unable to reignite their success. The album has some brilliant songs on it and, with time, the rest of the songs work their charm and before you know it, you're including more and more songs as you work your way through it until you have the whole thing on repeat. Well worth checking out.

Destiny's Child - Destiny Fulfilled (2004)

2010-02-26T15:07:00.005+01:00

Lose My Breath
An onform Darkchild produces the blinding opening track from the DC album that everybody wanted to hear. After going their separate ways, one of the biggest girl bands of all time got back together and hit us with one helluva heavy beat. The sassy, three-way dance off in the video made it all the more easy for this box fresh track to head straight to the top of the charts world over. It sounds as good today as it did six years ago and is still on regular rotation on my stereo.

Soldier feat. T.I. & Lil Wayne
Not one but two BIG names in Rap guest on a slower, more hip hop track, which has some cheeky lyrics about the kind of man that the DC girls go for. The song is full of attitude and there is no question about it being the ladies that call the shots. The track suits Michelle's voice perfectly, who is given more of an opportunity to shine on the record and finally bring it to Destiny's Child. The second single release from the album, this also found its way to the top of the charts and, if you haven't seen the Destiny's Child Live In Atlanta performance of this, what are you waiting for?!

Cater 2 U
The final single release from Destiny's Child before they permanently split and arguably their sexiest video. Missy Elliot cites this as her favourite DC track and it is easy to see why. Michelle once again showcases her beautiful voice during the bridge, which is the best part of the track; whilst the verses have Kelly and Beyoncé giving off the trademark DC fast singing. Despite this, and being produced by Darkchild, the song is in fact a slow jam and was once again a chart-topper.

T-Shirt
Slow the pace down a bit more and you get to hear about what the girls wear to sleep at night. It is a nice song and an instant hit but, as time goes on though, it can get a little stale to simply listen to. The vulnerability in Michelle's voice come across and is the perfect style for this track.

Is She The Reason
The first track that can get overlooked is an almost clumsy song that recognises a problem with a relationship and explores the possible reasons: another woman. It's not terrible but is sub-standard compared to the vast majority of the other tracks on Destiny Fulfilled.

Girl
The third cut released from the album and yet another Number One. A Sex In The City video detailing the woes of Kelly's love life works well and was carried over to the stage performance of the track for their farewell world tour. It is an upbeat song; catchy as hell and the girls are back on form.

Bad Habit
Just when you think the album has found its feet once more, this Kelly Rowland solo effort comes on and serves to let the listener know that she is, at times, the weakest link in the group. The song is a run of the mill Rn'B track and is destroyed by practically everything that Kelly has done on her solo records.

If
An acapella start to an old-school sounding piano and string ensemble introduces the listener to a new sound to the album. Michelle is on opening vocals and then it's Kelly, then Beyoncé then Michelle, then Kelly... It's a slow song without much musical accompaniment but the vocal attack coming from all angles gives the track the power that it needs to successfully convey the lyric about the realisation of the end of a relationship.

Free
Once the girls realise that the relationship is over, this sunny mid tempo song is all about the relief that comes along without getting out of it. There is no feeling like it, they sing to the ladies and I am sure that this song has gotten many people over heartbreak. After the brilliant bridge, there is a soft, sweet harmony that leads into a chorus reprise with more powerful vocals from Beyoncé; culmunating in her telling her ex that there is no way back.

Through With Love
A simple piano melody contrasts with a harsher beat, which proved to be a favourite amongst DC fans. Not only are the girls through with their no-good exes, they have had it with men full stop. Aggressive in places, desperate in others, the song goes through the whole range of emotions and you can connect to this. People say there is only one woman you can trust and that's your Mum; the only man that the girls can trust is God. When they reach this conclusion, the song takes on a more gospel vibe, growing and growing until Michelle steals the show with her affirming vocal.

Love
No sooner are they Through With Love, they are back in it and it is this that 'Love' is about. A mid tempo song with a lovely chorus and a wonderful bridge, the track is dedicated to the man in their life and details how he has made them change their mind about love.

Game Over (Bonus Track)
As well as being Game Over for Destiny's Child (the last song on their last studio album) the new Love referred to in the last song signals the end of the playing days for the girls themselves; with the Game being Over for all of the other men. It's another slow jam with a laid back groove. Beyoncé reigns in her vocal on this one and shows off a softer tone to her voice and everything comes together beautifully in the end.

Few bands enjoy the level of success and longevity that Destiny's Child did and arguably still do. They recently received their thoroughly-deserved star on the Hollywood Walk Of Fame and there is constant speculation as to whether or not they will get together one more time. During the Beyoncé Experience Tour that went with Ms. Knowles' sophomore album B'Day, there was in fact a reunion, allbeit far too brief. The girls have all gone on to verying degrees of success but when they come together and take the time to get it right (glossing over the latter half of 'Survivor'), amazing things happen. 'Destiny Fulfilled' is an album to rival 'The Writing's On The Wall' and has a slicker, more mature sound.

Beyoncé said in interview that it was recorded like an opera and so that every track follows on from the previous one and leads on to the next. You can see a story develop through the tracks, particularly the latter ones and few artists would put so much thought into a project. This album churned out number one after number one and could have quite easily provided the girls with a couple more. It's another album that you are going to have to buy!

Destiny's Child's Official Website: www.destinyschild.com

Terri Walker - L.O.V.E (2005)

2010-02-26T15:00:00.005+01:00

This Is My Time
Using the same 'Adventures In The Land Of Music' sample as Angie Stone did on 'Lovers' Ghetto' from Stone Love, Walker turns in a feisty bass-heavy opening to her sophomore album. Terri is singing that it is her time to rise above those who criticise her and to hold the world within her hands. It's her time to shine and with this song, she really does.

L.O.V.E
The pace doesn't drop one little bit for song two, the bassline is heavy again, the lyric is fast and the song is catchy. Terri is asking for a little L, a little O and a little V, E from her partner. He makes her feel beautiful when he is with her and when he is not, she feels down and recognises that she can then begin to moan. The bridge is fantastic, Terri sings that she 'Ain't Too Proud To Beg' for the love that she wants and this is another good track.

Whoopsie Daisy
As quaint as the title is, the song is anything but. Harder than the first two songs, both in sound and vocal, this is sung directly at a would be suitor. Brass punches throughout the song, which is about Terri turning somebody down. She sings 'Whoopsie Daisy, I've been driving him crazy, Cos I look so tasty'... She makes no apologies for being so hot, just like the song, but makes it plain that nothing is going to happen by sending the boy home to his momma. The very end of the track, with the guitars is great.

Hurt By Love
The piano starts off this song, which does sound as though it is going to be a slower affair, until the vocal starts and the bass drops. The melody is slow but the lyric is fast and the bass returns to make the song a force to be reckoned with. This complements the lyric perfectly in that Terri is telling people who have been Hurt In Love not to hold on to the pain, to stand firm and say that they won't be victims anymore.

What The Hell
The first slow jam on the album, which has percussion and the piano for accompaniment. Walker is thinking What The Hell she is going to do without the love of her ex and the lyric explores this. Terri sounds as good reigning it in for this track as she has done belting out the earlier ones. The melody is beautiful and the song holds its own against the stronger tracks that come before it.

Slow It Up
This is one of my favourite songs on the album and has a completely different vibe to the earlier tracks. Almost reggae in style, the song is to someone to whom Terri gave her number and now they are all up telling everybody that they are together, calling her all of the time and generally coming on a bit too strong. Terri is telling them to Slow It Up or it's 'Bye, Bye, Bye'. The lyric is quick, distinctly British in places and this song tends to get repeated on my stereo.

Star
Another song, another style. It's a slow jam and a love song that will have you snapping your fingers and nodding your head. Terri likes Rioja wine, has some and makes a call to her man. She makes the call to her man 'with no hands', since he is far away and the mental call is her thinking about him. She tells him to, no matter where he is, to select a star and they will ride along the Milky Way together in her car. She is completely in love, separated from her lover, thinking about what they could do together and advises people in the same situation to do the same to help them get over the distance: 'Go inside your head and make them babies'. We get a rap from Walker about being startroopers in her Mini Cooper and a jazz solo wraps the whole thing up and makes this another solid track.

Ain't No Love
This song speeds up proceedings once more. Strings feature more heavily on this song that is to the person in Terri's life. He is the first thing on her mind when she wakes up, his love gives her shivers down her spine and is getting sweeter by the day. The song incorporates elements from 'I've Never Found Me A Girl (To Love Me Like You Do)', which give the song its appeal, makes it as catchy as it is and make you want to hit the dance floor when this comes on.

The Woman You Want
The pace of the album drops to its slowest for 'The Woman You Want'. Terri sings softer and higher than she has so far, showing off greater range to her voice. The song is to her lover once again and is asking him how she can be The Woman He Wants when he won't talk to her and tell her what this is. Things have changed in the relationship, she can feel that things are not as good as they were, wants to address this and please her man but is getting nothing to work with. You sense her frustration and desperation when faced with the breakdown of her relationship and it is this that makes this song a success. Strings feature again. Her man (uncredited) does reply to say that it is just a phase; she does please him; there is, nor ever will be, anyone else. She doesn't haven't to do anything. The whole thing is packed with emotion and the happy ending makes this beautiful.

The One That Got Away
The pace picks up a little and the music is interesting for this. There is percussion but a repeated, haunting, stuttered electonic sound is the main feature. Terri sings over this about an ex telling her that he has met somebody else, who just might be the one. This cuts Walker 'like a knife' as she had taken it for granted that he would always be around for her. She asks herself how she could have let him be The One That Got Away saying, in a muted vocal during the pre-chorus, that it should have been her taking his name but now she is left out in the cold. The melody is beautiful and, by placing this track towards the end of the album and after 'Woman You Want', the affection that we now have for Ms. Walker gives the song a greater impact.

Feel Love
This is another slow jam, that winds up a little and has a bassline comparable to the opening tracks. Terri Feels Love when she is around the person she sings to, who is deserving of her one of a kind love. There is a sond similar to the baby crying in Aaliyah's 'Are You That Somebody?' that repeats throughout the track, whose soft vocal is in direct contrast to the hard bassline.

Yes I Do
The last song on the album is an out and out love song. The bass guitar is pronounced and accompanied by guitars, strings, keyboards, percussion and a more prominent backing vocal. From this moment on, Terri gives herself to her partner and the repeated 'Yes I Do' hits this point home. They are going to be together for the rest of their lives and I think it genius to place this song about a new beginning at the end of the album. Everything is new, she is looking forward to things to come; which, as a listener, you are too. This is a great album.

'Untitled' was Terri's first album and tracks such as 'Four Feet Under' and 'Love Fool' got her noticed but 'L.O.V.E' earned critiques such as, 'Sexy, Sassy, Soulful and Sophisticated, L.O.V.E is arguably one of the best UK R&B albums of recent years' (Mojo) and 'Forget about pretenders, there's no UK soul artist with the humour and confidence of Terri Walker, just watch her become a superstar' (Touch). Sadly this was not to be as, following on from this album, Terri left her record label to sign with a smaller independent label and her follow up album 'I Am' completely passed a lot of people by. This is such a shame as this is such a good album. You must go out and buy this!

Dannii Minogue - Club Disco (2008)

2010-02-26T14:45:00.012+01:00

Touch Me Like That with Jason Nevins
This track does not stop! The bass pounds from the very onset, the lyric is fast and the sample of Sylvester James' disco smash 'You Make Me Feel (Mighty Real)' is clubbed up for the noughties. The video is sassy, drawing inspiration from the Scissor Sisters; sticking Mickey Mouse ears on PVC-clad lady friends and setting the whole thing in outer space. Jason Nevins twiddles the dance floor and Dannii smears flourescent lipstick all over her face wearing a red wig that belonged to the one and only Joan Collins. Seriously. The song came from nowhere in a matter of weeks and, with little promotion during Christmas sales, didn't go very far but, make no mistake, this is a good song.

Feel Like I Do (JCA Remix)
The piano, over a sweeping electronic sound, leads up to Dannii singing the song title before the beat drops on this uncompromising dance track. The lyrics are fast and there's a lot going on in the background but everything stops for a brief pause for a short bridge, where Dannii sounds great. As the album title would suggest, this is a song for the clubs or for a summer's day, in the car with the top down and the pedal to the metal.

Perfection with Soulseekerz (12" Mix)
Perfection is not one of my favourite Dannii singles, although the combat-inspired dance routine for the performance for this was great. The song does have a blinding beat with rolling bass drums, which do get more of an outing in this extended mix. The pre-chorus is my favourite part of the song, I love the way it builds up to the actual chorus, which will find its way into your brain, like it or not.

You Won't Forget About Me with Flower Power
I love You Won't About Me. The vocal that Dannii recorded over Flower Power is a match made in heaven. I love the strings and the high vocal (not usually Dannii's forté), which Ms. Minogue confirms makes this one of the hardest songs for her to sing. The video too is great and has a fantastic concept. So far, all of the tracks have been summer party tracks and this can only be a good thing.

Love Fight
This track is like Marmite. You either love it or hate it. The majority of people seem to be in the 'love it' camp, though I fall into the latter category. There is just too much going on in this that, for me, the song fails to gel and sounds disjointed. Dannii does write a mean lyric, however and 'Heavy petting always makes me feel Like I'm Lois with the Man of Steel' is something that you don't hear everyday.

I'm Sorry
This song starts of with a whisper and the slow vocal builds with pace and power until the brilliant chorus. Dannii sounds on top form for this Roger Sanchez track about ending a relationship with somebody that doesn't want it to finish. It peaks and troughs and leaves you wanting for more. Where Dannii asks 'How could I cause you pain?' is pure brilliance and this is another track that could easily have provided Dannii with her first Number One had her record company had the foresight to give it, as well as several other tracks, a physical release.

Gone
Gone is another example of what Dannii can do. The dance beat is there but a raw lyric and vocal performance add another dimension to this song. Dannii is Gone on the love of somebody who leaves her 'Begging for bones like a dog'. The song talks about being on the wrong side of love and Dannii's voice sounds desperate in places. This song is one of the best things Dannii has recorded and there are rumours that this was going to be picked up by radio had this been given a chance. Get this!

So Under Pressure (Album Version)
The single release from 'The Hits and Beyond' and one of Dannii's best. The video is simple, with a monochrome colour scheme but looks slick as hell. The song is for venting all of your frustration to and the inspiration behind it was her sister Kylie's illness and how the press targeted Dannii for the latest news. The music, intentionally, is opressive but enjoyable at the same time and nothing like you have heard before. Fantastic.

Good Times (Forty Four's 7" Mix)
The weaker of the 'Beyond' tracks but a good song nonetheless. The Forty Four's Mix is an improvement on the original, making the song edgier with more emphasis on the bass. Brass accompanies the upbeat chorus where Dannii has a high vocal singing about how alive she feels with the person with whom she has shared so many good times.

Sunrise
This is a seriously good song! Sounding a little like 'Straight Ahead' by Tube & Berger Feat. Chrissie Hynde, this is a dance floor filler, with a sexy rythm. You can see the video now: Dannii, in Ibiza, on the club stage, belting this out. The bridge comes in, the roof goes back, the sun comes up and the crowd go wild! The song is about a night out where the girls and the boys are checking eachother. Dannii is going to take everyone right through to Sunrise and encouraging people to get it on and to keep it up... Electric guitars feature heavy on this, which combine excellently with the thumping beat.

He's The Greatest Dancer (LMC Radio Edit)
Released in Spain as a single which went Top 10 and stayed in the charts for well over a year, this was another song that was due to see an international release and then didn't. Dannii performed this live on Children In Need, a massive TV charity event in the UK and remixes of the song were cropping up in the Radio One shows of Pete Tong, the man responsible for hooking Dannii up with Riva for 'Who Do You Love Now? (Stringer)'. The song is pure disco and a cover of the Sister Sledge 1979 original (written by Bernard Edwards and Nile Rogers).

I Can't Sleep At Night
It is unbelieveable that this album contains so many almost-rans. This song was also due for release and had a video made and was then shelved, released only digitally, with no promotion. Consequently, the song failed to achieve exactly what it could have. 'Club Disco' is the perfect way to describe the sound. The song talks about Dannii not being able to sleep on her own as she is 'Not good at being lonely'. Like many of the tracks, the song is relentless when it starts and this is another absolute tune!

I Will Come To You
I Will Come To You is a complete change in sound, with a trancy soundtrack to a fast lyric. Dannii is loving at a distance (by choice) and is telling her lover that since he is her 'home and home is where the heart is', she will come to him in his dreams. All he has to do is close his eyes and hold on to said dream. It's not an immediate hit but has some good moments and is utterly enjoyable.

I've Been Waiting For You
Nineties dance is the style of this, think the pianos of Alison Limerick's anthem 'Where Love Lives' and you are not far off. The chorus can get a little repetitive but the verses and, in particular the bridge, more than break this up. Once again, it is not a stand out track but certainly has its charms. Well worth a listen.

Round The World
A more urban sound is given to Round The World that has earned the song quite a few fans. 'I need you now at the tip of my finger, your body's gone but your kisses linger' is the lyric that continues to describe the love that Dannii and her suitor make is like travelling Round The World without moving. It sits nicely on the album and is better than I Will Come To You and I've Been Waiting For you but, given the phenomenal start to the album, it lacks a little something to make the track stand out.

Do You Believe Me Now?
Only available on the digital release of the album and not the Australian double CD format (at the request of Roger Sanchez, whose vocal features). It is criminal that this outstanding song has not been released and stormed to the top of the charts around the globe. There is a vulnerability in Dannii's voice on this track, similar to that of 'Gone', that sends shivers down your spine. Violins provide the introduction to the vocal, accompanied by lone keyboard notes. The touching lyric gathers a little pace and the beat drops in time for the chorus that will go round and round your head. The song commands to be listened to and you will be caught up in the sentiment of it. For a dance track, this is no mean feat. Everything strips back for the bridge, only to come back stronger than before. Ten out of ten!

Xanadu
A cover of the Electric Light Orchestra and Olivia Newton-John classic, who Dannii walked to Beijing with for her cancer charity of which Dannii is now a patron. This is a chilled out version of the song that Dannii performed a dance version of on Australian TV and live at the last G-A-Y at Heaven. Another song that was to be released, only for the plans not to come to fruition. This song is a departure from the rest of the album but an interesting choice for a cover. The song is slow, Dannii sounds great and you can't help but like this.

You Won't Forget About Me (Afterlife Lounge Mix Edit)
The first of two remixes from Afterlife, who Dannii recorded 'Take Me Inside' with. With a similar sound to 'Xanadu' and the version of 'More, More, More' that Dannii recorded for Hed Kandi two years ago, this strips back and winds down the Top Ten smash that features earlier on in the album. The slower choruses add to the track, rather than take away and the instrumentation winds the album down nicely.

I Can't Sleep At Night (Afterlife Lounge Mix)
Picking up from 'You Won't Forget About Me', this remix follows in a similar vain and rounds things off perfectly. 'I Can't Sleep At Night' works just as well, if not better than its predecessor, though takes a little longer to be as enjoyable. The sound is acoustic and shows that Dannii can more than hold a tune and deserves to still be in the business after three decades.

I am not sure what has gone wrong for Dannii at All Around the World. The record company that house such atrocities as Scooter and Cascada believe, in their wisdom, that Dannii is best recording a vocal over a banging, established dance tune. Whilst 'Who Do You Love Now' and 'You Won't Forget About Me' are examples that Dannii can work this format, 'Perfection' is a step too far and the style is fast losing its appeal. The highlights on this album are the tracks that Dannii wrote herself, the ones that were to be released but then weren't for one reason or another. There are consequently two sides to this album, the sheer brilliance and originality of most of it, coupled with the frustration that this could have been so much bigger. As Dannii herself says, she doesn't dwell on the past and, recent Twitter pictures showing her in the studio mean that this will not be the last that we hear out of the younger Minogue. She shows no signs of stopping, even though she is expecting her first child with Kris Smith in July; currently judging the fourth series of Australia's Got Talent, starring in the latest Marks & Spencer advertisements, launching her latest clothing line, 'Project D' and making it very clear that she wants to be back on the judging panel for this year's X Factor to continue to fly the Team Minogue flag. Some argue that she needs to let the judging go this year, head back to the X Factor as a performer and show Cheryl Tweedy (then Cole) a trick or two. I for one really hope this happens.

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

Keyshia Cole - The Way It Is (2005)

2010-02-26T13:13:00.006+01:00

(I Just Want It) To Be Over
Rolling kettle drums and punchy brass start off the first track from the debut album from Keyshia Cole. Cole is remembering a time when the relationship that she is in was good and her man used to make all the right moves but now realises that neither one of them want it to continue. Her man is acting as though he doesn't care and she doesn't want to love him any more, doesn't want to need him, just wants to leave him and for it To Be Over. Cole's voice in the pre-chorus is where she showcases its power.

Changed My Mind
Cole in the introduction dedicates this song to somebody who knows who he is. Kayne West features, though his contribution is limited to introducing himself and a few 'stops' towards the end. This has a sound that is more street than To Be Over. The lyric is quicker and the accompaniment is pure percussion with hand claps. The song is not sang in the first person but from the perspective of an onlooker recounting the feelings of the couple in question. The girl is doing everything she can to make the relationship work, though the man shows no love and takes her for granted. The girl decides that she's Changed Her Mind. She no longer loves her former partner and won't have any more of her time wasted. The harmonica accompanies the bridge, which leads to a superb ending where the lyric quickens even more and asks the now ex, how he feels to have lost out. The sample of 'Get Out Of My Life, Women' is incorporated to excellent effect and flipped towards men this time around.

Love, I Thought You Had My Back
Track three has a softer sound, more instrumentation and a similar message to the first two tracks. The bassline stops the song from venturing into slow jam territory but the sound is less raw than To Be Over and Changed My Mind; as though Keyshia is moving on from the immediacy of the two earlier tracks. She still misses the partner that she thought was the one but realises that she has to move on and recognises that she was wrong when she thought Love had her back this time. The end of the song has a spoken vocal about making good decisions, knowing your focus and, if love is your focus, you need to pay attention.

I Should Have Cheated
A track so good that it features on both 'The Way It Is' and Cole's second album: 'Just Like You'. This song is most definitely a slow jam but, far from being a love song, this is about taking stock of a relationship and looking at it objectively. Despite hearing gossip about her partner, Keyshia gives him the benefit of the doubt and trusts him completely. He, on the other hand, questions her every action, accuses her of sneaking out, cheating on him and lying. The man is told in no uncertain terms that he needs to change his ways or she is out of there.

Guess What? feat. Jadakiss
The pace is picked up for 'Guess What?'. A heavier bassline, punctuated with snappy brass and a fast lyric put the rhetorical question to her partner. The answer is that she is leaving Jadakiss, the featured rap artist. Keyshia is throwing her man out of their house for cheating and generally letting her down. She realises that she has been stupid during their time together and is putting an end to it. Far from being upset, Jadakiss says that he doesn't care, he'll give her her keys back but asks for everything that he bought her back in return. He says he is being a man by going out and sleeping around and, unsurprisingly, this does him no favours and he is shown the door.

Love
Strings strip back to a simple drum beat and a bass guitar melody that compliment Cole's voice great. Cole sings about questioning her self worth since her lover has been cheating on her. The chorus could be said to be about the good things about being in love, about being thankful for finding the one only for the second verse to progress into a song about not being able to go on should this end. Cole's voice is emotionally charged for 'Love' and begs her partner not to leave her on her own.

You've Changed
This song starts with and continues with elements of 'Sounds Like A Love Song' by Bobby Glen. Cole speaks over the introduction, saying, 'I already heard your side of the story, hear mine. I'm gonna tell you why. Cos you changed. You got dumb. No, you listen'. She continues to sing directly to her partner that swept her off her feet the day that they met. He was full of charm, she had butterflies and was filled with first date nerves: Happy; reflected in the beat of the song. The charm soon ends and he is constantly leaving her own her own, up to who knows what. Cole won't sit at home and wait for him to put in an appearance and tells him of her concerns but his response is to act as though he doesn't care. The very end of the song speeds up to hit her arguement home and sounds fantastic.

We Could Be
Keyshia is asking whether she can talk to her baby for a minute. She feels that he is the one and can see them spending the rest of the their lives together, if he would only treat her right and they could be friends. The vocal on this is great. Exposed. Irregular. Almost as though Cole is struggling to get out what she wants to say. The song is low, slow, inspite of the fast vocal, and strings, guitars and the piano accompany the whole affair.

Situations feat. Chink Santana
A return to the style of the earlier tracks; with a darker, more confident edge. The song starts off by stating that 'She can't love you, like I love you'. Keyshia calls herself the 'real thing' and knows that, although this man is not hers, she should be his girl. She needs this man and nothing will stop her from getting him. She is putting it on a plate for him and dissing his current girlfriend. Given the fact that Keyshia has been on the receiving end of this treatment at the start of the album, it is interesting that she then instigates this towards the end. She has Chink Santana playing his girlfriend and shows no remorse. This does make me question why and this is the success of the song. I am questioning as to whether or not I condone this kind of action and am being forced to put myself into both the cheater and the person cheating's shoes. If you want something, you have to go for it, but at what cost? The earlier tracks bring the fall out of having an affair home and the fact that I find myself stopping and asking what the hell is going can only be a good thing.

Down And Dirty
Both Keyshia and the man she is singing to want to get Down And Dirty and she is asking him to play the game her way. This is a slow jam, with a repeated string melody over percussion. It is not the strongest track on the album but is a welcome follow up to 'Situations'.

Superstar feat. Metro City
This song sounds a little more street and Metro City sound great both independently and when they harmonise with Keyshia. They are singing to each other, saying that the other is like a Superstar, looking as good as anyone on the big screen or the cover of a magazine. Strings feature heavily on the song, with a heavier bassline than the last few tracks. This is one for the bedroom and I like this a lot.

Never feat. Eve
A reworking of the Luther Vandross classic and featuring some of the original vocal. This is a funky finish to the album and lifts the mood on what has been an album that has explored some of the darker sides of relationships. As well as Eve's rap, Keyshia adds new elements to the track, elements that make it fit in with the rest of 'The Way It Is'. She raises the tempo as well as the bass and this makes you want to hit the floor.

Love (Live AOL Session) (Bonus Track)
Listed as the second bonus track, this one actually appears first and is a live version of 'Love'. The difference is negligible, showing the talent of Keyshia in that live, she sounds exactly the same as she does in the studio.

Changed My Mind feat. Shyne (Bonus Track)
Shyne's rap does little to improve the original version of the song, which is the same except for his additional vocal. I prefer the original.

The first album from Keyshia Cole is brilliant. It is dark in places and the artwork is equally raw and graphic but love isn't all roses and someone needs to tell it as it is. Step forward Keyshia Cole. She turns in an on point debut, that sounds as good today as it did five years ago when it was first released. The songs are more Rn'B in style but more soulful in lyric, in spite of them being to the point. The lyric rivals the music and, when listened to as a collection, the album is provocative and makes the listener think. Keyshia is not simply slagging off men, but recognises that, even when you are in a bad situation and know it, it is easier said than done to put an end to it rather than endure. People will be able to identify with this and will hopefully get the hint that only good can come from distancing yourself from negativity. The songs have no airs or graces, no hidden messages, they are up front and easy to connect to. They are real. 'The Way It Is' comes recommended.

Keyshia Cole's Official Website: www.keyshiacole.com

Raphael Saadiq - The Way I See It (2008)

2010-02-25T11:13:00.007+01:00

Sure Hope You Mean It
The moment this song came on, I was sure that this was going to be a brilliant album. The volume went up and up and by the end of the introductory chorus, I was already Ooh, Ooh ing along with Raphael. The sound all through the album is a modern twist on old school Soul/Mowtown/Blues/Jazz: It's good and this is a great opening track.

100 Yard Dash
The lead single from the album with a pretty impressive video that shows the 'Vixen' that Raphael is trying to get away from in vain as he has heard that she can have quite an effect on poor unsuspecting young men! It all goes to pot and he caves to temptation but this is another upbeat track that everybody I have played it for absolutely loves.

Keep Marchin'
The tone on the third track remains upbeat and is about dusting yourself off and trying again when things do not go your way. No matter how bad things are and no matter how hard it is, you have to 'Keep Marchin''. It's another great track, which paves the way for the superb:

Big Easy with Special Guest 'The Infamous Young Spodie and the ReBirth Brass Band'
This is another fast-paced song that has a distinctly Southern feel to it with all of the hand claps, though the lyric is tragic. The tragedy in question being the recent devestation in New Orleans caused by Hurricane Katrina. In the song, Raphael sings from the perspective of somebody that has lost their partner in the floods, though the sound turns it into a celebration of everybody that was lost when the levées broke. If you are listening to the Euro Version of the track, you'll be clapping your hands before Saadiq tells you, just like the people of New Orleans would do (Saadiq's words). You can't help but get caught up in this song. You feel the desperation of the central character and this does make you stop and think.

Just One Kiss feat. Joss Stone
It is hard to pick a favourite on an album of consistently brilliant tracks, though this song may have it by a nose. The old school sound is there with the guitar providing the main accompaniment, though swirling strings come in just before the choruses that sing how just one kiss can change your life. Joss Stone is on fire on this track and at the very end of the track you could be forgiven for thinking that you were listening to Aretha Franklin. In Mary J. Blige's Itunes Originals set, she comments that she doesn't think that we will hear another Aretha in her lifetime and every time I hear this, I think that she is mistaken and I wish that these two would hook up. I digress. This is a fantastic song and so far, Raphael hasn't put a foot wrong.

Love That Girl
Percussion and the bass guitar start off this song that is about a particular lady who is more than a hit with the fellas and how, since Raphael is with her, he will endeavour to be better than the rest. He knows that he is on to a good thing and can't believe his luck. With the introduction of strings after a spoken section, the song builds to reflect just how good Raphael feels and this is another pleaser.

Calling
The flamenco guitar and Spanish introduction from Rocio Mendoza set a different tone to this song, which has a more sombre feel to it. The song is about how the Spanish female no longer wants to be with Raphael and won't answer his calls and sounds a little like 'Tears On My Pillow'.

Staying In Love
The introduction to this song winds up the music to a pace similar to that pre-'Calling'. A fantastic, almost collaborative performance between Raphael as the lead and himself as support, singing over eachother. Joss Stone makes another appearance, this time on backing vocals. The message is that, whilst falling in love is easy it is the staying in love that is the tricky part.

Oh Girl
Cue another pace change somewhere half way between 'Calling' and the previous tracks, with a slower vocal that showcases a smooth-sounding Saadiq. The subject matter is again how the lady in his life has changed his life and how he is going to raise his game so as to make her proud and not to let her down.

Let's Take A Walk
With a similar-sounding introduction to 'Love That Girl' you think that you know what to expect from this, then the electric guitar comes in and throws you off track, quickly followed by Raphael's vocal and a total change in sound. A steady beat and some jazzy backing vocals from Erica Jerry make this a sexy track that gets a little hotter on listening to the lyric. There is a reason that Saadiq wants to 'go for a walk'....

Never Give You Up feat. Stevie Wonder and CJ Hilton
CJ Hilton kicks off this track that sounds almost orchestral during the choruses compared to the percussion-driven verses. With strings-a-plenty (particularly on this track) and harps all over the album, there is a touch of class to the whole affair. Stevie Wonder has an official introduction and a harmonica solo, adding to the Southern flavour of the track about recognising that the lady in their life is the best and that they will never give her up.

Sometimes
Strings are out in force for this track with a more grimy, contemporary sound to the rest of the album. The hip hop beat and strings couple eachother perfectly and reflect the lyric about how the world can be cold sometimes but amongst all of the betrayal, back-stabbing and outright strangeness, there is beauty and forces in your life that will help you through.

Oh Girl feat. Jay-Z
Jay-Z raps the introduction for this reprise of Track Nine, as well as ad-libbing over the choruses. The pace of the rap is a little different to what Jay-Z normally does and helps the listener ease themselves into the track that can get lost on first listen, when it is surrounded by faster songs which have a more immediate effect. You will welcome the second chance at the song and you will get more out of it this time around.

With his third solo release (Instant Vintage and Ray Ray reviews to follow), Raphael has made nothing short of a brilliant album. Easily a contender for record of the year, if not record of the noughties. It is rare for me to fall in love with an album on the very first listen but the three second introduction to 'Sure Hope You Mean It' had me sold on this. Two years on, the album is still on regular rotation in my car and everybody who has been a passenger has absolutely loved it. Everybody. I cannot recommend this album enough and would also suggest that you check out Raphael Saadiq: Live At The Artists Den.

Raphael Saadiq's Official Website: www.raphaelsaadiq.com

Rihanna - Rated R (2009)

2010-02-25T11:06:00.004+01:00

Madhouse
A Thriller-esque spoken introduction encouraging those who do not think that they can take it to turn away from the Madhouse. Rihanna then invites you in amongst a chorus of ahs and nahs. Unecessary.

Wait Your Turn
A similar electronic sound to Madhouse introduces us to this single release. The vocal is a lot harder and, with the language that Rihanna uses, we are made very aware of the fact that this album is going to be like nothing she has released before. Her Barbadian accent is exaggerated for the verses but the choruses are more subtle, more catchy and more enjoyable. This could easily have been the first track of the album, without the need for Madhouse. The eye patch in the video is somewhat questionable but this is a good, hard song. Speaking of hard....

Hard feat. Jeezy
Another release from the album and another song with choice lyrics. The Barbadian tone is there once more but this is grittier than Wait Your Turn. The video in which Rihanna is firing machine guns and driving tanks underlines this. The sound is quite rocky, with grating electronic sounds and harsh piano notes. It takes a few listens to get into this. Jeezy's rap helps, along with the vocal that it gives way to, where Rihanna asks where everybody is at.

Stupid In Love
A welcome respite to Hard, Stupid In Love is a ballad with a soft vocal, deep lyrics but a disappointing chorus. The verses are very vivid, no doubt influenced by Rihanna's personal experiences but the repetitive chorus steals away from this rather than building on it. The message that the song has, despite the events that it documents, does have light at the end of the tunnel. There comes a realisation that rather than being her that is stupid, it is the other person that has done nothing but bad.

ROCKSTAR 101 feat. Slash
The title and featured artist give away the direction of this track. The cursing is back in a mid paced vocal over what becomes a fast sound. This song is quick becoming a favourite of Rated R and I would love to see this get a release. The lyric is about Rihanna being a Rockstar and the fact that she sleeps all day and goes all night. The bridge hints at a softer sound, which is short-lived before the guitars and drums drop again.

Russian Roulette
The lead single from the album and an absolutley fantastic song that went to the top of the charts in numerous countries. The electric guitar provides the introduction with drums dropping only after we here a gun chamber revolving and Rihanna heavy breathing. Rihanna is caught up in a game of Russian Roulette and the song gives us an insight into her state of mind and how terrified she is at the prospect of losing. The chorus is very powerful, as is the video clip and the song is a must have. Rihanna sounds great.

Fire Bomb
Fire Bomb is even more rocky than Rockstar and could easily feature on a Bon Jovi or P!nk album. Once the vocal comes in, the music drops to a quiet drum beat and a piano melody. The electric guitars are back for the chorus but grate during their solos. A nice touch is the sound of a fire burning at the very end of the track, though this is not one of my favourites.

Rude Boy
The video for this song is the best that I have seen in a very long time and this latest realease from Rated R is currently sat at Number Two in UK charts. I wouldn't be surprised if it doesn't climb to the top spot, where it deserves to be. The vibe is summer, the electronic sounds are just like that of the steel drums and the drum beat is a real head nodder. I love this song!!

Photographs feat. Will.i.am
The acoustic guitar introduces us to this collaboration with Will.i.am. Back are the soft vocals, sung quite fast over what is minimal accompaniment. The beat doesn't drop until after the first chorus but when it does, we know we are on to a winner. The lyric describes how that all that is left of an old relationship is photographs and how they are not worth anything without the former partner. Everything stops after what can be described as a virginal bridge, only for the sound to change completely for Will.i.am's rap. The backing for this is straight up The E.N.D. This is another good track.

G4L
Weird is the introduction to this song. The vocal is fast, low and starts and ends with 'I lick the gun when I'm done cos I know that revenge is sweet'. The song is dark and G4L stands for Gangster For Life. It's another track that needs a few listens and the jury is still out on this one.

Te Amo
The Barbadian sound features once more in both the lyric and music. Sang in the first person, the song is about a female lover than ends things with the protagonist, telling her Te Amo. The singer is asking what this means, correctly assuming that it means I love you. I like this.

Cold Case Love
The organ provides the only backing for the track, with a slower pace and smoother vocal. The chorus makes the song and, as it progresses, more and more instrumentation joins in: drums, piano, strings and finger snaps. The sound is almost orchestral, though the street element comes back with the final part of the song being beat boxed. The lyric is to a former partner whose 'love was breaking the law but I needed a witness'. This is a good and will have you thinking.

The Last Song
This is the only song, despite the subject matter of various other tracks, that Rihanna has gone on the record to say deals with her turbulent relationship with Chris Brown. It's another slow song, with little accompaniment at the beginning. The song is about the ending of a relationship and how, giving up on real love means that they may never experience it again. Despite the goings on with the two of them, Rihanna sings about not regretting anything and that she would do it all again. Rihanna seems to have made a new friend in the electric guitar and the instrument pops up again on this track. The vocal is on the money and it's another song that will have you thinking long after it has ended: the perfect finish to a solid album.

Rihanna has come a long way from her debut and so much has happened to her that this was bound to come across in her music. Fans have asked, and Rihanna has promised, that her next release be more similar to 'Good Girl Gone Bad', which is a shame as Rihanna has proven that, when given the freedom to record the kind of music that she wants, she is capable of turning in some truly remarkable material. Russian Roulette is one of the most original songs that I have heard in a long time and, although some of the album may be a little out there for my taste, it is a good thing that she is pushing both herself and the listener. With a few more plays, I am sure (as has been the case so far) that the songs that are a bit harder to digest will be finding their way into my playlists and establishing themselves as songs of choice. I would hate for her to take a backwards step at this point when it seems that, by taking a giant leap forward, she hasn't put her foot wrong. On the contrary, Rated R is a brilliant album, all be it edgy and dark in places. The darkness is countered by songs such as Rude Boy and this is well-deserving of a purchase.

Rihanna's Official Website: www.rihannanow.com

Brandy - Afrodisiac (2004)

2010-02-25T10:51:00.007+01:00

Who I Am
Sung directly to her former husband and to the listener, this thanks the former for all the tears and stress and apologises to the latter for letting them down with the breakdown of her spiritual marriage. Brandy says that the experience made her who she is and, rather than being a sorry tale of love gone bad, this is a celebration of the end of a no good partnership and the fact that she is now a better woman and has moved on to bigger and better things. A slow breathy vocal over a drum beat and piano scales, with Brandy providing instrumentation with that distinctive voice of hers. A great song to start with.

Afrodisiac
Timbaland produces a lot of this album and you can tell that he is twiddling the knobs on this. This was a single release and the title track of the album, though I don't think that it is up to either. The song is to a lover who is her aphrosidiac, the only one that she needs. The clever play on words is the best thing about this song, which can get a bit repetitive. The musical outro is pure Timbaland and also pleases.

Who Is She 2 U feat. Timbaland
Timbaland provides a small vocal for this track and therefore gets a credit. This song was also released as a single and, although it is not an obvious choice, it definitely gets better with time. The vocal is quite fast over a mid tempo beat, demanding that her then husband tell her exactly who a woman that she has her suspicions about is. Another musical outro reminiscent of Aaliyah features.

Talk About Our Love feat. Kayne West
The lead single from the album and Brandy on top form. The verse has a low, quick, authoritarian vocal over a drum beat but the chorus has sweeping strings, vocal support and sounds great. Kayne turns in a brilliant performance, long before he went and laid into Taylor Swift and this is absolutely up there with the best tracks from Afrodisiac.

I Tried
Low strings and a thumping bassline provide the introduction and feature throughout the track, along with the electric guitar. Brandy is sat alone, listening to Coldplay, thinking about how she has been treated by her partner and how she looked the other way when he cheated, knowing deep down that he wouldn't change and she should have left the first time. She talks about pulling herself together since crying never kept her man at home anyway and it is lyrics like this that play on the listener. This is a great track.

Where You Wanna Be feat. T.I.
The piano is the instrument of choice on 'Where You Wanna Be', providing simple, individual note support to the quick drum beat that backs the slow, low vocal. Muted strings play over the choruses. The song asks the man in her life, in this case T.I., exactly where he wants to be; with her or with another woman/out with his friends. T.I.'s comeback is that he wants to be with Brandy and he tells her that she has all his love and he will give her more attention. Brandy is unrepentant in her stance however and holds fast to her argument that he does not see where he should be and what he should be putting into the relationship. This is a grower.

Focus
A mid tempo track, with a breathy vocal about not losing focus when a about to former partner is discovered to be cheating. The song discusses all of the lies that were told and how Brandy is too hurt right now to be civilised and needs time to collect herself and get over the man in question. The beat makes this song a head nodder and, as all through the album, Brandy sounds great.

Sadiddy
This is a harder track, made for the clubs. Timbaland provides a small vocal for this too, which leads us into faster singing from Brandy. The song is about Brandy herself and how, if you cross her, 'It won't be pretty'. Being Sadiddy is thinking that you are better than everybody else and Brandy has often been accused of being a diva. She has even admitted that around the time of 'Never Say Never', this rumour was not without foundation but 'Sadiddy' sets the record straight about this no longer being the case, no matter what gets said about Brandy in the press.

Turn It Up
Another club banger, Brandy sings how she doesn't want to sound familiar and wants 'a guaranteed single, not an album filler'; 'something to make the people shake their butts'. She pulls this off with this track. Part of the vocal is sang to Timbaland, asking him to help her in her quest for the perfect party track and how she is working with him (Missy Elliot is also mentioned) in order to represent Aaliyah, who had recently died. It does take a few listens to get into this but it is worth sticking with.

Necessary
A slower paced track, about love for a new partner. She sings about her love for him and how his love for her is Necessary. The usual imagery of swimming the ocean and walking the desert is there, coupled with some fresh metaphor, that compliments the fresh sound. This track, as is much of the album, is also a grower and needs a few listens before you start to feel it.

Say You Will
Hands down the best song on Afrodisiac. This is a beautiful ballad, with guitars, drums and the softest backing from Brandy herself. She sings that all she wants to do is spend all of her time with her lover and asks that he says the same. She reigns everything in on the voice for verse one before adding weight to the second verse and chorus adlibs, which successfully convey the sentiment for her partner. The bridge is sung low and tells how Brandy is ready to marry and have kids with the new man. This is one for the lovers and, despite being surrounded by all out bangers of tracks, it manages to steal the show and, if Brandy was willing to release the distinctly average 'Have You Ever?' from 'Never Say Never', I will never understand why this song was not made a single. Your partner will thank you for buying this track. If your single, you will thank yourself! It's that good.

Come As You Are
Timbaland beatboxes over the string introduction to this track, which talks about Brandy's womanly needs. She states that her previous relationships were a reflection on the fact that she was just a girl and didn't know what love is. Now that she is grown, the man in her life can Come As He Is, as he doesn't have to fit an ideal; he just needs to be true to himself. The beat and vocal are fast and this is another good track.

Finally
The introduction claims that Brandy has risen to the occasion with this song and this is true. The pace is lively, the chorus is catchy and the message is similar to some of the other tracks: Giving up on the bad relationship made her who she is today and she is now happy. The lyric, despite being upbeat, does detail some quite painful experiences, which conveys how, now Brandy is Finally where she's supposed to be, she can look back over the past from a position that no longer makes her sad. In fact, that track even ends with laughter. One of the best cuts on the album.

How I Feel
Guitars introduce us to this mid tempo track that details the breakdown of a relationship, comparing how things were when they first got together to how they are at this point in time. Brandy is trying to make it work and is still in love with her partner at this stage, though she needs more than promises and if things do not change, she will be forced to leave. She is being treated pretty awfully. The song almost catches you off guard. It's impact is not immediate but, paying attention to the lyric, you can't help but feel for Brandy.

Should I Go
The sample of Coldplay's 'Clocks' is fitting for the subject at hand here. The song can get overlooked on the first listen but it is worth going back to as I have never heard a song like this before. Brandy is 'standing on the edge of the industry' asking herself if she should go or stay? As in, should she knock the singing lark on the head or continue? She sings about the difficulties that she faces, the impact that these have had on her musical output and how things used to be different when it was just Brandy, Monica and (at this time the recently deceased) Aaliyah. The best part of the track, which does give the listener food for thought, is where Brandy sings how to be in the presence of people that Aaliyah affected, on a personal level, makes her stop for a second. Cue pause and deep breath before continuing. After all of the questions, Brandy decides that she is going to get back on the grind and, fortunately for us, continue with music. The sound is made up of the sample, simple percussion and Brandy's own backing. It is a stripped, almost accoustic performance that gives honesty to the lyric. It works brilliantly as the final track of another fine album by Ms. Norwood.

When reviewing this album, Trevor Nelson said, 'Brandy does not make bad records'. We hadn't had Human at that stage and he was 100% correct. 'Brandy', 'Never Say Never' and 'Full Moon' are all great (and will be reviewed soon). 'Afrodisiac' does bring a new sound to Brandy, which is no bad thing but, if it isn't broke you don't fix it and this album does fall short of 'Full Moon', even though lyrically it completely outshines anything that Brandy (or most artists) had done previously. It is not such an immediate hit as her earlier material, though worth persevering with as, with most things that Timbaland touches, it does turn to gold. Brandy has an amazing tone to her voice and it is no poor decision to have her create the music behind a lot of the tracks as well as the vocal. It was released just after the breakdown of her marriage, the death of Aaliyah and not long after the birth of her daughter. Brandy obviously had a lot going on at the time and, as she says in the cover notes, she wanted the album to be a reflection of this. The album is worth buying, though you may want to pick out the tracks you like and buy 'Full Moon' instead. Better yet, you may wish to hold off for her collaboration with her brother Ray-J, 'Rn'B' due to be released soon.

Brandy's Official Website: www.foreverbrandy.com

Beverley Knight - 100% (2009)

2010-02-25T09:21:00.003+01:00

Beautiful Night
A mid to slow tempo start to the album and the lead single from the same. 'Beautiful Night' is a bittersweet love song, which appears to relect on a relationship that is about to end, though Knight has said that it is about celebrating the life of a loved one that has passed away. The video clip is as simple and understated as the track itself and both are indeed beautiful. This was an instant hit with me and remains a firm favourite.

Breakout
An eighties-inspired uptempo party track about getting your party on. On first listen, I have to admit that I did not like this song but it is a grower and, Knight being an artist that I try not to miss live, hearing her perform this on stage converted me. This was the first song of the set and had everyone out of their seats, never to sit back down.

In Your Shoes
This was the second single from the album (third if you include the two week free download release of Every Step) and the single version features Chipmunk. I don't think that the album version lacks anything for not having the young rapper on here and this is another grower. The song uses a sample that Beverley always wanted to do something with and the song encourages the listener to get up and go for it without worrying what Beverley, or anyone else for that matter, is doing. On tour, she had the audience singing along to this one and, looking around, I didn't see anyone not making the effort! The video is a great tribute to Top Of The Pops too.

100%
The title track of the album and another personal favourite. Knight says that she named the album 100% as she always gives 100% to everything, whatever it is and, with this album being the first from her own Hurricane Records label, this has never been more true. Knight has also said that she is putting 100% into her personal relationship and it is this that would appear to be the subject matter here. James Bond-esque during the choruses, someone should really mention Bev's name for the next theme tune.

Every Step
A mid tempo bouncy track with a summer vibe. This talks about Beverley's career and how if she had to do everything all over again, she wouldn't change anything: 'If I had to walk this world again, I'd take every step as me'. A head-nodder!

Soul Survivor with Chaka Khan
Announced as the next single from the album and due out in a couple of weeks, this is another song that documents Beverley's (and the one and only Chaka Khan's) career and celebrates its longevity. It's an uptempo song with verses that sound stripped in comparison to the choruses. Elements of the song are comparable to the Rolling Stones, elements are gospel and the whole thing works. There are songs that I would have picked for release ahead of this but I do like this song. How can you not like Chaka Khan? She has still most definitely got it.

Turned To Stone
This sounds as though it is going to be an all out ballad when the piano introduction begins but the drum beat that drops in time for the first verse gives a hint that the chorus is going to have a little bit of oomph and it sure does. The subject matter is a failed relationship and how the former partner has 'Turned To Stone'. Beverley's voice is particularly brilliant on this and when she sings about facing the world on her own, the afore mentioned oomph means that we know that she is going to be all right.

Bare
This time the piano introduction does single a ballad and a ballad that has positive review after positive review. If you like 'Gold' from 'Who I Am', you are going to love this. This is a song to her current partner that states that her love for him leaves her bare. Another metaphor for the 100% commitment that she has for her boyfriend, James.

Square Peg
We all know the saying about a square peg and a round hole, this is what the lyrics deal with here. The sample will have you scratching your head as to where it has come from and I won't spare you the annoyance that this caused me for quite some time! Gospel backing vocals help the song build through the second verse and the song, once again, is about Beverley's inner strength and even though she doesn't fit in, she is uncompromising and does what she feels is right.

Gold Chain
Make no mistake, I love this song. The beat is great, heavy on the bass and sung with spirit. I have heard the sound being compared to Anastasia but I would shy away from this. In saying that, I am at a loss as to compare this to anyone: In my eyes a good thing! The lyrics are to a partner that wants Beverley as a status symbol rather than as a lover and how this simply won't fly. She states that she is after somebody real rather than superficial and expects the same.

Moneyback
I love mid nighties Rn'B and this is the sound that Moneyback has. Sounding old school rather than old, there is an upbeat sound to a song that deals with the breakdown of a relationship and the bridge is defiant in both voice and lyric.

Painted Pony
A music box (fairground ride?) melody plays through this slow song where the square peg Beverley likens herself to a painted pony on a carousel that will keep on going round and round like the energizer bunny. Negative people are unable to stop her or slow her down. This is not a filler by any stretch of the imagination but there are better songs on the album.

Too Much Heaven
Just like 'Time Is On My Side' from 'Music City Soul', this is a cover version that could have been left off the album. I love the verses but something doesn't click in the choruses of this Bee Gees song for me. It's not terrible it's just not one of my favourites. Beverley does get away with it though. Just.

Six albums on (not counting her greatest hits package 'Voice') and Beverley Knight has done it again. Another good album and another cracking tour to go with it. Beverley says that 'Everything has to be 100% on point or it gets left behind' so you can appreciate that this is something special. As well as Chaka Khan on 'Soul Survivor' and Robin Gibb on 'Too Much Heaven', there are behind the scenes collaborations with Jam & Lewis (producers who have worked with Janet Jackson, Mariah Carey, Usher etc.); Guy Chambers (her old writing pal that used to write with Robbie Williams); Jimmy Hogarth (writes with Duffy and Adele) and Amanda Ghost (co-wrote James Blunt's 'You're Beautiful' and Beyonce and Shakira's 'Beautiful Liar'. Live she will knock your socks off and on the stereo she will have you in tears, laughing, up dancing and covered in goosebumps. AllTheyWantIsMusic loves Beverley Knight!

Beverley Knight's Official Website: www.beverleyknight.com

Maxwell - BLACKsummers'night (2009)

2010-02-16T19:52:00.007+01:00

Bad Habits
The first song on the first album that we hear from Maxwell in eight years starts soft and falsetto but soon comes down into a lower key that shows off a much better tone to that unmistakable voice. The song builds layer on layer and needs to be listened to to be appreciated. Everything is live instrumentation and you'll be able to pick out something new with each listen. It's good to have him back.

Cold
Brass is used to good effect to punctuate this song that asks how a lover can turn so cold. After the first verse and chorus, everything strips back to what sounds like windscreen wipers. The song is like a production and you can imagine Maxwell sat in his car in the rain trying to get his head around what has happened. I love this song, which seems to gather speed as it progresses which adds to the sense of confusion.

Pretty Wings
The introduction to the stand out track and lead single from the album sounds like a music box or wind chime. It is a beautiful start to an exceptional song. This has headed straight to the top of my playlist in itunes and I can't get enough of it. This is one helluva smooth song that Maxwell has said is about meeting the right girl at the wrong time and is almost tragic in places. My favourite, the organ, comes in verse two; once again adding layers to a Grammy-nominated song that you simply must own. If you did not see the Grammys' performance of this, after which Maxwell was joined on stage by Roberta Flack, head on over to youtube.

Help Somebody
Pretty Wings is a slower song that the first two and Help Somebody is a return to the pace of the start of the album. The sound is slightly different, however, this one sounds fiesty in comparison. Drums, guitars, brass, it's all there and this is another great song.

Stop The World
This is a slow head-nodder and is a love song. It is sung to a loved one and says that it is as though time stands still when they are together, even if the world rages on outside the window. As the song progresses, the sound becomes almost gospel. It's good.

Love You
It's You are the first words of this song that picks up the pace a little. The subject is quite clear and Maxwell sings this one with passion. This is up there with the first few songs on the album and also comes recommended.

Fistful Of Tears
This is one of the sexier sounding tracks on the album and asks that his woman recognises what she has in front of her and holds on to it, rather than causing Maxwell to shed a fistful of tears.

Playing Possum
The acoustic guitar, cymbals and kettle drum start off this slow song that asks a partner to stop playing possum and breaking his heart. Another beautiful song.

Phoenix Rise
The introduction of this song sounds almost dance in style until the drums kick in. It is a lively-paced instrumental track that was also Grammy-nominated. It seems a surprise to me that, with a voice as good as Maxwell's, he chose not to sing on this one. Consequently, for me, there is something lacking from this.

The whole album comes in at around forty minutes so even if you are unsure, it's not going to take up too much time out of your day to give this the benefit of the doubt. You will be glad that you did. It is billed as being part one of the Black Summers' Night trilogy. I for one cannot wait for the next two parts and this has had be reaching for my older Maxwell CDs and redescovering some of the gems that had fallen out of favour over the years. The fact that Maxwell won two Grammys for this album shows that I am not the only one to be happy to have this new release and the brilliance of this project is getting the recognition that it deserves.

Maxwell's Official website: www.musze.com

Robin Thicke - Sex Therapy: The Experience (2009)

2010-02-16T15:16:00.005+01:00

911
The introduction to the album would not sound out of place in a lift (elevator) and invites the listener to hold for the doctor (Thicke), who is about to provide the Therapy.

Mrs. Sexy
This is a seriously cool song. Robin sings in a soft voice, almost a whisper in places and keeps the falsetto to a minimum. The song is dedicated to a lady that the singer wants to make his wife (Mrs. Sexy). It rolls along nice with the string and brass accompaniment both muted, along with the vocal. Perfect for the beach or the bedroom in equal measures, we are off to a strong start.

Sex Therapy
The title track and lead single from the album has a strong drum beat and sweeping strings to accompany the high vocals that are signature Thicke. Sex Therapy is Thicke's take on the Marvin Gaye classic Sexual Healing and this song gets seriously steamy pretty quickly. Anyone that has seen the video can testify that the visual echoes this sentiment, with Thicke singing the track through a pair of legs for much of the clip. The take on 'It's My Party (and I'll Cry If I Want To) works and this is another strong track. A remix featuring Ludacris that is doing the rounds is also worth a listen.

Meiple feat. Jay-Z
The vocal on this is different to what has gone before it and sees Thicke singing in a speaking voice that Jay-Z takes into full on rap in the second verse. It's another naughty track and documents what Robin is prepared to do for the lady in his life. Pronounced Me I Play, the song is all about living the high life and the players in question pull off a cracking track.

Make U Love Me
Drums, bass and finger clicks provide the backing for this song about doing it better than the listeners' boyfriend ever could. Thinking to warm up towels whilst the lady is in the shower, he may have a point! The vocal is in a lower register and has a similar vibe to the first track. This one may need a few more listens than the others for you to get into it but it is great. Even the bigfoot metaphor works.

It's In The Mornin feat. Snoop Dogg
Another sexy track about when Robin likes to get it on with the lady in his life. The brass just before the chorus sounds like a herd of elephants which conjurs up an imagery all of its own. Snoop's laid bag tones slide in easily and this is another goodie.

Shakin' It 4 Daddy feat. Nicki Minaj
Laid back this song ain't. This is a full on club banger and there is a video on Thicke's website that was taken where he premiered the track on the radio, which I recommend you check out. The vocal is low, fast and smooth. Minaj's feisty rap is brilliant and is perfect to represent the woman that is working it for Daddy.

Elevatas feat. Kid Cudi
The narrator (doctor's receptionist?) that makes appearances throughout the album in the introduction and interludes starts this one off, which breaks into the rap from Kid Cudi laid over electric guitars, giving this track a distinctive sound. Robin's vocal by comparison is high and soft; spoken in places, but the sounds come together well and, whilst this may also need a few listens for it to be up there with the other tracks, it soon will be. The bridge could easily be found on a Justin Timberlake song.

Start With A Kiss
The narrator is back again for this interlewd! This is a naughty step by step guide from start (the kiss) to finish (fondling) via all sorts of places as to how to go about seduction.

Rollacoasta feat. Estelle
Recently announced as the second single, this is another party song which opens with Estelle giving way to Robin saying, 'Slap me in my face, punch me in my eye'. I've never heard lyrics like that before! It likens the rollercoaster ride to a relationship but not in the up and down sense that has been done to death. This concentrates on the twists and turns and excitement of the ride and compares the journey around the track to sex. Both will have you screaming. My favourite part has to be where the music suddenly stops for the sound of an actual rollercoaster climbing up a steep incline only to drop back in once the summit has been reached. A firm, funky favourite.

Million Dolla Baby feat. Jazmine Sullivan
This is a more soulful song and Sullivan and Thicke sound great together. Thicke's trademark high vocals feature once more and the brass crecendo leads to another large nod in the direction of Marvin Gaye. This time with excellent use of 'Trouble Man' and you will love this.

2 Luv Birds
This track would have fit perfect on the brilliant 'Something Else'. It is a love story, pure and simple. Thicke by numbers.

I Got U
Another interlude with the female voice this time coming from a lady with relationship problems who has come to see The Doctor. The girls will like this one, though it can be overlooked.

Jus Right
Thicke's high vocal over a slow, smooth song is a winning combination. Though this song fails to grab much attention.

Mona Lisa
Jus Right is not so terrible to count as a wrong move by Thicke but this song is a massive step in the right direction. Acoustic guitars, a woodblock and cymbals provide the musical accompaniment to a beautiful lyric for Thicke's partner. He says that if he were a painter, she would be his Mona Lisa. This is a favourite of mine.

Brand New Luv
This has elements of 'Feeling Good' and is a nice track. Like Jus Right, it fails to stand out, however. May be this needs a few more listens for me to love it, as it stands, I like it but not as much as the rest of the album.

Diamonds feat. Game
You could be forgiven for thinking that the album is winding down based on what I said about a couple of the last tracks but we most definitely end on a high in this soulful groove about beautiful women (Aretha Franklin, Mary J. Blige, Oprah and Michelle Obama amongst others). It likens how pressure builds diamonds to how women sometimes shine in times of pressure. The artists dedicate this song to their Mums, which will no doubt increase their appeal to the fairer sex, which is what this album is all about.

Sex Therapy is one for the ladies, that is clear to see but this has not stopped me from having this on repeat in my car since the album dropped in December. Shakin' It 4 Daddy does get some strange looks depending on who is my passenger on the day but that is no bad thing. Something Else was a fantastic album and Sex Therapy is a step up from that. The quality of the collaborations goes some way to show the standard that you can expect when you put the CD in your stereo and this serves the purpose in the car, on the beach and in the bedroom. Whilst the women swoon over the smooth vocals and the sheer sexiness of the production, men, take notes. There are tips in there for you to raise your game and be able to administer Sex Therapy of your own.

Robin Thicke's Official Website: www.robinthicke.com

Joss Stone - colour me free! (2009)

2010-02-15T21:12:00.004+01:00

Free Me
One Word: Brilliant. I got to see Joss in concert at the weekend and she was fantastic. This song was dedicated to anyone with a free mind and it went down a storm. Joss looked surprised at the reaction it got and people were singing along all the way through. This is a song to EMI. Joss is asking to be freed from her record contract with them but this is also a song for anyone who has been put down or made to believe that they were not good enough. It is the perfect start to the album with a funky guitar and drums that you are going to love.

Could Have Been You
At the concert, Joss said that she wrote this song when she was fifteen years old, which is quite frankly remarkable. She said that she no longer remembers who it was about but one thing she does remember is that he was a tw*t. This is a song to an ex about what he is missing out on and is fairly uptempo and upbeat. This also went down well and, at the bridge, Joss gives it some. This girl has a set of pipes on her.

Parellel Lines feat. Jeff Beck & Sheila E.
Another funky number, this song uses the metaphor of parellel lines for our lives. We keep ourselves to ourselves and our (life)lines never touch. The songs says 'how beautiful it could be' if we could 'close up the distance between all these parellel lines'. It's a good message and it is a good song. There is an electic guitar solo for those of you that like to rock out.

Lady
Sexy guitars and a slower pace give this song a sassiness that make it a favourite of this album. At Joss' invitation, this was requested at her gig and she duly obliged her fans with a faultless performance of this song that gives an insight into Joss' seduction technique. She is trying to remain ladylike (keep her lady) when faced with a 'naughty boy' that leaves her 'tongue-tied'. The bridge provides the best moment of the song.

4 and 20
The piano introduces this jazzy number that Joss wrote about a man not doing what he is supposed to do when he is supposed to do it. 4 and 20 refers to the number of hours that her man has to prove to Joss that his love has got the power to make her believe that he will take her where she wants to be. On reflection she said that she realises that the song, with some sexy muted brass, is actually about the impatience of women to which she states is OK, 'cos we're ladies'.

Big Ol' Game feat. Raphael Saadiq
If you have not heard 'The Way I See It' yet, I suggest you put this on your list of things to do. Raphael's latest album is nothing short of brilliant and he lends his brilliance to this track, which Joss used as her encore. It is an upbeat song that Joss said is about enjoying life and 'having a laugh'. This will have you dancing.

Governmentalist feat. Nas
The big name collaborations keep on coming with Nas rapping over this moving political cut. The funky guitars do not distract from the frankly tragic lyric. Joss sings about the war that the Western World is wagering around the globe with some powerful imagery. She questions the motives behind the offensive and the background vocal on this is fantastic. This song catches you by surprise but will soon be a favourite.

Incredible
I keep on using the word funky to describe this album, which is more upbeat that much of Joss previous recordings. Funk fused with soul is the order of the day and the dirty brass on this will have you on your feet by the time the gospeldelic end hits.

You Got The Love
A cover of the Candi Statton classic. Is it better than the various other versions of the song that have been around? On first listen I would say no. Now I am not too sure....

I Believe It To My Soul feat. David Sanborn
Big on the brass, heavy on the sax; this is as old school as you can get. I want to say Jazz, I want to say Blues, I want to say Funk (again). There's another flawless vocal over a track which would have some of the greats saying that they don't make them like this anymore. Joss does.

Stalemate with Jamie Hartman
Another song, another sound. This song wanders into Rock Ballad Territory with Jamie Hartman's husky voice. Rock not being my genre of choice, this song is one of my least favourites but Joss' voice, sounding better than ever, makes the track more than listenable.

Girlfriend On Demand
The piano is the only accompaniment for the opening of this simple song that sounds a little like 'Loving You' in places and which builds to something quite powerful. The song deals with a man wanting everything from a relationship without putting anything into it. 'How can I be your girlfriend on demand when you won't hold my hand?' she asks in a voice and with a sound that could be compared to Jennifer Hudson. Stunning.

Every Time I Turn Around
This is a slow love song with strings that come from nowhere and take the song back to an age gone by. This would be great at the end of the night for a smooch with the one that you love.

Mr. Wankerman
The sax on this song kills me. I love it. Coming in at just under fourteen minutes long, this is pure brilliance. Wankerman reminds me of Erykah Badu jamming but, as much as I love Ms. Badu, this knocks spots of 'Tyrone'. The sound is raw, full of adlibs and is a brilliant end to a brilliant album. The instrumental where Joss lets her band tell Mr. Wankerman something worth thinking about is amazing. Stone's voice, as it has been all over the album, is equally impressive and, when this song comes on, the volume goes up. And up. And up. You'll be closing your eyes, nodding your head and clicking your fingers; all with the biggest smile on your face and that is a promise.

You need to buy colour me free! Recorded in just two weeks the album is phenomenal and does not sound rushed like other efforts recorded in the same amount of time. (B-Day?) Stone loves music and she oozes class track after track on this. It has everything: slow grooves, party tracks, feel good songs, songs that will make you stop and think.... It's what music should do. Stone's delivery is effortless, from the soul and will leave you spellbound. This girl does not get her dues but, with albums like this, it can only be a matter of time before she does.

Joss Stone's Official Website: www.jossstone.com

Jill Scott - The Real Thing. Words And Sounds Vol. 3 (2007)

2010-02-12T11:13:00.004+01:00

Let It Be
A funky introduction to the album talking about whatever the style, just let it be.

The Real Thing
Guitars take us straight from the introduction into the title track, which has a rocky, harder sound to it. Reggae guitars join and fit right in. Scott sings about herself with lyrics that could only come from this published poet. The choruses are slow but, at times, the words are sung so fast that Beyoncé would have trouble keeping up. A brass finale rounds this song off well.

Hate On Me
The lead single from the album starts with some dark strings and we immediately know that this is not going to be all sunshine and light. A hip hop beats drops over the low strings that become a permanent fixture. Jill is saying that no matter what she does for some people, they will never be satisfied and will still Hate On Her. Her conclusion is to let them get on with it, whilst she stays true to herself and does what she feels is right.

Come See Me
Organs and brass start of this song, which has a contrasting sound to 'Hate On Me'. Whilst that track feels almost angry, this one is calm as calm can be. It deals with lovers separated by a great distance and how financially, we may not always be able to simply hop on a plane to be where we want to be. We hear how Jill is feeling being apart from her love. The song is beautiful.

Crown Royal
Written as train of thought, this short track (1min 48secs) is one of my favourite on the album. The Deluxe Verstion of The Real Thing does have this extended into 'Imagination/Crown Royal Suite', however. You will also be able to see a live performance on the bonus section of the 'Live In Paris' album. The sound is hard to describe but the result is great.

Epiphany
Drums provide the only accompaniment for a spoken vocal joined part way in by guitars. Jill always includes poetry in her Words And Sounds Albums, 'Exclusively' and 'Watching Me' both from 'Who Is Jill Scott?' being personal favourites. This is still good.

My Love
Another release from the album where one of Jill's lovers gets married, which takes her by surprise. The spoken introduction is great and bettered on the Live At The House Of Blues performance that can be found in the same bonus section of 'Live In Paris'. Jill rationalises her lover's choice for marrying but makes it quite clear that her love is, 'Deeper, Tighter, Sweeter, Higher, Flyer'.

Insomnia
This song is a narrative of Jill laying awake throughout the night (we get regular time checks), waiting for her lover to arrive or call. She knows that this is not how it is supposed to be and is, as she herself says, 'miserable'. The vocal is smooth and the spoken words where Jill realises what has happened to her is a great touch.

How It Make You Feel
This is the one song that sometimes gets skipped, which is a shame, as the message is great. It is a slow song to black men who treat their black women badly and don't give them the respect that they deserve. They are asked to stop and think about how they would feel if all black women were gone. The verses cites the beauty in the women that they treat with indifference with some truly great imagery.

Only You
The piano provides the introduction to this song with some haunting strings and a slow hip hop beat. The verse starts low and sets the tone for the song. It is a song to a lover how it is all about them and how nothing will distract her from them. The beat gets harder as the song goes on, litterally hammering the point home. A grower.

Whenever You're Around
This is a favourite of mine and is a bouncy, almost upbeat song, despite the lyric. The words are to a partner and reveals that Scott has been receiving welcome attention from a love rival. Nothing has happened yet but she hints that it may well do soon as there is something missing in her current relationship. She is lonely, whenever you're around she sings to him. The instrumental section is great and builds the song until a more powerful vocal hits us with the bridge; showing her frustration with the present situation. I love this.

Celibacy Blues
The title gives away the style of this short track, coming in at 2mins 15secs. Only a guitar accompanies Scott on this song about abstinence, if you can call needing new batteries every night abstinence! Brushed drums join in towards the end of the track with an electric guitar to round things off nicely.

All I
When I first heard this album, this was my favourite song. A bass drum starts off what soon becomes a very sexy rhythm. This sexiness is reflected in the lyrics, which read, 'All I dream about is making love' and then progress into some pretty steamy territory. One for the bedroom.

Wanna Be Loved
Another personal favourite, this one is spoken and sung simultaneously. The vocal is staccato in places, just like in 'Love Rain'. Coincidence? I think not. This is a seriously great track.

Breathe
Serving as an outro rather than another song. It is as funky an affair as the intro and has a sung vocal that sounds like it is going to break into a rap at any point, which is does eventually do. It is about Jill herself so how can this not be good?

The third installment of Words And Sounds is as good as its predecessors and shows that there seems to be no problem with this lady coming up with good song after good song. Everybody seems to be wanting to work with this lady ('Collaborations', anyone?) and it is a surprise that comercially this grammy-winning artist isn't at the top of the charts all around the world. She is as good live as she is in the studio, as those who own her two live CDs or have been fortunate to see her do her thing will testify. I have seen her once and would recommend her without a doubt. You need to watch her though, she'll leave, do an encore, leave again and then wait until you are pretty much at the door before literally running out on stage with a big smile on her face to do a few more tracks.

One of my favourite artists, you have to buy this.

Jill Scott's Official Website: www.jillscott.com

Beverley Knight - Music City Soul (2007)

2010-02-11T16:12:00.008+01:00

Every Time You See Me Smile
In interview, Beverley said that, in a time where a lot of music was over-produced, she wanted to strip everything back and record an organic record. The first song from the album introduces us to the live instrumentation that we can expect throughout. It is a lively number filled with brass, piano, guitars and drums and full of positivity.

Ain't That A Lot Of Love
A phat bass rift, drums and later a piano start of this track. It is quite simply brilliant. You can tell that this is a natural recording and all of the emotion that goes into the studio session comes across. This song is for dancing.

After You
The second single from the album is a beautiful song that deals with the fallout from a relationship. The song got polished for its release and it is that version that I prefer but this is still good. There's the same combination of guitars and drums with Beverley adding a soulful touch to it.

No Man's Land
The lead single from the album and not a very obvious choice for this. It is a slow song in which Beverley's voice is the star of the show. This is no bad thing and the result is a beautiful ballad that needs a few listens before you really get it. It's a song that will have you thinking.

The Queen Of Starting Over
A piano introduction with a brass follow up, this is an up-tempo song about making your own destiny and if something doesn't work out, you need to start over.

Black Butta
This is a fantastic tune that Beverley nearly always includes in her live set list. Full of guitar twangs that I like, this track oozes soul, which is apt since the subject at hand is Beverley herself. That said, there's something about this that reminds me of the Rolling Stones. It is great.

Saviour
Soulful groove with a great guitar rift. I love this track too. The only thing missing is a urgh after the word Saviour. I have heard her sing this live and it is every bit as good on the album as it is in the flesh. You'll like this.

Time Is On My Side
This is a cover of that song out of Jeepers Creepers and is the one song that occasionally gets skipped. Not my favourite.

Why Me, Why You, Why Now
This starts off upbeat with some confusing lyrics but the confusion is lost by the time the chorus hits. It's big, brassy and most enjoyable.

Tell Me I'm Wrong
The organs on the track immediately make it a winner for me. It's a mid tempo song with some great harmonies and a beautiful chorus. Beverley's vocals are soft all through the track, which is about her realising that she is falling in love when her head tells her that this is not what she wants to happen. This is what she wants to be wrong about.

Trade It Up
Has a similar sound to Saviour but as soon as the vocals come in, the similarities end. It is a good song but can get lost after 'Tell Me...' and coming before:

Rock Steady
Most artists would not dream of covering Aretha, citing the reason that they could not improve on her work. Step up Beverley. Not only does she do the song justice, she makes it her own and she does it with ease. I love the guitars in this (think Blaxploitation) and would put my neck on the line to say that it outshines Aretha's version. Just.

Uptight
The first of three listed bonus tracks is the worst of the three but that does not mean that it is a bad song. The other two are just blinders! It is the chorus that makes this song. It's yet another goodie.

Back To You
Over time this has become my favourite song on the album, it's a slow song with a nice message and the way that it was recorded, it sounds real. Much of the album sounds as though it was recorded in one take and you can tell that this song has not been tampered with. It's simplicity is its beauty.

After You (Radio Edit)
The single edit of the third track on the album does give the song a new lease of life. It sounds a little faster and a lot more soulful that the original version and builds to an impressive bridge. A great song.

This album was a departure from what Knight had done before and, as she says herself, this was the kind of album that she always wanted to record. It is, as she wanted it to be, stripped and there is no room for mistakes here. Everything is exposed, which goes to show exactly how talented Knight is whilst connecting with the listener on a deeper level. The songs are bold, beautiful and the album deserves a place in your collection. Beverley is one of the most consistent artists, not only in UK but around the world.

Beverley Knight's Official Website: www.beverleyknight.com

Angie Stone - Stone Love (2004)

2010-02-11T14:40:00.005+01:00

Stoned Love (Intro)
A short Mowtown (The Supremes) inspired introduction.

I Wanna Thank Ya feat. Snoop Dogg
The lead song from the album is a modern soul classic. The song has a summery vibe, a brilliant bass line. Angie's slick vocals sing almost gospel-like about thanking a lover for making her life so good. It's an upbeat, positive track and Snoop's rap appears to be the icing on the cake until Angie resings lyrics from 'Come Into My Life' by Joyce Sims. We are off to a good start.

My Man feat. Floetry
A personal favourite: Heavy bass with catchy verses and a punchy chorus. At times the vocal is so fast it sounds as though Angie is about to break into a rap but she keeps it soulful. The subject matter is the good things about her man so it is another positive song. Angie and Floetry sound good together and the best bit is where they 'go back to that breakdown'.

U-Haul
Tweet is on backing vocals here along with Betty Wright, Missy Elliot and Diamond Stone (Stone's daughter) and this is another favourite of mine. The beat bounces along nicely. The song deals with the break up of a relationship but errs on the positives that come out of it, namely no more upset. The backing singers give the quality of this song away without the need for me to tell you how good it is.

Stay For A While feat. Anthony Hamilton
A classic soul record. Anthony Hamilton has a great voice and his own albums are must-haves. Stone and Hamilton are a couple, he works away but heading home and the song deals with how they miss eachother, how much they are looking forward to seeing eachother and what they are going to do. This is brilliant.

Lover's Ghetto.

The same sample used by Terri Walker on 'This Is My Time' from 'L.O.V.E' (Adventures In The Land Of Music) kicks off this song. I think Terri Walker makes better use of it but this is another good song with Stone's daughter on backing vocals once more.

Little Bit Of This, Little Bit Of That (interlude)
Janet Jackson take note, this is how to successfully incorporate an interlude. Angie talks about what she puts into her music in an attempt to reach the masses.

You're Gonna Get It feat. Diamond Stone
Angie and her daughter's voices unsurprisingly blend beautifully for this song that nods in the direction of 'Black Diamond'. A soulful record with moments that give the listener goosebumps.

Come Home (Live With Me)
Dealing with a similar subject matter as Roberta Flack and a sample of 'Come Live With Me' instantly gives this song a classic soul sound. This is a slow jam where the bass guitar takes the lead in the overall sound. A great track.

You Don't Love Me
Given the title, this should sound darker than 'Come Home..' but the opposite is true. Rather than being sad at the thought that her partner no longer loves her, Stone rationally explains the reason for the slipping standards in the partnership. It's another head-nodder.

Remy Red
Another mid-tempo track, though this one is for dancing. The lyric describes the meeting of eyes across a crowded room and the sound is smooth, even though the man in the song is anything but: he says himself he has two left feet but asks for a dance. I like this one.

That Kind Of Love feat. Betty Wright
Now this is old school! Betty speaks through the introduction and invites Angie to sing about the kind of love that she is after, which is exactly what she does. The bass guitar stands out on this one too and is for nodding your head to.

Touch It (interlude)
Dedicated to Angie's husband. This is what it is, an interlude.

Cinderella Ballin'
There are no duff songs on this album but if I had to pick my least favourite, this would be it. Angie's smooth vocals are there, a soft bassline, finger snaps, it's all there but this does get skipped.

Karma feat. T.H.C.
After a brief slip, Angie is back at her best and this song is another favourite from the album. She sings about what the title implies and she picks up on the message of the extraordinary 'Wish I Didn't Miss You' that whatever you put out there comes back to you. The bass guitar is easy to pick out of this one too and the slick rap by T.H.C. fits in nicely.

Wherever You Are (Outro)
This is, in effect, a repeat of the start of the last interlude.

I Wanna Thank Ya (No Rap)
It's the first song without the rap if Snoop Dogg should not be your thing. With or without the rap, this is still a good song.

'Black Diamond' and 'Mahogany Soul' are both great albums so it is reasonable to have thought that at some point, Stone was going to be off form and put out an average record. With her third solo release she does no such thing (album five appears to be where the stumble takes place. Unexpected to be reviewed soon). For anyone that loves Soul or just a beautiful voice, this album is for you. Angie Stone should be up there with the likes of Alicia Keys, she has it all. A move to Stax has failed to increase her popularity and the must-have 'Baby' collaboration with Betty Wright from 'The Art Of Love And War' should have been number one worldwide.

This is a great record and another one that you are going to have to buy!

Angie Stone's Official Website: www.angiestoneonline.net

Janet Jackson - Discipline (2008)

2010-02-11T13:41:00.004+01:00

I.D.
A pointless introduction used to set the tone for a futuristic sound to the latest album from Ms. Jackson. Counts us down into:

Feedback
This song is an absolute stomper and one of the best things that Janet has ever recorded. The bass is banging, there are drum beats that could have easily been put there by the Neptunes. The verses, the choruses, bridges are all catchy as hell. The lyrics are a little risqué, the video brings Le Petit Prince not only up to date but sends it into the future; it's like nothing I have seen before. There's even a rap from Ms. Jackson. What more do you want?!

Luv
Feedback sets an incredible pace and Luv picks up right where that left off. This will be in your head for a long time after you listen to it and drive you insane as you wonder where you heard it. Another good track.

Spinnin
An spoken interlude from Janet liking love to a:

Rollercoaster
Darkchild is on production here and I remember that on first listen I was unsure about this. It soon works its way on to your good list, with another heavy bass line. These first four songs are definitely for the clubs.

Bathroom Break
Another spoken interlude, which serve little purpose. This is my least favourite but they last seconds so please don't allow them to put you off the album.

Rock With U
Another release from the album had a video that seemed to be recorded in one take. This track is also a grower and another great dance tune. Janets soft vocals compliment the hard bass well rather than sounding as though they do not gel. This is, as the lyric suggests, a sexy track and would not sound out of place either in the club or in the bedroom.

2nite
This song also has an electronic sound, with an interesting guitar rift. There is nothing wrong with the song but there is something missing that means that it doesn't quite stand up against what has come before.

Can't B Good
This is signature Janet and could easily have been lifted from the brilliant 'Janet' album. A slower-paced song, heavy on the bass so it does not sound out of place, the song deals with falling in love after promising yourself that you would not get hurt by it again. A return to the form of the earlier tracks.

4 Words
Another pointless interlude: Love, Fate, Hope, Destiny. That's it.

Never Letchu Go
A ballad with electic guitars and keyboards that can easily be overlooked. When you start as strong as Janet did with 'Feedback', you need to raise the bar with every subsequent song. This falls a little short.

Truth Or Dare
Another interlude...

Greatest X
A heartbeat serves as the introduction to another slow jam. It has a similar suject matter to the fantastic 'Still In Love With My Ex' from the average 'Damita Jo'. This is OK, a slight improvement on 'Never Letchu Go'.

Good Morning Janet
Another interlude with Janet's robot (I kid you not) asking how Janet is. It's still rubbish but since Kyoko (the robot) appears to sing the next track, it is a necessary evil.

So Much Betta
This is like nothing I have heard before, HEAVY on the bass with very little musical accompaniment. Kyoko raps the verses with Janet singing over everything else. I like it.

Play Selection
ANOTHER interlude!!

The 1 feat. Missy Elliot
You have to love Missy and she brings the comedy to this track. Think 'This Thing' by Amerie torn apart by bass, put in a 'warped' chorus (referring to the sound rather than the lyrical content) and you are somewhere there. Missy's rap in the middle of the song is good but she hits the nail on the head when she says, 'This is crazy, people'. I think it works though. The jury is still out on this one after two years. You decide if that is a good thing.

What's Ur Name
This is a nice bouncy Rn'B track with a catchy chorus. It comes as welcome relief following The 1's assault on the listener. You can simply sit back and relax to this track. Classic Janet.

The Meaning
These interludes are starting to wear thin now. This one is a definition of the word discipline.

Discipline
The title track from the album has a similar sound to 'Velvet Rope' from the album of the same name but does not quite live up to that. It gets better with each listen but whether or not you will give it the chances that it needs to engage you, I am not sure. I am still not quite there.

Back
Kyoko telling Janet it is time to go back and that's it. What for? Damned if I know.

Curtains
Part of the reason that I still don't feel as though I have given 'Discipline' the chance that it needs is that I am in a rush to get to this song. I missed it the first few listens but now this is amongst the most played songs on my ipod. This could only have come from Janet and is a slow jam with a fast, smooth, sexy lyric. I really like it. It talks about Janet's live shows and the lyric likens her performance in the bedroom to a stage performance.

Let Me Know
The robot pipes up again on this song, which is often overlooked by me. An interesting drum beat gets overpowered by the vocal that is a little repetitive. This is listed as a Bonus Track and if it wasn't there, I don't think it would be a bad thing.

Janet had failed to record anything that came close to 'Janet' or 'The Velvet Rope' in a while and still hasn't quite made it here. The album blows '20 Y.O.', 'Damita Jo' and 'All For You' completely out of the water and there is more then enough here to warrant the purchase of the album that failed to perform comercially. Feedback is a fantastic song and should have done much better. Janet did speak out about her annoyance with her new record label not to continue to promote this album and I do feel that it was worth another single or two before resorting to another Greatest Hits collection, with 'The Best' currently doing the rounds. There are songs on here that will blow your socks off on the first listen and other songs that need time but this IS a good album.

Janet Jackson's Official Website: www.janetjackson.com

Estelle - The 18th Day... (2005)

2010-02-11T12:30:00.005+01:00

1980
The first song from Estelle is a narrative on her childhood. It's rap song documenting how she grew up that uses comedy to deal to describe the hardship she faced. Almost orchestral in places coupled with what could be likened to the Thomas The Tank Engine theme, the tune has a a catchy chorus and Estelle is off to a flyer.

Don't Talk
The second cut has a harder sound and a rap from an uncredited artist before the already distinctive tone of Estelle picks up the baton and runs into a sung chorus. Reminiscent of Lisa Left Eye Lopes' Block Party at times, this is another good track.

Dance Bitch
Estelle sings as good as she raps and this up tempo track has her edgy vocals all over it. Estelle is on backing duties in the verse too and the result sounds somewhat gospel. After yet another catchy chorus, the second verse is rapped.

Change Is Coming
If you love your bass heavy, you will love this song. Rapped verses give way to a bouncy, gospel-esque chorus and the song ticks along nicely all the way through.

Go Gone
Released as the final single from the album, this is a sung track. It has a bit of a Mowtown vibe and the lyric is what Estelle has to say to haters out there. 'If you have nothing nice to say, don't say anything at all'.

Free feat. Megaman from So Solid
Estelle's debut single came with a video filled with UK talent: The Bedingfields, Beverley Knight to name but a few. The fastest rap known to man kicks of proceedings and breaks down into a sung chorus that, once again, will have you singing along and putting your fists in the air just like in the video. The second rap comes from Megaman, who I would be happy to hear more from. The song instructs the listener to be true to themselves and is a highlight on the album.

I Wanna Love You
A slower groove that the previous tracks has Estelle singing over an acoustic guitar, hand claps and a simple drum beat. It's easy on the ear but not a stand out track.

Maybe
Strings and a piano give this song a haunting sound, echoed in Estelle's sung vocals. The tone is dramatically different to all of the previous songs which grabs the listener's attention. The songs deals with falling in love and has some interesting lyrics, rather than the run of the mill metaphors. A soft rap, the first of the kind on the album, complete the package and make this an interesting song.

Crazy
A disjointed introduction that would not sound out of place on a Lisa Maffia record gets itself another sung vocal. The result is a little clumsy, which could be interpreted as supporting the title of the song but more often than not has me skipping this. Usually by the time that the screams start.

Hey Girl
This could easily be a John Legend track. The man himself puts in an appearance that is only credited on the inside track notes, not on the sleeve. It is a smooth, slow jam with an excellent sample of 'So Your Love Finally Ran Out For Me' by Les McCann. It has both sung and rapped vocals by Estelle as well as another uncredited performance by the rapper from Don't Talk.

All Over Again feat. Royston
Estelle narrates over the electric guitar introduction which takes us into a mid tempo track that will have you nodding your head, clapping your hands and getting up out of your seat. The chorus is beautiful. Something special happens when Estelle harmonises her own vocal and Royston has a voice that is every bit as smooth as D'Angelo. Another definite highlight and, dare I say it, better than the previous John Legend collaboration. Estelle's rap could have been saved for a different song but just as you start do wonder what it is doing there, the chorus comes back, along with the smile on your face as you pick up the groove once more.

Dance With Me
Estelle says it herself, this is Old School and has a similar sound to the previous track. The vocal is the best on the album and this is my favourite song; the one to download even if the rest of the album does not have you convinced. The harmonies are all bang on and it is very hard to sit still with this on and not be reaching for the remote to turn it up.

On And On
Tradewinds by Hak Ritson is sampled and given the Alvin and the Chipmunks treatment that we have Akon to blame for with the awful 'Lonely'. If you can get over that, something with which I have a certain degree of difficulty, the rapped verses lead into another sound chorus. Not bad by any means.

I'm Gonna Win
The introduction sounds like it could be used as a theme tune to the Oscars. It is all drum rolls and strings, strings that are found all over the song. Another narrative on Estelle's life and how she got to the position in which she found herself: releasing her debut album and later going on to win the Best UK Newcomer at the Mobo Awards for her efforts. It is sung rather than rapped and is the perfect end to the album.

With her debut album, Estelle drew the attention of some of the big names in Rn'B and Soul and found herself signing to John Legend's label for her second release, 'Shine' that sees collaborations with not only Mr. Legend but also Will.i.am, Cee-Lo and Kayne West, amongst others. That should tell you that this is more than worth a listen. Estelle establishes her own sound in a genre that far too often churns out song after song that sound exactly the same. This comes recommended.

Estelle's Official Website: www.estellemusic.com

Dannii Minogue - Unleashed (2007)

2010-02-10T18:57:00.009+01:00

All I Wanna Do (Innocent Girl Mix)
All I Wanna Do is a great track, with a great video (despite those motorbike goggles) and this is sadly only an OK remix. Not the best way to start the album of unreleased tracks and would possibly be better placed towards the end of the tracklisting.

Blame It On The Music
Written with and produced by Roger Sanchez, this is arguably some of the most credible stuff that Dannii has recorded and is up there with her best offerings. The fact that this song was not released in its own right is criminal.

Spend Your Love On Me
An intriguing number, it has a string instrument I have never heard before or since all the way through it with a great bassline. The song sucks you in and an on-form Dannii does not let you go.

Don't Wanna Lose This Feeling (Jewels & Stone 7" Mix)
This song was released as the final single of Neon Nights ahead of a whole host of songs that deserved it more but that is a reflection on the high standard of Neon Nights rather than the low standard of this track. The Don't Wanna Lose This Groove bootleg is a better mix but the video shot in Spain makes this a perfect summer song.

Going Going Gone
A more poppy sound compared to the previous songs with the result an infectious, once-it-is-in-your-head-it-is-going-nowhere, fun song. The lyrics are easily related to and add to the fun element of what is, in essence, a sad subject matter. A favourite.

Everything I Wanted (Metro 7-inch Mix)
The three Girl singles showed off a brand new, critically-acclaimed Dannii Minogue, with this, the second of the three, being a favourite. The sound is drum-n-bass and the accompanying video was far removed from anything Dannii had done before. This mix is similar to the single edit so if you like that, you're gonna like this. If you haven't heard it, what are you waiting for?!

Undeniable
A slow jam with an Rn'B esque beat. It's a love song. Not bad, not great. It has been said that this track was included in the compilation at the last minute simply since it was there and other, preferred tracks, were not ready in time. It would have been a shame if this had not been included.

No Romeo
Online polls have had this down as the overall favourite on the album. It's a fast song, that for the verse is sung in Dannii's lower registers, which suit her voice best. The choruses are far too high, grate and have awful background vocals. For me this is the worst track on the album by a mile and it did not make the transition from CD to ipod.

Hide And Seek (Thriller Jill Original Radio Mix)
An alternate mix was released as a b-side on one of the Neon Nights singles and, once again, it is testament to the quality of that album that this song was merely a b-side. Along with Nervous & Goodbye Song, it could easily have commanded a release in its own right. I prefer the b-side version but this is still good.

Hurt In Love
This song intrigues me. It intrigues me a lot. It is completely original and starts fast with electronic sounds and what sounds like someone scratching at the lid of a coffin. It builds to a crescendo that falls back into a slower, Rn'B string version of the same song and then builds and builds to the original sound. I like this one.

Who Do You Love Now? (Riva's Bora Bora Edit)
This song was Dannii's most successful up until that time and remains a favourite amongst fans. It was a collaboration that was brought about by Pete Tong, once again giving credibility and cool to Dannii. If the original version was good (and it was) this version is mega! This is THE perfect track for the weekend. Even if Dannii is not your bag, get this version of this song!

Put The Needle On It (Cicada Vocal Edit)
A fantastic remix of a fantastic song. I would recommend this (and the original) to everybody with a love of dance music. The video is great too. Buy this, people!

Come And Get It (Alternative Radio Cut)
A mix of this song was a hidden bonus track on the Neon Nights album and the collaboration with JCA was printed up to be released in Germany only never to happen. Such a shame as this is a great song, which can be picked up electonically along with the other near-release of the same time, I Can't Sleep At Night. Both Good.

Begin To Spin Me Around (Dannii Vs. Dead Or Alive Radio Edit)
This bootleg did get a Germany only release and mashes Dannii's highest chart entry, I Begin To Wonder with You Spin Me Around. The result is OK. I prefer the original versions of each song but this is still worth a listen.

Love Me Like This
Arguably the most pop sounding song on the compilation. Once again, it is a catchy, inoffensive number that I found myself singing long after I had listened to it. It's good.

Bad Weather
Another pop song with acoustic guitars and a good beat. The choruses are catchy and this song comes recommended for the summer.

Invitation
Strings set the tone for what sounds as though it will be a slow affair only for the drums to come in and pick up the pace a little. The vocals sound good and the track bounces along nicely.

It Won't Work Out (Ross Cullum Single Mix)
The last song on Neon Nights gets a remix in preparation to be released as a single, which once again never happens and this time it really is a crime. This song is fantastic, the lyrics are moving, Dannii sounds great (the additional vocals towards the end of the tune are brilliant) and the instrumentation is wonderful. A real shame as I believe this would be well-received.

Unbelievable that some of these tracks only got to see the light of day on an Unreleased compilation with no promotion but fantastic that somebody took the time to see that they were brought out into the open. Usually these albums are for die hard fans only but I genuinely believe that a casual listener will like some if not all of the tracks there. With Dannii's increase in popularity due to her X Factor and Australia's Got Talent judging roles, may be this will generate more interest in her back catalogue, which is crammed with quality stuff. A collaboration with the Freemasons and a rumoured new album this year are worth watching out for.

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

Tweet - It's Me Again (2005)

2010-02-10T17:55:00.003+01:00

Into (It's Me Again)
Spoken introduction with trademark vocals in the background where Tweet harps on about how grateful she is to be able to record a second album. Pointless.

Turn Da Lights Off feat. Missy Elliot
Lead single and a brilliant way to kick off the album. Sings about putting the needle on a record so we have the static sound effects that add to the old school sound on the track, mashed up with Missy's vocals and scratching. Make no mistake, this works.

Iceberg
Think Brandy's 'What About Us?' played at half speed, add a Mexican guitars introduction and you get some idea about what this sounds like. Despite all of this and giving thanks to Jehovah, the song is actually really rather good. The iceberg reference is aimed at an ex-lover that turns so cold and cites that everybody else could see him for what he was but she chose not to listen. I think iceberg, I think Titanic and could she be likening the impact (get it?!) that he had on her to the effects of the iceberg on the the unsinkable ship?

Could It Be feat. Rell
A bouncy track asking 'Could It Be that I am falling in love with you?'. It is therefore a song that is in direct contrast to the previous one and, given what preceded that, so far, we don't know what to expect from the album. Rather than coming across as clumsy and disjointed, the effect actually generates intrigue. So far, so good.

You
What appears to be a ballad soon receives a slow hip hop beat. The record static sounds lend themselves excellently to the overall composition and the trademark Tweet high vocals are all up over this. It's good.

Cab Ride
I don't remember how I felt about this song on first listen but now I absolutley love it! The strings that open the track give way to a flute which provides the melody throughout the choruses. This is turn gives way to finger snaps, a simple drum beat and vocals that are smooth even by Tweet's standards. My favourite part comes in verse two where she asks the Cab Driver to 'turn the radio down a bit'. Sound effects add wait to the lyric witghout distracting from it; adding immediacy to the song. The bridge punches through and disappears as quickly as it comes giving a brief insight into the woman riding in the back of this taxi. I love it.

Things I Don't Mean feat. Missy Elliot
Missy Elliot makes her second appearance on the album and sets of the party track brilliantly. The whole song is an apology for saying things in the heat of the moment that you regret and says that it is a good thing to be able to recognise when you're wrong and to be able to apologise for this. Another great track.

My Man
The bass and drums are the really the only instruments on this track, although horns do punctuate the chorus and guitars feature in the second verse. It's fairly up tempo and warns a love rival about trying to put a move on her man. One of my favourites on the album.

Sports, Sex & Food
I read an online poll that had this track down as the overall favourite of the album and it is definitely an original. It talks about what women have to do to keep their men, namely show an interest in the above. Hand claps make the song sound almost church-like but the song is all drums and piano. Simple but stunningly effective.

Small Change
Another favourite of mine. The opening is just Tweet and what sounds as though it could have been the inspiration for Maxwell's 'Pretty Wings' introduction. Organs add that flavour I like and a beautiful melody coupled with these sell me on this song. The subject matter is the worth of an ex-partner's love, i.e. not a lot!

Two Of Us feat. Tashawna
My least favourite song on the album but not an absolute stinker by any means. Tashawna is Tweet's daughter, who has obviously inherited her mother's vocal talents. A little repetitive.

Where Do We Go From Here?
A spoken introduction from Tweet sets the tone for the track, which is all acoustic guitars. It builds slowly and charms the pants of the listener with beautiful long, drawn out notes that only Tweet can deliver.

Steer
We go back to the record player sound effects, merged with scratching and slow hip hop beats, which gel together perfectly with the piano that joins the whole ensemble. A great song.

I'm Done
This song sounds as though it has a sample from Sparkle's 'Time To Move On' or whatever song (if any) Sparkle sampled. Another simple, beautiful track that does not prepare you for the final track:

We don't Need No Water feat. Missy Elliot
You could be forgiven given the title and pace of the previous track for thinking that the album would finish there but no, out of nowhere, we get the official last track. Latin brass starts of proceedings but soon give way to Missy and a grimy beat. You can guess that Tweet is going to let the ***** burn by the title of the track, which winds you back up and leaves you hanging for more that, for the past five years, has not been forthcoming.

Bonus Track (When I Need A Man)
Just as you are left seething at being left high and dry by Tweet a credited hidden track literally bursts into action: the theme to Kojak. The track is short so your craving is only partially satisfied but, despite being a song from a TV show, it is actually good!

Southern Hummingbird had some outstanding tracks and the same is true of Tweet's sophomore release. There is only one track that occasionally gets skipped and, five years on, I still haven't heard anything like this. Tweet's website does state that the third album, 'Love Tweet' will be out soon and I for one cannot wait. This needs to be in your collection.

Beverley Knight - Affirmation (2004)

2010-02-10T16:41:00.005+01:00

Come As You Are
A hum-dinger of an album opener. Organs add an old school vibe to an almost rocky sound for Wolverhampton's own. No doubt the result of writing the album with Robbie Williams' (former?) mate, Guy Chambers. It was the lead single with a killer bridge and a futuristic video. I've seen Beverley live a couple of times and this usually features in her encore, the place always goes off and if she is playing near you, go see her!

Not Too Late For Love
Beverley reels it in for the second track, which features drums and guitars just as 'Come As You Are' and seems to be setting the tone for the album. It doesn't come across as a love song so much as a song about hope and better days on the way.

First Time
Pianos get a look in on the third track on Affirmation and the song is a calmer affair than the two first tracks. This does not make the song any less powerful. It's about falling in love, being tongue-tied and losing common sense around somebody that it feels as though every time you see them is the 'First Time'. Beverley's voice is on top form (as always).

Straight Jacket
Guitars and low strings feature heavily on this track about a partner with no ambition or design to move forward, which Knight likens to being in a straight jacket. The song builds to a powerful climax where Bev's characteristic strong vocals are showcased and the song ends abruptly to excellent effect, mirroring the ultimate end of the doomed relationship.

Keep This Fire Burning
Another staple on Beverley's set list and a firm favourite with fans. This was released as a single but the video was a disappointment. Not to detract from the song, the hook is brilliant! It is more soulful in orientation compared to the previous tracks and, being a lover of 'Prodigal Sista', this is nothing but a good thing.

No One Ever Loves In Vain
Could possibly be described as a rock ballad. The lyrics concern the death of a loved one and how the love that you lost was not in vain, despite the pain. At the time, Beverley lost a good friend to Aids, which is no doubt the inspiration behind this track.

Affirmation
The title track concerns 'intuition I could not ignore' coming 'to help me in my time of danger'. A superb lyricist, Knight documents her escape from a bad situation but it comes back to the it is better to have loved and lost than to never have loved at all school of thought. You have to take the rough with the smooth but recognise what is bad and set it right. All this from a pop song? She's good.

Supersonic
A faster track that discusses a love for sex. A lot of it. I have head Beverley in interviews state that after she lost her friend, she turned to sex to get her through and I would hazard a guess that this is where this song comes from. Is there a nod to the Stevie Nicks sample used in Bootylicious towards the end? Answers on a postcard, please.

Tea & Sympathy
This song is about helping a friend through a relationship that is not the best for them over a nice cuppa (Beverley is a UK artist after all) and sympathy; which seems to be a euphamism for sex. A mid tempo track with violins, guitars, drums and piano that works.

Below My Radar
Acoustic guitars dominate this beautiful song with almost whispered vocals, in direct contrast to 'Come As You Are' and 'Keep This Fire Burning'. She appears to be talking about a partner with issues that take them out on her and, although she is there to help them through them, she can only be 'pushed so much until she is too tender to touch'. The end of the hook is my favourite part of the song with the guitars giving way to strings for the very end of the track.

Under The Same Sun
Another song that leans more towards Soul than Rock and discusses he pressure of everyday life and how that everybody is pretty much in the same boat. No matter how alone life makes us feel, we all live under the same sun.

Till I See Ya
Another one of the speedier songs on the album, this song talks about being in a relationship that is on a break. (Is Beverley a Friends fan?!) The strings in the chorus are just great.

Salvador feat. Al Di Mecia
This is my favourite track on the whole album and the most powerful by far. It discusses the attitude that society has towards people who are HIV positive and how we should not judge the fate of others as we 'never know which way the wind may blow'. You may need tissues handy for this one, it has brought a tear to my eye on more than one occasion.

Remember Me
Once Beverley opens the floodgates, she doesn't stop. This is a song to her friend that passed away and it is just Beverley and a piano. Packed with emotion, the song recalls the good times that they had and the heart-breaking moment when he died. You cannot fail to be affected by the song and its honesty.

Bonus Track (Fatal Factor)
Hidden bonus track is an upbeat number and an out and out soul record in a similar vain to 'Made It Back'. It talks about the attraction of Bad Boys, which is the 'Fatal Factor'.

Whilst 'Prodigal Sista' remains my favourite Beverley Knight album, 'Affirmation' still impresses. It came at an emotional time for Knight, emotion which she channelled into the project and which really affects the listener. Salvador will have you thinking, mark my words. How many artists achieve this? There are no gimmicks, just pure talent by a UK artist that delivers time after time after time. Buy, buy, buy!

Beverley Knight's Official Website: www.beverleyknight.com

Joss Stone - The Soul Sessions (2003)

2010-02-10T15:48:00.005+01:00

The Chokin' Kind
A slow jam, stripped, soul classic. Joss' voice is good enough to sell the song on its own, which it does at the song's end. Sound first song for Joss' first album.

Super Duper Love (Are You Diggin' On Me) Pt. 1
Not to sure where Part 2 is but after being introduced to Joss' vocal talent on track one, we get an up-tempo offering. You can't not like this song. Like the love, it is Super Duper.

Fell In Love With A Boy
With Angie Stone on backing vocals, you have to be delivering something good in the studio and Joss does. The music is great, full of bomb chika wah wahs. You will be nodding your head and joining in with the Ahh, Ahh, Ahh, Ahh, Ahh, Ahhs before you know it.

Victim Of A Foolish Heart
Never speeding up to something worth writing home about, the album slows right down again for this emotional track. It warns a partner about giving in to temptation and once the song gets you, it doesn't let you go. Queue staring into space in quiet reflection for the duration of the track. It builds and builds without you knowing and almost catches you by surprise at its climax

Dirty Man
Could be lifted from an unplugged album and has some seriously old school lyrics. Good in the background but not a track that demands a serious listen like 'Victim..'

Some Kind Of Wonderful
The first thing that grabs you about this is the bass: pretty much the only thing at the track's opening other than a quiet drum beat and Joss herself. With a voice like this, why would you drown it with unecessary instrumentation? Consistent throughout until Joss asks if she can 'Get A Witness?' and, surprisingly for a 17 at the time Devonshire lass pulls it off. (This was pre-embarrassing Brits appearance).

I've Fallen In Love With You
One word: Beautiful.

I Had A Dream
Acappella start to a slow song that builds to a crescendo around 1min30 in and promptly strips itself bare again immediately after. OK.

All The Kings Horses
I love Organs in Soul (think 'Ex-Factor') and 'All The Kings Horses' has them. One of the more up-tempo tracks on the album that will have you tapping your foot if not rocking out in your seat.

For The Love Of You Pts. 1 & 2
'Feels good to me' is the opening line to this track and, if it's good enough for the likes of Betty Wright and ?uestlove who are all over production on this album, it is definitely good enough for me. Just Joss's voice with a little keyboard backing which sounds great but once again, where the hell is the second part?!

The reviews stuck to the front of this Mercury Music Prize nominated album say it all: The Soul Sessions is a revelation (Mojo), Debut of the year (The Independent), Stone sounds like a queen of Mowtown Soul...smoky, passionate and quite extraordinary (The Guardian), Spine-tingling (Vibe Magazine) and Knocks you off your feet from the first listen (Billboard Magazine). To earn these reviews in just over 40 minutes (duration of the album) is remarkable. It is a brilliant debut from a talented artist that is consistantly overlooked in her home country.

She followed this covers album with her own songs to prove that she can hold her own in the company she keeps, which is no mean feat by any stretch of the imagination. Listening to colour me free! and her guest appearance on Raphael Saadiq's 'The Way I See It' in particular, she sounds more and more like Aretha Franklin as time goes on. To come out with this debut and to progress and get better and better (the latter half of Introducing.... aside) is nothing short of phenomenal. Definitely Recommended.

Joss Stone's Official Website: www.jossstone.com

Mary J. Blige - Growing Pains (2007)

2010-02-10T14:34:00.005+01:00

Work That
The album starts with an upbeat number filled with drums and a heavy bass line. Mary sings about 'working what you got' and basically not caring what others think of you: echoing the message of 'Take Me As I Am' from 2005´s 'The Breakthrough'. Whether you're a lady or not, whether you're self-concious or not, this track is gooooooood!

Grown Woman feat. Ludacris
Mary kicked off the live show for this album with this track and it is easy to see why. 'Work That' may be a stomper but it gets trampled all over by this! Mary is singing about the benefits of Grown Women over the youngsters and sells herself well! Another great track. The end of the song sums it up well, Mary has got her mojo back with this one.

Just Fine
'Grown Woman' winds up seamlessly into the lead single from the album. Given the other songs she had to choose from, this seems a bit of a weak track to launch the album with but it is a definite grower; another up-beat song about Mary feeling comfortable in her own skin and encouraging others to do the same. She says herself that it took her so long to reach this place so it is understandable that this is a recurring theme on this album. When she's down, she sings it like it is (My Life) and when she's up, she churns out dance floor fillers like this. If you caught this tour, I am sure you still whoop all through the chorus!

Feel Like A Woman
The pace of the album (which has been relentless so far) slows down a little so that Mary can bang home the message about what she wants from her man. Heavy on the drums, this is a track that will have you nodding your head, ultimately in appreciation

Stay Down
The pace slows down a little more and this is the first song on the album that can easily be overlooked. The lyrics are quite deep, talking about a more real aspect of being in a relationship with someone. If the opening tracks are for letting yourself go, this one is for listening to. Stick with it and you will like it. That's a promise!

Hurt Again
Mary is upfront about her past and things that happened to her in previous relationships. This is another mid (erring on the slow) tempo track about being scared to let go with a new partner and allowing past relationships affect the one that you are in (à la brilliant 'Baggage' from 'The Breakthrough'). As per the lyrics, we've all 'been there' and 'done that' so everyone can relate to this. Mary showcases some of her smoother vocals here, which can only be a good thing.

Shake Down feat. Usher
This is the one song on the album that I don't quite get. I like Usher and on paper, this should be something special. It isn't and may be it is that disappointment that affects my judgement. With a similar tempo to 'Hurt Again' the song talks about Usher robbing Mary for her love and vice versa.

Till The Morning
The tempo begins to increase again with this one but it is neither a slow jam nor an up tempo track. It doesn't quite sit anywhere. The backing vocals grate and this song gets skipped from time to time. Possibly didn't make the cut when it came to putting the album on the i-pod.

Roses
If you were thinking of giving up on the album, shame on you! Relationships 'ain't all roses' and that is what this song talks about. I say talk as Mary does narrate part of the track and the result is blinding! Mary pulls no punches and that is why we love her. Even if you're not going to get the album, get 'Roses'.

Fade Away
Not content with being the Queen of Hip Hop & Soul, Mary ventures into Dance territory with this one. It is not all glow sticks in the air, however; it's a classy, smooth track that sings about how 'invisibility would be great' when things go wrong for no reason other than your own insecurities. We've all wished that the earth would swallow us up at some point but the only hole you'll want appearing is on the dance floor. This song is for dancing to.

What Love Is
Love is..... Possibly inspired from the 80s/90s cartoon characters, Mary sings about how love is the best and worst thing going. You have to admit it, it's true. It's also true that in songs you either hear how it is all roses (!) or how bad it is. Never that it can be and usually will be good and bad. The song builds and builds and the strings at the end are beautiful.

Work In Progress (Growing Pains)
There are some really weird sound effects in the background to this song. They are hard to describe, water drops in reverse may be? Either I have just nailed it and they are meant to be tears that have been spent in the past drying up or I am way off, I don't know. Consequently, I am not sure if I like this or not. I think Growing Pains is a good album title but as a title track, this song lacks something.

Talk To Me
A slow song with fast singing in which Mary, true to form, tells it like it is. A song to her partner, Mary says, 'I ain't gonna force you but you're gonna Talk To Me'. A great track.

If You Love Me?
The song carries on nicely, not a stand out track but not just a filler. I like how it screeches to a halt in a verse where Mary says 'wait' as well as the cello in the bridge. In a nutshell, the message is that the way you get your partner is the way to keep them and a warning not to let standards slip.

Smoke
We're reaching the finale of the album now and the penultimate track has soft verses and big choruses. It sounds a little clumsy in places and the best thing about it is the very last word (face) that takes us straight into....

Come To Me (Peace)
The second single and a good end to a good album. This is a softer track than the others with those smooth vocals one more. A little reminiscent of the last track on Janet's Velvet Rope but a lot less rubbish! An accapella section in the middle and the haunting background vocals sit well together. A great song.

All in all 'Growing Pains' continues the return to form that 'The Breakthrough' saw and, even if you are not a fan of Mary's earlier stuff, this album gets the theywantmusic seal of approval. Buy it!

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