18/1/10
Alicia Keys - ‘The Element of Freedom’
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Some-time actress and general musical maestro, Alicia Keys releases her fourth
effort.
Keys’ musical success has been unparalleled since her debut effort, ‘Songs in A Minor’ flew off record store shelves in 2001. These days the piano-loving star mixes a
bit of silver screen and guest appearances into her time, so can her latest
effort equal the past glory?
Opener, ‘Love is Blind’ is less reliant on the piano then one would be used to, though still features
prominent use. It’s kinda listenable, but really nothing spectacular. However, form is quickly rediscovered on the epic, ‘Doesn’t Mean Anything’. Filled with an impressive, thumping, prominent beat, Keys’ thoughtful
lyrics meet new levels of maturity for her music.
The powerful, ‘Try Living with a Broken Heart’ brings a trendy, subtle synth to proceedings. Whilst there’s nothing crucially wrong, it’s just an average filler track. The piano returns at centre stage with the
reflective, ‘Wait Till You See Me Smile’, alongside a mazy keyboard line. Very atmospheric, with elements of classic 80s
production, it deserves to be applauded for its ambitious direction and impact.
‘That’s How Strong My Love Is’ is classic Keys. Simplistically-formed, but really allowing just her voice and
the piano to take the accolades, this is what we love her for, as a natural
musician. There’s something absolutely charming too about the emotion-fest that is ‘Unthinkable (I’m Ready)’. Fusing classic soul with modern groove, it’s just a beautiful song in the purest and most humane way.
I’m not a fan of putting terrible words in pop and ‘Love is My Disease’, on paper, doesn’t look good. In practice it’s not really much better either and is not representative of Keys’ talent. The beat has something terribly plagiaristic about it too. ‘Like the Sea’s not going to win any prizes either, not least for keeping to bang on about
love. Still, love is the theme of the day and it brings Beyoncé along for the ride on ‘Put it in a Love Song’, yet even she can’t save this one from drowning in the
aforementioned “sea”.
Old-school disco is revived on ‘This Bed’ and I’m sure Keys would have had a career in the genre had she been born 30 years
previous. Sassy and funky, though it doesn’t hit any spectacular heights. ‘Distance and Time’ (did you even need to ask what it’s about?) is more your formulaic love song about star-crossed lovers and again, is nothing
special.
‘How It Feels to Fly’ is disappointing too, mainly for the fact it promotes lazy
talent-show-favourite song-writing and there’s just no need for it. Thankfully order is restored on the stellar, ‘Empire State of Mind (Part II) Broken Down’ which in many ways surpasses Shawn Carter’s fine original.
Key Tracks:
‘Doesn’t Mean Anything’
‘Wait Til You See Me Smile’
‘That’s How Strong My Love Is’
‘Empre State of Mind (Part II) Broken Down’
Worst Tracks:
‘How It Feels to Fly’
‘Love is My Disease’
‘Put It in a Love Song’
All in all, we are somewhat disappointed with Alicia’s fourth. Estranged from her faithful piano in many parts, it just sounds a bit
forced and not her. The girl we crowed at was the sweet working-class girl with
the NY accent who wrote music when she wanted to – not when a vast production team seem to have her at their mercy. 6/10 CM
Verdict
Timbaland - ‘Timbaland Presents Shock Value
II’
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Who’s He Got Lined Up This Time?
Highly acclaimed producing guru releases part 2 of the shocks.
Tim Mosley really requires no introduction in music having launched careers like
Aaliyah and Keri Hilson and relaunching Nelly Furtado’s. He’s worked with the best and the original instalment had some unexpected
collaborations, so can the sequel shock us again?
First single, ‘Carry Out’ certainly won’t raise any eyebrows and sounds like any electro-filled “sexy” tune featuring Justin Timberlake. The fact that we’re comparing love to fast-food isn’t good though. Timba, in his infinite wisdom, has decided to collaborate with a
number of teen-pop special guests. The first of these, JoJo’s ‘Lose Control’ is a synth-filled “G” fest. It’s as much of a car crash as one might have anticipated, I’m sad to
report.
‘Meet Me in tha Middle’ with former Moesha, Brandy (or Bran’ Nu, when she’s rapping) actually works nicely. The lyrics are probably as accountable to this as is the
synthed-out piano. ‘Say Something’ is as much a filler as egg mayonnaise, whilst ‘Tomorrow in the Bottle’ is a very ill-advised monstrosity featuring Chad Kroeger and several injuries.
Timbo’s second teen-pop foray features the highly-irritating Miley Cyrus singing
provocatively in ‘We Belong to the Music.’ This is like High School Musical gets a visit from the crazy producer, truly
shocking! Katy Perry pops up on the third and final, ‘If We Ever Meet Again’ which is a fine example of song-writing sent out with the “manufactured” sticker still on it. If you’re the sort that thinks BEP’s ‘I’ve Got a Feeling’ is a tune, then you’ll love it.
We do find success on the out-of-the-box classic that is ‘Morning after Dark’ with Nelly and SoShy (the new protégé). Featuring a puzzling, yet insane retro chorus by Timba, it’s a good effort. Also hitting the mark are the electro labyrinth known as ‘Can You Feel It’ and my personal favourite, ‘Ease Off the Liquor’. The latter in particular is just classic Timbaland high-speed funk and what we
wanted to hear.
‘Undertow’ reminds of ‘Apologize’ but with a much better singer – The Fray’s Isaac Slade putting in a match-winning performance. The achievement of the
album is undoubtedly, ‘Timothy Where You Been’. From the idea of creating an old rock
song to the ingenious composition and of course, Jet’s authentic class.
Daughtry’s ‘Long Way Down’ is excellent in places, but remarkably cheesy in others, very odd indeed. ‘Marching On’, Timbo’s version, is as much a generic rock-pop number than anything remarkable. ‘The One I Love’ sounds a bit too familiar (Aaliyah, ‘Real Woman’ anyone?) and just generally gets lost. Whereas ‘Symphony’ does restore some pride.
Key Tracks:
‘Ease Off the Liquor’
‘Meet Me in Tha Middle’
‘Timothy Where You Been’
‘Undertow’
‘Morning After Dark’
Worst Tracks:
‘If We Ever Meet Again’
‘We Belong to the Music’
‘Tomorrow in the Bottle’
Timbaland has certainly achieved his mantra of surprise, though really on the
whole his collaborations don’t exactly wield a Midas touch, more of a sporadic one. I actually think this has
more quality than ‘Shock Value’ which was very hit-and-miss. But in terms of legendary status, maybe try
harder. 7/10 CM
Verdict
(c) ChrisOnline.biz 2010
