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Seemingly deaf to the noise, Ellie simply went about the business of offering a sterling hybrid of electro-pop and singer/songwriter folk. Goulding was HEAVILY hyped in the world music press as one of the most promising new artists of 2010, a designation that is often more an albratross than boon. After countless albums, you leave Aphrodite sated, yet happily anticipating the fact that La Minogue still has more than a few tasty treats up her creative sleeve.Ĥ. Kylie and executive producer Stuart Price wisely dressed the songs in arrangements that manage to be simultaneously timely and timeless. In a sea of murky pop darkness, often for the sake of it and little more, tunes like All The Lovers and Looking For An Angel feel like a desperately needed life-preserver. The intention is clearly not to challenge, but to comfort the listener with warmth and familiarity. This album gives us Kylie exactly as we want her: Smooth, sweet, and awash in colorful dance rhythms. Meanwhile, someone please get a copy of this album to the Backstreet Boys and New Kids on the Block. If only Americans were smart enough to care.
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With the invaluable aid of skilled producer Stuart Price, the lads swapped the predictability of power-ballads for majestic brotherhood anthems ("The Flood") and sinewy dancefloor fodder ("Kidz," "S.O.S."). The heightened stakes of the world waiting for Robbie to wreak havoc on the band might have initially put everyone on their best behavior, but it also seemed to have inspired Take That to bravely reinvent the concept of a boy-band. With trepidation, I dove into Progress, only to discover one of the most inventive, yet accessible pop music recordings in recent years.
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Unlike many, I enjoyed the mature, far-less-fucked-up Robbie displayed on 2009's Reality Killed The Video Star, and listening to the newly four-man Take That felt like putting on a comfortable favorite sweater. I think I might have been the only Take That fan on the planet who didn't rejoice when my beloved Robbie Williams rejointed the group's line-up. and didn't they say similar things about Madonna when she wore her bra outside her t-shirts, made out with Latino boys in her videos, and rolled around the floor of the MTV Awards about 100 years ago?Ģ. But you should actually listen to her entire album before you publicly denounce her as little more than a fleeting hot-mess. Songs like "Blind," "Hungover," "Dancing With Tears In My Eyes," and the heartbreaking "Harold Song" (from the deluxe Cannibal edition) display sensitivity hinting a career that will endure beyond "Tik-Tok." Dear Critics, Bloggers, and Hyper-Opinionated Punters: You don't have to love Ke$ha, even though she makes irresistable pop music. How? Well, if we can embrace the hard-partying, sexually-charged fodder of dudes like Flo Rida, Usher, T.I., et al, why are so many folks freaked by a chick getting her swirl on? With each proclamation that Ke$ha is nothing but a drunken skank, naysayers reveal that they probably haven't actually listened to more than the handful of "get-your-freak-on" singles that she's released.
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With Animal, Ke$ha has not only put her deft songwriting skills to fine use, she has also been outing a nation of double-standard-spewing bullshitters. She might be the most-successful, yet wildly under-estimated new pop star of the moment. Last Dance (The Shane Owen Mix) - Paul Jabara and Donna Summerġ. I've Got The Next Dance - Deniece Williams Heaven Knows - Donna Summer with Brooklyn Dreams I Don't Know If It's Right - Evelyn "Champagne" King Nothing Gonna Keep Me From You - Teri DeSario If My Friends Could See Me Now - Linda Clifford So Many Men, So Little Time - Miquel Brown Vertigo/Relight My Fire - Dan Hartman with Loleatta Holloway Turn The Beat Around - Vicki Sue Robinson One Night In My Life - Cast of Beautiful People