Can the "Lead Pussycat" make it on her own?

The debut single from lead pussycat doll Nicole Scherzinger has finally hit the airwaves with “Whatever u like.” The catch is, you have probably heard this song before. Apparently, the Polow the Don track has been around the block more times than the Pussycat Dolls themselves. Former TLC member Rozanda “Chilli” Thomas used the same instrumental for her debut album. Yes thats right, Nicole obviously put a lot of time and effort into this one! Scherzinger does her best to recreate the sex kitten magic of PCD with her low vocals and sexy moans, but falls short of the catchy pop hooks that made the Pussycat Dolls as success. T.I. joins the track and adds his usual southern flavor and is undoubtedly the best part of the track. If recycled tracks and invisible hooks are the best she could come up, I’ll pass on the album.

Good Girl Gone Wrong?

Quantity vs. quality is an issue plaguing the music industry and Rihanna’s third album in a two year career is no exception. Barbados beauty Rhianna burst onto the scene with the 2005 hit “Pon De Replay” and hasn’t stopped topping the charts since. For most, Rihanna was the annual dancehall, one hit wonder. Little did we know, she would become a resident hit maker thanks to the Def Jam money machine. “Good Girl Gone Bad” is the best input in Rihanna's short, yet temporary career. Unfortunately, all of the credit goes to the hit making producers, songwriters, A&R staff and label head L.A. Reid. Everything from the “bad girl” rocker image, to the jet black spiky hair cut; a person can’t help but wonder who Rihanna really is? Is she Caribbean princess from her debut album, the Beyonce clone from her second album, or the rock chick from her latest effort? Perhaps the lack of identity could be the reason for low album sales, despite huge #1 singles. Despite having material that sounds like it was originally crafted for Britney Spears, Janet Jackson or Madonna, the material isn’t half bad. The biggest problem with the album is Rihanna’s lack of personality and robotic style of vocals. Granted, there are much weaker singers in the world, but most make up for it in overall personality and capability to carry a song……Rihanna simply does not. I can’t help but wonder what some of these songs would sound like if they were recorded by better singers with more personality. Rihanna even has a difficult time finding her angry side and walks the fine line between melodramatic and moronic in “Breaking Dishes;” her attempt at recreating Beyonce’s “Ring the Alarm” (note to Rihanna: the original wasn’t that great to begin with). Beyonce is not the only chart topping diva Rihanna channels for this album. The Timbaland produced “Gimme that,” sounds like a leftover track from Nelly Furtado’s “Loose” without the charisma to match. However, Rihanna doesn’t miss the mark on every track. The dance flavored “Don’t Stop the Music” is Rihanna at her best and sounds like a style she should stick with. The club heavy track finds Rihanna on the dance floor, with a sample of Michael Jackson’s “Wanna Be Startin’ Somethin’.” The album takes another drastic turn with the guitar heavy second single, “Shut up and drive.” Rihanna compares her body to an automobile and is looking for someone qualified to drive. Classy. You could have a seizure with all the genre twists and turns this album takes, which is the main problem here. This album lacks cohesiveness and direction. One minute she is a dance diva, the next she is attempting an R&B ballad. It sounds like every hit making producer in the industry was enlisted to make the most radio friendly album possible, robbing Rihanna of any identity or believability. Perhaps this is the reason why most audiences opt to download her singles, rather than purchase her albums despite all the promotion Def Jam gives her. The production on this album is a definite highlight, too bad the artist gets lost in the shuffle.

Kelly Clarkson Vs. Clive Davis: "My December"

After the literal breakout success of 2005’s “Breakaway,” the pressure to deliver an equally successful follow-up was on for Kelly Clarkson. Most people crack under the pressure and deliver a watered down version of their past success, but that is not the case with Clarkson’s third LP “My December.” I will not follow the hype of the press or the label executives and call this album a disaster. In fact, this album is far from it and is actually an improvement over the cookie-cutter, ready made pop tunes of her last album. After listening to the first 5 tracks, I couldn’t believe the storm of negative energy that has fanned over this project. I guess the results of bad mouthing a powerful, egotistical label executive past his prime are clear. It turns out that even a man well into his 70’s can be as immature as a catholic school girl, by bad mouthing his artists, publicly disregarding an artists success (as shown at the 2007 American Idol finale) and showing no support for an artist that had one of the biggest albums on his label in years. At any rate, Kelly more than delivers an amazing album, exploring a more adventures side and turning up the rock level a few more notches, while still maintaining that unmistakable pop quality of a hit song. After listening to the lyrics, you will discover Kelly needed to write this album as is. Her emotions of hurt and pain resonate on many of the tracks, where Kelly examines past relationships, friendships, a broken heart and tackles some self reflection. "Maybe" is Kelly examining her life and love from a unperfect, confused point of view and could possibly become a theme song for every 20-something female in America. Standout ballads like “Sober” and “Be Still” demonstrate the somber and reflective quality in Kelly’s voice, while still showing off her range of emotions as a vocalist and songwriter. Standout tracks like “How I feel” and “Hole” are just as catchy and pop radio friendly as “Since You Been Gone” and “Behind These Hazel Eyes” and should have been the first and second singles from the album. This album may not have as many sing-a-long hooks as “Breakaway” but it has better content, vocals, artistic integrity and some amazing songs. I hope that consumers look beyond the negative influences from the media and even record executives and give the album a chance. It’s not perfect or as clean and sparkly as “Breakaway,” but it’s the direction Kelly wanted to go in and I applaud her for that alone. I applaud her even more for taking a chance, following her gut and coming up with some worthwhile results. I hope for more creativity and artistic freedom in the music industry. Perhaps we could come up with some variety instead of everyone following the same formula for success at the manufactured pop star factory? Remember guys, there is more than 1 way to skin a cat.

The Evolution of Ms. Kelly

Much has changed since the release of Kelly Rowland’s 2002 debut album “Simply Deep.” Former group mate and front woman of Destiny’s Child, Beyonce’ Knowles, has become an international superstar, Kelly has been engaged (later to be called off), Destiny's Child has separated (for now at least) and Rowland is left having to fight for a career of her own and escape the shadows of her former leader. After several push backs, re-recordings and title changes, Rowland arrives brand new, as a more confident and self assured woman with her sophomore release “Ms. Kelly.” The 12 track set does what “Simply Deep” should have done as a debut album; it properly introduces Kelly Rowland to the music world and surprisingly showcases her true talent and ability as a solo artist. Contrary to popular belief, Beyonce Knowles is not the only shinning star to emerge from Destiny’s Child. This album will undoubtedly draw comparisons to Beyonce and even former group mate Letoya Luckett, who released her debut album last year (around the same time Kelly’s album was originally slated to be released), but Kelly emerges as her own woman, setting her own trends and carving her own niche in the music industry. From start to finish, “Ms. Kelly” is an incredibly solid, yet honest body of work. This album will leave you feeling like you had a personal conversation with Kelly Rowland, not with a character from a movie, an alter ego, or a rapping hood persona. You will leave the conversation with an in depth view of who Kelly Rowland really is and most importantly you will like what you found out. That’s a rare quality in the manufactured world of female R&B albums, where the artist takes a backseat to the producer who becomes the star of the album. Kelly Rowland is in the driver seat and the star of her own one woman show. With her group of producers following close behind and complimenting her style, swagger and strengthened vocals, this album strikes a great balance between artist and producer (the way it was intended). Kelly’s vocals soar on tracks like “Love” “Every Thought Is You” and “This is love” and puts the majority of female r&b "singers" to shame with the richness and full quality to her voice. Kelly also shows her sassy side with the Scott Storch produced tracks “Work,” where Kelly encourages her man to put in work if he wants to please her and “Comeback,” the bass thumping ladies anthem where Kelly reveals why the boys always want more. The true highlights come from the mid-tempo tracks that really show a vulnerable, more personal side. “Still in love with my ex” (written by Kelly & produced by Soulshock & Karlin) is an autobiographical tale of a woman who realizes she is not ready for marriage and she is still stuck in a prior relationship. Other highlights are the Tank produced “The Show,” “Ghetto” and the Brandy flavored track “Better Without You.” I don’t know what the future holds for “Ms. Kelly,” but if there is any justice left in the music industry, this album will at least produce platinum results. One thing is for certain, Kelly Rowland has proven she can stand on her own and deliver the goods in her own way. The evolution of Kelly Rowland is just beginning and I am certain the future will bring even better results.......and hopefully better management.