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Found 452 results

  1. KYLIE - DISCO ★★★★ by Wyndham Wallace Dig out the mirror balls, the jumpsuits and the polyester print shirts! Kylie's back with a banging collection of dancefloor spanglers... Halfway through Kylie Minogue's 15th album, on the sometimes almost ABBA-like Last Chance, she warns us "the DJ's gonna play my song". This, she tells us, is "our last chance for the last dance, but frankly it sounds like it's destined for a marquee, not a nightclub : the song could crown any wedding playlist, assuming weddings ever involve parties again. It's typical of what's on offer here, and given Disco's objective is spelled out in its one-word title, Kylie has every reason to celebrate. Considerably truer to the spirit of the genre which gives the record its name than 2018's nonetheless impressive Golden was to the country music, which inspired its Nashville writing sessions, it does to pop what Daft punk's Discovery did to dance, adding a once loved, later lampooned sound to contemporary chart ingredients, making it mainstream yet again. Kylie is far from the first to do this - one thinks of Spiller's massive 2000 hit Groovejet (If This Ain't Love), not to mention her own Light Years album the same year - but she's thoroughly convincing, and that's what matters. Indeed, she's a hard taskmistress, her desire for merrymaking unsated. Two songs after Last Chance, she asks Where Does The DG Go "when the party's over at night", and one tune later, on Dancefloor Darling, she informs us that "the night ain't even over" and she's planning to "dance all night". As if to test her, the song speeds up to its climax. For further proof of commitment, moreover Disco's perfect finale, Celebrate You, insists that "the night is still young". She's quite the hedonist nowadays, in other words. Admittedly, her heavily filtered and autotuned vocals can be a little vexing - opener Magic's chorus, where she actually sounds human, outshines its verses - and some may find Magic's urge to tick every one of the era's production boxes contrived rather than precision engineered. But Monday Blues will send you skipping into the office - if we ever go to the office again - and Supernova adds Starship Trooper glamour while Unstoppable's Philly strings ensures it fulfills its nominal promise and Real Groove adds slick but taut R&B. You might not remember all of this afterwards, but that's the sign of a good party, and Disco guarantees a grand old time. so basically it's Light Years ha second coming
  2. https://www.theguardian.com/culture/2020/sep/26/my-daft-punk-review-hasnt-aged-so-well-guardian-critics-on-getting-it-wrong?CMP=soc_567 Amercan Life coming for 99/100 metacritic score after 17 years
  3. CharnyBoy

    Review

    Slow vs. All the Lovers Still Standing vs. Get Outta My Way Secret (Take You Home) vs. Put Your Hands Up (If You Feel Love) Promises vs. Closer Sweet Music vs. Everything is Beautiful Red Blooded Woman vs. Aphrodite Chocolate vs. Illusion Obsession vs. Better Than Today I Feel 4 U vs. Too Much Someday vs. Cupid Boy Loving Days vs. Looking for an Angel After Dark vs. Can't Beat the Feeling You Make Me Feel vs. Heartstrings Slo Motion vs. Mighty Rivers Cruise Control vs. Go Hard or Go Home Aphrodite: 10 Body Language: 5
  4. Freaky Prince

    Review

    Sexercize Les Sex Million Miles Sleeping With The Enemy Sparks Golden Boy Kiss Me Once Sexy Love Mr. President If Only Into The Blue Fine Feels So Good I Was Gonna Cancel Beautiful Lets do an updated version, please please be nice to it or I'm gonna hang myself up flat-screen akdskak her mind If only.zip she swapped Pitiful and I Should've Cancelled with Spanks and Grammy Boy on the standard
  5. Shego

    Review

    Its actually getting praised.
  6. Bionic-AHHH!

    Review #TamaReviews: Bionic

    Finally I'm moving it here! Here's my first ever entry for the #TamaReviews series. Check it out! REVAMPED! “Bionic” is the title of Christina Aguilera’s sixth studio album—fifth counting only English language releases, fourth excluding the Spanish language and the holiday albums—which was released on June 4th-11th 2010, depended on your country. It is the follow-up to Aguilera’s previous album, “Back to Basics”. “Bionic” served as a reinvention of Aguilera’s music, persona, and career trajectory moving forward in time. Aguilera, known as one of the leading ladies of big-voiced pop singing since the early Noughts, is famously recognized as the artsy student of pop music compared to her peers. Rather than Britney Spears’s safe but energetic dance pop songs, Aguilera would make trials of different mixture of sounds and genres as she seemed to be unafraid of neither imperfections nor errors—despite being a self-proclaimed “perfectionist”. Compared to Jessica Simpson’s similar big-voiced brand, Aguilera always seemed to make exciting innovations in her music that Simpson could never dare to try. Therefore it is fascinating to witness the evolution of Aguilera’s music; started with an R&B/Soul-inspired eponymous debut album which then followed by a similar sounding Spanish language release, a Christmas album, a mixture of both the Noughts favorite sounds as well as retro moments on “Stripped”, and later blossomed to the previously mentioned “Back to Basics” which was an album filled with more R&B/Soul music alongside sophisticated Jazz that took inspirations from American popular music 30+ years ago. However, it was not enough for Aguilera as she sat and pondered inside the recording studio. “I wonder what should I do next? What is next? Next is...the future!” she thought. She prepared a rocket ship and launched herself to an unknown future to get inspired by it. Later, as she orbited back to Earth, a huge smile could be seen upon her face as she thought, “I am the future.” Then, we arrived here. Opened with a bombastic track, aptly titled “Bionic” as the titular track, Aguilera promised to take every listeners headfirst to the future as she proclaimed, “Bionic, take ya supersonic, eh!” You might get migraines or became insane, got hit by her rocket ship and felt as time slipped, or went up in a hurricane and got lost there, but she did not care about that. She didn’t care about your thoughts or your screams, she would take you through this journey until the very end. As she sang to you that she’s not herself tonight, you would get the sense of danger as much as arousal. Aguilera took notice of that and followed with “Woohoo”, a flirty song that featured then-rookie Nicki Minaj to co-pilot for a few minutes. It was a call for celebration of lust, love, and fire as it basked in the glorious fab of an elite club’s neon lights. During the song Aguilera repeatedly told you “guys” a direct command; to dance below her and taste her “woohoo!” Similar to this is a song titled “My Girls” which featured a band named Le Tigre in production and a rapper named Peaches. Aguilera let listeners know that she’s having fun with her girls and that they are not afraid of anything as they stick together to take control. Despite the sexual nature of the album’s content, there was also a sense of doom and urgency loomed on the tracklisting. Particularly on a song titled “Lift Me Up”, which was written by longtime collaborator Linda Perry, you could hear the eagerness to express herself without judgment because something troubling had happened. As Aguilera also stated on "Prima Donna", she had worked hard in a long week and needed a couple drinks to ease herself. The chorus told you repeatedly that she is a prima-donna, and you truly did believe her. A specific part of the album which Aguilera herself had stated as “the heart of Bionic” proceeded to tell listeners about her thoughts other than sex. Co-penned with Sia and Sam Dixon, the sadness was real and present. “All I Need” and “I Am” explained the joy and the expectation, accumulating to a brief moment of hope until “You Lost Me” hit you—or rather, her—hard on the face. Aguilera sang in much anguish as she lamented loss; a forlorn protagonist who had to suffer the most as she delivered one of the best vocal performances of her career. The album resembled a riddle that Aguilera demanded us to solve. “There must be a cause to all of this, have you noticed?” she spoke in your mind. She might not be around you, but through all of these songs she has never made her presence any clearer. Listeners would take their time to analyze the tragedy that she told, or maybe feel some sarcasm as she scolded, but for every songs like “Glam”—a nice song about the joy of fashion as a freedom of expression—or “Not Myself Tonight”—a feelgood tell-all about something that’s gonna happen “tonight”—there is also an “Elastic Love” which told us about behind-the-scene and more. Perhaps the most thrilling moments of the record could be found on the deluxe side. There are five other songs that didn’t make the standard version tracklisting. “Monday Morning” opened the deluxe disc with an effervescent quality that nobody could avoid, while “Bobblehead” would make you giggle and wondered about the identity of the song’s subject as you did vogue. There is also a piece-of-art titled “Birds of Prey”—unrelated to DC’s infamous fictional villains group—that would strike listeners with its electrifying electronica as well as the lyrical work which told about danger and disappointment of a superstar’s circle of connections. There are also a stripped version of “I Am” which sounded gorgeous and an overwrought ballad titled “Stronger Than Ever”. However, the album would not necessarily end there. The last track, “Little Dreamer”, gave you the very final moment which closed the story beautifully in a mix of both bitter and sweet. There was a familiar feeling of happiness that would make you cry as the music was going to an end, and you couldn’t stop yourself from saying, “Yes, thank you so much!” to an imaginary Aguilera in your mind who smiled at you. “It is done, I have accomplished.” she said to you before walking away, tears of joy were also streaming down her beautiful face. Overall, “Bionic” is a highly recommended record for those who wanted to listen to the kind of pop music that didn’t sound bland or formless, but it would not necessarily abandon the fans of the chanteuse either. It might have been a product that had made a lot of people scratch their heads in 2010, but not ten years later. “Bionic” has never felt more at home in month June, year 2020. ----FIN---- That's it everyone. Hope you can spare a bit of your time to read this review. Love, Tama.
  7. LITTLEDUDE presents JOURNEY TO CHROMATICA PART TWO: THE FAME MONSTER BAD ROMANCE The first time I heard Bad Romance it felt really… long. I’d definitely heard five minute songs before, but Bad Romance was incredibly epic in its scale compared to her other songs up to that point. It’s like a gothic romance come to music, the pop version of Emily Brönte or Bram Stoker. This is achieved by the dark, industrial East Europe synth pop and the intense, devotional lyrics. The length of it feels so broad because there are three hooks to the song – the pre-chorus, chorus, and post-chorus (which doubles as the intro and outro as well). Even the bridge acts as its own sort of hook. To say that this is the best song Gaga created with RedOne may be an understatement. It is definitely his best work with Gaga up until this point, and on this album. I would suggest listening to the instrumental to this one. If you ever wondered how this song achieves that spiraling sensation, listen to the post-chorus (“Rah-rah-rah-ah-ah!”) There are two synths layered on top of one another. One of them whirs down the scale note-wise, while the other slowly gets louder, being brought from the background to the foreground in the mix. This is maybe my favorite part of the song as it really invokes such a fantastic feeling that I believe Gaga and RedOne were going for. Bad Romance sets the tone for the album itself – and in large, is one of the best pop songs of the century. 10/10 ALEJANDRO This song continues the somewhat gothic feel of the album, except this time it’s s little colder and more subdued. The ghostly wind and sobbing strings are a great opening but soon give way to the industrial-type synths we were introduced to in the first track. The chorus is a killer, making the song surprisingly infectious. The pre-chorus also expertly builds up the mix that makes the explosion of the chorus hit so deliciously. Although every song on this album is coming from a personal place – demons and monsters Gaga had to encounter – I don’t feel a lot of personality coming from Alejandro. It’s a great pop song, but it’s lacking the vulnerability and emotion Gaga gives us on some of the other tracks. 9/10 MONSTER I’m not sure if this could technically be considered the title track, but I feel like this song does a lot to encapsulate the album – tonally and content-wise – but also to connect The Fame Monster to The Fame. Monster incorporates, distorts, and evolves elements from her previous popular songs. The major one that fans might notice right away, is that it uses the “he ate my heart” line from Gaga’s The Fame Ball interlude. The song is also reminiscent of Poker Face in many respects – production wise and the hooks. Right of the bat we have the signature RedOne horn, this time lowered and a little more dissonant. The “m-m-m” stutter and the deep, male voice used as a call-and-response is here in Monster as it was in Poker Face – but unlike the latter, this time the male voice is predatory. Gaga is an unknowing victim here, until the bridge where her voice croons up in despair. The subject matter here is really fantastically dealt with. Gaga is able to portray in an interesting way how consuming it feels to be manipulated and taken advantage of when you’re at your lowest. Monster feels urban – city-like – a dark, Ridley Scott film with gleaming squares of lights outside of windows. 10/10 SPEECHLESS I said earlier that Brown Eyes could be my favorite Gaga ballad, but I don’t think she has ever written and performed a song as well as she did Speechless. The rock, power-ballad style of production, relying heavily on piano, guitar, and drums, is just a perfect style for Gaga. Despite the fact that it may be initially jarring to go from electro-pop to the live instrumentation of a ballad, the production is heavy, the tone is similar, and the genre is just so natural for Gaga that it doesn’t even feel out of place. Gaga’s voice still has that slightly higher, poppier tone that she had in her early 20s that gives a lot of emotion and vulnerability behind her vocal performance – while still adding a lot of grit and power she can so easily delve into. The subject matter is another highly personal one, and again, probably some of her best writing. I don’t pick this song out to listen to on my free time, but every time I do listen to it I am never disappointed. Although it wasn’t a single, it’s undoubtedly one of Gaga’s signature songs. 10/10 DANCE IN THE DARK What can I say about this songs that Gaga fans haven’t already? There’s a reason why Dance in the Dark is a fan favorite. After the palette cleanser of Speechless, we’re back into dark, electro-pop – but it doesn’t feel repetitious. We step away from RedOne collaborations for a moment, and we slowly open with stuttering before exploding with the album’s dirtiest synth. This track is epic on the scale of Bad Romance, but thankfully has its own unique feeling. It jumps back and forth between the garbled, vocal clipping and the soaring, vulnerable vocals Gaga gives in the chorus – which is another killer. This contrast helps make Dance in the Dark the success it is, and helps portray the point of the song: a sense of being guarded, holding back and hiding until the shameful moment when you can finally feel open and exposed. 10/10 TELEPHONE While the first half of The Fame Monster sets up the themes and style of the album, the latter half explores a little more with its sound. On the surface, it may not seem like Telephone necessarily sits well with the tone of the album. It’s fairly upbeat and dancey in a way that’s a little more akin to The Fame rather than the way the first half of this album was produced. Despite all of this, it still fits very well in the album. The synths are incredibly dirty, the pace is quick – claustrophobic and frenetic – and even the lyrics “stop calling, stop calling, I don’t want to think anymore” doesn’t really fit on the “positive” side of things. Beyoncé’s feature is simply flawless. She feels natural coming into the song, and not just someone slapped onto the track for the collaboration purpose alone. Gaga gave Bey the second verse instead of just a small feature slot – her verse is fairly short, true, but the production switches to make it fresh and interesting. They share the bridge before returning to the final chorus. We only hear the chorus twice, but it’s long – three hooks worth – which helps make the track feel heftier than it actually is while making it extremely catchy. I think Telephone is a pretty underrated song when it comes to looking back on Gaga’s catalogue – as well as the pop landscape of the early 2010s. 9/10 SO HAPPY I COULD DIE This is possibly my favorite track on this album. There’s something about it that pulls me in and pulls out emotions. The production is disorienting and echoey – which is most likely props to Space Cowboy’s help in the writing and producing – that fits incredibly well with the drunken swaying, high-on-a-cloud-you-don’t-necessarily-want-to-be-on sensation the lyrics talk about. The verses are wonderfully written. I like the play on the phrase “touch myself” that means two different-but-similar things in each verse – masturbation and vanity, in this instance, both rituals of insecurities. These elements tie perfectly with the chorus’ message of relying on drugs and alcohol – when getting drunk isn’t really fun and adventurous, but it’s an addition – a reliance. You may be wondering why, if I love the song so much, am I giving it a nine instead of a ten? Well, there is a problem with the bridge… Now, I actually don’t hate instrumental bridges. They’re fine and I don’t necessarily think they’re lazy. However, I’m always looking for a little more when it comes to this song. The break from the bridge back into the chorus ultimately feels repetitious, and I think it was due for some type of change – either in the vocal performance/mixing, or the instrumental to make it feel like the song was going someplace. 9/10 TEETH The true outlier of the album – yet still somehow well incorporated. This track relies on a constant stomping, horns, strumming of guitar strings, and a double call-and-response (Call: “don’t want no money” Response #1: “want your money” Response #2: “that shit’s ugly”) Buried underneath it all is a cool, distorted waiting of a possibly-male vocalist that gives the song a sinister-type vibe. The persistent stomping never lets up throughout the song, though the instrumental switches up a bit for the chorus. Even with an addition of quicker clapping during the bridge and Gaga amping up her vocal performance near the end, the track feels pretty level throughout. It would have been nice to get at least a short break from the monotonous stomping either during the bridge or for switching it during the final chorus. That being said, the song is spicy, with a lot of attitude and fun lines. Production was handled by Teddy Riley – a connoisseur of new-jack swing – which gives Teeth it’s signature feeling. The meaning of a song called Teeth apparently has multiple meanings: on one hand it’s about giving /demanding your truth, but on the other hand it’s a double entendre for oral sex… I think I’ll take the former. It’s a very brave song for a pop album and adds a lot of flavor. Ultimately it’s good that we don’t just have an album full of RedOne industrial electro-pop songs, and its a testament to Gaga’s artistry 8/10 FINAL RATING: The Fame Monster : 94 The Fame : 86
  8. LittleDudeNT5

    Is "Blackout" Britney's Best Album?

    Blackout has perhaps become Britney’s most lauded album among fans and retrospective pop music critics. This is rather significant considering its relatively low impact at the time. The music had taken a backseat to Britney’s media attention and tabloid coverage. The critics were more concerned with her awkward pole-dancing in the “Gimme More” music video or her lip-synced fumbling performance at the MTV Video Music Awards. The album remains a black sheep among her discography, which sees Britney completely embracing the underground genres of dark electro-pop, techno, and even dubstep (all of which became more popular in later years). It didn’t offer the type of bubbly personality, sensuality, or radio-friendly hits we’d come to expect from a Britney album. This was what made it such an outlier – not just for Britney, but for the pop music landscape. Blackout is arguably Britney’s most cohesive album; the soundscape is succinct and each track brings its own level of satisfaction for the overall listening experience. However, despite this praise, it’s difficult to name Blackout as the best Britney album. The project is decidedly impersonal. Beyond a few softer tracks – like “Heaven on Earth” and “Why Do I Feel Sad” – the album is aggressively and unabashedly sexual. In The Zone had offered tracks oozing intimacy with a slice of passion: Britney whispered soft desires in “Breathe on Me” and easy sultriness over oriental strings on “Touch of my Hand”. Blackout hits listeners with gritty, hard-edge beats, forward lyrics of uncommitted erotic encounters, and a fair amount of vocals from the male producers that make you feel like a sweaty guy is breathing down your neck at a club. In fact, the entire albums feels like strobe-lights in a crowded black-box club, black paint on the walls and floors, and graffiti all over the bathroom stalls. The room is spinning, it’s dark, and there are people grinding on you from all sides. In some ways I suppose that was the intention of this album: it was meant for the clubs. On In The Zone, Britney co-wrote eight of the tracks. These were oftentimes specific to her experiences or interests. In 2005, fans were seeing Britney becoming more and more involved in the creative process, and were even promised the most personal project of her career. Whatever work was done between 2004 and 2007 was seemingly scrapped (with only a few Britney-penned tracks surviving on an EP) and the public received Blackout instead. Britney barely contributed to two of the tracks on the album, and considering her private struggles, the media scrutinizing her behavior, and being pregnant during recording, it’s hard to find the artist’s personal connection to the music. Britney only performed once to promote the album, and was focused instead on her own trials and tribulations. Considering what was going on with her at the time, a raw, sexually-charged record is an odd professional move. That isn’t to say that Britney isn’t present on the album. Despite criticisms of over-reliance on autotune, Britney is direct, loud, and sassy on Blackout, giving more than a few memorable performances. An album doesn’t necessarily need to come from a personal place to be good. Blackout is sonically interesting and one of the most provocative pop albums of the 2000s. Other female pop singers of the time couldn’t quite pull off this type of image and embracement of underground pop subgenres as Britney did. It remains a solid, timeless album even after all these years. One of the reasons why Blackout can’t quite snag the title of Britney’s best album is because of the releases that bookend it. In the Zone saw Britney’s intentionally-charged blossom out of her teen-pop image and into womanhood and creative metamorphosis. The album doesn’t quite hit you from all sides, as there are a few tracks that could have been replaced by any number of excellent unreleased material, but it saw Britney at her most involved. It was refreshing to see her finally take control of her music. On the other end, Britney barely gave Blackout enough time to rest in the dirt before releasing Circus in 2008. Although Britney still wasn’t giving much creative input, the album has a better balance in tone. The album is more positive, brighter, and doesn’t preoccupy itself with the subject of sex. The album is full of certified hits (“Womanizer”, “Circus”, “If U Seek Amy”) and even more potential smashes (“Kill the Lights”, “Shattered Glass”, “Unusual You”). Circus saw Britney re-embracing Top 40 sensibilities, but unlike the bubblegum releases of her youth, this album is mature and competent. One can’t quite say whether or not In the Zone or Circus are Britney’s best efforts – just as it can’t be said with certainty that Blackout takes that crown. All three are highly formidable pop albums in their own right, and it all depends on what the listener wants from Britney Spears as an artist.
  9. I haven’t listened to Chromatica yet! As a former Gaga stan, that is pretty heinous. But I haven’t really listened to Gaga in a long while, so it’s been an effort to try and slide back into the mood her music. I’m also fairly behind on Gaga’s music releases. I haven’t listened to Joanne in full or A Star Is Born, and I haven’t listened to her first four albums in ages. So, in celebration of her sixth album, I am going to go on a journey of reliving and reviewing all of her past albums as a sort of musical lead-up to Chromatica. This is pretty exciting, so I hope you all follow along! Just to be clear, these are the albums I will be reviewing: Heard before: The Fame The Fame Monster Born This Way ARTPOP Haven’t heard before: Joanne A Star Is Born Chromatica (I am deciding not to do Cheek 2 Cheek because…. I just don’t feel like it. I have nothing against jazz standards but I just don’t feel like it’ll fit on this journey. A Star Is Born will also be pretty different but I haven’t heard it and it was a big album so I should give it some attention) JUST DANCE I may be jumping the gun here, but I feel like Just Dance is the most timeless single from this album. It’s a fun, infectious song, and honestly should be more remembered than it probably is. I actually really like Colby’s verse. He seems like a part of the song, rather than just a feature slapped on there. The bridge breakdown is also fucking sick – and a testament to Gaga’s unique direction in writing pop songs. 10/10 LOVEGAME I always really loved the production of this one. I actually wish the synths hit a bit harder because they’re so good. Gaga’s collaborations with RedOne are always on the simpler side, but the novelty of songs like LoveGame keep them interesting. Probably the weakest single from the album, but that’s not really saying a lot. A hot song. 9/10 PAPARAZZI Probably equally if not more timeless than Just Dance. I feel like this should be one of Gaga’s signature songs (if it isn’t already). The lyrics are really interesting and not too repetitive or simple, as the song has a darker nature than just the typical love/sex/dance themes of most pop songs of this era. The production is also really fucking interesting. It’s still an electro pop song, but the style of the production is much more interesting to listen to than the other RedOne singles. Crazy to have a song of this caliber on your first album. 10/10 POKER FACE This was the first song of Gaga’s that I latched on to. My introduction to Gaga was seeing her emerge from that pool in a latex jumpsuit and a mirror masquerade mask, flanked by two Dalmatian Great Danes while lightning strikes in the distance. Although it’s simpler than her later music videos, I always thought it was the perfect pop video. It was sleek, stylish, fun, and fast-paced. The sets were great, and it gave us so many of Gaga’s signature early looks. Although I think Paparazzi is a more interesting song, I think Poker Face is still in my top 3 Gaga songs of all time. It’s just very nostalgic for me, but it’s also just so fucking catchy and fun, the production as sleek and stylish as the video. I love the more robotic verses and how it sort of opens up in the chorus – the male voice used for the call-and-responses is a fantastic addition that makes it a bit more dynamic. 10/10 EH EH (NOTHING ELSE I CAN SAY) I feel like this song wasn’t anyone’s favorite back when this album first came out, but it seems like everyone who reacts to this album retrospectively falls in love with it. Someone one described it as a late-90s bubblegum pop song, and for some reason I never really thought of it that way, but it makes a lot of sense. I always thought this song was catchy and cute, but it was never my favorite. It still isn’t, but I can enjoy it and bop along to it. 7/10 BEAUTIFUL, DIRTY, RICH Although it’s pretty short and also rather simple, this song fucking rocks. It’s one of the best songs on the album and I will fight anyone who says otherwise. I think the song itself is at the core of what The Fame is meant to be about. It drives this message she was going for about being filthy poor but living like you’re rich, turning heads wherever you go. And the production… If you haven’t listened to the instrumental on its own please go do it. The live drums, piano, and guitar hit so fucking hard. I really love this funk-pop sound she was going for in the early days of The Fame recordings. 10/10 THE FAME A great song to follow Beautiful, Dirty, Rich. It continues the more 70s glam pop sound with the guitar that drives the song. It’s not a song I particularly love, when it comes to the lyrics or the production, but it’s still incredibly infectious at the same time. Unlike the last song, The Fame is actually about seeking fame and fortune. The lyrics through the verses are really clever and cheeky, and I’m glad the pre-chorus switches up between the first and second times we hear it. I actually kind of like that the title track isn’t this big banger. It sits pretty in the middle of the album with this rock-yet-electronic sounds that defines the album. 8/10 MONEY HONEY On the surface, Money Honey isn’t anything too fresh. The production probably sounds too similar to LoveGame or Poker Face, but damn… I always just really loved this song. The chorus is super catchy and fun to listen to, and I just really like the lyrics. Subverting the previous song, Gaga sings about how all the riches that money can buy are nice – but it’s love that she truly wants. Just a solid pop song. 8/10 STARSTRUCK I loved this song when I first got into Gaga. I remember people complaining about her vocals being too autotuned, but it never really bothered me. It kinda does now, actually, though? The song’s production actually reminds me more of So Happy I Could Die than anything on The Fame, so it feels slightly out of place. But my biggest gripe is Flo Rida. I really like the second verse and chorus of this song, but Flo’s feature is just so loud and annoying. I think he did what he was supposed to do, and it technically works, but it’s just a distraction. I feel like this song could have just been Gaga and Space Cowboy, made a lot shorter, and it could have been a decent addition to the album. I still like it overall, though. 7/10 BOYS BOYS BOYS Don’t get me wrong, I like this song, but I could never really connect with it. I think it’s the general melody and rhythm of the song, as well as the production. I can tell it was the first time she and RedOne worked together, because it still feels a bit primitive compared to their other tracks. Like most of the songs on this album, it’s a really solid pop song and accomplishes what it came to do… it’s just not my favorite. 6/10 PAPER GANGSTA This was one of my favorite tracks from this album when I first listened to it. If I were to rate the songs now, I don’t think it would be too high on the list. However, I still really like it. It’s a good slice of something a little more personal from Gaga, but it also gives us a different view of Fame than what we’ve gotten on the album so far: the backstabbing, shallow kind, where Gaga was screwed over by the industry. I do think it fits well with the theme of the album. The song suffers from boring-instrumental-bridge syndrome, so it ends up feeling a little long. But, overall the production – particularly the piano melody – is really cool. 8/10 BROWN EYES Although this song starts off slow, the build-up is really satisfying. Although a ballad, it feels a lot like Beautiful Dirty Rich in many ways. (Which makes sense, since they’re both Rob Fusari productions) The live piano, rock guitar, and drums gives it a very funky, organic nature to it – and whoever is playing that guitar was really killing it. Although I think this song sounds out of place on the album, just based on what tracks bookend it, I actually think it works really well. If it was placed near BDR, The Fame, or Summerboy, it could have felt a lot more natural in the sequence of the album – because it really isn’t that slow. This is probably still one of, if not my favorite Gaga ballad. 9/10 I LIKE IT ROUGH Probably the best production by Cherry Cherry Boom Boom (I don’t feel like typing out his full name. Martin or Mark something) on the album. It’s really sleek and on the darker side, which plays well with the lyrics. I’m a huge fan of the lyrics: a play on words, where at first it sounds like Gaga is saying she likes it rough in bed, but in reality it’s about her inclinations to difficult relationships. Being placed at the end of the album (on the US edition) sort of downplays the success of this track. I feel like if it was placed elsewhere (like it was on the international editions) people would recognize it for the hit that it is. I think it’s a really successful pop song. Production is electro-dancepop on point, and the lyrics have a slightly deeper meaning. 9/10 SUMMERBOY I suppose on first listen people might say this sounds different from Gaga, though I could always hear her on it, even if she sounds younger or is putting on a somewhat cutsie affectation. Obviously it was recorded a lot earlier than the other songs, but the fact that they still put it on the album is a testament to its quality. This is. One of my favorite songs. Not only on the album but from Gaga in general. Co-written and co-produced by easy-breezy summery-pop masters Bran Kierulf and Josh Schwartz, Summerboy is just a perfect, glossy disco-pop song that I’m so glad is in Gaga’s library. It may seem a bit different against the others but I don’t think that should take away from it getting its proper recognition. This is another song I implore you to listen to the instrumental to because the production – and that fucking guitar player – is just so good. 10/10 DISCO HEAVEN A bonus track, but since it’s on the Spotify version of the album I figured I would review it. Another song in the vain of disco, glam-rock, driven by a heavy guitar-centric melody. I honestly feel like the production feels a bit too heavy to fit perfectly on The Fame as it stands. Gaga’s collaborations with Fusari that lean a lot into this type of sound is a bit too removed from where the album turned to, but that doesn’t take away from how good this song is. It’s fairly dancey, but also somewhat moody, as well. It’s hard to describe, exactly, but it’s a flavorful track. 8/10 FINAL RATING: 86
  10. If That's the Way Love Goes This Time Where Are You Now Again Because of Love You Want This New Agenda Funky Big Band The Body That Loves You Any Time, Any Place Throb Whoops Now What'll I Do Hands down this album is in my top 3 favorite albums of all time. What about y'all? @Liam @Madonna @P. @Bright Moon @Chantoya Jo Jackson @I Brings That Levity @Elusive
  11. Bionic-AHHH!

    Review #TamaReviews: Witness

    I'm back, people. Not that you would care but Hey Hey Hey.mp3 This time, it's Witness time! REVAMPED! Katy Perry released her fifth studio album titled “Witness” on June 9th 2017 to a rather underwhelming reception from both the critics and general public. It was supposed to be a reintroduction slash reinvention of Perry’s music and public persona after the overwhelming success of her previous album, “PRISM”. Initially, Perry had introduced a concept which she termed as “purposeful pop” for the album and had stated that it would show the “real” her that had never been exposed to the general public who have had great leisure time listening to Katy Perry’s music before. Katheryn Elizabeth Hudson—actual name of Perry—is a daughter of born-again Christian parents and once was a contemporary Christian singer herself before broke through mainstream recognition with her explicitly secular music in 2008. This is an important factor for Perry’s career as her religious root would be the first thing that listeners found on the opening track of “Witness”. The titular track introduced itself to us in a rather subdued fashion in contrast to Perry’s usual first track of her albums. “Witness” certainly sounded way more controlled and intimate compared to the bombast of “Roar” or the potency that “Teenage Dream” possessed. Perhaps lyrically resembled more of the curiosity presented on “One of the Boys” without emulating its eager Rock foundation, “Witness” served as a pleasant surprise in Perry’s discography. The surprise didn’t necessarily end there as “Hey Hey Hey” and “Roulette” continued the journey toward Perry’s real world with a strong confidence. Listeners would be entertained by the wit that Perry presented through the lyrics of these songs, especially compared to her previous music which had only got to show a small percentage of intelligence in favor of heavy sex appeal. This is not to say that sex appeal has been erased from Perry’s music, especially within songs like “Tsunami” and “Bon Appétit” which presented themselves as erotica. Theme of empowerment also ran through “Power”, with lyrics such as “I am my mother’s daughter / And there are so many things I love about her / But I have, I have to break the cycle / So I can sit first at the dinner table” aimed to liberate herself and listeners out of a difficult situation. Perry described her intention was caused by something bigger than her (“Bigger Than Me), along with an urgency to make change amidst common ignorance that permeated the world (“Chained to the Rhythm”). However, this didn’t really happen without a personal conflict, as Perry sang on “Mind Maze” about her mind resembling a maze that often confused her and made her unable to move forward. Autobiographical songs such as “Miss You More” and “Save as Draft” became the bleeding heart of “Witness” while “Chained to the Rhythm” and “Pendulum” worked as the logic that ruled. The entirety of the album would make sense once listeners found their way to sit patiently and listen wholeheartedly to Perry’s words. This condition separated “Witness” from her other albums—and for once in her lifetime, she had finally made a body of work that's worth to be appreciated not just as another product for consumerism, but perhaps as a collection of fascinating art pieces which evoked true intimacy. ----FIN---- That's it everyone. Hope you can spare a bit of your time to read this review. Love, Tama.
  12. The 20 highest rated by Metacritic score The 20 highest by user score The 20 lowest by Metacritic score The 20 lowest by user score Source: https://www.metacritic.com/browse/albums/score/metascore/year/filtered?sort=desc&view=detailed N.B.: The lists are for reviews from January 1, 2020-June 13, 2020. As the year continues the lists are subjected to changes.
  13. Bionic-AHHH!

    Review

    Welcome! Another day, another review! Nobody asked, but here I am! Today I'm reviewing this iconic AND legendary album. Critics didn't like the album all that much, but KatyCats will always praise this album to eternity. The rest is remarkable historical achievements. What do I think of this album? Let's find out! 1. Teenage Dream - The fact that she begins the album with a titular track THIS GOOD will always amaze me. It perfectly introduces listeners to the overall sound of the album and I am absolutely impressed with this. Her singing is also really good here, the fact that she began with falsetto and gradually reaches some high belts. Very good! - 4 stars out of 5. 2. Last Friday Night (T.G.I.F.) - Yes, this song is really good. It's a fun jam. Its lyrics are clever and adorable yet cringe and provocative at the same time. I don't know how she managed to create something this complex, must be The Doctor touch . That sax will always decimate my existence. - 4 stars out of 5. 3. California Gurls (feat. Snoop Dogg) - Come on perfection! This one is automatically better than the previous songs, but I swear I will always love you title track! The rapper contributes a whole lot to elevate the song to an even higher level, and the song is already on a high level. This song is just WOW! - 5 stars out of 5. 4. Firework - Alert! A bit of a let down. However, it is a very fun anthem about becoming confident in your own skin, so that's really nice. The "boom boom boom brighter than the moon" somewhat-of-a-hook is also nice and goes along with the positive message of the song. Overall, it's good. - 4 stars out of 5. 5. Peacock - At first I was like what the fuck, then I keep listening and damn Katy for making such an addictive chorus . The bridge is cringe but also hilarious. The singing is quite creative especially at the very end with that "I wanna see ya!" Yet again another perplexing song from her. - 2 stars out of 5. 6. Circle the Drain - This one is very fascinating. It's rock but still done in a glittery pop way. That "but you fucking CHO-O-O-OKED!" is amazing. I don't care about the Bionic-inspired bridge because it doesn't go well with the other parts. However, I like that last minute. - 3 stars out of 5. 7. The One That Got Away - Yes. - 5 stars out of 5. 8. E.T. - Come on Bionic woman! WE WILL WE WILL ROCK YOU! In all seriousness, I don't love this song. Not at all. The chorus is far too spacious yet rowdy at the same fucking time. Maybe she's onto something though when she released the Kanye-assisted version as a single because this is pretty much a hip-hop song. It's alright. - 3 stars out of 5. 9. Who Am I Living For? - Her religious moment. It's a nice moment. This is definitely the oddest song from the bunch; the original Hey Hey Hey. I adore the singing though, it's very bold. - 4 stars out of 5. 10. Pearl - That production is really good. Her singing is really lovely. The lyrics are very inspirational albeit become a bit silly at the end. I often cried to this song. - 5 stars out of 5. 11. Hummingbird Heartbeat - My God, Katy...I know that we can get very horny but this song is not good. It's mediocre at best as it tries to emulate the sound of the title track but fails miserably. Luckily, her voice is really good on this song despite being quite detached. It's the worst song of the album. - 2 stars out of 5. 12. Not Like the Movies - She really saved the best for last , yeah? Come on Katy, drag Snow White away by her headband! This song is so soft, so delicate yet the lyrics are very bold. I love it. It's really great. - 5 stars out of 5. In conclusion, this album is one of the most important musical projects in the history. She is the first woman to achieve FIVE number one hits from one album on the Billboard main singles chart. That is super impressive! The music ranges from catchy pop tunes to slight autobiographical works. It's not perfect, but it sure does contain some near perfect pop tunes. Courtesy of Dr. Luke and Max Martin AND Bonnie McKee, yes, but Katy's lyrical contribution and final say must definitely be the most important thing here. It's also quite rare for an album to produce such massive impact like this album had made. Her legacy will truly live on and on forever! So, there you have it. Let me know your thoughts about this album. Remember, it's all just opinions. Yours and mine. Let's celebrate life by listening/streaming this gorgeous album! Love, Tama.
  14. Hello everyone, this review has been moved and revamped to my blog section. Let's celebrate life by doing kind acts to as many people as you can reach, and stay healthy! Listen/stream Witness too! Love, Tama.
  15. You can see the review here.
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