This is the music you dread hearing at middle-class suburban wedding receptions.

The only thing compelling about his music is the desire to know where his mediocre lyrics are going. Although with the start of each track, as the first couple seconds of the beat play out, you feel it has potential. It doesn’t. I would genuinely kill myself to this music. The only thing holding me back is the fact I would die knowing that this was the last sound I would hear on earth. By far the most miserable genre bending, new wave infused, spoken word, would-be pop album I have heard in some time. Lacking originality, and making me nauseous, I found it terribly difficult to let the album play in its entirety. Home Boy Robbie is the unclaimed and unwanted love child of a once drugged out, now sober Sgt. Pepper and John Denver on a bad evening. It’s a constant, never ending, shitty 80s new wave ballad, laid out over 13 tracks.

“Blasphemy” is by far the most hysterical song on this album. With the most absurd lyrics and music, I then came to the realization there is nothing worth listening to on this album. Although “Bodies” is a borderline mainstream favorite, it still is not amazing, groundbreaking or for that matter… good. It’s decent. The remixes are way better. Not because I am a club kid that craves for bumpin beats and disco lights; simply because the remixes actually add life to his dull music.

On the flipside, Robbie attempted (I would imagine) to combine the best aspects of genres, and infuse them into pop culture. With elements of spoken word, he can captivate a curious mind. Poetic lyrics, and mellow sound, prove to be a favorite of a more chill and mature audience. This album is not of this era. Struggling to hold onto the fundamentals of mainstream pop music at its finest, I would best describe it as a post New Wave and pre New Age album for an audience that likes them some Smooth Jazz, Spoken Word, and very light music.

With lyrics like “Was it a blast for you, blasphemy” I can’t help but wonder why you are still making music and who let you lay these tracks down during your apparent far to early mid-life crisis. I’m just being real with you Robbie. Just sayin’.



I busted a nut on almost every track on this album. And we definitely like Rhianna angry.

Her sound is dark as expected but not irritating or whiny which I was afraid of after her violent run in with former fiancé Chris brown. I actually was not looking forward to the release of this album so soon after her incident. I would have imagined it would have been a lack luster vocally appeasing mainstream rubbish. That sold due to propaganda, not for her sound.

I had to bite my tongue (no pun intended) after I sampled her music and loved her sound.

She is honest above all in this album, and as much as I hate the fuckin word fierce I can’t really find another word to describe it. She is bad bitch, and she wants you to know that.

Her intro “Mad House” sets the tone to the entire album, it’s dark and heavy. It’s a hard deep transition from her last album. “Rock Star” kept the hood kids on lock as “Russian Rullet” got her message across the radio waves.

“G4L” is the shit! Chick gets hardcore. I am all about this crazy sick hip-hop influenced sound, gangster lyrics and heavy beat.

On the flipside, that hardcore sound was a little intense and what some have called “too urban” for her mainstream pop audiences. Elements of the street, alongside a very urban sound set the mood for the album. It’s not a sound many will be attracted to. The attitude we all knew she had underneath her pop ballads and mainstream smash hits dominates her sound, which can be a transition uncomfortable for her die hard pop fans, and perhaps too intense for mainstream listeners.

Honestly, and to my surprise, I was very into this album. I can say I did not appreciate every song on this album, some of them you kind of laugh and say out loud to yourself, “Don’t push it.” However I can say the songs I let play, are the ones you know I got buck too. Check her sound, you may just find yourself liking it.

“I lick the gun when I’m done, cuz’ you know that revenge is sweet.”



With rumors of being one of her last albums, however unfortunate, it would make an amazing farewell.  It’s a Latin infused fresh new sound with electric beats, and an urban undertone.

Edgy and soulful Shakira invents a new exciting allure to her sound. With commercial success as great as in the underground, she dominated the dance floor with her release of “She Wolf”.  You get lost in her music, and bounce to her sound. Her voice is flawless and sexy, every track has its own feel, a different message and a hot beat.

“Men in This Town” is my favorite track on this album; it’s dark and sexy, with a hot urban electronic club feel.

Overall, the album was phenomenal. It’s truly an album that even someone who was never a fan of Shakira can get into. It’s the kind of album your boyfriend likes when you put on, but won’t ever tell you.

On the flipside, her shit can almost sound like it’s on repeat, and if you don’t dig the sound from “She Wolf”, You will not be into the album. Its different then her last few, and by far her best. However, many feel her sound shifted genres, and her experiment was good, but it was not a genre that captivated every demographic of her fans. Although still infused with quite a few sexy Latin tracks, this is not “Dirty Laundry”.  Don’t expect it to be.

I think the album was amazing, more than worth a chance, and a great addition to the New Year. One you’ll find me dancing to.


3 words

Pop music with a soulful and urban twist.

Her album is urban influenced, with a soulful spine, and pop roots. The album is mellow for the most part, but more than danceable. Her lyrics are conflicted, but her sound is inviting.

With “Fighting for This Love” being her debut song, “Parachutes” is an amazing single, proving she can take her music from the club to the lounge.

“Happy Hour” is my favorite; it’s a hot track with an R&B feel. The song is conservative as it is blunt, with an obsessive honest message.

With cameos from will.i.am throughout the album, you can look forward to the collaborations.

On the flipside, she came into the scene with nothing new. Her sound is nothing new or different; it’s just nothing we haven’t seen before.

Elements of the glitter left behind from “Girls Aloud” can hiccup here and there throughout the album. However, she did make a great addition to the array of imports in 2009. She can be an acquired taste for some; it’s inviting, but necessarily alluring enough to draw you in off the bat. You have to give it a chance, and after you do I think you will appreciate it.

With plans of a reunion with her fellow ladies in 2010, she can hold it down on her own just fine until then. 3 Words,  good shit yo.


Fame Monster

Behind the glamour and glitter lies the darker side of fame and fortune, love and lust, drugs and decadence. The flashing lights and retro sound harbor fears, obsessions, and monsters.

Written to fashion shows on mute, GaGa, composed a score for them that would break boundaries, exude confidence, and embrace her insecurities.

Her sound is different; inspired by dance melodies, gothic realities, and industrial sound this album shifts softly away from her retro glam debut. Her new album is honest and edgy, and completely for her fans.

“Bad Romance” was a commercial success, dominating air waves, and the club scene. “Telephone” featuring Beyonce hit the scene shortly after and grabbed the public’s interest with a hot collaboration, and grabbed the music scene by the balls. Her beats are wicked, and her sound runs is dope. These are tracks for the club heads, tracks guaranteed to make you dance.

Behind her sick electric sound lurk heavy lyrics and darker truths.

With props to Ace of Base, and a promise to fend off Latin men GaGa laid down “Alejandro” while singing a personal ode to masturbation and the obsession with one’s own mirror reflection in “So happy I Could Die”.  Her rock ballad “Speechless” written as a plea for her father, sits next to “Dance In The Dark”, whose lyrics refer to those who have met a tragic end, one being child beauty queen, made famous by her murder, JonBenet Ramsey.

She stated she was obsessed with the decay of the celebrity, and the way that fame is the monster in society. Her monsters and fears come out in every beat of “Monster”, “Telephone”, and “Bad Romance”; fears of alcohol, drugs, love, death, sex, decay and loneliness.

My personal favorite is “Teeth”, with a tweaked gospel track, and intense truths of how the only way she will ever get pleasure out of a human being, is being tied up and bitten.

It’s a great album. No doubt about it. The album is raw, edgy and honest. Its sound is heavy and dark, in a glama-phonic way.

On the flipside, she has been critiqued by some fans for her “not so pop” album. Although Pop by mainstreams definition, some feel the album lost the elements of a Pop Album. The disappointment of these fans, are the same fans who praised her as an artist.

If you buy this album in hopes of buying part two of “The Fame”, you may be indifferent about it.  This is an entirely different concept, and darker electric sound. It’s nothing uncomfortably familiar though. It’s just a different approach to her life, her music, and her genre.

Don’t try to tell her what pop is, someone made that mistake once, & that’s real talk.

cherry cherry boom boom



An opening act from Adam Lambert would turn this freak show into a circus.

I would have to say that this is truly an album for his fans, he brought diversity, along with a unique feel to every track and every candy coated, urban infused collaboration.

He took Miley Cyrus, The Fray, Daughtry, Bran nu’, Katy Perry, Jet, D.O.E., Kerri Hillson and JoJo to name a select few, grabbed some mundane topics, disco fucked beats, pissed in a machine and called it platinum.

It will be.

“Meet in the Middle”, “Tomorrow in a Bottle”, “Morning after Dark”, and the “The One I love”; are hot collaborations, featuring Bran’ nu, Chad Kroeger, Sebastian,  Nelly Furtado, SoShy, and Kerri Hillson, are by far his best tracks. They are just hot songs, the beats are solid, and the lyrics are catchy. These tracks will quickly become the, “THIS IS MY JAM!!!” songs of the New Year, and with good reason.

You can feel his electric beats pulsating through you, and his drum machine is guaranteed to make you sway. This will definitely be the soundtrack of the summer. The lyrics you will shout drunk and sing to sober. Music you can dance your ass off to.

When it comes down to “We Belong to Music”; I imagine Miley Cyrus puked glitter on a bouncy beat, and Tim took some lyrics he wrote on a cocktail napkin, and laid that track down on some quick shit, and somehow it worked and will most likely dominate air waves.

My favorite off the album is his last track “Symphony” featuring Bran Nu’, D.O.E., and Attitude; It goes back to basics and his roots, It’s some crazy sick beat (You can imagine by the title.), hot electronic sound, and some dope raps.

On the flipside, another way to describe his second volume of Shock Value would be thrown together and genre indifferent.  The music is straight, but the album has no flow. I just would expect more from the second volume of an album that received 16 platinum certifications worldwide. When you break the album apart track by track it’s good, like I said. But when you listen to the album in its entirety, it’s just kind of random.

In the process of creating a unique sound for every track, his album is all over the place; switching genres and the feel of the album at the drop of beat. His artists are all over the place, from newbie pop princesses to washed-out wannabies.

In the process of creating an album for his fans, I think he failed to realize he no longer has one particular demographic.

You can get every person on your Christmas list this album and every person will at least LOVE one song and like a few. Which can be a good thing unless you want to buy this album and expect to love it, or if you mind paying the price for an entire album, when you only care for a few tracks. I can see his fans saying…

“It was good…  I mean it was ok, some songs I could live without, but for the most part it was pretty good.”

Overall I thought the album was good, I liked it. I just did not love it.  I would recommend you to check it out, knowing you will hand select the singles you want to buy and the ones you just don’t really care for, which happens with many albums; but like I said… I just expected more from him.

This is coming without bias, from a fan of him and all of his candy coated, urban infused collaborations.



A cluster fuck of genre shifting tracks, urban beats, and unattainable desires.

Her music emerged from smoke filled rooms, and corporate coffee houses, it truly set a mellow mood to the underground. Now mainstream, Anjulie’s soulful sound and edgy lyrics impose a well deserved reality check to the sometimes pretentious pop scene.

This Canadian singer/songwriter broke a few boundaries and infused pop with a little urban integrity. Her lyrics are edgy, conflicted and sometimes irrational. Honesty is her forte; Music is her” addiction”. Fueled by artists like Annie Lenox, and Lauren Hill her sound is bumpin’ and lyrics raw.

Her break through song “Boom” dominated charts and television creating a promising future for this new artist. It’s nothing short of pretty awesome in my opinion. Although, “Day Will Soon Come” is a personal favorite.

On the flipside, she has her share of cheesy pop samples, and chick flick vocals. However, you feel her message, her mellow sound, and her drum machine. Her catchy hooks, steady beat, and fresh sound make Anjulie an artist worth experiencing over wine and friends, over coffee, or on your own.


Angel Taylor Love Travels

I have little to say about the Cali hopeful, besides her cry baby anthems can be irritating, and her soft acoustical sound is repetitive, and drowns out your will to listen. I imagine you have found her music playing in the background of some mellow dramatic breakup scene, or a coming of age teen drama. I lost interest immediately, and personally lost the drive to listen past track five.

On the flipside, I cannot be too harsh on her, really I can’t. As a matter of fact, I have to give the girl some credit. She has been praised for her lyrical masterpieces and the honesty in her voice. Her issues and rants are poetically straight up.  Her songs offer no solutions, instead understanding, if that; which I find more then respectable. Life rarely offers closure, and it’s frustrating, and this is her venting. Problems and Issues I would imagine many would relate too and many will love about her.

If you’re a fan of sappy love songs, pure acoustical sound, Vanessa Carlton and Kate Voegele, you will like her.

The rest of us can just curb our enthusiasm.


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