From the refreshing sound of Keri Hilson’s earnestly pleasant and surprisingly versatile vocals, to its insistently lavish production quality, In A Perfect World… is an album that should guarantee Keri Hilson a seat in the running for R&B’s top female. Never failing to entertain, every track on this album meets the qualifications for being dubbed ‘hot,’ with most going above and beyond.
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Taking a short look into the formula that has brought star after star into the forefront makes breaking into the American market seem childish in complexity. All an artist has to do is get in with the best producers and get their label to actually care about promoting them, two very simple tasks. However they are undeniably hard to execute. Luckily for BoA, both seemed to be within her grasp, allowing her to get the likes of Sean Garrett and Bloodshy & Avant interested in working with her. The strange thing is while BoA managed to score the aid of some top producers, she didn’t exactly leave the studio with top songs- BoA is a painfully average debut, featuring inconsistent production quality, cheap lyrics, and a voice that sometimes sounds out of place.
Popping the dent the failure of Exodus left in her ego, Utada, with the aid of some powerful producers (Stargate, Tricky Stewart, The-Dream) , picks up the pieces with This Is The One and proves that she is serious about releasing quality music for the English-speaking crowd. The tracks are radio friendly for the most part, and still manage to retain their ‘Utadaness,’ the unique quality that has made her a staple in the Japanese music industry for years now.
Love Is Dead is a debut effort full of imaginative melodies and interesting lyrics that allow Kerli‘s unique character and charisma to come through at full blast. And if the haunting picture on the album jacket doesn’t grab your attention, rest assured that the songs on the album will.
After the enviable success of her post-High School Musical projects, it’s safe to say that Vanessa Hudgens doesn’t need to make much noise to get attention. The fans she’s gained over the years lie in wait for her to speak- hoping for something new that they’ll enjoy as much as they did the last. And Identified is not that.
Hudgens’ sophomore effort is noticeably energetic and G-rated. But, even more so, it’s bland, confused, and far too easy to walk away from.
Keri Hilson‘s story is similar to that of The-Dream and Sean Garrett. For years, she has been behind the scenes writing hits for artists other than herself: Chingy, Britney Spears, Ciara, but she is finally on her way to stepping out and getting her own chance to hog the spotlight.
Ironically, on her debut single, “Energy,” Keri had no role in the creation of the track and has left all of the heavy-lifting to the Runawayz. It irks me that someone capable of doing for themselve is having other people work for them, but the song is good, regardless, so, I forgive.
I have been in wild opposition of Nas‘ recent agenda, which is, ultimately, using racial tension as a tool to gain some extra publicity. Even if he is trying to bring a change, he is going about it in a way that I would call too forward.
He attempted to title his ninth studio album “Nigger”, like the word has some kind of value to him. If racism is such a heavy issue to Nas, you think he’d be a bit more sensitive in choosing his words. There’s a point where being anti-censorship hurts his “cause.”
He even uses the word a few times on, “Hero,” the, Polow Da Don produced, first single off his new album, which is strong enough to make me put aside my distaste for his choices, if only for the four minutes this track runs for.