Its usually not a good sign when an artist delivers a two-disc record. Christina Aguilera's new record Back to Basics shows an adventurous ambition to produce two albums with different sounds but a common thematic arc. Though both discs have some excellent tracks, this could have been one amazing album instead of just two solid ones with some judicious editing. What you will find though, is great samples, huge hooks, and a fresh sound incorporating both old and new into a cohesive whole.Disc One, produced by the impressive DJ Premier, is laden with great samples and entangling hooks. "Intro(Back to Basics)" is a funk filled preamble paying homage to "the soulsingers...jazzmakers and groundbreakers...who paved the way." Christina wastes no time in showing her vocal range on the piano and gospel choir driven track "Makes Me Wanna Pray." The excellent "Back in the Day" has a great retro sound and namechecks Coltrane and the "originators and innovators who...remain my inspiration every day." The trumpets bust out on the energetic, rhythmic "Ain't No Other Man," while "Slow Down Baby" is a sultry brush-off of a potential suitor, "You never gonna get it from me, because I'm with someone." "Oh Mother" is the most modern song on Disc One, lacing an elegant, emotional vocal on the abuse she and her mother suffered over a simple drum track. "Still Dirrty" is a mash of great samples with Christina's assurance that under the Jean Harlow glam she is still a freak. "Thank You(Dedication to Fans)" is a ode to the audience that, while very sweet, is an unnecessary addition.
Disc Two has a very different sound thanks to the tonal discord of the intro track, "Enter the Circus." The synth-heavy "Welcome" is a dark track that doesn't quite mesh with its upbeat lyrics. "Candyman" jumps with life from its opening bars, with a fun swing sound and layered harmonies. Sounding as if they came straight off a 40-year old vinyl disc, the delightfully risque "Nasty Naughty Boy," which takes sexual innuendo to a new level, and the soft and seductive "I Got Trouble" make for a great pairing. "Hurt" is a typical Christina ballad, and a likely huge hit, but one whose tone and sound are out of place on this record. The passionate "Mercy on Me" is a great stand alone track that sounds more 60s than jazz, and the sparse acoustic guitar of "Save Me From Myself" is a nice change of pace, but the keyboard-dominated "The Right Man" closes with a bit of a whimper rather than a bang. Linda Perry has co-written and produced some amazing tracks in her career, but that success leads her to veer wildly from sound to sound in search of a big single. Perry's ADD method of producing delivers three great tracks, but it's extremely ironic that DJ Premier's disc has an overall more cohesive sound with more commercial potential than Perry's.
This is a lot of music to absorb, and despite some tracks better suited to earlier albums or the recycle bin, this is one impressive collection of songs. Aguilera has an ability to reinvent herself from disc to disc, maintaining a freshness few artists have been able to retain. Her voice is as dominating as always, but she is smart enough to tone it down where necessary. Some track editing could have been used here, but there is more than enough to entertain, and fans will be able to mix and match their favorites into one amazing album. Recommended.
0 comments:
Post a Comment