Rant: Jennifer Lopez "Dance Again"

I am not even going to call this a review, because Jennifer Lopez's new single, Dance Again , is so AWFUL it doesn't merit my time analysing it. Instead I'll offer a few suggestions to those who had a hand in its creation: The singer, the producer, and the rapper.

Review: Toni Braxton "I Heart You"

Surprisingly slow to capitalise on the the success of the hit show she and her family star in, the eldest, and most successful sister, Toni Braxton, returns with new single I Heart You.

Hearing the song about a month back I wasn't overly impressed. Despite aiming for the club, the production was a little limp and lifeless to really grab, and the vocals weren't anything exceptional. We all know Toni Braxton can really sing, but here she was delivering the vocals like it was a ballad instead of a club track! Everything about this song needed to be lifted and energised. I do like the build up in the middle and the following Christina Aguileraesque vocal run that follows it, but I think this song would have worked with more fire or, failing that, at a slower tempo.

Album Review: Madonna "MDNA" Terrible, Bad or Just Average? I'm Not Even Sure!

Going solely on my first listen of Madonna's twelfth studio album, MDNA, this was how I was going to open the subsequent review:

I'm going to dust off a word to describe Madonna's new album, MDNA, that by its very usage, in the 21st century, will probably make it applicable to me, but it’s so apt that I don't really have a choice. Simply put, MDNA is kinda "Naff".

However subsequent listens have warmed me to it, but not in a way that I feel entirely comfortable with the set. There is still a gnawing sensation that something isn't right with it, but I can't seem to put my finger on it. The reason I include this is because it doesn't feel like the book is fully shut on this review, but for it to be timely it has to be published now. Further listens to the album, or opinions from you guys, may have me reconsidering my thoughts on it and if that happens they will be placed right at the bottom, and the rest of the review will be unaltered. Anyway, let me take my meds and get on with the real review

REVIEW:

Review: Katy Perry Performs "Part Of Me" Live At 2012 Echo Awards

At the 2012 Echo Awards Katy Perry gave yet another pitchy performance of new single Part Of Me. One could argue Perry makes up for the vocal deficiency with her peppy and energetic stage presence, but I don't understand how someone who has just finished an extensive tour- where she sang live- could still sound like such an amateur.

Taken from the re-release of 2010's Teenage Dream, which now carries the suffix "The Complete Confection", people could argue the star is just having teething trouble with the new material. But Perry has already sung it live a few times- Sports Relief and the Grammys- and it doesn't seem to be getting any better, so surely it can't be that. 

New Music: Fiona Apple "Valentine"

The original "Sullen Girl" Fiona Apple is readying new music for a June 2012 release in the form of brand spanking new albumThe Idler Wheel is wiser than the Driver of the Screw, and Whipping Cords will serve you more than Ropes will ever do. You find that title quite a mouthful but fans will consider it somewhat anaemic when compared to her second release, which held the record for longest album title ever (untill 2007) with over 400 characters [Read more at Wiki because I'm not clogging up this post repeating it!]

Video Review: Madonna "Girl Gone Wild". The Queen is back!

Is it possible for me to dislike a video featuring high-heel wearing and ultra fierce male dance troupe/singers Kazaky? I think not! So it's no small wonder I really like the accompanying video for Madonna's new single, Girl Gone Wild. [single review]

[Vocal Profile] Alicia Keys

Alicia Keys

Vocal Type: Mezzo
Vocal Range: 3 Octaves and a semitone Bb2-B5
Whistle Register: No
Vocal Strengths: Alicia Keys is capable of singing complex vocal runs, through the registers, and is able to hold notes for periods of time without wavering in pitch or tone [Fallin'].

The lower range is easily accessed and is supported, dark and of some weight [How To Save A Life]. Unlike other singers, who become foggy, the voice remains attributable at the lower extremes with a clear ring. At the bottom there is a slight breathy quality, but the voice is comfortable and clear despite the lowered larynx.

Alicia Keys' midrange is sweet and warm, with a smokiness and slight rasp to it. There is a dual aspect to this part of the range. She can sing in a hot, breathy style that is soft and wistful [In Common]. Or, though still warm in colour, she can make the timbre rounder and more in keeping with the fuller sound of the whole range [Karma]. Her voice sounds at its most easiest here.

The belting range is weighty and thick and often shares the smoky quality of the lower range. The notes above the fifth octave are most often reached with a chest-dominate mix, and the resulting tone has a good dynamic, fuller sound and a raw edge [Girl On Fire]. Alicia Keys does have versatility here and can alter her belt, shifting it to a head-dominate position [ How Come You Don't Call Me]. The result is a sound that is purer in tone and smoother in timbre, but this comes at the expense of power and fullness.

The head voice is pure and bright with a weight and warmth [Adore]. She is also able to sing in a falsetto-like tone that is light, airy, soft and lends itself well to harmonies [Empire State Of Mind].  

Vocal Weaknesses: The way Alicia Keys maintains her thicker belting tone, without mixing, could have a negative effect on the voice, ultimately inflaming it and producing a harsher sound.