Posts Tagged ‘modern’

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Top 10 albums of 2012.

December 17, 2012

It’s that time of year again! Here are my top 10 albums of the year. Enjoy and please share your 2012 music picks! 🙂

10. Usher – Looking 4 Myself

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It doesn’t recapture the heady heights of My Way or 8701, but it’s an effort that tries to combine R&B, dance and pop with a newfound maturity. Highlights: Climax, I Care For U, Lemme See, Looking 4 Myself, Euphoria

 

9. B.Slade – Deep Purple

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He does it again! After the excellent Diesel and Stealth albums, B.Slade hits us with Deep Purple. His beats and vocals are sicker than what mainstream is ready for – it feels like real R&B. Highlights: PHONy PONy, TwerK, Deep Purple, Lo Siento

8. Alicia Keys – Girl On Fire

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Alicia Keys has yet to make a bad album. This album has a quiet beauty, maturity and warmth to it, which is appropriate considering her newfound motherhood. Highlights: Brand New Me, When It’s All Over, New Day, Girl On Fire, Not Even The King

7. Brandy – Two Eleven

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A well-deserved hit single heralded this unabashedly R&B album. Brandy’s voice is once again harmonious and emotive; the beats are once again forward-thinking. It feels like coming home. Highlights: Wildest Dreams, Let Me Go, Without You, Put It Down, What You Need

6. Tamia – Beautiful Surprise

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One of the best vocalists around, this is more classic R&B that just hits all the right spots. It’s wonderfully romantic and a sweet delight to listen to. Highlights: Give Me You, It’s Not Fair, Still Love You, Still

5. Lana Del Rey – Born To Die

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A new voice and a new style that started of the year with a sophisticated bang. Lana Del Rey also demonstrated she knows how to make an artful music video (see: National Anthem, Ride). The Paradise re-release was a nice addition to this record, but the original album was solid all the way through and married Nancy Sinatra with deep beats. Highlights: Born To Die, Blue Jeans, Video Games, National Anthem, This Is What Makes Us Girls.

4. Nicki Minaj – Pink Friday: Roman Reloaded (read the full-length review here)

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A schizophrenic album that calculatedly veers between popular music styles, but is stuffed with so many hits that it’s undeniable. Nicki Minaj’s re-release The Re-Up only added 7 more top tracks to the era. Highlights: Roman Holiday, Come On A Cone, I Am Your Leader, Beez In The Trap, Starships, Pound The Alarm, Automatic, Beautiful Sinner, Fire Burns, Gun Shot, Freedom, I’m Legit, The Boys (yes, that many!)

3. Frank Ocean – channel ORANGE (read the full-length review here)

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An architect of brave new R&B and soul that breaks boundaries and touches hearts, Frank Ocean has arrived with an album that transcends the sum of its parts. Highlights: Thinkin Bout You, Sweet Life, Pyramids, Lost, Bad Religion, Forrest Gump

2. Jessie Ware – Devotion 

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Her music is like a young, modern Sade. Irresistible, fresh, smooth and beautiful from beginning to end. An exciting new talent that sounds classic and up to date all at once. Highlights: the whole thing.

1. Rihanna – Unapologetic (read the full-length review here)

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Rihanna proved that she can equal Rated R. An album full of emotionally resonant, musically forward-thinking songs that epitomise what pop is and should be in 2012. Highlights: Diamonds, Numb, Loveeeeeee Song, Jump, What Now, Love Without Tragedy / Mother Mary, Get It Over With, Lost In Paradise, Half Of Me

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Beyoncé – 4 (album review)

June 11, 2011

So it’s been a really, really long time since I wrote an album review. I was going to do one for Lady Gaga’s Born This Way, but then didn’t. (The album is really good and well put-together, btw.) I was going to do one for Nadia Oh’s Colours (which is a ridiculously fun, exhilarating listen perfect for the summer) and I still might. But this album tops them all. I am a Beyoncé fan, but even I didn’t expect her to come out with this. Perhaps it’s fitting because of the stage in my life where I’m at – but she’s in love, I’m in love, she wants to talk about love on a deeper and more soulful level and I can be more receptive of that now and really get to grips with the music, the vocals and the lyrics.

Sonically, the album is very cohesive (a mature, soulful and slower-paced set) – “Run The World (Girls)” aside. Part of me feels like it is tacked on the end, another part of me feels like the song is an exhilarating climax to a mainly slow-burning set. It’s a killer single which heavily samples Major Lazer’s “Pon Di Floor” and makes you want to dance, but in comparison to the rest of the material, it feels a bit… basic? It certainly feels more modern than everything else on the album, but that means it sounds less timeless… the fact that Beyoncé has already made several songs celebrating “Independent Women”, “Survivors” and “Single Ladies” makes it feel like “Girls” running the world is almost a downgrade? I love the song but it should stand alone, and I would have preferred the album to end with the ballad “I Was Here”, which is straightforward Ryan Tedder production and Diane Warren lyrics – Beyoncé’s performance saves the song with solemn vocals that add weight to the sentiment of leaving your mark on the world once you’re gone. In the hands of a lesser talent, the song would sound trite, but Beyoncé gives it life.

But there are much better tracks – namely, the rest of them. Opener “1+1” is stripped-back soul with a soaring guitar climax, and Beyoncé’s commands of “Make love to me” sound at once desperate and assertive in the best way. What’s striking is that Beyoncé has made an album that sounds like the work of a legend – she evokes Stevie Wonder (the joyous “Love On Top” with its audacious multiple key changes that have you wondering “how high is she going to go?!”), the Isley Brothers (“Rather Die Young”, with its sun-drenched soul that declares Beyoncé’s utter dependance on her lover), Prince (“1+1”), Michael Jackson (“End Of Time” with its commanding vocals over a bombastic bassline and brass section, and an irresistible melody) and Sade. But more about that later…

Beyoncé sounds like Beyoncé on but two songs: “Best Thing I Never Had” evokes her monster hit “Irreplaceable”, with the same theme of being better off without a foolish boyfriend. Symbolyc One employs a beautiful flowing piano melody in place of “Irreplaceable”‘s acoustic guitars, but Beyoncé is clearly a grown woman now. Her vocals sound almost too soulful, too nuanced for the music, and it takes a few listens for all of the pieces of the song to come together. In contrast, “Countdown” is an album highlight, which evokes the swagger of “Upgrade U” and repeats the theme of #winning with her lover by her side. The use of Boyz II Men’s “Uhh Ahh” in order to create the titular countdown is cleverly done, and Beyoncé rides the brassy, bouncy Caribbean-lite beat with effortless flair.

Other album highlights include “I Care”, which may have basic lyrics (the chorus: “I care / I know you don’t care too much / but I still care”) but are once again transformed with Beyonce’s masterful vocal, which plumbs despair and soul to make the song truly transcendent. You can feel her pain, you can feel her desperation, you can feel her frustration, and that is the talent of a true artist. When Beyoncé’s voice intertwines with a soaring guitar solo after the song’s bridge, the listener is shown just how powerful a singer she is – not just technically, but emotively too. “Party” is an early 90s R&B throwback that evokes early TLC in its chunky-yet-chilled production, and En Vogue in its multi-tracked harmonies. The best song of all is “I Miss You”, which is produced by upcoming talent Frank Ocean and evokes Sade’s best. The lyrics are simple yet evocative (and I personally relate to this as my boyfriend and I are currently working through a long-distance relationship – but if you read the blog, you already know about that, and this song is more about missing someone you’ve broken up with – I just prefer to appropriate the lyrics for my own emotions!), and Beyoncé’s vocal is restrained and yet so deep and real. When she sings “No matter who you love / it is so simple, I feel it / it’s everything”, a lump is brought to your throat and you can’t help but be transported to a place of loneliness, of longing and of love.

This is why 4 is Beyoncé’s best album, superceding B’day’s tiger-hungry anthems and I Am… Sasha Fierce’s finest moments. Beyoncé is an artist. She has made an album which she has so clearly poured her heart and soul into – listening to the vocals, there is something here that wasn’t there before. A soulfulness, a longing, a power that comes out through the gritty texture of her voice and the soaring riffs that transcend lyrics and production. There’s a majesty and a bravery in singing such raw songs about love, about death, and about life over productions that are mainly understated and subtle in a way that Beyoncé hasn’t really done before (“Disappear” from I Am… Sasha Fierce might have clued us in, however!). This album is made to be listened to from start to finish, and you’re missing out if you don’t give it a try.

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racism in a modern age.

June 20, 2010

I just got home from my nan’s.  For the second part of my journey, I took the number 6 from town to Kingswood, and while I was on the bus, a group of Somali women were having a conversation.  Suddenly, an English woman (I’m guessing about 55 years old; she was certainly older than my mother, who is 50) turns around and yells at them “Would you please shut up?!?!” After everyone looks up, shocked, she continues her diatribe: “Natter natter (with hand gesture), shut the fuck up or get off the bus.”  The women began to protest, but the woman just got angrier and nastier, and the Somali women ended up getting off the bus at that stop.  The English woman yelled after them “Fucking go home to your own country!” After a beat of shocked silence from all the passengers, the driver (who was mixed race himself) got up and challenged the woman.  “They are allowed to chat if they want, everyone here is just trying to get home, there is no reason to disrupt anyone else’s journey or otherwise YOU will have to get off the bus.” At this point, the woman went to get off the bus, and the bus driver said “Ma’am, you can take your seat, but please respect other customers because we all paid to use this bus, and please enjoy your journey.”  The woman sat back down, but then got off at the next stop (I wonder if she was not too bothered about getting off the bus if she was only getting off at the next stop anyway?), and the rest of the bus breathed a sigh of relief.

I was shocked that in 2010, such blatant racism still exists.  Well, I am shocked and I am not; I’m not naive and I know very well that racism is very much alive and well, but I was shocked to be present at such an outrageous and blatant display of it.  I was tempted to say something myself, but at the same time it was not my place to get involved; these women are old enough and strong enough to defend themselves, and quite rightly the driver made a stand for his bus and for the passengers on it; he is running the service, not me or any of the other passengers.  I wonder however, if the driver had not said anything, whether I would have been brave enough to say something? Plenty of things sprang to my mind; to challenge her and say that if her problem was with the volume at which these women were speaking, then instead of yelling at them and thus making herself a hypocrite, she should just ask them politely if they could talk more quietly.  If this wasn’t the case, it would have exposed her own racism without saying any more (racism she already exposed with her parting comment to them as they got off the bus).  I felt like saying that if her problem was with the fact that these women were not English (I know this woman was English just by coincidence, as I saw her loudly supporting England at Rewind when I was out watching the game with my friends from uni on Friday night – she had memorable cuts and grazes on her elbow that proved beyond a shadow of a doubt that this was the same woman), then should I get off the bus too as I am half-Italian, and I would not be here if my family had not come from another country to live here?  Until she knows the story of these Somali woman, who is she to judge whether they have (on a journey which they paid for, just like the rest of the passengers) less of a right to be on the bus and talk on the bus than her?  If I were speaking to my friends in Spanish, French or Italian, would I be less entitled to talk on the bus than if I were speaking in English? Does the fact that my skin barely looks any different to an English person’s (I am a tiny tiny bit more tanned, but it’s negligible) mean that I am not as mixed-race, or as ethnically diverse, as someone with a different skin colour? Am I entitled to the same rights as an English person simply because I speak native English, have an English surname and my skin is light; in return for these rights do I have to sacrifice my own ethnic background in the process just to fit in?

When I lived in Spain, if someone had spoken to me in that way because I was speaking English on the phone or to my family, I would have been utterly outraged.  Are we literally rewinding back to the story of Rosa Parks on the bus in the USA, before Martin Luther King Jr. and the civil rights movement? It felt like it.  Another thing I wanted to point out was that, as a result of my colleague Clare’s presentation on breaking down cultural barriers in guidance, I know that Bristol is considered a popular (if that is the right word) destination for asylum seekers and refugees coming from all over the world, because it is considered a racially-tolerant city in England. This is my hometown, my city, and I am proud of that fact.  By demonstrating such a racially-intolerant attitude, this woman is not only giving a bad example of herself, but of Bristol as a city and of England as a country; in actual fact, she is making herself look stupid and only propagating bad feeling for foreign people, whatever their reason or length of stay in England, which in turn only reinforces cultural barriers rather than breaking them down.  We’re in 2010; this should never have been happening, but it should certainly not be happening in this day and age.  And so I felt that if I didn’t speak up on the bus at the time (and it turned out that it wasn’t my place, nor did I have to – quite rightly, the driver did so), the least I could do was recount the event on here and spread more awareness that these attitudes still exist in our country and are very much alive in everyday life and situations.  This needs to change, and this entry is my little contribution; in my forthcoming job as a Personal Tutor at Cirencester College, one of the things I may well have to do in both interviews and group sessions is work on challenging racial stereotypes and breaking down cultural barriers and misconceptions.

Funnily enough, only earlier my nan and I were discussing the nature of football fans (topical considering that it is currently the World Cup).  English fans, deservedly or undeservedly, have a reputation for being violent, thuggish and neanderthal-like throughout Europe and possibly worldwide.  At the bar on Friday night, there was a fair amount of brainless chanting, stomping and cursing; but then, England did play poorly and I suppose that if so many people are passionate about this, it amasses a certain amount of volume.  I personally don’t like that kind of behaviour, but in itself it’s not racist; it’s only when it either causes damage or turns nasty against other ethnicities, races or against people of other countries that it’s inexcusable.  Nevertheless, I believe in conducting myself in a dignified way at all times whenever and wherever possible; by living up to hooligan stereotypes, England fans only propagate this image of themselves nationally and internationally; it’s not vogue and it doesn’t do the country or the sport any favours.  What’s more, my nan made a very good point that why do many England fans only support England during the football; if they really liked football, why do they not watch or show any interest in the matches involving other countries? Is it about the sport, or is it about the country? If it is about the country, why act so intimidating when watching the football (as opposed to other sports)? Surely this only sends out the wrong kind of message, a bad example to everyone – that this is how England fans behave, and that this country accepts that behaviour as tolerable and normal for football fans towards each other, and towards other people both from this country and from outside it?  I know that there are plenty of people who support England in the World Cup who don’t act this way – a lot of my friends fall under this category – and if I were them I would be somewhat embarrassed and angry that this reputation precedes me.  Everyone is entitled to behave in their own way, but I really wish we considered the feelings and cultures of others more than we do.

A final anecdote, in case I sound holier than thou – I’m not perfect.  When I was 12 years old, I once used a racial slur – I am ashamed to say.  Even more stupidly, it was towards a friend of mine whom I had known for 7 or 8 years by that time; he was acting in a very irritating way during a DT lesson, and out of sheer frustration and for pure shock value, I told him to “shut up you Paki”. Now, I am not racist nor have I ever been – so why portray myself in that way? Even though I was a child, I knew better before and after that event, and yet I did it. It had the desired effect, but I belittled myself by doing it, and my friend (to his credit) handled it very classily by laughing and saying in response to my immediate apology: “Um, no offence taken because I am Indian so that’s not what I am”.  His response made me feel all the more ashamed because not only had I attempted to use a racist expression in order to shut him up, I had used it in an incorrect context; it showed up my foolish behaviour for what it was.  Our friendship did not suffer for it; in fact I believe that the event was all but forgotten by breaktime, but it taught me a valuable lesson: that kind of behaviour is never acceptable, never appropriate, and never necessary.  I apologised profusely and he forgave me, but even recalling that incident makes me feel ashamed 12 years on; I was old enough to know better, and the lessons I learned as a result of that event are the redeeming factor; I have never thought or acted in that way since, and I am now in a position of responsibility to challenge others who do so. During a practice day, I successfully challenged one young person’s attitude to immigrants and the labour market; during my job at Cirencester, I anticipate doing this kind of thing more.  In this blog entry, I have also tried to challenge this behaviour.  Thankyou for reading.

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the ex that never was.

June 6, 2010

Just a quick one.  Remember this?

easy to get.

It’s a blast from the past, and so much has changed since then.  Needless to say, Brett fell by the wayside, I lost interest, we lost touch.  He came out and said he had ADHD, and then I never heard from him for 9 months – within which a lot happened to change my life for the extreme better.  I have totally moved on.

Then a couple of weeks, Hannah, Toby and I are in town and I see him with his friends.  I just wave and say hi and we go on our way.  Flash forward to today.  I am in Starbucks having a coffee and fiddling with my iPod, waiting for Toby and Nick to arrive so we can go and have lunch at Nandos.  Brett comes and taps me on the shoulder, and we have a brief conversation and catch up – more about him than about me.  He is there with his “friend” (date? sugar daddy? the guy is at least 30; Brett is younger than me.) whom he sends to wait in the queue to get him a glass of water – he doesn’t like coffee.  At this point, I’ll mention that next to my laptop is a big mug of black filter 😉

Brett admitted he could have used the coffee to wake him up, as he was “tired” – I guess he was extremely tired, because if his eyes had been red I would have sworn he was stoned.  It’s 11am, a bit early for weed or whatever drug he’s taken? Perhaps I’m being mean, it’s quite possibly the ADHD medication that is making him really spaced out.  But when I mentioned he’d changed his hair from when I saw him a couple of weeks ago, he claimed it was just “wax / gel”.  Okay, but I’m not colourblind, and it was ginger the other week; it’s now black!  And to top it off, if the ADHD medication was what had made him sluggish, how come he had the impetus to put his hand on my thigh for a moment?  Is that just being friendly? It seemed quite flirtatious to me, and I bit my tongue from mentioning that a) you’re here with your “friend” (who, incidentally, gave me side-eye as they left the café – insecure much?) so perhaps he might get annoyed if you flirt with me? and b) I have a boyfriend now whom I love and I am certainly not going back a year in time to deal with all your mixed signals and unpredictability.

If I sound like I’m being mean, I don’t mean to be – it’s nice to see Brett and know that he’s ok.  We don’t have any animosity towards each other, which is good – I mean, why should we?  Things just fizzled out naturally and we drifted apart more or less happily. But at the same time, the whole experience made me go “HUH?” Like, what just happened?  10 minutes later, Toby and Nick turned up and life resumed its normal course.  But the whole experience just served to show me how far I have come, how much better my life is one year on.  And although I used to say that being single was good in that it had freedom, I love having a boyfriend for many reasons – one of which is that I don’t have to navigate the dating scene!  It’s so exhausting chasing after people, being chased after, playing a constant power game.  I was with Toby the other day and I was saying that although we’ve had a couple of big talks and the need to realign ourselves at times so we’re on the same page, we never played hard-to-get games with each other.  I liked him, he liked me, so we spent more time together.  The more time we spent together, the more we liked each other, and so our relationship grew.  There was no pretending, no hidden agenda on that front – even if we had our insecurities, we knew we liked each other and so we gravitated towards being together happily.  Why is it so rare for a courtship to proceed in that kind of orderly manner?  It’s like in modern life, we expect things to be more complicated and if they aren’t, we’re almost tempted to make them so. Well, my life is busy enough, interesting enough and problematic enough without me adding extra complications to it, and I love Toby for the fact that he says and does what he means.  I try to be the same.

Unwittingly, Brett has made me realise how lucky I am to have Toby.  Thanks!

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Shakira – She Wolf. (album review)

October 11, 2009

Shakira’s new album She Wolf is her first album in four years (since 2005’s Oral Fixation volumes 1 & 2, which represented her best work to date, especially on the Spanish-language vol. 1) and represents a similar transformation to Jewel’s 0304 – Shakira has made an almost-purely danceable, modern album.  Unlike Jewel’s efforts prior to 0304, Shakira has made addictive up-tempo music before: see “Whenever, Wherever”, “Objection (Tango)”, “La Tortura”, “Hips Don’t Lie”.  But never before has she devoted an entire album to the stuff; gone are the tender, thoughtful ballads such as “Underneath Your Clothes” or “Illegal”.  The question nevertheless remains – is Shakira, whose image is now more sexually potent than ever (straight blonde hair, dancing in a half-catsuit in her “She Wolf” video), cashing in, or does she still remain herself?

Mainly, I argue for the latter.  Once the initial shock of the dense production and pounding bass subsides, the melding of cultures and instruments that has always been evident in Shakira’s work is here too.  Listen to “Long Time”, and its reggae beat which gives way to an instrumental bridge that prominently features what sounds like a gypsy saxophone; “Mon Amour” employs a rocky half-time clap that is reminscent of Shakira’s spunkier moments such as Fijación Oral vol. 1‘s “Escondite Inglés”; the only semi-slow moment on the album is to be found in “Gypsy”, where Shakira employs an island feel with a plucked guitar, Caribbean-esque drums and Eastern-European string accents on the chorus.  Not to forget “Why Wait”, which is 2009’s update of “Ojos Así / Eyes Like Yours” with its Middle-East-meets-West instrumentation and production over a storming 4/4 bassline (which becomes positively incendiary in the bridge).  Musically, although it’s a little bit of a readjustment to our expectations of what Shakira’s music sounds like, it is still definitely her, and her claims of wanting to make a “bassy, beat-driven record that maintains experimentation with sounds from other parts of the world” ring true.

Shakira’s lyrics have always been put under a microscope – a fact that has irritated me immensely through the years.  Not only is Shakira an incredibly intelligent woman, but her lyrics are far and away of a much higher quality than those of the majority of traditional pop made by native-English-speaking artists.  The criticism she has gained from reviewers and comedy sketches alike (see MADTV’s parodies of “Whenever, Wherever” and “Objection (Tango)” on youtube – they’re funny, but they’re also unwarranted) is totally unfair and disrespectful of an artist who has mastered a complex language (once you get past the basics, English is a complicated language to speak fluently – I should know, since I have taught it) when I wager that the majority of these critics can’t speak more than a few basic sentences of phrase-book Spanish.  Because Shakira dared to say “Lucky that my breasts are small and humble” in her first English hit does not make her nonsensical.  Listen to “Octavo Día” and “Timor”, songs in both Spanish and English that express criticism with the way that the world is run and our own media-obsessed culture, and you’ll understand that Shakira is very well-aware of what she sings and what she has written.  On She Wolf, there is nothing as incisive as “Timor” or “How Do You Do” (both from Oral Fixation vol. 2) but its opening salvo of “A domesticated girl, that’s all you ask of me / Darling it is no joke, this is lycanthropy” is certainly more sophisticated than “I think you wanna come over, yeah I heard it through the grapevine / Are you drunk, are you sober? Think about it, doesn’t matter” from Madonna’s current hit “Celebration”.  “Mon Amour” delivers a fantastic kiss-off to a boyfriend who has gone to Paris with another woman, while “Men In This Town” ruminates on where are all the good men who can appreciate what Shakira has to offer?  (I feel her on that one.)

I suppose that a certain amount of lyrical straightforwardness is to be expected on an album which is almost purely uptempo and flirts specifically with the electro-pop genre – I can’t get too mad that some of Shakira’s more insightful and wittier metaphors have been sacrificed.  But the three Spanish tracks that round out the album – “Lo Hecho Está Hecho” (“Did It Again”), “Años Luz” (“Why Wait”) and “Loba” (“She Wolf”) – are lyrically superior to any of the album’s English tracks.  For example, “Años Luz”‘s “Esperar es un mar que aún no sé navegar / No te quedes años luz, ya estoy decidida y quiero saber si lo estás tú” translates as “Waiting is a sea that I don’t know how to navigate / You haven’t got light years, I’ve already made my mind up and I want to know whether you have too”.  The English version, “Why Wait”, says “One more night with you, I won’t think it through / Time’s money, but you knew / There’s nothing in the world you can think of that I won’t do to you”.  It’s the same thought, but in Spanish it just comes across as much more elegant and sophisticated.  Not to mention that “Loba” in particular seems to flow much more naturally in Spanish than in English, and the lyrics are perhaps more comprehensible.  In any case, the Spanish tracks add to the album, even though they are retakes of English songs from its first half – it serves to reinforce the fact that Shakira is a bilingual artist who refuses to neglect either her Spanish or English audiences, but instead (as on the Oral Fixation era) seeks to satisfy them both.  This is laudable, and I hope that Shakira comes out with a full Spanish album next year (as has been rumoured).

So it all sounds good so far.  Well, the album is a consistent listen, and its brevity means that each song gets you moving but doesn’t outstay its welcome.  The dense production, in the main courtesy of Pharrell and John Hill, flows throughout (except for the break provided by the relatively lightweight “Gypsy”).  Because of this, there are no really weak tracks, although surprisingly, the Wyclef Jean collaboration “Spy” seems the most rote and uninspired song on the set – its straightforward 4/4 beat has nothing extra to catch the listener’s ear, and sounds lazy compared to Pharrell’s musically adventurous soundscapes in “Why Wait” and “Long Time”.  “Gypsy” sounds like nothing else on the album, but its dip in tempo serves as a break which can sometimes be appreciated by the listener, but at other times seem like an interruption of the party, so depending on your mood, it could be a help or a hindrance.  Other than that, all the tracks are solid, but none of them are immediate standouts save the last track, “Mon Amour”.  With its decidedly rocky, guitar-led music and handclap-driven beat that intensify into a crunchy, heady chorus, it’s the kind of track that you can’t help but get wrapped up in.  Shakira’s vitriolic lyrics, snarling vocals and cutesy airline announcement closing out the song are the icing on the cake, and perfectly embody a girl’s anger with her straying lover’s neglect of her (perhaps similar to 2005’s “Don’t Bother”).  With repeated plays, the appeal of “Did It Again”, “Why Wait” and “Men In This Town” reveals itself, but the songs are certainly not immediate hits like “Hips Don’t Lie”, “La Tortura” or “Objection (Tango)”.

I therefore think that this is a solid Shakira album, and definitely stronger than her breakthrough Laundry Service which contained some fantastic songs but also some uninspired, pedestrian ones (here, the only track I recommend skipping is “Spy”).  However, for me it falls just short of Oral Fixation Vol. 2, because She Wolf is a tiny bit too one-note in its electro-pop approach, and slightly diminishes Shakira’s lyrical mastery in the process.  In terms of her entire catalogue, Dónde Están Los Ladrones? and particularly Fijación Oral Vol. 1 (the Freudian / Eve in the garden of Eden / Madonna and child symbolism were inspired and have yet to be matched in this album’s artwork and photography) are still Shakira’s crowning glories, but the Spanish-language tracks on She Wolf are lyrically more adept than their English counterparts and a worthy addition to both the album itself and to Shakira’s Spanish-music legacy as a whole.  In short, Shakira has far from sold out, and has made a pop album that other artists should be humbled by, such as it melds other cultures and quirky wordplay more than most radio-oriented pop.  And perhaps it is a compliment to Shakira herself that this album still falls somewhat short of her best work, and what I know she is capable of.