A blog by a Professional Amateur chronicling the ongoing legal proceedings in the Court of Public Opinion held against him. Everything seen here is the best I can do off the TYPE of my head.
Since I last blogged, more has happened. Personal life was still rough because of things I won't say because eww feelings. However, some developments about two reasons why I was hoping to revive the blog came to light. OK from one of them in DMs over on Instagram but I mean whatever.
Neither Steve Grand or Michael Medrano are releasing music this year but at least from Michael did I learn why. It started when he intended to revive his Tumblr account and he posted the tracklist for the debut. I ask him about a song that he previewed the demo to some time ago and he let me in on some T.
A lot has happened since the last time I blogged about anything. Well even when I was peppering the blog in 2020 with Album of the Year entries (of which, the Kylie Minogue entry was the one I end up getting to write about for an online community of mostly gay pop music fans called popheads.) Personal life has been a bitch and a half for almost a year officially come later this month and the fact that for the first time in my life, I'm no longer living in the home I grew up in. I would get heavier but eww feelings, gross.
Since then, not a lot has been able to have me say "I'm gonna revive this full time!" Not for nothing, I've tried with ideas in my head or thinking "Maybe this gay male singer deserves some press" before being reminded of how they act on the internet but which one that pertains to is a mystery....
I was seriously considering reviving the blog for the first season Ariana Grande was a coach but then that never happened for reasons short of saying "I ain't missing shit." I almost committed to blogging about it before I just didn't and quite honestly, the one episode I watched which was the first live show had me think "sitting out was the best thing you did" because some of those performances were pandering to downright shit.
In the immediate future, this is what I'm thinking is gonna happen for this blog...
In this series, I'll be going op-ed on those in the void with me who feel like reading this on an album from 2020 that should definitely be in the conversation of Album of the Year to the Grammys, American music publications and online music communities, especially this one with its "Replay" value.
This entry is dedicated to the sixth studio album and nineteenth messy rollout entitled Chromatica, from the pop goddess Lady Gaga. There is A LOT to say about an album that had Born This Way chart success despite only making it to two singles and failing to yield a successful third single and fourth overall single, my god will you bitches stop leaking her music already and ARTPOP level rollout, so let me get to why this album is an album of the year despite the hinted shitshow.
In its standard iteration [before Target or international box set versions are called into the mix] Chromatica appeared as a 16 track album with three interludes:
1. "Chromatica I"
2. "Alice"
3. "Stupid Love"
4. "Rain on Me" (with Ariana Grande)
5. "Free Woman"
6. "Fun Tonight"
7. "Chromatica II"
8. "911"
9. "Plastic Doll"
10. "Sour Candy" (with Blackpink)
11. "Enigma"
12. "Replay"
13. "Chromatica III"
14. "Sine from Above" (with Elton John)
15. "1000 Doves"
16. "Babylon"
The deluxe version sold at the retail giant, Target includes 3 more tracks bringing the total count to 19, though without the interludes, it would technically be a 16 count which is normal for deluxe editions of anything*:
17."Love Me Right"
18."1000 Doves" (Piano demo)
19."Stupid Love" (Vitaclub Warehouse mix)
*NOTE: this is also excluding the Japanese release of the album where it has the Stupid Love (Ellis remix) on top of everything else and even the box set version where the Purple Disco Machine and Ralphi Rosario remixes of Rain on Me and the Honey Dijon remix of Free Woman are made available.*
In terms of singles, for the first time since the ARTPOP campaign, Gaga made it to three singles on a proper studio album* (Yet extends the drought of an album campaign fourth single which hasn't been achieved since the Born This Way era) but as a dubious double edged sword at the time of writing, Gaga has not had a charting third single since "G.U.Y." came and went at #76 for one week.
*NOTE: Yes I am aware of A Star is Born going to three singles but I absolutely refuse to consume course correction Gaga in its worst form.*
The leaked single...err lead single for the album was "Stupid Love", released on February 28th [the same day as the S12 premiere of RuPaul's Drag Race]. The song was a Max Martin produced joint which gave Gaga a #5 debut and peak on the Hot 100 [wait a minute, a Top 5 single despite a leak on an album that isn't quite being welcomed by pop fans like it should...] which marked the first time in her career that Gaga had collaborated with Martin.
The single wasn't that well received at the time of its leak a full month in advance of release. Despite it being a good case of 80s synthpop in the pop sphere again [mainly because disco wasn't promised and then this came about], the song was (In the nicest way possible considering forum gays and online music community gays shit on this song) seen as basic or Gaga not firing on all cylinders. They have a point considering "I want your Stupid Love" and the title "Stupid Love" aren't the strongest hook and chorus she's capable of delivering.
What "Stupid Love" succeeded in is returning Gaga to recognizable dance pop after Joanne and A Star is Born saw her engage in course correction after ARTPOP to an audience that really didn't consume her aside from a meaningful ballad that hit the Top 5 in "Million Reasons" and whatever the fuck "Shallow" was supposed to do. "Stupid Love" has a banging synthline and production thanks to Max Martin helping out main producers Tchami and Bloodpop bring it to life. Then there's the music video for "Stupid Love" to contend with.
In an effort to seem "contemporary"[read as: "secure Gaga endorsement money from Apple"], the music video for "Stupid Love" was "filmed" on an iPhone 11 Pro using the Filmic Pro app, though the phones were secured on drones and Steadicams. The video itself is as colorful and delightfully tacky as any Gaga video should and ought to be. The problem came when the fanbase did a collective "are you fucking kidding me" at Gaga having to go the route of seemingly lesser pop acts and resort to iPhone filmdorsements for a music video [that's at least anyone with enough sense to them]. Most of the post "what the fuck" reactions were mixed at best, rude as hell at worst with the concept being called in only a rough translation, "a bootleg episode of Power Rangers". The music video was the beginning of Gaga's pending album being held to the same unattainably high standards her entire oeuvre has for her career.
The second single "Rain on Me", a collaboration with Ariana Grande, was released on May 22nd and then (with the combined efforts of the Little Monsters and Arianators) became Gaga's 5th #1 on the Hot 100, Ariana's 4th #1 and the first female collaboration to debut at #1 on the Hot 100. One of two main co-productions or tracks helmed by Burns, "Rain on Me" was almost universally acclaimed for the production, vocals and lyrics [even if "I'd rather be dry but at least I'm alive" are among some of the more "did you not have time to rewrite that" moments of the album].
The Robert Rodriguez directed music video [yes, THAT Robert Rodriguez] was released to universal acclaim as the visual direction was praised for enhancing the song's charms [but more specifically a certain screenshot that set gay Twitter on fire]:
If you didn't see this picture on your timeline in any capacity,
you didn't have any gay friends
The third single ended up being "911" and was released on September 18th, nearly four months since the album's May 29th release [after the COVID-19 pandemic on top of the lead single leaking a month in advance, delayed the intended April 10th release date.] Prior to the song's selection for single release and music video treatment, "911" was considered a fan favorite because the transition from "Chromatica II" to "911" was rightfully considered a highlight on the album. What most fans forget is that aside from the eventual music video and lyrics being about Gaga's mental health by way of her antipsychotic medication, Olanzapine ["It's about an antipsychotic that I take. And it's because I can't always control things that my brain does. I know that. And I have to take medication to stop the process that occurs." - from Gaga's Apple Music interview with Zane Lowe].
As a song, it shares something similar with "Chandelier" by Sia in that the lyrics are immensely better than the song itself. "911" being made as part of the zeitgeist toward mainstream acknowledgement about mental health/mental health issues is great. Did it need to be a better song than the half baked useless husk it is without "Chromatica II"? Yes. Granted even with this being a lowlight of the album, "911" succeeds in reinforcing Gaga's secret weapon across her entire work: the fact she has an ear for melody because only she can sell the lyrics "My biggest enemy is me, pop a 911" because the melody behind that is fantastic. It's a shame the production is a letdown of an otherwise kooky outing from Gaga.
Then we have the music video which of the three singles has the best video [bonus points for usage of "Chromatica II" and even "Chromatica III" at the end]. Using the 1969 film The Color of Pomegranates as the main source of inspiration, "911" depicts a fantasy world that then transforms into a modern setting at the scene of the accident. Researching the "911" reaction videos and then settling on Michael Murray having the best one, two comments tell the story with the first being a summated version of events:
"So, basically, the synopsis of the video is, Gaga went to the Armenian Film Festival. On her way back, she has an episode due to not having her pills. She causes a car accident and is knocked unconscious and almost dies from her injuries. The entire dream sequence is basically Gaga’s way of processing her trauma, (think the beginning of the 'Marry the Night' video when she’s in the hospital.) and when she is brought back to life because of the defibrillator, this is the actual reality."
Then someone explains the entire video in 35(!) points [brace yourself]:
"1) Black Horseman in a White Desert - This signifies the poster for New Mexico Gaga saw before the accident. He may also signify Death or her body luring her deeper in her mind.
2) The Red Mask - This is the blood from the accident.
3) Bike with Pomegranates - The first real element in Gaga's vision. Most probably the victim of the collision. Pomegranates simultaneously signify life and death.
4) The Red Anklet - Gaga's broken foot in real life.
5) Walking to the White Chapel - This is the movie poster Gaga saw. This can also signify the deepest recesses of her mind, protecting her from trauma.
6) Pillow Man - Another victim of the accident who crashed on his steering wheel.
7) Black Girl in Blue - The first spectator to the accident. Most likely the one who called 911.
8) Two Yellow Men Holding a Door - These are two firemen holding the car door to get Gaga out of the mangled vehicle. Their hats have '911' written on them in roman numerals. The yellow men were blindfolded because the firemen wore black goggles.
9) Woman Holding a White Body - A woman holding a victim who got hit by the car. The white body even has red lace signifying blood.
10) Additional Three People in Blue - Additional spectators filming the whole thing.
11) Yellow Man Mixing a Cauldron - This is a fireman and a smoking car wreckage.
12) The Latin Guy in Black and the Black Mary in White - These are the paramedics trying to save Gaga's life.
13) The Spinning Umbrella - The paramedics descending via a helicopter.
14) The Purse with the Picture of the Doll - This signifies the pills that would have made her stable. Did she cause the accident?
15) The Latin Guy Strangling the White Mummy - The paramedic was checking for a pulse.
16) The Black Mary Covering the Pillow Man with a Sheet - This was the paramedic covering the victim with a thermal blanket.
17) A Man with Dog Ears whose Face is Being Covered by the Latin Man - The paramedic giving oxygen to one of the victims.
18) The Black Mary Flashing a Mirror on Gaga - The paramedic was flashing her flashlight on Gaga's pupil's looking for consciousness. Gaga in the dreamscape is her consciousness.
19) Gaga Floating Away with a Rose - This signifies Gaga's consciousness/life leaving her body. She was even wearing a halo. [NOTE: Bonus explanation from the comment this 35 Theses was responding to: "When she was pulled down, when she wasn’t allowed to fly to heaven, the rose in her hand wilted"]
20) The Latin Guy Pulling Her with a Rope - The paramedic gave her CPR. You can even see a brief flash of the real world as she comes crashing down.
21) The Rope - It was the tourniquet used on Gaga's foot.
22) Latin and Gaga Mouth-to-Mouth Action - This was CPR, mouth-to-mouth resuscitation.
23) Yellow Man on Ladder Sprinkling Rose Petals - This is a fireman repairing the movie sign. The petals were sparks.
24) Men in Blue Masks - These are policemen. They even have the bird sign in their hats.
25) The Blue Streamers Waving in the Wind - This was the fire hydrant spewing water.
26) The Peacock - This represented Armenia in the Armenian Film Festival signage.
27) The Black Mary Holding a Snake - This is the snake in the cross logo of the paramedics.
28) Gaga in Yellow Spasming - This is Gaga's body rejecting the medication/treatment.
29) The Mural - This was the scene of what really happened. Gaga is now getting closer to surfacing to reality.
30) The Latin Guy Touching Her Heart Area - The paramedic giving her heart pumps and CPR.
31) Gaga in Black Floral Outfit - This is Gaga being put in a full-body brace. The curtain also might have fallen in the background to signify her impending death, the body bag. This is why, as a last-ditch effort, the paramedics used the defibrillator.
32) The Box - This is the defibrillator.
33) The Virgin Sacrifice - As dream world and real world collide, the vision concludes in a terrifying sacrificial scene as the pain comes rushing in. It's interesting that the knife that kills her in the dream world is the current of electricity that brings her to life in the real world.
34) 'I didn't have my pills!' - This suggests that she caused the accident because she wasn't stable because she did not have her medication.
35) LG Advertisement - 'Life is good.' Ironic, isn't it?"
I salute my hat to someone willing to examine the video far deeper than anyone has the patience to. On top of all that, in the wee hours of December 3rd, 3(!) remixes were released with WEISS, Sofi Tukker and Bruno Martini each behind a masterful reworking of that fucking useless husk known as "911".
Before I delve into the promo singles, I want to give a special place in this lengthy post to "Replay", the crown jewel of this album. I've listened to this song at least once a day since release and I've loved it because of the production and vocals which to me on first listen since gave "1983 Italo-disco realness" [even if I would later find out it's built around a sample of the Diana Ross song "It's My House", which Burns should know is going down as an absolute highlight in music, thank you.] "Replay" is simply put one of Gaga's best songs to me, easily Top 10 ever, probably Top 2 or 5 with how much I live for it.
For some motherfucking reason, "Sine From Above" with Elton John was made a literal "promotion single" as it soundtracked a Valentino fragrance partnership Gaga had with them because...reasons.
All of this [not counting jockstrap, makeup and OREO ventures] does embody why Chromatica is an album of the year: it's consistent with Gaga since ARTPOP. An album with a messy rollout, two or so successful singles, bad timing for promotion, impossibly high standards set by the ground zero of social media fandoms, endorsements run amok and more promises made than kept even if a scant few promises go kind of half-fulfilled? Sounds about right.
The album is also consistent with Gaga in that is fundamentally her especially after emerging from the course correction from hell known as A Star is Born. It re-established Gaga as the quintessential pop star in vocal ability, commercial success and batshit insanity [and even garnering a slew of VMAs and two Grammy nominations].
It also highlighted that when a lead single leaks and no one at Interscope bothers to go with a plan B immediately, things can look like they've gone terribly wrong but this time it isn't entirely Team Gaga's fault. In 2020, the United States was suffering from a horribly handled response to the COVID-19 pandemic which has infected millions and killed hundreds of thousands. In entertainment, no one knew how to function [even if they knew how to use the internet only half kind of] and promotion suffered greatly. Sure, this is the same Haus Labs makeup palette pimp but considering that brand was establishing itself B.C. [Before Chromatica], she's not earning flak for that. What Gaga and her team [and internet leakers] need to take righteous hits for is fucking up a second era with a leaked lead single and no immediate course of action. Interscope dropping the ball on two Lady Gaga eras in the span of seven years is astonishing incompetence in the flesh [course correction doesn't count so I better not see Joanne or A Star is Born be mentioned right now.]
As with ARTPOP, Chromatica isn't a bad album of music even with a lowlight that doesn't totally ruin the album even if it stains it quite a bit [hello "Gypsy" and "Fun Tonight"]. There may be questionable lyrics on singles and album tracks alike ["Did you get the T on 'one second I'm a Koontz then suddenly the Koontz is me' and 'GOSSIP...BABBLE ON, BATTLE FOR YOUR LIFE BABYLON'?"] but as pointed out with "911", there's an ear for melody only Gaga has that can only come from her [it's how "Babylon" has the dumbest lyrics I wholeheartedly support, because the melody sounds like exactly how she thought it should sound.]
In short, Chromatica offered any "Alice" to travel to wonderland and if they could see past the antics, they'd discover an album with immense "Replay" value.
The album title that isn't a misnomer but part of a false cognate pop music has had for over 2 years regarding anything with a mirror ball in a music video as "disco".
For this series, I'll be going op-ed on those that like reading subjective criticism from a cynical bitch about an album released in 2020 that should be considered Album of the Year to the Grammys, American music publications and online music communities that want to get over the "Monday Blues" (Sure the line could've been "or anyone that wants to 'Say Something' nice" but then I would've had to say something nice about that mediocre at best lead single). This entry is dedicated to DISCO, the 15th studio album by the nicest pop goddess that people have heard of assuming the person talking about them is gay Kylie Minogue. Why does the 15th album by an Australian turned British queen people like need to be discussed? Get to know the songs and you'll find out.
Disco comes in a standard and deluxe format, with Spotify having the deluxe format with 16 tracks total which are:
1. "Magic"
2. "Miss a Thing"
3. "Real Groove"
4. "Monday Blues"
5. "Supernova"
6. "Say Something"
7. "Last Chance"
8. "I Love It"
9. "Where Does the DJ Go?"
10. "Dance Floor Darling"
11. "Unstoppable"
12. "Celebrate You"
13. "Till You Love Somebody"
14. "Fine Wine"
15. "Hey Lonely"
16. "Spotlight"
As with any major release from a pop act of late, the album yielded two singles and some album track tossed out as a "promotional" or "buzz" single (Apparently, the pop industry is so lazy they've taken the Valve strategy of "can't count to 3" a little too far.) The lead single for the album called Disco...was the very clearly1980s synthpop sounding track "Say Something". Let me "say something" as this is a bad lead single. It makes sense on the album but any time "disco" is mentioned, it's as if no one either on the mic or on the soundboard knows what the fuck disco means. If one of the first things to come to mind is Donna Summers' heyday of the mid to late 70s, congratulations, you have a better understanding of the genre than current music professionals.
As mentioned earlier, the album title isn't a misnomer, but a false cognate (especially given the music video's interpretation of disco is just a reference to the outlandish shit that transpired at Studio 54). The disconnect between an 80s synthpop track on an album called "Disco" is something between disco, the genre of music and a discotheque, a venue in which disco or other club music can be played or performed in. Disco, along with the lead single of Miley Cyrus' Plastic Hearts album "Midnight Sky", Doja Cat's fifth single from her Hot Pink album "Say So", Katy Perry's attempt at a disco music video for the Smile track "Champagne Problems" and most of Dua Lipa's sophomore effort Future Nostalgia [most notably the music video for the very fucking clearly 80s synthwave inspired "Physical"] have been labeled as "disco".
Spelled out, the disconnect can seemingly be explained as, "Hey, we still really like ripping off the 80s but people are wanting disco for some reason. I think disco didn't quite die until like 1983 so let's just shill synthpop with the disco name on it and have a mirror ball in the video."
The second single from the album [and a massive step forward] was "Magic", which gave her a Top 10 in Scotland but a 57th Top 75 in the UK (The UK is far far more forgiving of pop divas of a certain career span or the charts to look this up are than in the US.) and even saw a remix from Purple Disco Machine [who by 2020 had scored a #1 on the Dance Club Songs chart in January 2019 over a Fatboy Slim remix and remixed Lady Gaga's second single from Chromatica, "Rain on Me".] The song itself still feels slightly more 1981 than 1978, but it does have more of bouncy disco feel that makes sense as a single and more effectively as the opener on the album.
As for "I Love It", the third collective song tossed out there in the name of "promo" or more like "Pop can't count to 3"? Personally, it sure does sound like a "track 8" on an album but I mean, it has its fans (And come Chromatica this is gonna be applied at that album's attempt at a third single, just you wait.)
Disco would debut at #1, giving Kylie Minogue her 8th #1 album in the UK and a chart achievement as she became the first female artist to score a Number 1 on the UK’s Official Albums Chart in five consecutive decades, following Kylie (1988), Enjoy Yourself (1989), Greatest Hits (1992), Fever (2001), Aphrodite (2010), Golden (2018) and Step Back In Time: The Definitive Collection (2019). As for what has Disco end up being an album of the year, it relates to what made Melanie C a triumph: it was a dance album made by someone with years of experience releasing it just because they wanted to with mostly high points.
No one expects a dance diva to last beyond 3 albums at the most; no one expects most pop divas to survive beyond maybe 4 albums. The fact that Kylie Minogue has survived to 15 albums [her contemporary Madonna reaching 14 last year] is astounding. What has this album stand out is that it's a well respected dance diva having fun regardless of singles being paid [and certified] dust. Granted, most listeners can ask answer the same questions: does Disco challenge Minogue artistically? [no] Is Disco that reminiscent of the 1970s? [no] Is Disco the most cohesive album to Minogue's name since Fever or Aphrodite? [yes] Should clubs being playing this album once the COVID-19 pandemic is over and humanity is safe? [yes, yes, 1,000 times yes]
In short, Disco was a 2020 release from a "Dance Floor Darling" that did its best to get listeners through "Monday Blues".
RECOMMENDED TRACKS: "Miss a Thing", "Monday Blues", "Supernova" and "Dance Floor Darling".
If songs from 3 years ago can chart like they were recently released, I can consider an EP from former Pussycat Dolls member Melody Thornton and ALBUM of the Year, deal.
In this series, I'll be going op-ed on anyone bothering to read this about a release in 2020 that could be considered an Album of the Year to the Grammys, American music publications and online music communities but for some reason aren't looked at through "Lioness Eyes" (Though some take "pride" in bad taste.) This entry is dedicated to the debut EP of Melody Thornton, the former Pussycat Doll who had it in her to release a full project. What makes this EP an Album of the Year? Get to know the songs and it'll make sense.
The tracklist for Lioness Eyes is as follows:
1. "Pray For Me"
2. "Goodbye To Happiness"
3. "Love Will Return"
4. "Sing About You"
5. "I Will Wait"
6. "Lioness Eyes"
7. "Phoenix Rise"
Thornton has been an independent artist since 2011, when her first solo single "Sweet Vendetta" was released and then eventually the 2012 mixtape P.O.Y.B.L [which stands for "Piss On Your Black List"] was released. The mixtape itself isn't available for streaming although "Sweet Vendetta" is. Thornton's streaming availability was largely limited to one off collaborative efforts with recording act Bobby Newberry and a 2019 remake of "Freak Like Me" with Harrison.
But November 15th, 2019 would yield the first solo single Thornton would release in 8 years and after slogging through the dredges of UK reality TV shows, "Love Will Return". The song would be indicative of the 1960s/1970s style of music she has said in multiple interviews that she grew up on [and it also helps that she was in a 70s themed musical in the UK called Rip It Up the Show in 2019.] Despite a 2019 release, the video for "Love Will Return" wouldn't see release until August 19, 2020 [nine months after single release.] The video committed to the "lady in red" character she had created which wouldn't really get an exploration until the video for the fourth collective video [and in a way second video single] "Goodbye to Happiness".
The second single and video released was "Phoenix Rise" which upon release took special context at the time of its release [the single being released on July 24th and the video being released on July 29th, 2020] coinciding with an upswing in social justice advocacy. The single art for the song proves the old saying true, "A picture is worth a thousand words."
The next video was released on September 2, 2020 for the song, "I Will Wait" [which acted as the first of two video singles, or promotional singles that have a music video budget behind them]. It returned to the glamorized 1960s/1970s vintage or cinematic aesthete Thornton had aspired to bring forth with Lioness Eyes. What makes the video unique is that Thornton celebrates her half Mexican heritage with a Mariachi ensemble to boot (And if you remember Aundrea Fimbres from Danity Kane and Ally Brooke from Fifth Harmony and compare their stories to Melody, it would be the best singer and "worst dancer" that ends up being the one you find out years later was Mexican. Representation matters regardless so from one Mexicano to another, si se puede!)
The fourth and last collective video and second and last video single was released on October 27th, 2020 for the song "Goodbye to Happiness". Utilizing the most out of the album's brief of "cinematic 60s/70s pop but for today", the video for "Goodbye to Happiness" is the most blatantly 1960s of the entire era. From the video concept of embracing feminism no matter how uncomfortable it made the mainstream (And leave it to someone who was a member of the Pussycat Dolls to know what sexism in action looks like), to the set design both being part of Thornton's character in the video confronting the journalist over their conduct to even the wardrobe and hairstyle featured at large. Minute details mixed in with the overall message spelled out in the beginning, "Feminism is the future" and with even less subtext at the end, "Feminism is a practice".
With all four of the songs released either as single or video single in some capacity, here's what makes this project a contender for one of the best releases of the year: it ends up spelling out all of Melody Thornton's trials and tribulations to even get to a point of releasing an EP as a solo artist when previously, it was a mixtape or loose singles with another artist. Even with Thornton at her most realized, Lioness Eyes shows that there's still contentious directions taken throughout the era just to get her name back out there ("Isn't that just a convoluted way of saying there's push and pull throughout?" Yes, and I'm getting there.)
The good side of Lioness Eyes is that this is Thornton making a case as to why she deserves attention for music, especially when as an independent artist since 2011 or nearly a decade come 2021, she's displayed immense talent in creating immersive work [the commitment to visual direction for all four music videos/singles or video singles being the most notable.]
The bad side of Lioness Eyes is the fact that there's some cracks in the definitive vintage aesthetic she created. Make no mistake, the cracks are in no way enough to detract from the fact that a seven song EP from a former member of the Pussycat Dolls is one of the best releases in 2020. It's that each crack represents part of the contentious or conflicting elements in the name of...well getting her name back out there.
The first crack is a vocal one: at the beginning of the EP on "Pray For Me", some of the vocal stylings sound a bit off but there is a justifiable reason for this. Back in 2011, Thornton competed on the second and final season of the UK reality show Popstar to Operastar, where she ultimately came in 6th place (And for the record, Kimberly Wyatt is the only member of PCD that would go on to win the competition show she competed on, snatching the crown for Celebrity Masterchef in 2015.) Thornton's vocals might not be the track to recommend first to anyone unfamiliar with her [which is the only reason this is considered a crack] but the track does showcase that she maintained the opera technique she learned in the two weeks she competed [which between 8 or 9 years is remarkable].
The second crack is the song "Sing About You", which mind you is a very good song, but has a contemporary sound to it which works against the cinematic vintage sheen that Thornton coats for six other tracks [let's be real, cohesion can't even be a minor thing to look at on the average EP regardless of tracklisting]. However, even if one track sandwiched in the middle of the project goes against the brief, it's not enough to detract from how well made it is.
The third crack can come watching the choreography in "Goodbye to Happiness", which itself is odd considering that towards the beginning of 2019 and Thornton giving multiple interviews saying she wasn't going to reunite with the Pussycat Dolls and even releasing "Love Will Return" a mere two or so weeks before PCD took the X Factor UK stage and debuted "React". Thornton has stated in multiple interviews that lo and behold she wasn't in the group to dance and going back to that wasn't conducive to her mental well being [if you read between the lines enough.] What makes the dancing all the more odd is that it reads as intense choreography on a song that doesn't call for choreography even in a video that's decidedly camp or enveloped in the vintage sheen that coats the project [to be fair, the choreography could be in reference to gogo style pop acts in the 60s such as Nancy Sinatra in the video for "Boots Were Made for Walkin'"].
In essence, all three cracks are bittersweet signs of the progress Thornton took to even get to releasing new music. She improved her vocal technique even if she inherited the weird "opera singer can't do most pop notes but is able to sing" a la Malena Ernman. She proved to be more than capable of making contemporary sounding music at her discretion, even if it wasn't indicative of the project in question. She proved that even with dancing not being her strong suit, she could hit choreographed dance moves in a music video even if the song kind of maybe doesn't call for it.
Overall, Lioness Eyes is a heartfelt project from someone who bided their time or said "I Will Wait" and had at least some people hear her out.
RECOMMENDED TRACKS: [honestly the whole damn EP but pay special attention to] "Lioness Eyes", "Love Will Return" and "Sing About You".
In this series, I'll be going op-ed on anyone that bothers to read this about an album that's good but probably not "Good Enough" to be considered Album of the Year at either the Grammy Awards, American music publications or even online communities that wouldn't give a shit about them (Mind you these communities will insist on the same three failed acts as being the saviors of pop music when they can barely go triple bus pass in terms of first week sales.)
This entry is dedicated to the eighth album from former Spice Girl and UK superstar Melanie C [the album name is her stage name, werk efficiency].
What was it about this album in particular that had the international gay fanbase go wild with fervor over a Mel C album era? Once you know the songs, you'll know.
On most streaming sites, Melanie C's album appears as the 10 track original:
1. "Who I Am"
2. "Blame It on Me"
3. "Good Enough"
4. "Escape"
5. "Overload"
6. "Fearless" (featuring Nadia Rose)
7. "Here I Am"
8. "Nowhere to Run"
9. "In and Out of Love"
10. "End of Everything"
A separate second physical disc has three bonus tracks and three remixes [only the three remixes can also be found on streaming sites with two other remixes that didn't make the album proper]:
1. "Self Love"
2. "Into You"
3. "Touch Me" [a cover of the 2001 Rui da Silva and Cassandra song of the same name, which holds the distinction as the first progressive house song to reach #1 in the UK]
4. "Who I Am" (Joe Goddard remix)
5. "Blame It on Me" (PBH & Jack remix)
6. "High Heels" (featuring Sink the Pink) (Moto Blanco remix)
Six songs were released in some capacity from the album, with four being considered singles and two of them being a non-album single and a promotional single. "High Heels" was first released in 2019 but eventually got non-album single status as the remix on Disc 2.
"Who I Am" ended up the lead single and even had the Joe Goddard remix reach #4 on the UK Commercial Pop Club charts in its 5th and last week on that chart [after reaching the Top 10 in its 4th week].
"Blame It On Me" was the third collective song and second single released, with the PBH & Jack remix reaching a higher peak albeit with one less week on the UK Commercial Pop Club charts, at #2 in its 4th and final week, having reached the Top 10 in its 2nd week [ultimately being held off from #1 by "Feel Right Now" by Parx and Nonô]. "In And Out of Love" was the fourth song and third single released from the album, which was noted for its surprisingly contemporary sound [some even drawing comparisons production wise to Dua Lipa's sophomore effort, Future Nostalgia.] Although not featured on the album proper, the Nick Reach Up remix was made available on streaming sites shortly after release.
The last single of the era was "Fearless", a collaborative effort featuring the relatively new UK singer Nadia Rose. The song was considered bold for the former Spice Girl and earned positive reviews in return. The last song released and second promotional/buzz single was "Overload", which like "In And Out of Love" doesn't have its remix on the album proper but does have its Karim Naas remix available on streaming sites shortly after its release. "Overload" was seen with slightly less but still noticeable praise for the consistent musical style the album's other offerings had made.
The album itself peaked and debuted at #8, becoming Melanie C's third Top 10 album in the UK and marked her first Top 10 album in 17(!) years since her 2003 sophomore effort Reason. ("Umm, what does a UK album have to do with the US?" I'M GETTING THERE.)
What made Melanie C a pick for album of the year in my eyes, let alone resonate with fans on internet forums and social media alike? In complete honesty, the singles run was flawless and the album itself is Melanie C's most cohesive and enjoyable. There's a simplicity to the album that can't be overlooked and it helps that the artist behind the album was a veteran of pop music who had a renewed spirit and sounded better than ever (There's a certain album in this series that can also fit under this description, so look out for that one). However, there's a case of "for better and worse" that has never escaped Melanie C and that is the fact that even in eight albums, there's a signature vocal and head scratching lyrical content.
For context, Mel C was always considered the best vocalist in the Spice Girls and of the solo albums, had the most promising career ahead of her [which having made it to eight albums later, despite six of them being independent, did prove that to be true]. Eight albums later, she sounds the same in terms of being a capable vocalist but still possessing the weirdest timbre in pop music. Meaning, despite having the largest vocal range and ability of her groupmates, whenever Mel C has to hit certain high notes, whatever her timbre does sounds slightly strained [it could be a larynx issue, it could be her northern UK accent, no one knows for sure but eight albums later means you stopped wondering why and accepted it.]
There are two tracks in particular on this release that drive the point home. On "Who I Am", towards the climax of the song when she sings "I'm ready to drop my armour/it will make me stronger", she sounds just this side of sharp or weirdly straining to a lot of casual listens. On the cover of "Touch Me", towards the climax of that song when she sings "I'll take your love and I'll take my chances/I'll take them with you" or even the hook "Touch Me in the morning/and last thing at night/keep my body warm, baby/you know it feels right", she has the same issue of sounding this side of sharp or if her vocals prove an acquired taste for casual listeners, "strained".
However, in eight albums there are still moments of lyrical simplicity or in the case of "High Heels", a case of "wait what, play that back" comes up that hasn't really been seen since "If That Were Me", the last single from her debut album Northern Star.
"I couldn't live without my phone/but you don't even have a home" - 1999 turned November of 2000 when the song was released. In 2019, "High Heels" had these lyrics: "It's been five weeks since I started saving for my new shoes/they're coming out of the box tonight, they're gonna wow you". This proved that for all the strides made in her career, Mel C still had lyrical hiccups which admittedly no one cared about at large because not only was "High Heels" a glorious dance-pop song (And believe me when I tell you, the only thing worse to forums and online music communities than bad lyrics are bad lyrics in slow songs or ballads.)
What makes the album something worth revisiting over and over again is that like her idol Madonna on 2019's Madame X, Melanie C wanted to release music because she was legitimately inspired, no one expected it but the public was behind her when it came time to listen to the music. Not since her debut has Melanie C been so revered in terms of singles choice, album cohesion and especially music videos.
In short, she said that's "Who I Am" and anybody that listened ate it up.
RECOMMENDED TRACKS: "Who I Am", "In And Out of Love", "Touch Me" (which honestly sounds like if there was a reboot of the show Queer as Folk, this song is on it and I mean that as a compliment), "Blame It On Me" and "End of Everything" because it's a great closer to the album proper.
I'm thinking of reviving this dead blog for some reason or another, so why not just go in willy-nilly without anything to recap (Besides, the market to recap RuPaul's Drag Race is more oversaturated than the goddamn McRib.) Nevertheless, I might [operative word here] want to post something as it relates to a short series of pop albums/releases that I considered worth my time in 2020(And if anything indicates how long I've been away, just look up a meme on a timeline about how 2020 has felt like 15 years from just the summer alone.)
I admit, I stopped caring about trying to pimp myself out with the written word basically because no one cares and I have to learn to be OK. I want attention for my writing just because I want it to be seen. Am I intentionally seeking a reaction? No, because apparently that requires planning beyond my patience level and subtlety, which I do not have.
I'll write about whatever I want, take umbrage with a certain male singer that went on a hypocritical business venture just to "pay bills" [while still unaware that doing it for the money means you'll pay for it every minute] and basically shittalk at my discretion.
