VICTORIA DUFFIELD - "SHUT UP AND DANCE" ALBUM REVIEW

Victoria Duffield - Shut Up and Dance

All hail the new Princess of Canadian Pop! Although Victoria Duffield still neatly can placed in the Emerging Artists category, with just the right amount of push, she could well be Canada’s next big international Export. Case in point, Carly Rae Jepsen already has proven her mettle abroad and Duffield equally has what it takes to accomplish this. In the v. least she is collaborating with the right names. Ryan Stewart, who is responsible for some of Jepsen’s recent material, co-writes with Duffield on this stellar and compact eight-track debut, Shut Up and Dance.

Since being teased late 2011 with the undeniably catchy Title Track, my curiosity has been piqued by the 18-year-old Singer from Abbotsford, BC. Although second Single, a Kylie-inspired Feel, went over the heads of the Canadian Public failing to achieve the same level of success as Shut Up and Dance, its standing as a quality piece of Dance-Pop remains untarnished.

Current Single, Break My Heart is a cut from the same cloth as Duffield's Debut, channeling inflections of Femme Fatale-era Britney. Duffield’s genius as a Pop Artist here perhaps comes from the one word she doesn’t sing in the Track's Hook, “I know you're only gonna break my ____”. It is impossible to not want to fill in that blank and furthermore, it is impossible to not want to sing along.

A catchy Duet with Aussie Pop Sensation Cody Simpson, They Don’t Know About Us, opens many possibilities in terms of exposure for her and is strategically-spotted. Sweet Fantasy borders a bit on Mariah Carey/R&B-Pop territory and is another Gem in this Collection of Winners. Meanwhile, Final Warning leaves us wanting more by the end of this just-long-enough introduction to Duffield.  Keep in mind, we still haven’t heard the best of Duffield yet and I can vouch that she is the real deal live - a real Pop Star.

V. Duffield, v. good. Warner Music releases Shut Up and Dance in Canada, August 21, 2012.  Order it here. 

I did have the pleasure of chatting Duffield over the Winter. Click here for more.

ALBUM REVIEW: JUSTIN BIEBER - "BELIEVE"

Justin Bieber - Believe

Although it took a bit of time to happen, Justin Bieber's third Studio Disc Believe gives every indication that he is a few steps further in the right direction to a lasting career, defying the nagging perception that his best is behind him already, having first burst onto the scene in 2008 to instant success.

The parallels to Justin Timberlake are undeniable. It is clear here that Bieber has given his Collaborators a clear mandate to make an Album in the same vein as that one's Justified Disc and as much as Bieber might want to make a full-on R&B Disc, he makes a few choices here which will get him some much-needed Airplay.  Many would be surprised to know that despite his status as an International Superstar, the 18-year-old still has yet to achieve a U.S. Billboard Hot 100 number one. The Disc's first Single Boyfriend, co-penned by Mike Posner, came awful close though reaching number two.

Although hardly different from any of Chris Brown's more recent material, official second Single All Around the World (ft. Ludacris) is one of the Disc's best Tracks, reuniting Bieber with Toronto Duo Adam Messinger and Nasri.  Die in Your Arms, which samples Michael Jackson's We've Got a Good Thing Going, is all but lacking in the Charm Department, showcasing Bieber vocally at his best with his silky-smooth Runs and Riffs.  Fans are rewarded fully after waiting this long for a second Disc of original material, as he navigated triumphantly that ever-tricky lowering in Vocal Range.

THE WANTED - "THE EP" REVIEW

The Wanted - The EP

It's been a while since Pop Music has been this exciting and the British Boy Band Duel building between imports One Direction and The Wanted is igniting the spirit of competitiveness which makes Fans and Haters out of all of us.  Regardless which end of the Spectrum you situate yourself, by the end of the Summer it will be impossible to ignore either Band. Although The Wanted already have released two full-length Discs in the UK, they now are being introduced to North America officially with seven tracks collectively packaged as The EP - a majority taken from their 2011 Disc Battleground. To put into perspective, think One Direction - but more emphasis on the Baritone, more singing in unison and edgier beats.

On paper, the ingredients are all there: great Looks, strong Tunes, solid Voices and that all-important Charisma which can be a deciding factor between which artists perform in Clubs and Theatres versus filling-up Arenas. Girls love Max, Nathan, Tom, Siva and Jay and if their recent arrival in Toronto is any indication of what's to come, The Wanted could well be what this generation needs so badly - their own New Kids on the Block or Backstreet Boys, for that matter.

Debut Single Glad You Came penned by Wayne Hector, Ed Drewett and Producer Steve Mac without a doubt has been unavoidable to anyone within an earshot of a Radio of late.  Its highly-singable Melody is a perfect introduction to the Market; it's "wo-oh" bits distinctively British, reminiscent of a Football Chant and not without charm.  Lightning penned by that same Trio showcases the Boys at their best vocally and is a definite standout on the Disc.  Second Single Chasing the Sun penned by Michael Woods and Elliot Gleave takes everything lovable about Glad You Came, but is even more focused on the Dancefloor.  Satellite earns Max, Nathan and Jay a Writing Credit in collaborating with ultra-hot Singer/Songwriter/Producer Ryan Tedder, yet is met only with mixed results when paired against some of the better Tracks on this Disc.  No Boy Band is complete without a Ballad and Heart Vacancy penned by Lucas Secon and Hector fills this void on this uptempo selection of Tunes.  Gold Forever is reminiscent of 1984 Alphaville Hit Forever Young and penned by Claude Kelly, Hector and Mac capping things off well enough to leave us wanting more.

The EP from The Wanted is just a taste of what's to come from this force to be reckoned with.  Universal Music Canada releases digitally and on CD Tuesday, April 24, 2012.

Enter to win a Photo signed by members of The Wanted here.

REVIEW: MADONNA - "MDNA"

Despite the promise of something innovative and great in switching Record Labels, ultimately what we get with Madonna's MDNA is indeed something new, but how great is it really?   Patchy is one word to describe the twelve-track Disc, her first from Live Nation/Interscope Records/Universal Music, but it is not without its traces of brilliance.  Collaborations with Benny Benassi - I'm Addicted and Girl Gone Wild - highlight the Disc and in a perfect World should have been plugged one-two as the Album's first Singles.  The only problem is that there is a lack of any real defining trait that says these tunes belong to the Queen of Pop other than her distinctive and recognizable vocals being heard on them.

The theatrical Gang Bang is somewhat reminiscent of Madonna's Bedtime Stories era,  with her channeling some Nancy Sinatra-meets-Deborah Harry-esque Femme Fatale before breaking into a terribly embarrassing Monologue.  She commands, "Drive Bitch! And while you're at it, die Bitch! That's right, Drive Bitch!  Now if you're gonna act like a Bitch, you're gonna die like a Bitch!".  Absolutely absurd.

Some mixed results are garnered from Madonna's studio sessions with Martin Solveig, including first Single Give Me All Your Luvin' (ft. M.I.A. and Nicki Minaj) which I admit was fun for a few listens, but ultimately does not withstand the rigours of "repeat" and "shuffle" on the iPod. The Duo do however strike Pop Excellence on the David Guetta-esque Turn Up the Radio, perhaps an homage to Donna Summer (?) which absolutely is plug-worthy. Genuinely she is putting forth in her vocal delivery here and any Fan would know it.

Two Ballads saved for late, Golden Globe-winning Masterpiece and Falling Free feel out-of-place from the context of the Disc and in all honesty MDNA could have done without them.  MDNA is no Confessions on a Dancefloor (woop!), yet it's certainly no Hard Candy (bleh!) either.  Universal Music Canada releases on March 26, 2012.

While you're at it, check out Madonna's new Video for Girl Gone Wild below:

LANA DEL REY: BORN TO DIE - REVIEW

Lana Del Rey - Born to Die

Despite the Public's polarized opinions of 2012's biggest breakthrough act thus far, Lana Del Rey does not disappoint with her major label debut, Born the Die. The 12-track Disc is spellbinding without ever treading into the gimmicky or being hyper-aware of trend. The focus is solid liquor-soaked songs of Love and all its uncertainties, covered in a shadowy, gray hue - the Album is one cohesive mood-inducing listen. Bottom line, Del Rey is a complex spirit searching for answers and we are invited on her journey to piece together remnants of her broken heart.  

Arrangements are industrial-edgy, yet lush and strings-enhanced, while rhythms are heavy in Hip-Hop influence.  Del Rey's voice and self-penned lyrics are the lead characters in this piece of Cinema Noir. Comparisons to Nancy Sinatra, Elvis Presley, Chris Isaak and Amy Winehouse are not altogether unfounded.

Favourites include the already familiar first three plugs: Video Games, Blue Jeans and the titular track. Diet Mountain Dew, National Anthem, Dark Paradise, Radio and Million Dollar Man are superb. The helplessly beautiful Without You, heard only on the Special Edition, is a must-listen and regretfully not on the Standard Edition. Universal Music Canada releases Lana Del Rey's Born to Die on January 31, 2012.

Don't forget to enter to win a copy of Born to Die here at Mr. Will-W:Pop Maven.

RIHANNA: TALK THAT TALK - REVIEW

Rihanna - Talk that Talk

Rihanna's sixth Disc arrives just as quickly as it can be forgotten. The Collection of eleven Tracks showcase the Barbadian Pop Princess vocally at her best, but her tireless ambition to remain relevant makes me question the necessity of releasing Talk that Talk this quickly.  It's clear that Music is a  Numbers Game with the Rihanna Navy, their being dead-set on whatever Milestone it is that they are trying to obtain in the Billboard ranks.

Are any of the Tracks on this Set remarkable?  In all honesty, no.  Anyone trying to convince me that first single We Found Love is Rihanna's  best work will be met with stiff resistance from me as I am a firm Believer that the Track is the product of a rushed Studio Session together with Calvin Harris. The Homage to early '90s House Music is recurring Motif on stronger potential Single, Where Have You Been, produced together with Dr. Luke and Harris.  The Track sounds v. much like where Pop  is right now in this David Guetta-dominated Era.

Despite catering much to a Dance Music-loving audience of late, Rihanna never forgets her Urban roots in bringing-out Jay-Z for the Titular Track (co-written with Diddy).  She wears her Caribbean Colours proudly on opening Track You Da One, another contribution from Super-Producer Dr. Luke.  Meanwhile, Watch n'Learn gives us that Sex-obsessed Rihanna whom we have grown to love, her commanding: "Just because I can't kiss back/Doesn't mean you can't kiss that" ...not really leaving much to the imagination.  Beyoncé-esque Birthday Cake clocking-in at 1:18 serves no real purpose other than proving that perhaps with a little less hastiness, something great could have come out of these Sessions.

Longtime Collaborators StarGate keep things sounding a bit familiar on Drunk on Love and Roc Me Out, relegated later in the Sequence and sounding a bit like that harder-hitting Rated R Album which I never loved in all  honesty.

Talk That Talk likely will garner that requisite Hit or two needed before Rihanna heads back to the Studio to churn-out yet another Album, rendering all of this all the more disposable.  Clocking-in a just-over 37 minutes, even her most loyal Fans would have to question whether or not they truly are getting the value they deserve.  The Disc will be released via Universal Music Canada on November 18, 2011.

MICHAEL BUBLÉ: CHRISTMAS - REVIEW

You pretty know what to expect with a Michael Bublé Disc and if like myself you are a Fan among the many millions, this is a good thing. The Canadian Crooner teams-up again with David Foster, Humberto Gatica and Bob Rock for fifteen tracks of festive cheer - a release which perhaps has been too long overdue.
 
Bublé combines old school Big Band charm with contemporary sensibility and production on Holiday Classics like It's Beginning to Look a Lot like Christmas, Santa Claus is Coming to Town, Jingle Bells (ft. The Puppini Sisters), the wittily-updated Santa Buddy (a masculine accompaniment to Santa Baby) and personal favourite, Have Yourself a Merry Little Christmas.  Results consistently are good.

Most surprisingly, he manages to coax a long-absent Shania Twain whose voice seems to have returned, lending her talents on White Christmas -  a big treat.  Bublé also ambitiously takes-on Mariah Carey's modern classic All I Want for Christmas is You, giving it a condensed Ballad treatment with mixed results. A take on U2's Christmas (Baby Please Come Home) is highly listenable, taking a bit more of a laid-back approach compared to its Original.  He even tries his hand at Latin in choir-backed Ave Maria and Spanish too with the help of Latin American Superstar Thalia on Feliz Navidad, showing a bit more versatility.

KELLY CLARKSON: STRONGER - REVIEW

Kelly Clarkson's latest Disc isn't a bad Album per say, but it sure isn't remarkable and anything short of great is an injustice to a Vocalist of her caliber. The former American Idol Winner's fifth Disc Stronger finally surfaces after several administrative delays and what we get here are a collection of 13 tracks marked by only a few standouts. Unfortunately none here can be mentioned in the same breath as the fantastic My Life Would Suck Without You nor Since U Been Gone.  What we get here mostly are mid-tempo Pop/Rock offerings pondering themes of Heartbreak, Let-Down and Self-Empowerment.

Defiant first Single Mr. Know it All serves as a warm-up to the Disc's throbbing centerpiece, What Doesn't Kill You (Stronger), touted as the forthcoming second Single from Super-Producer Greg Kurstin (Lily Allen, Selena Gomez).  Dark Side, another Kurstin contribution, has the Texan Powerhouse asking, "Everybody's got a Dark Side/Can you love me?/Can you love mine?", providing for one of the Album's more vulnerable moments.  And that's a good thing.

TONY BENNETT - DUETS II REVIEW

Tony Bennett - Duets II

Mr. Tony Bennett's Epic Opus 2011, aka Duets II brings together some of the most unlikely collaborations - a true testament to the Crooner's influence on so many of the Vocalists who have sold out Arenas and won Grammys after him. At 85 years of age, Bennett recently became the oldest living Artist to have achieved the distinction of debuting atop the U.S. Billboard Hot 200 Album Chart and he did it with some help from his Friends. Some really famous and talented Friends.

Jam-packed with 17 Classics, Duets II isn't necessarily about breaking new ground or necessarily about High Art. It's about celebrating an Icon and how Bennett's Voice and Music have inspired others and also connecting a new Audience who grew-up not having had Jazz Music on their radars. The phrasing, the range, the stylization - there is only one Tony Bennett and this Collection pays tribute to that front and center.

There are some fabulous moments on the Disc like the fun and flirtatious The Lady is a Tramp (ft. Lady Gaga), One for my Baby (ft. John Mayer), a perfect reunion in Blue Velvet (ft. k.d. lang), Don't Get Around Much Anymore (ft. Michael Bublé) ...obviously, Yesterday I Heard the Rain (ft. Alejandro Sanz) and perhaps a true showcase that he's (and she's) definitely still got it, How Do You Keep the Music Playing (ft. Aretha Franklin).

SELENA GOMEZ & THE SCENE: WHEN THE SUN GOES DOWN - ALBUM REVIEW

Selena Gomez really is coming into her own as a Pop Star. Despite considerable skepticism on my part, I finally gave her third Disc When the Sun Goes Down a whirl and even with my critical guard up, I found myself unable to resist the feel-good vibes the 19 year-old Disney star was emanating in this twelve-track collection of songs.

Current single Love You Like a Love Song cannot be denied. From the same team which brought us Miley Cyrus' See You Again (Rock Mafia), this track's throbbing bassline and a lovelorn moodiness are unforgettable. True to its lyrics, I too "keep hitting re-peat-peat-peat-peat-peat". The production trio also contribute the melancholy gem My Dilemma on the Disc. 

Toby Gad who has had a hand on tracks like Big Girls Don't Cry (Fergie) and If I Were a Boy (Beyonce), delivers us a bit of Electro-fun on La Roux-esque romp Bang Bang Bang. He also oversees a collaboration with UK talent Pixie Lott titled We Own the Night, which easily could be a track off a P!nk album. 

MATTHEW MORRISON: MATTHEW MORRISON - CD REVIEW

A bit rushed perhaps? This is the initial impression I get after a couple listens to Matthew Morrison’s self-titled debut from Mercury Records. The Disc combines new material co-penned by the handsome and talented Glee Actor, along with Duet Covers of Somewhere Over the Rainbow (Gwyneth Paltrow), Let Your Soul Be Your Pilot (Sting) and Mona Lisas and Mad Hatters/Rocket Man (Elton John).

New tracks like first Single Summer Rain are reminiscent of Hey, Soul Sister (Train) and the even-stronger Still Tonight are safely aimed to the hearts of a mature Pop Audience and Adult Contemporary Radio Stations. Hey - one of two co-written contributions from N Sync’s JC Chasez - draws inspiration from the Islands like Summer Rain, a good sound for Morrison’s pristine Tenor. The other Chasez contribution Don’t Stop Dancing, is one of few moments the Disc veers remotely towards the up-tempo and this might be a little disappointing for some Glee Fans who have enjoyed some harder-hitting performances from Morrison.

The strength of the Disc lies in its three marquee Covers and this is both good and bad - good in that Morrison’s Guest Vocalists push him to work that extra bit harder; bad in that he is outshined in the end result. Even worse is that the original material we get here simply isn’t remarkable enough to launch a successful solo Career. This becomes even more obvious considering that we know what Morrison vocally is capable of on a weekly basis. Above this, the Listener gets a sense that artistically he is still figuring out his own musical strengths, sounding like a different Vocalist from track to track.

PHOTOGRAPHY FOR "BORN THIS WAY" REVEALED

Lady Gaga by Nick Knight

Genius! The Album Art for Lady Gaga's Born this Way album have just been revealed and you need to check out some of the gorgeous work by Nick Knight in the Booklet. Absolutely stunning.  Of course, mad acclaim to Nicola Formichetti and the Haus of Gaga for their  incomparable styling also.

You have one last chance to enter this Contest to win a copy of Gaga's Born this Way, in stores on Monday, May 23, 2011.  Get it!

Read my glowing Review of it here.

See more Photos below:

LADY GAGA - BORN THIS WAY REVIEW

At long last we are gifted with the eagerly-awaited return from The Mother of Pop herself, Lady Gaga - not that she ever really was away.  Born this Way is a 14-track Opus, equally Runway-inspired as it is made for the Dance Floor.  And over the course of the past three years those of us who were early supporters of hers have been rewarded handsomely by our investment of faith, seeing no other star shine as brightly as hers.  Make no mistake about it, Lady Gaga is a Phenomenon and an Icon in all senses of the word.

Born This Way shows an astonishing amount of growth from Gaga's 2008 debut The Fame.  Gone are the days of singing about "riding on Disco Sticks" and "doin' it for the Fame". By golly, she's famous.  She's really famous.  Musically, vocally and lyrically, Gaga has progressed as an Artist, striking that fine balance between Pop Art and a level of accessibility which even your ten-year old Niece gets.  A now-Gaga is '90s-obsessed and fixated on Biblical metaphors, in addition to the concepts of Social Justice and Self Acceptance.

This hour-long Set starts off on a brilliant note - a first Techno-Rock contribution from Fernando Garibay complete with Bongos and Organs.  Marry the Night takes you to the Chapel in high gear before fully taking flight late with a Pat Benatar-like Breakdown and Vamp which elevates the listener into a higher state of consciousness  - the Album's Title Track, yet another Garibay production.    

Government Hooker is a dark, edgy romp which sounds like something played over a Video Montage  between costume changes on her The Monster Ball Tour.  Industrial, New Wave and with a Hook which melodically takes a cue from Jefferson Airplane's Somebody to Love, this number definitely is among the Cream of the Crop on the Disc.  Myself not having gone "gaga" (yes her name can be used as a verb also) over RedOne production Judas, its context is understood better after hearing the Album fully.  It serves as a part of a recurring motif - dark, bitter Verses set against the sweet fluffiness of fun Choruses.

Americano with its Flamenco flare delivers more of that passione we heard on prior Single Alejandro, although much more festive and in the spirit of Boney M. and Santa Esmerelda. An ode to Gay Rights, musically it seems out-of-context from the rest of Born this Way, although we will need to see this Garibay production set to stage in all its visual glory to see where Gaga is going with this. 

CHRISTINA PERRI: LOVESTRONG. - REVIEW

One of 2011’s most promising newcomers hails from Philadelphia, her profile increasing significantly after some exposure she received via CBS’ So You Think You Can Dance late 2010. 24 year-old Singer/Songwriter Christina Perri is Warner Music’s newest secret weapon, who could only have benefitted from impressions left upon James Blunt’s fan base with an opening gig on his current Some Kind of Trouble Tour.

The slight bit of raspiness heard in Perri’s voice is telling of someone who despite her young age, really has lived. She perhaps is this generation’s answer to the void of substance left by many of her female contemporaries who have opted for exposed legs, cleavage and Dance-Pop – not that there is anything wrong with that, mind you. Christina Perri perhaps is a noir-Sheryl Crow or a now-Fiona Apple for the mid 20s to 30s Lilith Fair-going set?

Perri’s debut Disc Lovestrong. is an album inspired by Heartbreak, tinged with many moments of Lily Allen-like wit and metaphorical brilliance. It never veers from sounding raw and organic, remaining cohesively in one chilly, blue moment.

Opening track Bluebird is beautiful, setting the tone for the Disc by asking “How the hell does a broken heart/get back together when it’s torn apart?”. Arms gives us some more of Perri’s vulnerability, needing the arms of her Lover to keep her “whole”. Musically, it is Coldplay-esque in its Piano-Rock. Of course, no Female Singer/Songwriter’s repertoire is complete without a bit of angst, often coming at the expense of having been done wrong by an ex-Boyfriend. “Bang she shot you down/Karma is so sweet”, she revels in the splendour of Fate on Bang Bang Bang. Distance is reminiscent of Folk-Rock Duo The Swell Season, given a bit more dimension with the perspective that comes with a male Backing Vocalist.

JENNIFER LOPEZ - LOVE REVIEW

In what is easily her best work since 1999 debut On the 6, Jennifer Lopez gives it her all on this her seventh studio effort. She proves once again that she can do it all despite her impossibly hectic itinerary - a Mother of Twins, Wife, Designer, Entrepreneur, Television Personality, Actress and oh yeah, a Singer. Lopez's surprising switch last year to Island Def Jam/Universal Music has played a pivotal role in her sudden musical resurgence after spending some celebrated years at Sony Music - some years not so celebrated. And after spending over two years on this Disc Love?, expectations are heightened but fear not - she delivers.

We all know how infectious On the Floor (ft. Pitbull) is with that Lambada sample it features. In fact it has already reached the top of the Charts in Canada, but on this Disc are a few more missiles waiting to fire thanks to Super-Producer RedOne who not only oversaw that mentioned first Single, but also the thematically similar Papi with its dramatic synths and big choruses; an outstanding piece of Pop. Invading My Mind and Hypnotico also have the Swedish-Moroccan's signature sound imprinted and interestingly, Lady Gaga is credited on both these Tracks. Admittedly they are more telling of her The Fame era rather than her current Born this Way era.

The-Dream and Tricky Stewart who have been rather hit-or-miss since finding meteoric success with Rihanna on her star-making Good Girl Gone Bad Disc from 2008, yield a result leaning more towards  the "hit" side with the aptly-named Good Hit. The Track is defined most by its experience-altering Breakdown complete with a Key Change. Villain and Run the World are met with mixed results and easily could have been eliminated here without much impact.

ALBUM REVIEW: JESSIE J - WHO YOU ARE

Although the first taste she gave us with Do It Like a Dude wasn’t a good indicator what she’s all about, UK import Jessie J (née Jessica Cornish) definitely has a word or two of advice for us on her debut, Who You Are. In fact, the 23 year-old Singer/Songwriter Londoner’s feel-good vibe has already infiltrated airwaves Stateside. If you loved Miley Cyrus’ Party in the U.S.A. – and I know many of you do – chances are, you’re already a Fan of her work without even realizing it.

Expectations admittedly are high and although this debut Disc is a mixed bag of Songs, the raw talent Jessie J possesses is v. present. If not this Album, she is on the verge of something spectacular. Her vocal tone, range and styling are clear proof of the legacy which the likes of Beyoncé, Fergie and Alicia Keys have left on this generation of young Divas, but furthermore she really pulls out every single trick and bit of inspiration she has within her on Who You Are. There is nothing understated about Jessie J – she goes all-out because she can.

I have not been shy about expressing my love for Dr. Luke-produced hit Price Tag (ft. B.o.B.) which despite repeating a vibe heard on Hits like No One (Alicia Keys) and Where is the Love (The Black Eyed Peas), I cannot deny its standalone appeal. It is a proper introduction to the uplifting vibe she truly wants to deliver. Sunny tracks like L.O.V.E. and Stand Up promote positivity and teach us Pop Listeners a lesson or two on Reggae - her way.

ALBUM REVIEW: BRITNEY SPEARS - FEMME FATALE

Perhaps Britney Spears’ most focussed Album in quite some time, Femme Fatale delivers Fans what we wanted so badly with 2008’s dark and mysterious Blackout, but this time around she’s present enough to give it the push it deserves. Let’s be honest though – we were left underwhelmed by 2009’s Circus, highly-touted as the Princess of Pop's big Comeback.

Spears delivers hit and hit early-on on this seventh Disc. Second Single Till the World Ends, penned by Ke$ha, Dr. Luke and Max Martin is euphoric, feel-good bliss and in my opinion stronger than its already great and gritty predecessor Hold it Against Me. Inside Out has Spears making a genuine effort vocally, sounding like a potential follow-up Single down-the-road, but not until catchy Max Martin and Shellback-produced I Wanna Go finishes hypnotizing the masses with that infectious whistle hook it possesses.

Big Fat Bass ft. will.i.am feels a bit like a misfire, relegated to a spot later on the Disc along with Trip to Your Heart, which surprisingly is forgettable without a proper Chorus especially considering its proper pedigree of Producers Bloodshy, Jonback and Magnus. Another contribution from that trio, the entrancing How I Roll, is much more poignant as is Seal it with a Kiss with its undeniable “woo ooh” hook, taking a cue from Duck Sauce’s hit Barbra Streisand.

AVRIL LAVIGNE - GOODBYE LULLABY ALBUM REVIEW | GIVEAWAY

She’s all grown-up. Despite über-catchy and spirited lead Single What the Hell having infiltrated our Airwaves, Fans should not be fooled. Avril Lavigne’s fourth studio effort Goodbye Lullaby showcases a more subtle Girl from Napanee who’s hopelessly in-love.

Swedish Hitmakers Max Martin and Shellback contribute a total four tracks to the Disc, including the mentioned first single. Aside from What the Hell, they are careful never to over-impose their Pop Aristry on her, letting the Singer/Songwriter shine. Vulnerable moments like the lovestruck and single-worthy Wish You Were Here, written clearly for her number one Hunk Brody Jenner, plus Smile and I Love You. All are cohesive thematically, but actually so similar they might be a bit too interchangeable.

One thing Lavigne’s biggest Critics cannot take away from her is that she can sure pen a Power Ballad like the best of them. Push, a collaboration with longtime Guitarist Evan Taubenfeld is superb, somewhat reminiscent of Natalie Imbruglia’s 1997 hit Ednaswap cover Torn, easily being this album’s I’m With You or Keep Holding On. Everybody Hurts, no relation to the R.E.M. track of the same name, and Not Enough especially show a new level of depth and hindsight we’ve never quite gotten from her.

An interesting thing about Goodbye Lullaby is that despite Lavigne’s marriage not having lasted with Sum-41 Frontman Deryck Whibley, their musical marriage still remains strong with him manning the Boards on seven out of 13 tracks here. Goodbye, perhaps Lavigne’s most personal track on the Collection, brings some heat-felt closure and a fitting farewell to their time together.

REVIEW: GEORGE MICHAEL - FAITH (RE-ISSUE)

24 years after its initial release and still it stands the test of time. George Michael's Grammy-winning Album of the Year, Faith, sees its re-issuing finally after being pushed-back from late 2010. Re-mastered with B-Sides, Remixes and Instrumentals on a standalone Disc, the original Album is fully intact  here in a solid ten tracks.  

A fresh listen to Faith gives a telling revelation how hastily-produced some Albums of the R&B/Funk-inspired Pop releases are today. George Michael is the original Enrique Iglesias. The original Justin Timberlake. The original Ricky Martin. The original template by which countless other Male Pop Artists have in some form adapted into their own recipes for success.

No one can deny the universal appeal which U.S. Billboard Hot 100 Chart-topping Single (and subsequent top-selling Single of 1988) Faith has still. The appearance of that Church Organ in its prelude is the promise of some serious hip-shaking and finger snapping to follow. I Want Your Sex retains its controversial appeal and that dirtily infectious groove can fill a Dance Floor to this day. Masterfully written, produced and executed in its gratuitous serving of three parts, Pt. 1 of Sex still shines brightest of all with lots of fun and memorable interplay between Michael and his female Backing Vocalists. His voice is front-and-center, filling the place of Instruments with his inspired vocal colourings. 

REVIEW: ADELE - 21

Sometimes an Artist just has to get hurt to record an amazing Album and that is the case with British Singer/Songwriter Adele's sophomore effort, 21. And does it ever hurt so good. It is quite astounding how polished a product the Set is compared to the double Grammy winner's debut from 2008, 19, and all it took was a bit more of a budget and the masterful production of some helping hands like Rick Rubin (Josh Groban, Red Hot Chili Peppers), Paul Epworth (Florence & The Machine), Dan Wilson (Dixie Chicks), Fraser T. Smith (Cee Lo) and Ryan Tedder (OneRepublic). 21 is an immaculately-produced collection of songs which deliver truly on the promise shown in being awarded a Critics' Choice Award at The Brits before even releasing a full-length album.

The Disc captures perfectly the emotions one might experience post-breakup - that endless fluctuating between angst, lust, revenge and ultimately forgiveness. First single Rolling in the Deep soars high with its big Chorus, with Adele reflecting upon what could've been if it weren't for his "playing her.... to the beat". Adele leaves things open-ended for a brief moment, but quickly clarifies what happened  exactly in this love-gone-wrong, revealing on the gritty track Rumour Has It, that there might have been a bit of a wandering eye in this older Man with a taste for younger Women. Produced by Tedder, Adele manages successfully to maintain control of the track, refusing to let it sound like every other hit he has produced in recent memory. Turning Tables, also co-written by Tedder, is much in the same vein as Adele's earlier Hometown Glory with its euphoric piano arpeggios, strings and a mood darkened by her examining those hard feelings she still harbours which have in effect strengthened her.

21 features a strong selection of Ballads, tugging insistently on the heartstrings. Wilson adds a bit of Country flare to the album's most gorgeous ballad Don't You Remember, a likely candidate as a follow-up single with its crossover potential to a Stateside audience. The same could be said about Someone Like You, another winning collaboration with Wilson which appears late.