Shakira’s ‘Fixation’ stronger, sharper work with darker undertones
Shakira
“Oral Fixation, Vol. 2” (Epic) “““
Halfway through her new English-language album, Colombia’s crossover queen reveals that she has grasped the cruel fickleness of pop culture celebrity.
In “Animal City” she warns: “But someday when you fail / They’ll put you on sale / And buy you by the inch.”
That’s a wise reality check for the follow-up to her breakthrough English-language debut, 2001’s “Laundry Service,” which sold 13 million copies worldwide and turned the sexy singer-songwriter into the (dyed) blond bombshell of the Latin Explosion.
The new CD lacks another “Whenever, Wherever,” the Top 10 hit from the previous album – not to mention the video displaying her pelvic wonders. That said, though, “Oral Fixation” is a stronger work as a whole, with sharper edges and darker undertones.
Shakira is at her best here in confessional songs such as “Costume Makes the Clown,” which refers to her new natural-woman look. In “Dreams for Plans,” she aches for a simpler, innocent time before fame, when “there was nothing we could sell or buy.”
Paradoxically, in reassessing and even shunning aspects of her success, Shakira may have found a way to sustain it.
Agustin Gurza, Los Angeles Times
Carrie Underwood
“Some Hearts” (Arista) ““
During last spring’s run of “American Idol” I wasn’t fond of Carrie Underwood, the banal Barbie doll from Oklahoma who wound up winning the title.
Underwood’s debut album is also predictable: mainstream country-pop designed for maximum impact on country radio. Fans of Martina McBride’s similar sound will love this stuff.
Then again, maybe Underwood isn’t that bad after all. Singing karaoke pop oldies on national television obviously wasn’t her thing, but put her in a Nashville studio with top producers, surround her with experienced session players and some decent songs, and she’s got the goods.
That’s not to say her CD is a budding classic. It’s overlong by at least 15 minutes and too many overproduced ballads like “Starts With Goodbye” and “I Just Can’t Live a Lie” bog it down.
The opening “Wasted” is another catchy, up-tempo country-pop tune, sung with flair, that will sound fine on the airwaves sandwiched between McBride’s and Sara Evans’ next hits.
Howard Cohen, Miami Herald
Juelz Santana
“What the Game’s Been Missing!” (Def Jam) “““
The second album by Cam’ron’s protege is loaded with swaggering street tales and thumping club jams. He’s already a steady presence on the radio with “There It Go (The Whistle Song)” and “Mic Check.”
Santana’s sometimes off-kilter deliveries and storytelling skills ensure that he’ll keep you interested beyond the hits. He never falls into a rut, switching easily from songs like the aggressive “Kill ‘Em” with Cam and the pensive “This Is Me” while sprinkling in tales of treachery (“Lil Guy Fresh”), loss (“Gone”) and other matters.
One thing that this collection surely has is variety.
Steve Jones, USA Today
Chamillionaire
“The Sound of Revenge” (Universal) “““
Houston’s self-proclaimed Mixtape Messiah makes his major-label debut aiming to prove wrong the doubters who didn’t think he was ready for prime time.
Chamillionaire has had well-publicized differences with Mike Jones and former partner Paul Wall, but that’s not his focus here. He’s more inclined to show off his lyrical prowess and stretch beyond the usual crunk and car motifs.
While the deep-voiced rapper is not shy about bragging on his lifestyle, he also addresses AIDS, fakers, racial profiling and poverty over banging beats. He certainly earns the satisfaction of putting naysayers in their place.
Steve Jones, USA Today