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Main >> News Listing >> August 2006 >> Article ID 9660
 Promiscuous girl - Christina Aguilera fools around on her ne | Type: Review |
| | Promiscuous girl - Christina Aguilera fools around on her new CD | Aug 14, 2006 | by Jed Gottlieb
 Christina Aguilera desperately wants to be taken seriously. A spin of her new double-disc, “Back to Basics,” which goes on sale tomorrow, confirms Aguilera’s aspirations.
But like so many pop stars, her stab at credibility relies chiefly on gimmicks inspired by the singer’s fascination with early r & b and jazz. Sometimes her gimmicks work, but too often her tricks undermine her. She’s at her best when she flat-out sings.
Uppity pop artists love double-albums. But they usually result in lots of filler and self-indulgence: think “Piggies” on the Beatles’ “White Album” or most of Guns N’ Roses’ “Use Your Illusion.”
“Back to Basics,” Aguilera’s first CD in four years, is no different.
Both of its two discs begin with counterproductive intros hyping the album as the work of genius it might have been had Aguilera knownenough not to include narcissistic intros. Ending the first disc, “Thank You” reaches a new height of ego. Like a bloated, blathering answering machine, it’s five minutes of fans explaining how Xtina has saved them from suicide or going nuts during the Iraq war. This may be true, but it’s also true of hundreds of artists from ABBA to ZZ Top; others are just humble enough not to brag.
But the self-indulgent opening and closing tracks on disc one are exceptions. The predominantly DJ Premier-produced disc is full of smartly deployed classic jazz, blues and funk samples that spice up some terrific songs, such as the hit single “Ain’t No Other Man” - all of them co-written by Aguilera.
To distinguish itself, the Linda Perry-produced second disc replaces samples with acoustic instruments and antique microphones. Xtina obviously didn’t learn from Madonna’s “I’m Breathless” or Prince’s “Parade,” two other ill-fated attempts to bring Jazz Age class to modern pop.
To her credit, the burlesque beats fit with her dirty talk. Her sexual innuendo could make Spinal Tap blush. “I’m going to give you a little taste of the sugar below my waist,” she sings on “Nasty Naughty Boy”; “Candyman” concerns a guy who’s “a one-stop shop” who “makes the panties drop.” But her lyrics are true to the Mae West image she’s trying to cultivate. Sadly, the jokes and hokey production drag down decent melodies.
Thankfully “Back to Basics” avoids getting unjustifiably deep, a trap that snares most bigheaded pop stars. Rarely does Aguilera ignore her primary muse - sex - but when she does it’s to tackle serious, personal subjects such as her abusive and absent father. Wisely, she doesn’t try to lighten the heaviness of these tracks, “The Right Man” and “Oh Mother,” with more studio trickery. Like Aguilera’s best moment, “Beautiful,” these ballads boast lush production, but never crowd the singer’s undeniable asset, her voice.
Aguilera desperately wants to be taken seriously. And that’s why she’s not. Not content to be merely a great pop singer, she dilutes her talent trying to be something more.
Relax, Christina. Frank Sinatra became a legend just singing - and without getting all arty on us. With your voice, you can, too. |
 Source: Boston Herald | |
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