Gwen Stefani, “The Sweet Escape”
POP|Interscope, released Dec. 5
The great disappointment here is that, unlike her group No Doubt, Gwen Stefani doesn’t appear to evolve with the swift times. With No Doubt, their last three records were experiments in sonics – featuring the band venturing from its ska roots to the island pop-reggae that left fans salivating for more.
While Stefani’s debut “L.A.M.B.” positioned her as the next great American dance-pop star, her reliance upon heavyweight producers didn’t go unnoticed. Like Justin Timberlake, she’s skeletal without the beats that provide the muscle that is her trademark. And in “The Sweet Escape,” the producers come through only twice – leaving the record sounding sparse to the point of slack.
Lead single “Wind It Up” seems ripe for hotness with its big gut-punch beats and bizarre yodeling. But not even the “Hollaback Girl” combo (Stefani and The Neptunes) can make this concoction sizzle. Stefani and The Neptunes team up throughout the record, but it clicks only once – on the deliciously minimalist “Yummy,” which has Stefani adopting Pharrell’s understated MC style.
As he does in Snoop’s “Drop It Like It’s Hot,” Pharrell has this spoken word approach to rapping that drops names as flagrantly as it messes with traditional rhythm. And Stefani rocks it alongside the multiplatinum producer with an assured ghetto grace. “The Sweet Escape” is the other track that sails, and it’s Akon’s vintage-sounding production that makes it work.
The track smartly follows Kanye West’s sharp, Motown-inspired production. It’s different from anything Stefani has ever given us – an especially nice respite from her taking popular songs from the past (from “Fiddler on the Roof” or the circus) and playing off their familiar melodies. |Ricardo Baca
Ciara, “The Evolution”
R&B/HIP-HOP|LaFace/Zomba, released today
Lil Jon’s abrasive chants open Ciara’s second album, a fitting push-off for this aggressive, dance-engineered disc. Most surprising is “The Evolution’s” darkness, its buzzing, guttural synths and borderline oppressive bass dominating roughly half of the songs.
It should be no surprise that Ciara is growing into a moodier sound; the multiplicity of artists and producers dropping in (50 Cent, will.i.am, The Neptunes) easily leave their mark on her malleable R&B vocals. But Ciara’s overestimation of her inventiveness veers from charming to annoying by disc’s end. The “First Lady of Crunk & B” may be proud to show all her cards, but her house is still a bit empty. |John Wenzel
Other releases today:
Taylor Hicks, “Taylor Hicks” (Arista) Uh-oh, the Soul Patrol is in full effect. The most recent “American Idol” winner is here to make his first big statement since the television show’s finale, and his debut full-length album will no doubt please the hardcore fans that propelled him to No. 1.
Emmylou Harris and Carl Jackson, “I’ve Always Needed You” (Music Avenue) Emmylou is more than just a pretty voice – a fact proved yet again here with these early-career duets with Carl Jackson. Also making appearances on the record: Jerry Douglas, Ricky Skaggs, Sharon White, Melba Montgomery and Cheryl White.
Fantasia, “Fantasia” (J Records) Did somebody say “American Idol?” Who could forget this contestant? Her second record is getting better marks than her debut, and its first single, “Hood Boy,” features Big Boi from OutKast and signals a smart reinvention on Fantasia’s part.
Various Artists, “Spring Awakening: 2006 Original Broadway Cast Recording” (Decca Broadway) Pop music aficionados take note: The music from this new musical was composed by Duncan Sheik – he of “Barely Breathing” fame. Combined with Steven Slater’s lyrics, the music is earning good marks from critics who are getting into this modern adaptation of Frank Wedekind’s 1891 drama.
