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Kelly Rowland: Talk a Good Game (Deluxe)

6/18/2013

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Album Review.
Favorites: Gone, Down on Love, You’ve Changed, Street Life, #1
Dislikes: Sky Walker
Overall: Surprisingly good. Great vocal, decent lyrics, soothing music.

After the previous Here I Am and the sexed up 1st singles for the new Talk a Good Game, I was prepared to hear another dense, sex-a-palooza of an album from Kelly Rowland. Then, when I heard “Gone” (featuring Wiz Khalifa) & the deeply personal “Dirty Laundry,” I had hope for a brighter day and crossed my fingers as I sat down to listen to Game in full for the first time. To my relief, the record was surprisingly good and is the strongest in her collection, next to 2007’s Ms. Kelly. This time, the amounts of lustful tracks are sparse and any innuendos are matched with a little more romanticism or good musical production, providing dimension. The production for “Freak” is so seductive & catchy (Rowland is one of the few artists that EDM fits on like a glove), you’re not paying attention to its rated R content. I’m also pretty sure “Freak” is a sample; maybe Michael Jackson or Stevie Wonder, but I didn’t see any information indicating so. The track is, however, identical to Jamie Foxx’s forgotten single “Best Night of My Life.” I loathe track recycling, but I can see why Nate “Danja” Hills didn’t want to let that one go. Ironically, the most graphic song is so because of expletives, not sexual content. “Sky Walker” unnecessarily includes every major curse word except “ass.” Sometimes, I think Rowland makes too much of a hard-pressed effort to come off “hard” and depart from her former “clean-cut” Destiny’s Child image (I found that image to be positive and constructive, but what do I know?), but back to how Talk a Good Game sounds musically, there are pluses and minuses. It’s has a unified, smooth and relaxed tone with enough percussion to keep things from being sleepy, but there’s a very similar pattern between songs. Also, most of the production is too simple; it comes off like a hip-hop beat sample kit that you would install on a keyboard. Leave it up to Pharrell to bring some freshness with the jumpy “Street Life” (the most exciting track) and the Motown-inspired “Stand in Front of Me” (although “Stand’s” writing is terrible). Other unordinary musical moments can be found on the 80’s inspired “Red Wine” & “This is Love.” “You’ve Changed” gives me delicious Destiny Fulfilled taste and is 200 times better than the Destiny Child February 2013 reunion that was “Nuclear.”

As for the writing, we get to hear what kind of skills Rowland has in that department, as she co-wrote majority of the material. How did she do? Not bad. On the first half of the album, there’s angsty and interesting concept design to the usual topic of sucky relationships that makes Talk a Good Game a great “kick him to the curb” soundtrack. The second and more lovey-dovey half isn’t as strong, funnily. The lyrics there are over-simplified, fragmented or scattered. They lack a certain fullness and structure that would unveil a story. You know what the songs are generally discussing and can categorize them as “about love,” but what about love specifically? Why is the love or the person you’re with so great? Detail is missing. Vocally, Rowland remains primarily in the heart of her range, and thanks to the relaxed energy of the music, her voice is the star of the show. She sings in a very pronounced way that’s full of attitude. For every weakness on this album, there’s a favoring quality. Rowland’s sturdy vocal performance with efficient lyrics in the first half and soothing tunes in the second, there isn’t just “talking a good game,” she’s living it.

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Kelly Rowland: Dirty Laundry

5/15/2013

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PictureCover for upcoming album
Single Review.
Due to the subject matter of Kelly Rowland’s “Dirty Laundry” (in which she collaborated with The Dream), this review is going to be quite different from my usual; it’s more so going to address the content versus the music. The song being true to its title, Rowland reveals the sad and dark truth that she was victim of domestic abuse “almost 10 years ago (the time marker given in the song; former fiance` Roy Williams denied via Twitter that it is he she’s singing about).” She also discusses her career frustrations while Destiny’s Child group-mate, Beyonce`, thrived in the spotlight. It’s difficult enough to openly confront such pain without being in the public eye, so I commend Kelly for her bravery and I hope it inspires others to support a cause, speak out and/or leave their abusers. Vividly detailing specific altercations, conversations and the lengths she went to, trying to conceal her troubles, the track gives insight into the experience and mindset of the physically and verbally abused and can serve as an empathetic, educational tool. “Dirty Laundry” even points out the typical tactics of batterers, like social isolation and exacerbating things one is sensitive about: “He pulled me outside and said ‘Don’t nobody love you but me; not your mama, not your daddy and especially not Bey.’ He turned me against my sister; I missed you.” Musically speaking, the hard-hitting, but winding beat under Rowland’s emotional vocal delivery (sounds like a mix of anger and being on the verge of tears) makes for a very entrancing, memorable tune. I hope that the completed album, entitled “Talk a Good Game (scheduled for a June 18th release),” follows this introspective path as opposed to the tawdriness of prior singles, “Ice” and “Kisses Down Low.” Beyonce` discussed her broken relationship with her father and past miscarriage in her “Life is But a Dream” HBO documentary, Kelly’s sharing her abuse story and Michelle went public with her long-term struggles with depression. Guess reaching your 30’s is about shaking the pain and shame. Sounds good to me. Hear "Dirty Laundry" here.

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The Curious Case of Kelly Rowland

1/29/2013

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The Times Magazine, 2011
A career analysis.
A few weeks ago, Kelly Rowland released “Kisses Down Low,” the latest single to be featured on her tentatively-titled upcoming album, “Year of the Woman.” The track is about what the title implies; oral sex. Ever since the success of Rowland’s urban hit “Motivation” with Lil Wayne, sexually suggestive tracks have become a central piece of her repertoire. Comments from Twitter users seemed to be all in the same vein of “She’s too talented for this,” “It’s the same old stuff” or “We don’t need a female Trey Songz.” I found the comparison to R&B heartthrob Songz, who isn’t even Rowland’s contemporary, most telling. Songz rose to mainstream fame with sexual club-friendly ditties, but after about 3 albums full of them, audiences seemed to become fatigued and unimpressed. Dedicated fans who believed in his talent were disappointed that he all but reduced himself to a sex symbol. Likewise, Rowland seems to be receiving the same reaction. It’s been touch-and-go for the former Destiny’s Child; she just hasn’t hit her stride as a solo act. It’s all quite puzzling really. Kelly Rowland is beautiful, can actually sing without auto-tune and went through the same success boot-camp as megastar Beyonce`. If anyone would know how to follow the yellow-brick road to Beyonce`-like Oz, it should be Kelly Rowland. So what gives? Let me tell you. With Kelly’s career, for every problem that’s solved, another one arises.

Rowland was all set to be a thriving solo star; the launch from Destiny’s Child was carefully planned. In preparation for an eventual 2005 disbandment, DC briefly separated at their “Survivor” prime in 2002. Going after their interests and musical strong suites, Michelle Williams returned to her gospel roots, Beyonce` was scheduled to follow Williams’ release with an R&B record and lastly, Kelly-pop with alternative influence. The schedule got rearranged, however, when Rowland’s collaboration with Nelly, “Dilemma,” became a huge hit and ultimately garnered 2 Grammy nominations and 1 win. In trying to keep up with the single’s heat, a rush job was done on Kelly’s solo debut “Simply Deep,” resulting in mediocre tracks that would fail to chart. Quality material wasn’t the problem for 2007’s “Ms. Kelly;” sassy, personal, smooth and catchy, it was possibly one of the best R&B albums of that year, but it was very poorly promoted. Convinced the material was to blame, Columbia Records released a deluxe edition and an EP entitled “Ms. Kelly: Diva Deluxe” with several new tracks, but it didn’t help. In my opinion, scanty promotion combined with the wrong single choices killed the album’s chances. Where was “Still in Love with My Ex”? It was relatable and contained juicy gossip (the song was reportedly about Rowland’s broken engagement to football player Roy Williams)! Where was the ridiculously sexy “The Show” featuring Tank or “Every Thought is You”?!

At that point, theories swirled. Maybe Kelly wasn’t talented enough. Maybe it was the record label. Maybe it was her manager, Mathew Knowles; maybe he doesn’t know how to manage anyone else’s career well but his daughter, Beyonce’s. By the end of 2009, 2 out of 3 of those theories were taken care of; she was no longer on Columbia Records and sought out new management. Kelly was finally going to have her moment in the sun, or so many had hoped. Rowland’s new home, Universal Motown, began releasing “tester singles” in 2010. Interviews early in the recording process suggested that the new album would feature dance music and Rowland was taken with the genre and wanted blend it with R&B cuts. Like other up-tempo tracks released by the singer, “When Love Takes Over” & “Commander” performed well in Europe and with techno boiling over in the U.S., this seemed like a promising direction. Then “Motivation” happened. The sheet-warmer single shot to #1 on the Billboard R&B chart and #17 on the Hot 100. The upcoming “Here I Am” was about to change from a dance record to an mostly urban sexapalooza and Rowland was going to sell the image for dear life- topless magazine covers, sultry interview details and all. Despite the hard sell, it didn’t seem like many bought it. The sudden image and material change came off like an obvious ploy to move units; only it didn’t. Subsequent singles from “Here I Am,” albeit somewhat under-promoted, didn’t perform well and the album flat-lined. Now, here we are preparing for her 4th album and it appears the record label wants to learn the hard way. Rowland tried to create “Motivation” magic again with Lil Wayne for “Ice,” but like Nelly’s attempt to make “Dilemma” happen again with “Gone,” the songs sounded too similar and it didn’t work. “Kisses Down Low” isn’t working. When are they going to get it through their thick skulls that Kelly, the sex toy, isn’t working?!

Above all else, the central issue in Kelly’s career is that label executives don’t know what to do with her and have failed to acknowledge their missteps in shaping her career. Additionally, they don’t believe in her. From my perspective, they don’t respect her presence, nor do they realize her level of talent or potential and the proof is in the pudding. Executives could put the same effort and energy into Kelly that they do chart-toppers with less talent, but they don’t because I think, inherently, they believe she isn’t marketable. They view her as just an unneeded cast-off from a group. Rowland could better stay ahead of these pitfalls if she was also a writer and/or producer, but she doesn’t have those gifts. She needs a team and a record label that’s going to help build a sound and image that’s more organic to who she is internally. Bring in top-notch songwriters and musicians. Give us heartfelt ballads (I wish she would’ve gotten Rihanna’s “Unfaithful”) and inspiring, energizing pop or dance music. Dance music fits Kelly’s voice like a glove. Her voice just soars on tracks like “Forever & a Day” & “When Love Takes Over.” I saw a clip of her performing Whitney Houston’s “I Wanna Dance with Somebody” (Kelly could benefit from doing songs like the ones Houston did early in her career) and Mariah Carey’s “Fantasy” for tributes; those songs fit her voice extremely well. As it stands now, I think Kelly’s brand is being cheapened and it’s disenchanting.
To see other "Curious Case" profiles, click Kelly Rowland's photo above.

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'You Should Hear This' Music Day

7/31/2012

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Profiling great and underrated music from 3 artists. Click the artist's photo to visit their respective site. To submit an artist for a future profile, hit the "Contact/Info" tab and fill out the form.
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LEAH LABELLE
If Leah Labelle looks familiar, you likely saw her as a teen on season 3 of “American Idol” (Fantasia Barrino’s season). Placing 12th and eliminated way too early in the competition, Labelle’s strong and soulful vocals didn’t get a proper opportunity to shine. I was always hoped that someone would offer her a substantial recording contract. In 2011, the singer inked a deal with Epic Records/So So Def Recordings/I Am Other (associated with producer Pharrell Williams). Her 1st official single “Sexify” shows off her voice, but the content about trying to lure a guy back by vamping yourself up, I don’t care for. Below is a track that surfaced on the internet and to hear a recording from her days at “Idol,”click here.
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KELLY ROWLAND: Love Again
You know Kelly Rowland; the cup of hot chocolate that was 1/3 of Destiny’s Child, one of the biggest-selling girl groups of all time. Many have been wooed by the burst of sexuality that was Rowland’s single, “Motivation,” and its subsequent album “Here I Am,” but I am not. I can understand the 30-year-old singer wanting to mature her sound and express that part of herself, but I find the manner in which sex has been approached to be kind of tacky. Loving to hear Rowland’s voice, but frustrated with her new material, I went back to the previous album, “Ms. Kelly;” a well-written, intimate R&B album that sadly received little record label support and promotion. An associated, equally great EP, “Diva Deluxe,” was released and from it spun the track, “Love Again.” I wanted to profile this song because I believe it’s a jewel more people should discover.

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KATHARINE MCPHEE: Not UR Girl
Another slept on record was Katharine McPhee’s self-titled pop/R&B debut that came shortly after she placed 2nd to Taylor Hicks on “American Idol” season 5 (we’re “Idoling” it up today). With more R&B influence than expected (a pleasant surprise), McPhee’s sweet vocals delivered on an enjoyable, fun album. Check out my favorite track, “Not UR Girl” below.
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Kelly Rowland: Here I Am (Deluxe)

7/27/2011

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Album Review.
Likes: I’m Dat Chick, Turn It Up, Heaven & Earth
Dislikes: Lay it On Me, Motivation
Overall: commercially appeasing, but not artistically. Not sure why an album can’t be both artistically and commercially sound.

After over a year of deliberating, recording and releasing “tester” singles, Kelly Rowland’s third solo album, “Here I Am” has finally arrived. With a declarative title like “Here I Am,” one would expect a powerful, vibrant album with introspective lyrics, like those found on the previous “Ms. Kelly.” That’s not what was delivered, however. Mostly contemporary dance-R&B with thin lyrics and loads of sexual content, “Here I Am” was a clear attempt to be commercial (the best example of this is the latest single, “Lay it On Me”). The record is devoid of artistic quality to the point that it’s infuriating if you’re eager for Rowland to have a brilliant smash record that shows her ability. Glimmers of lyrical potency are seen on the gritty “Turn it Up” (a song about drinking the sorrows of being the “other woman” away) and self-love tracks, “Feelin’ Me Right Now” and “Heaven & Earth.” Vocally, Rowland’s pipes aren’t complimented. The production is the strongest part of the album; mildly sophisticated in spots and generally catchy. I would suspect that the songs are likable enough for the album or its subsequent singles to have decent sales numbers, but I don’t see this album being viewed as impactful or a “classic.” If you want an album to just bump around to, “Here I Am” is perfect for you. If you’re looking for album that will arouse a profound reaction, buy something else. While I’ve been against artists conforming to typical techno-pop, at least “Commander,” “When Love Takes Over”, and “Forever & a Day” (the latter two were excluded from the album) showcased Rowland’s vocals. To read my less objective, unfiltered fan review see http://jsays.weebly.com/8/post/2011/07/kelly-rowland-here-i-am-a-fans-perspective.html 

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Kelly Rowland-Motivation Video

4/4/2011

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I'm glad it wasn't the "Slave 4 U" raunch-fest the set photos indicated. I was pretty relieved that Kelly pushed the envelope only a teasing bit; I'm over pop divas using skankdom for publicity. I don't have much to say about this video other than that. I would've like to see a storyline and more choreography. What do you guys think?
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Kelly Rowland: Rose-Colored Glasses

9/15/2010

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Ms. Kelly Rowland, or "Ke-Ke" as I call her lol, has a new video out; I'm diggin' it. Tell me what you guys think, and if you've seen the "Commander" video, also let me know what you think about "Rose" in comparison. Just hit the "comment" button above. :) Thanks!
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Professionals Sounding Like Newbies

6/7/2010

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So, I’m listening to the new Usher record, “Raymond vs. Raymond” and I get really irritated because almost every song sounds like a Chris Brown, Trey Songz, or Omarion throw away.  It was like whatever songs didn’t make the cut for their albums made it on Usher’s. Instead of sounding like the artist that influenced Chris Brown & etc, he’s sounding just like them. After 16 years in the industry, he’s sounding like someone who’s been in it for 6.

I saw Christina Aguilera’s video for “Not Myself Tonight.” While the sexual antics in the video were not surprising, the sound of the song was. “Futuristic” techno dance pop (ex. Lady Gaga) is currently popular, and “Not Myself Tonight” fits that mold. In Christina’s 12 years an artist, I’ve never seen her be such a conformist. Her albums (in their entirety) are always vastly different in some way from her counterparts’ projects. If “Tonight” is a reflection of how the “Bionic” album will sound, I will be disappointed; as it will be falling in line with not only Aguilera’s counterparts, but the newer generation of pop artists as well. “Rolling Stone” magazine hinted at this idea, saying that the “Tonight” single sounded like it could be from Gaga’s “The Fame Monster” or an outtake from Britney Spears’ “Blackout.”

Destiny’s Child’s Kelly Rowland has out new material (her next album will be her first under a new record label/management) that also has a techno-pop feel to it. In Kelly’s case, it’s not so much that she’s doing dance music that’s the issue. The problem is that the songs “Smooches” and “Commander” (the officially released single) completely lack substance; the lyrics have no point. Again, if the singles are indicative of what the completed album will sound like, we won’t have an artistic or masterful product. The music is catchy and will probably get her some attention, but that’s what new artists do. Put out catchy, pointless songs to get attention and sell a couple of records.  An artist who has been in the industry for 13 years shouldn’t sound like a new artist.

I’m seeing a pattern in music where older, more established artists are musically conforming to whatever is currently popular, resembling the sound of newer artists. This is a problem to me.
You can’t become an icon going backwards. As you progress as an artist and have some years under your belt, you set the standard and the tone for those who come behind you. I’m not sure what the industry horizon is going to look like if artists keep regressing.
I also see this pattern as a problem because the fans who have been following the established artists are going to feel abandoned/or frustrated. They listen to these specific artists because they relate to and identify with them. They are the artists that they have matured with. If the artists have a regressive sound, the fans now have to go elsewhere to find music they can enjoy (if they can find it). If fans have to go elsewhere, the artist loses their primary fan base, and that can be detrimental to the artist’s future success.

Who’s to blame for this and why is this happening?
Well, this typically happens because an artist is trying to stay relevant or popular. As far as blame is concerned, it could be both the recording artist and their record label. The artist may feel it necessary to sound like a newer artist to stay afloat, or their record label may be requiring that of them. Either way, if this is about staying relevant, regressing is NOT the answer. Like I mentioned before, you run the risk of losing your primary fan base when you do that. Furthermore, it sometimes comes off desperate, gimmicky or like a cheap trick and the new sound or persona is just not believable.

A lot of these artists who came out during the 90’s are in an interesting position. They’re at a crossroads point in their careers. They’ll either take the path to greatness and become full-grown icons, or they’ll just be fairly relevant or dissipate. They’ve now been around long enough to where they have SOME respect and control of their careers, but they’re still young enough to have to play by the current industry rules and meet certain expectations. Cards have to be played right, and steps have to be taken carefully. All I know is that regression is definitely not the answer. Take the case of Madonna. In my opinion, it’s not a coincidence that in comparison to her previous, platinum albums, her latest album “Hard Candy” only went gold. “Hard Candy” featured the production stylings of Justin Timberlake and Timbaland; artists the generation BENEATH Madonna’s. The material on “Hard Candy” could have easily been on a Nelly Furtado or a Britney Spears record. Moral to the story, sounding like the kids under you doesn’t work.
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StuCk In mY HeAd

6/6/2010

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Today’s “Stuck in My Head” song is Kelly Rowland’s “Commander.” I hate the fact that she’s using auto-tune and that the song is essentially about nothing but dancing, but some way, somehow, this song has remained in my psyche.
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Kelly Rowland Back on Her Feet?

9/10/2009

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Ok Destiny’s Child fans, I’ve got some great Kelly news. Just in case you didn’t know, Ms. Kelly, (Or “Keke”, as I affectionately call her lol) DOES INDEED have a new manager. His name is Jeff Rabhan and he is a part of “Three Rings Projects” (TRP), which currently manages Jermaine Dupri, Kelis and American Idol alum Elliott Yamin. Kelly let everybody know via Twitter, saying “Everyone has been asking, I thought you all knew, I’ve a new manager, his name is Jeff Rabhan.”  (Yes, she actually posted this, I saw it myself.) Kelly also reported on Twitter in several posts that she is currently in the studio and working on a new album (I would quote them all verbatim, but my twitter is acting a fool right now lol). She said in a T.V. interview with Craig Ferguson that she plans for her next album to be a dance record. She didn’t mention if she’s been signed to a new label yet, however.
Just to give a brief back-story, Kelly ended her management relationship with Matthew Knowles and subsequently left Columbia Records (See January 28th post). Kelly fans are hoping that she’ll be in good hands with this management team. Because I’m one of those “hoping” fans, I did a little bit of homework on Mr. Rabhan.
Rabhan recently formed TRP with music biz vets Stuart Dill and Cal Turner III, after reportedly having his contract terminated by “The Firm” management team with Arthur Spivak (See “Associated Links” tab on the left for the associated news article). Although I’m not a big fan of The Firm because of the trouble they caused Kelly Clarkson and Fantasia Barrino, this still looks pretty bad. TRP also doesn’t have a website yet; only a purchased domain. Fishy, if not unprofessional. To Rabhan’s credit, he’s worked with Michelle Branch (a pretty notable artist) and fought to defend Kelis when she was dropped by Jive, which is a sign of respecting artist integrity. We all know that Kelly could use some respect as an artist. Also, Kelly posted on Twitter that Jeff brought her a care package when she was sick in bed. Awww.  Despite some of the more negative tidbits I mentioned about Rabhan, Kelly is already showing signs of progress and success. French house artist David Guetta’s hit single “When Love Takes Over” features Kelly, and is burning up the chart in Europe. The single has already gone Gold (RIAA) by itself. The accompanying album, One Love, has two other tracks featuring my girl; “It’s the Way You Love Me” and “Choose”, which also features Ne-Yo. Rowland also just wrapped a season of hosting Bravo’s “The Fashion Show.” It hasn’t been confirmed if the series will return for another season.
In other Kelly-related news, Rowland is sharing more about leaving Matthew Knowles. According to CYInterview, Kelly was quoted as saying "I just felt like I wasn't growing anymore (with Music World Ent.). It took a long time to actually come up with the final decision because it was something that you think about before when you feel like you're almost hitting a ceiling. I wanted a change. I needed a change. So that's what happened".
Interesting….
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