By Eddie J., Contributing Writer
When we listen to music, we typically attribute our listening experience to the person on the album cover, not considering or forgetting that there are MULTIPLE people behind the scenes who made that album happen. Of the more vital figures in the recording process are producers; many of whom could walk right by us in the grocery store and we would never know that they’re the reason behind our favorite song’s existence (no, not every producer is a key-name with a solo record or shouts out their name at the beginning of every song). If you don’t already know, producers are generally responsible for the musical (and sometimes vocal) arrangement. Every so often, producers also contribute lyrics. When an artist releases subpar music, they themselves are often blamed, but the producers are really the ones who should take the bag. If they do their job, producers can make a barely talented artist average or good artist great. Many of your favorite artists might not be as successful without them. Here’s a list of some big names that only go as far as their producers. You might be surprised at who you see on the list.

#5 Trey Songz, Key Producer: Troy Taylor
Okay, I may get some flak for even putting Trey Songz in a category that has “artist” in the title, but in my defense, Songz was actually listenable and kind of unpredictable once upon a time.  Now, this isn’t one of those deluded “Oh, he sounded so much better and he didn’t just sing about sex in the early days” rants, because let’s be honest: he’s sung about sex since his first album and in abundance. However, the difference from the “Gotta Make It” album’s sex songs and those on “Chapter Five” is the music and the little fantasies he and his songwriters left to the imagination by not being overtly explicit. His first album, which is considered an R&B classic, was almost exclusively produced by Troy Taylor. Don’t know Troy? His credits include Whitney Houston’s remake of “I’m Every Woman,” Tyrese’s “Sweet Lady,” Toni Braxton’s “Just Be a Man About It,” Aaliyah’s “Miss You” and B2K’s “Why I Love You” (one of their few good songs), just to name a few. As time progressed, more people got added to the mix on Trey’s albums, making a cesspool of forgettable songs. Not to discredit the other producers who have come and gone on the Songz bandwagon, but there’s just no genuinely amazing music-to-artist chemistry by the time he gets to “Passion, Pain and Pleasure.” We saw the foolery when Taylor wasn’t featured on “Trey Day” and songs like “No Clothes On” made the cut. Even with big names like R. Kelly and Stargate, Songz came off as corny, lackluster or like a Diet R. Kelly. Yet, “Ready” filled the void for the general public and guess whose name showed up in the credits the most as a producer? Troy Taylor. “Jupiter Love” anyone?

#4 Christina Aguilera, Key Producers: Too many to list
So Aguilera is great for this list because she makes two points: 1) some artists are only great with a select few producers and 2) NEVER burn bridges that’ll keep you from getting to your hometown. 
The interesting thing about Christina is that she doesn’t really work with anyone more than twice album wise; the only common denominator is Linda Perry who frequently appeared on “Stripped” and “Back to Basics.” I won’t make this into an argument for which albums have been successful or not, because that doesn’t really qualify the greatness of the music. Let’s just say that “Bionic” and “Lotus” haven’t musically put Ms. Aguilera in the best light. Her self-titled debut was an amazing mix between bubble-gum pop and R&B tracks to show off her vocal versatility, and gave her a solid foundation to attract audiences to both catchy songs and her amazing voice, without her even having to touch a pen. By “Stripped,” Aguilera began to take full control and write songs about social and personal issues, which is probably why most of her fans hold the album to such a high standard. The producer behind the bulk of this feat? None other than Scott Storch, who gave the project grungy, raw undertones that made it such a classic to most listeners. Other significant ingredients included Linda Perry’s musical softness and vulnerability in the ballads and the catchy, yet soulful touch of Matt Morris, who co-wrote over half of it (Morris is responsible for Kelly Clarkson’s “Miss Independent,” which was originally written for “Stripped”).

Single Review.
After the very chill, but enjoyable “Once Again” and the last, disappointing “Evolver” that evolved to a place many didn’t care for John Legend to go to, the R&B crooner gives us something promising with his new single “Who Do We Think We Are,” featuring Rick Ross. Why every song needs a rap verse these days, I will never understand, but I digress. Ross’ verse is actually fairly complimentary to the song. Musically, “Think” is smooth and soulful with a contemporary touch; reminiscent of the production on Legend’s beloved debut “Get Lifted.” Lyrically, I would’ve loved the song more if its focus was on how he and his lover flaunt their love and joy as opposed to their wealth. It all comes off shallow. Nonetheless, I can see a music video treatment in my head already and find the song inviting. Will it be a huge hit? Maybe not, but who knows? “Who Do We Think We Are” is the 1st cut from the upcoming album, “Love in the Future.” You can listen to the song here.

Single Review.
Although I’m glad to hear 98 Degrees back on the airwaves after 10 years (shout-out to my boy band lovers and 90’s people!), I’m not a fan of their new single, “Microphone.” The production is basic, ground-level, techno-dance and the lyrics are…. agonizingly self-explanatory. They’re literally encouraging a woman to sing into a microphone. It possibly could be a metaphor for love, like a “step up to the plate and shout out your love for me” kind of thing, but I strongly doubt it. Nick Lachey’s “A Father’s Lullaby” album for Fisher Price is likely more inspiring (Lachey is a new gushing father, by the way). Let’s hope the tracks they’ve reportedly recorded for their upcoming new album are far better. In the meantime, you can catch 98 Degrees on “The Package Tour” with New Kids on the Block & Boyz II Men. You can listen to “Microphone” here.

Album Review.
Likes: Pusher Love Girl, Suit & Tie, Spaceship Coupe, That Girl
Overall: Fantastically eclectic with great production, but weak writing

When you see how many tracks are on “The 20/20 Experience,” you might think “What?! Justin Timberlake only gave us 10 tracks (standard edition) after being absent from music for 7 years!?,” but don’t fret, each track is an abundant average of 7 minutes. The real question is if the lengthy carols were worth the wait and space. Like some of tracks on the previous “FutureSex LoveSound,” all of the songs on “20/20” are tuneful journeys that constantly transform in melody and mood. Part of the album's strength is that the transitions happen so smoothly and complement one another; I found myself steadily wondering what would happen next. If nothing else, “20/20” is a musical buffet that will satisfy any eclectic palette. It's delicious the manner in which Timberlake meets the classic with the contemporary, incorporating jazz, soul, classical, R&B, international and dance. The record's major weakness is the lyrics and, disputably, the tempo. Maybe Timberlake put so much energy into the musicality, he didn’t have enough left to write equally stunning lyrics. There are a few exceptions (ex. Mirrors, Blue Ocean Floor), but most of the content isn’t particularly clever or complex. The content of his first solo album, “Justified,” was more meaningful and sophisticated in my opinion, and that’s saying something, considering he was 11 years younger. As for the pace, if you’re expecting most of the album to be as funky and bouncy as “Suit & Tie,” you will be disappointed. All that sauce, believe it or not, is sparse. The “experience” is often slow and winding and sometimes not in a “good and sexy” way. It gets a bit sleepy there for a second; the musical shifts keep your attention. I imagine Volume 2 of “The 20/20 Experience” (reportedly due out in November), will scratch the up-tempo itch. Anyhow, in total, the production is bloody fantastic and I don’t regret spending money on this album.

It’s show time! After all the heart-breaking back-stories, quirkiness and “I can’t believe they didn’t get through” moments that usually come with the audition and preliminary periods of “American Idol” (how annoying are back-stories at this point?), we have finally arrived at the live shows in which 10 hopefuls battle it out for the crown previously donned by Kelly Clarkson, Fantasia & Carrie Underwood (the American Idol winners they slay my life the most). Let’s get into it.

The Top 10 Thing: 1st of all, let’s talk about the fact that there isn’t a top 12. How long have they been doing that? Did I miss something? Even though it makes the grueling and sometimes daunting to watch competition shorter, I don’t like the fact that there aren’t 12 and no wild-card picks this year. For those who have watched Idol over the years, we all know what a savior wild-card picks can be (see Jennifer Hudson), even though most end up getting voted out again anyway (see Jennifer Hudson). I hated it when they stopped taking 12 on tour in Season 3, so I’m a little glad that on tonight’s results episode, 2 booted contestants will get a chance to compete for a spot in a sing-off. Can’t they get a spot on the show too? Dang.

Nicki Minaj & The Judges: Minaj has proven everyone, even me, wrong when it comes to her judging abilities. Many questioned what insight she could offer since she’s a newcomer (her debut album dropped in 2010)who isn’t primarily a singer, but in an ironic twist, she’s given some of the most useful and constructive critiques. In a very motherly fashion, Minaj gives it to contestant’s straight, but reminds them of their strengths and encourages them to be creative and flexible (as opposed to the usual pushing them into one particular sound or genre). She even had the guts to strongly oppose comments made by label head Jimmy Iovine ( whose company contracts the winning contestant), who judges typically don’t challenge out of “respect.” Keith Urban irritates me often; he seems to always insist the contestant stick to doing one thing. Mariah Carey isn’t doing what Idol hired her to in my opinion. Obviously they wanted someone as established as she not only for ratings attention, but because her skill and experience, and yet she playing it Paula Abdul (a former judge) and super sweet. No, I didn’t expect her to be cut-throat like Simon Cowell, but I expected firmness and concrete assessments. Carey seems to beat around the bush and sugar-coat, but I guess someone had to be the “nice one.”

Predictions: I have to say, I’m pretty disappointed in this season’s crop of contestants. No one is flat-out terrible, but there’s too much “decent” and not enough stellar. My following predictions are not based on who I think is the most talented, but previous voting patterns over the last 11 seasons. Let’s face it, when it comes to voting, it isn’t just about raw talent. Personality, looks, genre, week-to-week song choice and yes, race, are all factors in voting outcomes. Candice and Curtis have the strongest voices in my opinion, but I don’t think either have a chance at winning. I thought Curtis would go far until last night, when he chose to perform “I Believe” by Fantasia. The category for the week was songs by other Idol winners; contestants could choose to sing an original song by an Idol or a song an Idol performed while on the show (many defeated the purpose by doing prior performance songs). The problem with “I Believe” was that the song is so unique to Fantasia, he’d either get compared if he sung it like her, or criticized for changing it. He chose to change it by downplaying it vocally and it was a miss. Candice should win the whole darn thing, but again, let’s face it: if you aren’t adorable and don’t do pop, country or acoustic rock, you won’t win. That being said, among the female contestants, Angie & Janelle have the strongest shot. Angie needs to watch her song choices though. With the guys, I can’t put my finger on it. Maybe Devin (whose voice is so smooth and sensual) and Paul have the best chances. Lazaro is darling, but I don’t think knows what songs best suit him and will pull in votes, therefore his picks will likely send him packing early on. Burnell may surprise everyone and pop up in the top 5 or 6 (there’s always that middle ground person who gets better with time and becomes a favorite). Cree and Amber may go home early as well. Cree’s issue is that she has too much blues and soul in her style. She has that country element, but if Janelle stays on pitch and makes the right selections, there’s no need for Cree. Amber has Candice to contend with, so likely lose that war. However, based on what I said about genre, Amber might knock Candice out because she has a more pop-friendly tone.

Those are my predictions. What do you guys think?
Fox’s “American Idol” airs Wednesdays and Thursdays at 8/7c.