Album Review.
Likes: Maria, Sick of Sittin', Twice, Unless It's with You
Dislikes: Accelerate
Overall: Veers from intriguing to mediocre, but hints at future artistic revitalization

​These days, the average artist drops a new album every two years. This doesn't leave much room for creative growth and contemplation, especially if one is touring and promoting the entire period between. The general end result is an array of rushed and undercooked projects that won't have a lasting impact. In that respect, Christina Aguilera is one of many acts who benefitted from starting a career in the late 1990's and early 2000's. Once upon a time in a galaxy far, far away, it was standard for releases to be 3-4 years apart. The one occasion Aguilera deviated from this, the easily forgettable Lotus (2012) came. Now, after exceeding her usual interval by almost double, she's returned with Liberation. However, it doesn't sound like a lengthy hiatus made much of a difference this turn. When you listen to it, you may ask, "This is all after six years?"
 
Liberation's packaging and opening numbers make promises it can't keep. A bare-faced, wet-haired Aguilera dons the cover. The lead track is a brief, but breathtaking piano and strings instrumental. Our star chanteuse calls, "Where are you? Are you there? Remember?," as a baby laughs in the background. This segues into "Searching for Maria," an interlude where Aguilera wistfully sings the eponymous tune from The Sound of Music (a favorite of hers). Her voice echoes through to "Maria," which samples the ever-haunting 1972 Michael Jackson song of the same title. Jackson's distressed pleas to a love lost lay the stage for her to discuss losing herself. The repeat mentions of Maria are a reference to her middle name; it's how she chooses to represent her once unsullied spirit. She bewails "How was I supposed to know that it would cost my soul? And how am I supposed to face this lonely life I've created?...Was too young to know the difference...I believe my own lies...I'm facing the mirror...Why don't I see her? I just need to see ya', Maria...Don't you keep on runnin' from me." It's a very compelling first six minutes. You're prepared and eager to learn more about her feelings of displacement. Are they personally or professionally based, or both? What is she 'liberating' herself from? Will the album's conclusion be a cliffhanger, or will it reveal that she found Maria? None of these questions are answered to a significant extent. None. It's like being all packed up and ready to go to Disneyland, but your dad never arrives to pick you up.
 
The rock/soul, Woodstock-ish "Sick of Sittin'" implies her exasperation with an industry driven by money versus art, but the active word here is "implies." What it puts forth would be sufficient if its allusions were expounded on in future songs, but alas, they are not. Next is "Dreamers," a prelude to the single "Fall in Line" with Demi Lovato. Little girls tell what they want to be when they grow up, and assert a resolute position of strength. The duet insists to young ones they don't have to live within rigid, gender-biased paradigms. Though it has a valuable message, it isn't distinctly personal. It's also not very enthralling, despite it being dispensed by two powerhouses known for their emotive performances. 

By C. Barrera, Contributing Writer
Christina Aguilera has been in the spotlight many times due to her drastic musical and visual style changes that have surprised more than one. Aguilera has been praised for both her audacity and vocals, while being criticized for those exact same reasons (ex. being accused of having a negative attitude and over-singing). Through the criticism and changes, Aguilera has seen much success, but here lately, things seem to be in a strange spot with underperforming albums and a creative direction that seems unclear. The theme of her latest album “Lotus” is that she’s an unbreakable flower that rises even in the worst conditions, but is she really unbreakable?

In her debut "Genie in a Bottle" era, she was an ultra-clean, hit-making, pop princess machine fashioned after her predecessor and contemporary, Britney Spears. This design being the choice of her record label, RCA, Aguilera naturally didn’t want this. Taking advantage of increased creative freedom for her second album, she changed completely and said goodbye to the “genie.” Her music, look and even her fan base evolved to what I like to call a freedom anthem: “Stripped.” Controversial, sexually charged and yet, vulnerable, “Stripped” was an empowering album that spoke to the outcasted and ridiculed, and remains the favorite album of many (myself included). Another chameleon-like change came with "Back to Basics." “Xtina” (the moniker Aguilera took on during “Stripped) turned into Baby Jane; a classy, vintage diva inspired by the 20’s, 30’s and 40’s music that she loved. It was a risky project, but absolutely marvelous in content.

Christina turned the valve and let her creativity flow until “Bionic” was released. We all know the album was a commercial failure, and RCA likely had a lot to do with that. Some songs were total masterpieces, while others tried too hard to fit into the electro-pop mood of 2010. She was in need of a rebound. “Lotus" received mixed reviews, but fans seem to agree that it’s an extraordinary album that deserved better promotion. In conjunction, my opinion is that the album has a wonderful concept and includes both lyrical works of art and commercial songs that could've been chart toppers with proper marketing. However, the album does leave you wanting more. All of her previous albums had a theme that took you on a satisfying journey, but 80% of "Lotus" is dedicated to addressing haters and gives you a sense of paranoia. Aguilera claims to be unfazed and doesn’t care what people say, yet she sings to them in 8 songs? The other 20% are songs about sex and love (read the review by J.Says here). Fascinatingly, not only did there seem to be little interest in the project by RCA, but by Aguilera herself, which leads some to think she might be about to break ties with her label. Considering the arguable neglect of Aguilera’s music that started with the “Bionic” album, a separation might be a positive thing (she reportedly gave up her coveted spot on NBC’S “The Voice” to concentrate on her work).

Now, the main question is: what direction should Christina go in now? Right now, she gives the image of loving her shape (she’s constantly scrutinized about her weight), her music and being in a safe place. She’s so unpredictable that it’s almost impossible to foresee if she will follow a more commercial path, or maybe, what I would love the most, an experimental album in the style of “Stronger That Ever” or “Birds of Prey” (from “Bionic”). Guess we’ll have to wait and see.

--Could Aguilera’s change in producers be at the center of her successes and failures? Read her portion of “5 Artists Who Are Only as Good as Their Producers”
--To see other “Curious Case” articles, click Aguilera’s photo above.

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”).

Album Review.
Likes: Your Body, Blank Page, Best of Me, Empty Words, Light Up the Sky
Dislikes: Red Hot Kind of Love, Let There Be Love
Overall: Interesting production, redundant lyrics, more dance-pop than necessary

I’m frustrated with Christina Aguilera. Her last album “Bionic” was a sad attempt at commerciality and slap-in-the-face to the artistry she’s strived to maintain. The poignant and beautiful half of the album was almost negated by the techno-dance portion, as it was so disconnected from the singer her fans have come to know. In some ways, the new “Lotus” is an enhanced, improved version of “Bionic,” while in others ways it’s more of the same. There’s a lot more techno and effects and less live instrumentation on “Lotus” (shooting for commerciality), which is a maddening downside, but the added blend of rock and R&B keeps it from being typical dance music and sounds more like something Aguilera would record. Vocally, Aguilera is sometimes pleasantly restrained (carefully placing powerful notes as opposed to over-singing), but abrasive in other cases. The sultry, dynamic vocals we heard earlier in her career are absent. 

Lyrically, “Lotus” lacks maturity and hints that Aguilera is running out of ideas. There are more than enough songs about sex and telling off haters. We get it Christina; you’re proud of your sexuality and tired of scrutiny. Apparently, the songstress hasn’t gotten the memo that introspective, emotional and inspirational songs are her strong suite and what people love to hear from her. Tracks like “Blank Page” and “Light Up the Sky” are aces and have the potential to resonate more deeply with her audience. The album’s introduction explains why it’s called “Lotus,” as Aguilera speaks of leaving the past behind, saying “goodbye to the scared child inside” and healing from brokenness, but the tracks that follow only somewhat align with that story. I expected an experimental, inventive, meaningful album; consider me disappointed. You can hear an album sampler of the standard edition below.

Single Review.
When I heard Christina Aguilera’s new single was going to be an up-tempo track about a casual hook-up, I was beyond unenthused and irritated. I thought “didn’t we do this with the last album (“Not Myself Tonight,” a song with a similar theme, was the lead single for the underselling “Bionic”)? Plus, I’m tired of Aguilera using the overt sexuality card. However, when I listened to “Your Body,” I found myself bobbing my head. The lyrics weren’t that explicit and the production, although using elements of techno-dance for commerciality, blended enough R&B to not be the standard pop song. It’s ok with me. You can listen to "Your Body" here.