Album Review.
Likes: Lemonade, All in a Day’s Work, Rage, Two Sides, Bye Baby
Dislikes: Secret Lover
Overall: Acceptable album, but the shortcomings will be glaring to avid fans

In the summer of 2013, the hearts of MTV’s Making the Band 3 fans stopped because the near-impossible happened: Danity Kane, the result of said TV program, had reunited and was back in the studio for an album. The all-female pop/R&B quintet unraveled on-air in 2008 after Bad Boy Records label head, Sean “Diddy” Combs, fired 2 members (Aubrey O’Day & Wanita “D.Woods” Woodgett) in the midst of a discussion about business affairs and issues within the group. Groups don’t usually rise from such ashes and if they do, it’s 20 years later, but 4 out 5 members had returned. *Jack Skellington voice* What kind of crazy, lucky, unforeseen miracle was this? Apparently, 1 too good to be true because just a year later, 4 dropped to 3 and after accusations of secret recording alterations and a physical incident, Danity Kane was no more…again. *Bows head* The consolation prize was that their completed album, DK 3, was released regardless. So is this prize beholding of the now invaluable status that it has?

In critiquing this 10-track LP, there are 2 angles from which to assess it: A) as part of a discography from a group with notable changes and B) as a stand-alone with no pretext. In some areas, the angles meet in the middle and intersect. The most glaring component and elemental weakness is the vocals. Absent members Woodgett and Aundrea Fimbres functioned like a triangle with Dawn Richard. Woodgett’s sultry voice was the most base-line R&B and conceivably the thickest, Fimbres was known as the “power-houser” and Richard had trademark emotiveness and rasp. O’Day’s sex-kitten breathiness and Shannon Bex’s sturdiness and clarity were complimentary connectors and helped build the pop proportions in the group’s sound. That said, DK3 is vocally meatless. Without the other layers in between, Bex is significantly more indistinct against O’Day and Richard is taking a hefty backseat, being a queen of pre-choruses. From angle A, it conspicuously doesn’t feel like home. It’s all very “I don’t think we’re in Kansas anymore, Toto.” From angle B, it’s a bland and nondescript ring, but not unusual for pop (though the record is categorized as R&B/soul on ITunes). The ears usually lean on melody in that case, which leads me to the music and production.

With more appropriately leveled frequencies and aural sharpness (aside from occasional over-compression), this is plausibly the best production of the ladies’ collection. 2006’s Danity Kane didn’t sound at all like it was recorded in a state-of-the-art studio and was the poorest quality I’ve heard of a mainstream release. 2008’s Welcome to the Dollhouse was a huge improvement, but wasn’t as well-adjusted in terms of mix, volume and equalizer for its time and the vocals were sometimes muddy. The catch here is the subdued temperament. You get revved up in beginning, only to be parked for the rest of the album.  If you were expecting a gallon of “Lemonade,” you’re only getting a cup. It reminded me of Justin Timberlake’s 20/20 Experience. I thought I was going to get a bunch of “Suit & Tie,” but instead it was a mid-tempo-palooza. The sexy-time songs (“Tell Me” & “Secret Lover”) don’t reawaken, not sizzling like “Strip Tease” or “Lights Out” from Dollhouse. “Two Sides” is engaging (the transition between it and the preceding “Tell Me” is lovely) and “Roulette” will surely win the affection of 80’s lovers; bring out the Flashdance socks. Again, from angle B, the tempo shift may be a slight downer, but tracks like “Sides” make it not so bad of a ride and perfect for night-cruising. From angle A, it’s not the “snappy, sassy and sexy” you come to Danity Kane for. Lyrically, there aren’t any problems, with “Damaged” co-writers Jonathan Yip, Ray Romulus and Jeremy Reeves dominating the credits. Actually, 1 could say the content has stronger character, having a less “plaything” and submissive tone than before.

For someone who’s hardly heard of a Danity Kane and wonders what the phrase means, DK3 will be a suitable pop album. For those who know that Danity Kane is a super-heroine of Richard’s imagination that was inspired by her group members, it will be cherished because it’s a parting gift, but a reminder of how much things changed. It kind of doesn’t represent what they were and at just 10 songs, it feels incomplete and like unfinished business. 

4 years ago today, MTV’s "Making the Band 3" girl group, Danity Kane, released what would be their last album, "Welcome to the Dollhouse.” The group gradually fell apart after two members, Aubrey O’Day & D. Woods, were dismissed by the man who formed the R&B/pop quintet, Sean “Diddy” Combs. As most of the members have tried to maintain their music careers, still heartbroken, yet devoted fans have continued to support them along the way. Shannon Bex, known as the ‘mother figure’ in the group, gave JSaysOnline an in-depth interview, dishing about the downsides of the music industry, the DK breakup and her current endeavors.

​JSaysOnline: It’s been four years since Danity Kane’s final release, Welcome to the Dollhouse, and the group’s disbandment. What’s happened in that time for you professionally and what are you pursuing presently?
Bex: Since DK was officially disbanded in ’09, I took a full year to spend with my husband and focus on the next journey. Then I headed down to Nashville. Started writing and really exploring the type of sound I wanted. The process is still moving forward. I’m not working with a label, which means a lot of creative freedom, but it also means the process takes a lot longer if you want to do it right. 

JSaysOnline: What is your ideal goal as a recording artist and who inspires you the most creatively?
Bex: My goal is always quality of product and the brand I represent as a person and artist. Gwen Stefani is a wonderful representation of a well thought out brand: from her style [and] songs, to LAMB [Stefani's clothing line], to how she balances her family. Everything has a beautiful streamline and consistency. I’m very excited to see what she does next.

JSaysOnline: In 2003, you placed second on NBC’s Fame. You survived Making the Band auditions and got a place in Danity Kane, but the group ultimately disbanded. Starting and stopping seems to be a big part of pursuing a music career. How have the ups and downs impacted you emotionally?
Bex: The entertainment business is always starting and stopping. You have to find a good balance between investing into your work and personal life. You never know when your last gig, job, [or] concert will come. The consistency in your life will come from family and friends. A music career can break you emotionally. So be confident in who you are and what you bring. Don’t make moral sacrifices to succeed in the game. That way, when it’s all said and done, you know you did your best and you didn’t compromise.

JSaysOnline: In addition to emotional ups and downs, there might be financial ones as well. Do you have any suggestions on how aspiring artists can survive until they reach their goal?
Bex: It takes a lot of dedication and perseverance. If you’re looking to get into this business to make millions--or even thousands--of dollars, you shouldn’t be in it. Your focus can’t be monetary. In the height of touring and filming Making the Band, I would fly back home and work at another job on my time off just to make ends meet. I never had time off, still don’t. Haha! You have to love what you do first and foremost. It is a full time job if you want to do it right.

JSaysOnline: Speaking of financial matters, some would assume that an artist is wealthy because they have a gold or platinum record like Danity Kane had. How true is this assumption?
Bex: …I can’t begin to count how many people assume I have a mansion right next to Puff. Honestly, it’s quite sad how hard artists work and how the lack of support and good management and bad business can affect them. That’s why you hear so many stories of celebs going bankrupt. There is so much to understand and learn outside of the stage and nobody takes the time to show you. My time with Danity Kane was a crash course. It was a very educational, hands on experience. The number one thing I came to understand is that it’s truly 90% business, 10% talent. That’s why many extremely talented people don’t make it…they don’t understand business or have anyone around them to help.

JSaysOnline: Coming back to your experience in Danity Kane, I think there was a lot of growth between Dollhouse and the first album. Did you see this growth? What do you think Danity Kane would have blossomed into if not for the split?
Bex: DK was so excited when Dollhouse was finished. However, it didn’t start out sounding like the finished product. There were a lot of phone calls, meetings and frustrating conversations with Puff, A&R and the label. If we didn’t say anything, it would have been good, but more of a slow R&B album. We knew it had to cross-over and be an international pop-dance record. Thankfully, Puff understood what we were trying to accomplish on this record and he released a lot of creativity to us. As for our future, we would constantly talk about the vision of DK. That’s why when I say we didn’t know the split was going to happen, it’s an honest answer. Eventually, we envisioned releasing five albums down the line that would compliment each girl’s individual style. For example, Aundrea’s CD may have been pop with a Latin influence, while mine would have ventured down the country path. Giving each girl a chance to shine in their strength and style, while all five CD’s would have still shared all of our voices and a common DK thread.