​Album Review.
Favorites: Sorry Not Sorry, Tell Me You Love Me, Daddy Issues, Games, Smoke & Mirrors
Dislikes: Lonely, Instruction
Overall: Lovato finally focuses on R&B; her first comprehensively great album in a while
 
I was having a conversation about Demi Lovato's discography when my friend said this: "With Demi albums, you have a couple of gems--which are usually singles--and then a ton of filler. Clearly, she's talented and has a voice, but the albums can't stand as a whole." I didn't totally agree, but I could definitely understand that criticism. The last time I enjoyed something of hers on a comprehensive level was 2009's Here We Go Again. Just when that started to bug me, Tell Me You Love Me arrived consistent and easy to play through. To top it off, Lovato stopped tantalizing me with her R&B nibbles and finally committed to having a project fueled by the genre. I almost felt spoiled.
 
Tell Me You Love Me snatches your attention from its spunky onset, "Sorry Not Sorry," and never lets go. Its fullness in sound and atmospheric quality secures its verve and its iron grip on your ear. Regardless of tempo, every track booms. It seems the production was devised to give you the essence of being right there in the studio with Lovato and a band (ex. the title song). This is an essence that can only be captured listening to the CD directly or in a lossless digital format, such as .WAV. Computerized effects are used alongside and independent of live instruments, but they don’t diminish the vibrancy. They’re made to blend in or mimic the real deal. How about that; applying effects how they should be, instead of intentionally making “music” perfect for a video game? Several numbers have a rousing display, orchestral emulations (ex. "You Don't Do It for Me Anymore") and/or old-school morsels (ex. "Ruin the Friendship"). "Sexy Dirty Love," for instance, is "70's/80's funk meets futuristic pop," à la Timberlake. The record's main producers could be divided into 2 teams. Warren "Oak" Felder shares most of his 5 credits with Zaire Koalo and Trevor Brown, while Mitch Allan splits 7 with Scott Robinson. The 1st team previously collaborated with R&B singer Kehlani. A good amount of Allan's work is with American Idol alums and the Disney Channel. His and Robinson's "Hitchhiker" is the lone case where it's apparent a producer did more than 1 song. It's so musically similar to the preceding "Concentrate," it can't be enjoyed on its own. It's otherwise lovely.
 
Vocally, Lovato continues her campaign to show what she's made of. She compliments her LP's staginess, as she blows down doors and enticingly coos at all the right times. Moments that are flaunty and more obviously about performance (ex. "You Don't Do It for Me Anymore") are just as enjoyable as those that are emotionally driven (ex. "Smoke & Mirrors"). However, the stridence in her voice make you prefer the points where she rounds her notes and goes for power versus height. Many of her "money notes" are pretty piercing, such as at the climax of "Sorry Not Sorry's" bridge. 

​Single Review.
 
Teasing an upcoming single with snippets, cryptic social media posts and pseudo scavenger hunts used to be a sporadic thing in popular music. It was usually reserved for "comebacks," returns from hiatuses, or shifts in musical style. Now, it's a standard promotional tool for all new material, no matter how ordinary or ineffectual. The tactic has become a catfish of sorts. Even when the snippets sound appetizing, the main course ends up tasting bland or just plain awful. So, when Demi Lovato started to rib her new single "Sorry Not Sorry" on Instagram, I didn't get too invested. The few electronic notes I heard had a little bump to it. I concluded, "At least one part of this song will have some flavor." The seconds-long warped vocal warned "Payback is a bad b***h, baby, I'm the baddest." I rolled my eyes and thought, "Demetria is still in this childish, bravado mode," and left it at that.
 
In a rare moment, the teasers correctly represented the final product. "Sorry Not Sorry" is a zesty and contagious electro-R&B/hip-hop brew, produced by Warren "Oak" Felder (according to Tidal credits). Felder's resume includes extensive work with Nicki Minaj, Alessia Cara, Kehlani and Elle Varner. Lovato got her start and excelled in pop-rock, but the vocal stylings that serve as evidence of her upbringing with soul music make you crave and delight in her R&B deviations. The shrillness of her voice is still something for the ears to contend with, however. Lovato co-wrote the song with Felder, Zaire Koalo, Trevor Brown and Sean Douglas. Koalo and Brown collaborated with Felder on Kehlani's  debut LP, SweetSexySavage. "Sorry Not Sorry's" premise of making your enemies sick with how well you've recovered from their inflictions is what girl-pop is made of. While the lyrics are well-formed for the most part, the superfluous expletives in the pre-chorus follow the trend of being overly conversational and casual. I said to a friend, "Songwriters are lazy with lyrics these days. They read like text messages." The previously quoted "payback" line is trailed with "You're f**king with a savage." This leads me to Lovato's "Ford tough" kick.
 
If you've kept up with Lovato's career, you're aware she's known for her unfiltered, and sometimes impulsive, reactions (especially on social media). She proudly touts her brand of frankness as some type of weapon against dishonesty and "fakeness." This demonstrates that, despite being nearly 25 years old and overcoming obstacles that would age anyone, she still lacks the maturity and wisdom to understand that honesty and brashness aren't synonymous. While commenting on her 2015 album Confident, she said: "There's nobody in the pop industry that says 'Don't f**k with me...I'll kick your ass'...that's the thing; I'm totally that." When artists face adversity and barrages of naysayers, it's comprehensible that they'd want to assert themselves. The tough guy/tough girl shtick quickly gets old and becomes off-putting, though. Christina Aguilera was 13 years in the game, still talking about her haters on Lotus. Anyhow, lyrical and boasting annoyances notwithstanding, "Sorry Not Sorry" is a bop. I'll be purchasing the "clean" version. You can hear the song below. 

Album Review.
Likes: For You, Stone Cold, Wildfire, Father
Dislikes: Stars
Overall: Passionately done; don't care for the hip-hop and techno elements
 
For the last 3 album eras, I've had pre-release jitters that I will lose Demi Lovato to the pop idiocy and immature hyper-sexuality that, for whatever reason, comes with an artist hitting their early 20's. Either a single or an interview quote makes me think "Oh no, here it comes." During her press tour for the seductive panty-experiment bit "Cool for the Summer," she repeatedly described her forthcoming music as 'provocative' and expressed an artistic admiration for the often polemical Nicki Minaj and Rihanna. I feared tricks, tackiness and shock value were ahead with Confident, but as the last 2 times, Lovato teaches that "everything is not what it seems." The 23-year-old keeps cutting through the customary trappings to show development or sustainability in either a small or large way. When her writing credits were chopped to less than half on 2011's Unbroken and she had to compete with more than 25 other scribes on the follow-up, Demi (both LP's were littered with swanky songs that didn't sound like her), she fought for presence with vocal maturation and touches of Lovato-lyricism. Not to get lost in the waves again, she held on tight with both hands to the surface this round. From top to bottom, Confident is commensurate with its title.
 
Aggression is an active ingredient here, with tramping hooks, exerted singing and fervent lyrics. The smatterings of hip-hop and electronic-pop imply a chasing of trends (ex. they slap rap verses on everything these days; a feature by a caricature like Iggy Azalea is particularly unnecessary), but its synchronization with the record's attitude makes it seem like a conscious decision versus a ploy. Testing herself vocally, Lovato bellows and applies deliberate styling on tracks like "Stone Cold" (ex. mimicking a gospel/soul wail on the 'know that I am' chorus-line) and "Wildfire" (one of her first attempts at sultriness). In an age where big, beautiful and skilled voices are like four-leafed clovers, it's commendable that she'd push herself. However, it's audible that proper technique wasn't employed, distracting from her efforts and making it even clearer that she's a part of the "diva extinction" generation. The industry doesn't hone, protect and train talent like they used to. That's why you have singers stepping into shoes before they can fit them and experiencing cord injuries, like Adele, Ariana Grande and Meghan Trainor have, but that's a conversation for another day. On "Stone," for example, Demi's attempted belts and wails land as shouts and oddities (especially when it was performed on SNL). The song  itself is problematically structured. Instead of progressing, it power-plays from the 1st chorus.

Album Review.
Likes: Nightingale, In Case, Shouldn’t Come Back, Warrior
Dislikes: Heart Attack, Neon Lights, Really Don’t Care, Something That We’re Not
Overall: Disappointing, conformist and doesn’t do Lovato’s ability justice.

A decent singer-songwriter who could play both guitar and piano, Demi Lovato seemed like a burgeoning talent to watch with her first 2 albums, “Don’t Forget” & “Here We Go Again.” On 2011’s “Unbroken” however, it appeared her record label, Hollywood Records, wanted to take a different direction by significantly reducing Lovato’s writing credits and giving the album a mainstream-friendly techno-dance ambiance versus her usual pop-rock. On the new “Demi,” Lovato’s writing credit has been restored, but not without the help of a lot more people (an average of 14 writers & 8 producers more than “Forget” & “Again”) and the album is practically doused in electronic-dance effects. Just like JSaysOnline contributor Eddie J. stated in “5 Artists Only as Good as Their Producers,” when you add too many people to the creative team, it can ruin a perfectly working formula. Lovato may make it onto the Hot 100 Billboard chart (especially with tracks like “Neon Lights” that sound like a sampling of current hits), but the budding artistry that could make her formidable and give her longevity is in jeopardy.

“Demi” is so difficult to listen to. Musically, it’s over-produced and noisy; there’s so much going on. The sweet and simple melodies (sometimes with a gradual build-up) that made some Lovato tunes endearing (ex. Catch Me, Falling Over Me, Fix a Heart) are scarce. If we’re going to get noisy, let’s at least rock out (ex. Remember December).  Vocally, there’s a wearing over abundance of high-pitched emo-rock whines and squeals. The vocal richening and progress heard on “Unbroken” is best featured on “Nightingale.” Lyrically, Lovato tries to redeem herself and leave familiar traces of her writing style (ex. “Without the Love,” “Warrior”), but they get lost in the wash of songs that paint a picture of a high-school romance and all the adolescent reactions that come with it (ex. “Really Don’t Care). The fact that the same young woman who wrote “For the Love of a Daughter” (from “Unbroken”) is the same one who co-wrote “Heart Attack” throws me. I can’t figure out what was more of a reductive step; writing juvenile lyrics or the concept recycling (“Never Been Hurt” is identical to the “Unbroken” title track).

It’s so ironic how self-titled albums (particularly those released after a debut) are never worth the declaration and are no way indicative of who the artist is. Promoted as her “most personal album,” (even with a very symbolic cover) it’s twisted how there doesn’t seem to be much Demi on the record at all. “Demi” sounds like a compilation of demos for other or newly-signed pop acts. While in the early stages of recording, Lovato said in an interview that “fans can expect a less dancy, pop album. No dubstep for me; I'm good. I miss hearing real instruments on the radio...I want my lyrics to mature and my sound to mature just like I have." Hollywood Records clearly wasn’t feeling her on that. This whole thing reminds me of how RCA called themselves whipping Kelly Clarkson into pop shape on the “All I Ever Wanted” album after the rebellious “My December” didn’t move units. It’s also reminding of how Britney Spears’ “Circus” failed to tell the tale of her 2007 breakdown. Lovato sought treatment at a rehabilitation center for an eating disorder and self-harm, and was subsequently diagnosed with bi-polar disorder. Aside from the hit “Skyscraper,” which is honestly a love song written before Lovato’s treatment, the revelations of that time have yet to be heard musically. Hopefully, Lovato will find her true voice again.

Single Review.
Like most Lovatics (Demi Lovato’s fanbase), I was looking forward to the release of the 1st single from her upcoming album, “Heart Attack.” I was especially curious after I listened to an interview in which the X-Factor U.S. judge and former Disney darling said she was “done with EDM (electronic dance music)” after recording a somewhat conforming album, “Unbroken,” and missed “hearing real instruments on the radio...I want my lyrics to mature and my sound to mature just like I have." “Heart Attack” unfortunately fails to be reflection of Lovato’s new approach. One thing I’ve always said in praise of Lovato is that with each album, growth is seen and she’s a budding artist to watch. The single sounds like its taking a few steps back with EDM effects and shockingly childish writing: “You make me wanna act like a girl; paint my nails and wear perfume. For you make me so nervous that I just can't hold your hand.” The theme of the song is that she’s reluctant to fall in love for fear of a broken heart, so she internalizes her excitement, even though she’s breaking her personal rules. It seems like there would be a more thoughtful, mature way to illustrate this concept. I want to rewrite the song for her. You can listen to “Heart Attack” below.

Rock & Rant-when I need to quickly rant about music.

Fox’s “American Idol” has been the kingpin of talent-based programming since the “reality TV” boom in the early 2000’s, but the list of new talent shows with their own distinctive spin on the “Idol” blueprint is ever growing, and each program (including “Idol”) is desperately resorting to lots of blatant gimmicks to attract and/or retain viewers. Playing with the judge’s panel has been a popular (and annoying) trick. Shows like NBC’s “The Voice” and ABC’s summer series, “Duets,” employed all-star casts (including Grammy winner Christina Aguilera and “Idol” alum Kelly Clarkson) to garner ratings. When Simon Cowell didn’t get the attention he anticipated on his U.S. edition of “X-Factor” by rekindling his bantering “Idol” flame with Paula Abdul, Abdul and Pussycat Doll Nicole Scherzinger were scrapped for Britney Spears and former Disney darling, Demi Lovato. With every few judge rotations, “Idol” ups the celebrity ante; from talk-show host Ellen Degeneres, entertainer Jennifer Lopez and rock legend Steven Tyler, to one of the biggest-selling divas of all-time, Mariah Carey. Word on the street is that “Idol” is looking to fill another empty judge chair with singer Nick Jonas or hip-hop starlet Nicki Minaj.

While I’m happy to see that in most cases, qualified industry personalities are involved in judges’ picks, the moments where that’s not the case agitates me because it’s SO OBVIOUS that it’s all about ratings and not about providing aspiring singers with proper mentoring. I understand that these programs are in the business of TV and music is going to be an afterthought, but making music a 2nd-in-line priority could positively affect viewership. “X-Factor” sent the clear message they were only concerned with statistics when they paid millions to contract Spears, who has been criticized her whole career for lacking substantial talent. Granted, the pop queen is familiar with touring, promoting and the dark side of fame, but the idea that she will be evaluating, coaching and choosing songs for contestants seems to be a bit ironic and inappropriate. Lovato is a singer-songwriter with a solid voice who plays piano and guitar, but she’s been a major artist for only 4 short years. Jonas is the same age as Lovato with 2 more years on her career. Minaj, whose abilities and consistency is often debated, is equally unseasoned with just 3 years in the public eye. These celebrity names might be beneficial for ratings, but it may not be for the contestants who have to improve weekly to receive votes and hit the ground running once they win and sign a recording contract.

Why should TV execs care if contestants are properly nurtured? Well, if they aren’t nurtured, the contestants may give lackluster performances that no one will want to watch and release albums that no one will want to buy. If their talent level is mediocre or the sales aren’t there, the record label will either drop or put little energy into them. With that result, viewers who voted will feel disillusioned about their perceived input and stop watching. There’s a whole trickle-down effect. I strongly believe I’m onto something, considering “Idol’s” ratings have slowly, but surely decreased with each season, voter numbers for other music programs aren’t as high and most winning contestants don’t go on to have flourishing careers. For example, out of 11 “Idols,” only 2 (Kelly Clarkson & Carrie Underwood) have had massive record sales. “Voice” has yet to produce a top-billing act and we haven’t heard much from “X-Factor’s” inaugural winner, Melanie Amaro.

Since we’re on the subject sales, there are many possible reasons that most winning contestants don’t do well. Sometimes the winner is an indifferent talent who flew under the radar all season or was liked for a superficial reason (ex. looks or personality). A big chunk of it is how the record label handles things after the competition. There have been many cases of poor promotion and marketing; sometimes the label doesn’t even try (like with “Idol” 9 winner, Lee DeWyze, for example). A great illustration of marketing missteps would be the management of Idols Ruben Studdard and Fantasia Barrino’s careers. Both were pigeon-holed into core R&B/soul. This was a mistake, considering the demographic that watches “American Idol” consists mostly of Caucasian women ages 18-49 with a cluster of southerners and female teens who do most of the (repeat) voting. Let’s face it: this population doesn’t listen to R&B. If anything, they listen to pop/R&B (the key being pop comes 1st). Couple this with the fact that most young people illegally download music and primarily purchase singles versus albums, and you have poor record sales. Additionally, the “Idol” audience wants to see an artist do whatever they saw on the show; which is a versatile mix of popular contemporary music through the years. The less mainstream, pop or country your album is, the less likely the viewers who voted for you will buy your stuff. Guess the record executives didn’t anticipate TV politics affecting their business. Maybe TV and music shouldn’t blend together if they aren’t going to consider each other’s modes of operation.