Album Review.
Likes: Brand New, Happy, Lost Queen, Know Who You Are
Overall:  70’s & 80’s nostalgic, but a bit air-headed and lifeless.

I’m probably the only person on the planet who has the following opinion of Pharrell’s new album “GIRL,” but I’m also the only 1 brave enough to say Beyonce’s latest effort was far from great, so…
Pharrell is the type of singer/songwriter/producer who can enhance everyone else’s project but his own. Don’t get me wrong, Pharrell’s discography (which consists of 2 solo and 4 N.E.R.D. records) is far from trash, but they lack the same sexy, catchy sis-boom-pow heard on his production credits. He’s the guy who can create a track so appealing, it will make you like a song with even the tackiest of lyrics, but his personal cuts are so much more subdued, they’re arguably almost lifeless. Although “GIRL’s” grooves are threaded with 70’s and 80’s pop string (ex. “Hunter,” “Gust of Wind”), they waft along and before you know it, you’re not paying attention anymore. This album’s music reminds me of the overhead tracks you hear in trendy clothing stores by no-names; take that statement how you will. As for the content, if you’re going to have blasé` music, you can at least have substantive lyrics. The material is so shallow mostly, it’s aggravating. Pharrell gave me nothing to hold onto. The only thing I can give him points for is that he stuck to the album’s title: it’s all about how fascinating this girl, who arouses his infatuation, is to him. I listened to this record several times, trying to give it a chance and…it just didn’t work for my ears. *Deletes from IPod*

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”).

Many recording artists like Kelly Clarkson, Robin Thicke and Beyonce` have complained about record label executives dictating album material and emphasizing the importance of “making a hit” for their financial gain. This isn’t a new or unheard of concept, but what’s surprising is how much labels spend to increase their chances of having a “hit smash.” According to a report by NPR.org, record labels design “writing camps,” where the hottest writers and producers are recruited to gather and crank out songs over a given period. Producers show up with their arsenal of pre-made tracks, and the summoned writers either pen lyrics based on what they’ve heard right then or fit already-written material to the track. After the music and lyrics are married (in some cases via demo), record executives/or the recording artist choose what songs they like best. Once the songs are selected for studio recording, a vocal producer (or the song’s producer) meets with the artist to execute. Fast forward through a couple of board meetings, listening meetings, legalities, final mastering and album photo-shoots, and you have a finished product ready to go on shelves (that’s the abridged, nutshell version of the remaining process). Pulling from NPR’s estimates, a label is liable to shell out $35,000 per song to pay both writers and producers and then another $15,000 for a vocal producer. Studio costs per day can be up to $25,000 and final mixing and mastering costs around $10,000.

The next major step in “manufacturing a hit” is promotion and radio/music-video play, which can vary in cost. In regards to radio, payola, the illegal practice of offering payment for broadcasting, is still an active part of airwave promotion. To avoid getting busted by the law, money may not blatantly exchange direct hands, but insiders take advantage of having acquaintances in radio, if not for making some new “friends.” Most stations purport that playlists are now based on audience market research results, but some still question broadcast practices. Promotional costs (which can include the artist’s air fare, advertisement spots, etc.) can reach up to 1 million. With this type of expensive bill, I imagine record labels get testy when singles like Rihanna’s “Man Down,” which is anticipated to be a smash, under-perform. Artists generally don’t see a dime from their own record sales until the label has recouped all of their expenditures. In the event that the finances are not returned, an artist may be indebted to the record label, get released from their contract or dropped. Sometimes artists get bogusly blamed for under-performance, particularly if they’ve had artistic input. On one season of MTV’s “Making the Band,” P. Diddy implied to Donny Klang that his single at the time wasn’t taking off because he wasn’t promoting it enough himself. 

My beef with these camp systems is that they kill the existence of custom-made quality songs. The tracks aren’t built around the lyrics and the lyrics aren’t built around the artist. That sucks all the heart and soul out of the music. How can you expect for an artist to perform a song with feeling when all they did was come in and record what someone else molded together?  Artists who gain more creative control and input can add a personal touch, but even those with producing or writing prowess like Robin Thicke, get their neck stepped on by label associates who are only concerned with the financial end; as if quality music won’t bring in quality dollars (some make the argument that only shallow music garners the big bucks, but those who make quality music have longevity and generate dollars more consistently). Thicke stated in a magazine interview that exec Jimmy Iovine told him that they would have to hand out narcolepsy pills with “The Evolution of Robin Thicke” and wanted the singer to “make Billie Jean” and reshape the project. As it was, “The Evolution” ended up making Thicke a household name, despite Iovine’s predictions.

Camp systems also allow room for producers and writers to be lazy and not give their best. Heavily requested because they’re “the hottest producer (or writer) out there,” they try to meet the high demand, which can lead to the same tracks and lyrics being rearranged, matched and reused to save time. If two songs sound similar, it’s likely that the same person produced it. The record label just paid $35,000 for a song that’s essentially recycled. Hmph. Song recycling and recruitment of the same 5 popular hit-makers ultimately leads to redundancy in mainstream music and fatigued listeners, who feel that much less inspired to legally purchase music. If listeners don’t feel like a song or album is worth their dime and they don’t pull out their wallet, record label income reduces and the artists make even less. Writing camps are designed to make bank for record labels and save time, but one could argue they do anything but.