How do you follow mega-success? That's the question many pop artists have faced after scoring a career-defining achievement of commercial, if not also critical, acclaim. Kelly Clarkson's first album, 2003's Thankful, landed with high expectations, and mostly lived up to them. But it was her second album, Breakaway, that cemented her status as a legitimate pop artist beyond that reality show she once did (what was it called?). Breakaway arrived slowly, its first single, the title track, slowly becoming a #1 hit late in 2004. It was the second single, "Since U Been Gone," that sealed the deal, ensuring Kelly Clarkson would forever be remembered as one of the '00s top pop artists. Three other major hits followed, as well as international success, and two Grammy Awards.
If an artist's second album is that "difficult second album," then when that second album shatters all expectations, it makes the third one the real doozy. What's a girl to do? A certain blonde pop artist faced exactly this dilemma in the mid '80s, having arrived with a solid first album, who then followed it up with a phenomenally successful second album and career-defining hit single. I'm talking about Madonna, of course, and Like a Virgin, and while My December is no True Blue, Clarkson's third album does bear some strategic similarities to Madonna's third effort: it doesn't stray to far from the winning formula of Breakaway, although it stretches those boundaries and shows more maturity.
If an artist's second album is that "difficult second album," then when that second album shatters all expectations, it makes the third one the real doozy. What's a girl to do? A certain blonde pop artist faced exactly this dilemma in the mid '80s, having arrived with a solid first album, who then followed it up with a phenomenally successful second album and career-defining hit single. I'm talking about Madonna, of course, and Like a Virgin, and while My December is no True Blue, Clarkson's third album does bear some strategic similarities to Madonna's third effort: it doesn't stray to far from the winning formula of Breakaway, although it stretches those boundaries and shows more maturity.
If only it hadn't arrived with such baggage. No album this year has garnered more press, but sadly, it swirls around the story more than the music. Clive Davis reportedly didn't think it contained any hits, Kelly fired her manager, Kelly's tour was cancelled, "Never Again" wasn't a hit (It hit #8--last I checked a lot of artists would kill for a top 10 hit, but whatever). Critics' reactions have been mixed although mostly positive. Yes the album does suffer from an over-abundance of ranting woe-is-me negativity, reaching its nadir with "Haunted," ("I wish I couldn't feel at all, let me be numb, I'm starting to fall"). But honestly, that's the only song here I don't really like.
I take issue with the detractors that say this album lacks "pop" moments. First off, if Kelly Clarkson wants to take control of her music (no easy feat for sure) and move beyond hooks and airplay-ready tracks, then more power to her. Second, she's got them here anyway. "One Minute" pulses with upbeat intensity and a great chorus. It's the album's best "up" track, and would make a fantastic choice for third single (are you listening RCA?). Too bad the second slot's been taken by "Sober," a somber ballad that, while being a lovely song, probably wasn't a good choice to follow "Never Again," the angry first single. It has the album's best lyric too ("picked all my weeds, but kept the flowers"). "Don't Waste Your Time" and "How I Feel," two of the other more upbeat songs are good too, although swaggering "Yeah" doesn't quite fit.
It's no secret that Kelly rocks out more on My December than on Breakaway, although from the reviews you'd think this was an about-face (remember "Hear Me?" "Addicted?" "Behind These Hazel Eyes?"). "Hole" opens with frenetic electric guitar and never lets up. Better yet is "Judas," an energetic rock song with a fantastic keyboard-drenched chorus. And "Never Again," is good too, even if it doesn't quite reach its goal of being the new "You Oughta Know." "Can I Have a Kiss," sounds like it should be a playful number by it's title, but ends up being one of the album's less distinctive moments.
If "One Minute" is the album's best upbeat track and "Judas" its best rock track, then "Be Still" is my pick for best of the slow songs. The tender song, underscored by acoustic guitar and strings, is a nice counterpoint to the rage and self pity of many of the other songs. Darker "Maybe" is also mostly a nice tender ballad, although Kelly lets out a little fury by the end. "Irvine" is the album's real surprise. It's stripped down to mostly just guitar and Kelly, who tones down her belter-ready voice, giving it a quiet, battle-worn quality. "Chivas," the album's likable scratchy hidden track follows.
Despite the fame and riches, Kelly is clearly not on happy trails these days. The bitterness does pull down the project, but it doesn't bury it, and everyone's entitled to a good rant now and then. Maybe next time she'll perk up, maybe not, but I hope she sticks to her guns and doesn't sacrifice her musical instincts, which so far have served her well. Miss Independent indeed.
Best: One Minute, Be Still, Judas, Irvine, Sober, Hole, Never Again, Don't Waste Your Time
1 comment:
Nice review. "Irvine" sounds interesting.
This may be a good album, but I don't like the cover. It reminds me of that awful house we in Friendship Heights that's being swallowed by its yard.
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