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![]() ![]() The kitschy “Everything He Needs” is the sonic equivalent of a velvet painting, based on a pitched-up vocal sample of Shelley Duvall’s “He Needs Me” from Robert Altman’s Popeye. ![]() “Want You in My Room” is awash in Vocoder effects, shimmering new-wave guitars, and a grinding bassline straight out of Cameo’s “Candy”-all within less than three minutes, and topped off with sax solo for good measure. The album also doubles down on its predecessor’s fixation on ‘80s pop-rock tropes. “I wanna do bad things to you,” she declares on “Want You in My Room,” before coyly asking, “Baby, don’t you want me to?” She similarly plays the coquette on “I’ll Be Your Girl,” beckoning her object of desire to “come to bed,” and promises “sweat disco all night” on the squelchy “Everything He Needs,” channeling “Physical”-era Olivia Newton-John. One notable development is the singer’s newly and boldly expressed sexuality. She ponders its meaning on the euphoric “Real Love,” her voice filled with knowing abandon (“I go everyday without it/All I want is real, real love…I don’t know a thing about it/All I want is real, real love”), and shakes off an affirmation that’s too little to late on “Right Words Wrong Time,” the album’s sole ballad.ĭedicated is, well, dedicated to its theme, revisiting topics Jepsen studiously explored on Emotion. Dedicated opens with “Julien,” a recollection of a fleeting romance-“I’m forever haunted by our time,” Jepsen sings wistfully-followed by over a dozen songs that luxuriate in love or fret over the loss of it. “This” being the various love affairs-consummated or otherwise-that comprise the album’s loose narrative. As the closing track of Dedicated, however, the song clicks perfectly into place, a declaration of independence that bookends an album’s worth of frustrated desire: “I’m not over this, but I’m trying,” Jepsen humbly proclaims. The album’s lead single, “Party for One,” initially felt like a retread, its opening strains nodding to “Call Me Maybe” and its whirling strings and bouncy keyboards acting as if not a day has gone by since her last album, 2015’s Emotion. And Jepsen’s fourth album, Dedicated, is a carefully calibrated attempt at brand extension, reprising the effervescent pop of her last two albums while at the same time acknowledging that the 33-year-old is now a full-grown woman.įor the most part, Jepsen succeeds at threading that needle. But success in the age of Spotify and social media is, like radio, predicated on giving people what they want, when they want it. Aside from her breakthrough hit “Call Me Maybe,” her success has been largely fomented by gushing critical praise and word of mouth. A vital component of callout research-the process Top 40 radio stations use to test the favorability of songs-is “familiarity.” A song that’s recognizable is more likely to receive a high score from listeners, but it also perpetuates a feedback loop where artists are de-incentivized from substantively tinkering with their established sounds.Ĭarly Rae Jepsen, of course, isn’t your typical radio star. In a world where the only certainty is uncertainty, music can provide reliable solace and stability. ![]() The album doubles down on the singer’s devotion to all things love and ‘80s pop-rock. Though the album’s highlight is the summery, midtempo “Overdue Goodbye” (its acoustic guitar riffs, warm harmonies and tropical beats are irresistible), Anastacia should keep the sloppy slow numbers to a minimum and, like a good bombastic diva-in-training, keep her eye on the dancefloor. With the exception of the syrupy “You’ll Never Be Alone” and “I Dreamed of You,” Freak of Nature steers clear of the power ballads that weighed down her debut. Her husky voice is reminiscent of Taylor Dayne, but her tenacious attitude on songs like “Paid My Dues” and the funky title track carve a unique niche for the singer. With her sophomore effort, Freak of Nature, already a hit in Europe and the soulful disco track “One Day in Your Life” climbing the club charts in the U.S., Anastacia’s cross-continental stardom seems virtually assured this time around. The pop star’s 2000 debut failed to strike a nerve in the States but it made her a multi-platinum household name overseas. “Bombastic” seems to be the adjective of choice for journalists attempting to describe American singer Anastacia. Maybe Today - Anastacia (Can also be found in Left Outside Alone, and Sick & Tired.) Welcome. 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