There was a time when comparing Christina Aguilera to Britney Spears was practically unavoidable.
Both had flirted with minor fame as snotty nosed brats on Disney’s Mickey Mouse Club, both had developed into chemically altered blondes with killer bods, and both had enjoyed a meteoritic rise to pop stardom, thanks chiefly to their aforementioned looks.
But all similarities are truly confined to the past. While Britney has disappeared into a pile of soiled designer nappies, been subjected to public ridicule and suffered various stages of beached whale syndrome, Aguilera has remained active by collaborating with the likes of jazz artist Herbie Hancock on the Grammy nominated ‘A Song For You’, become the new face of Mercedes Benz, and even dipped her toes in politics.
Now regarded by many as a credible artist (albeit one with an abhorrence for clothing), she’s become the pop diva Britney always aspired to be.
According to Aguilera, her new double album, Back to Basics, sees her paying homage to the great jazz, soul and blues voices of the‘20s, ’30s and ‘40s that she claims inspire her.
So much so, in fact, that she’s ditched her urban wear for a more sophisticated look – think Jean Harlow trapped in Jabba the Hutt’s palace.
They say:
Rolling Stone: “When it works, Back to Basics raises the hope that Xtina fans everywhere might go digging through crates of vinyl LPs to track down the artists she references.”
The Guardian: “Back to Basics doubtless has enough potential hits to secure Aguilera's position in this decade's pop pantheon but, on the terms that the singer herself defined, she's no Billie Holiday.”
Slant: “She may possess Mariah-like pipes but, as we know, that’s not always enough – fortunately, she also has a voice.”
We say:
Back to Basics is not quite the ‘20s, ’30s or even ‘40s throwback that Aguilera spoke of in the album’s marketing campaign.
Truth be known there are actually only four tracks here rooted in those eras: the brassy funk of ‘Ain’t No Other Man’; the Andrew Sisters flavoured boogie woogie romp ‘Candyman’; the crackling gramophone filtered blues of ‘I Got Trouble’; and the raunchy, seductive ‘Nasty Naughty Boy’ which plays like an open invitation (“Sip upon my champagne/Cause I’m gonna give you a little taste of the sugar below my waist”) and brings to mind Michelle Pfeiffer ‘Makin’ Whoopee’ atop of Jeff Bridge’s piano in the Fabulous Baker Boys (or maybe that’s just me).
Still, what remains is an impressive collection that validates Aguilera as one of the top divas in this fickle pop game. On disc one she teams up with east coast hip hop guru DJ Premier, grinding her way through sampled ‘50s/’60s jazz and old school R&B and soul.
Disc two, meanwhile, is produced by American songwriter Linda Perry who strips Aguilera’s commanding voice down to its core. Highlights here include the Fiona Apple esque ‘Mercy on Me’ and the gentle ‘Save Me from Myself’ which recalls much of the final third on Natalie Imbruglia’s White Lilies Island album. This is essential listening for any self confessed pop enthusiast.
Like this? Try these:
Nelly Furtado – Loose
Fiona Apple – Extraordinary Machine
The Andrews Sisters – 20th Century Masters: The Best of The Andrews Sisters
RELEASED
14th Aug 2006
LABEL
SonyBMG
POSTED...
Thu 10 Aug 2006 at 2:17pm
