Tour Review: Janet Jackson: Unbreakable World Tour Orlando

The first real concert I went to was Janet Jackson’s. I saw the Janet tour. For those of that don't’ know, this is when she lost weight (allegedly by having ribs removed?) and was all about a crop top and being sexy. I’m guessing my mum didn’t know what the concert was about, or was just cool and knew that I was more into her hair than getting in her pants. (mothers ALWAYS know) That show was amazing and has always held a special place in my heart. I have continued to be a fan of Janet’s through the years. When her titty popped out and people turned on her, I stayed along for the ride. When she fell out of the media’s eye and married a rich dude, I still kind of hoped to myself that she would come back and snatch a couple wigs before hanging hers up.

SO just imagine my surprise when I saw that Miss Janet Damita Jo Jackson was not only giving us a new album but also a new tour?! I can’t quite remember my reaction, as I blacked out and woke out days later confused, and wearing a Rhythm Nation outfit and key earring. I decided that I was NOT going to let this concert pass without me being there on the floor. I’m too old for shitty seats, so I found a friend who was equally as excited and we got tickets during a presale.

A few months passed and yesterday the concert finally happened. I avoided all reviews and clips on social media so it would all be new to me. Luckily, I did research and figured out that there was no opening act, so I decided to not be Jamaican as hell and get to the concert on time. My uber apparently was unfamiliar with THE FUCKING AMWAY center and got us lost and cut into the cushion of time I had set aside. I got there a few minutes before 8 and was ready to be slayed.. Then I wasn’t. Unlike Justin Timberlake who started at 8pm SHARP, Damita Jo was like 39 minutes late. I forgave her, as there was a DJ who was playing nothing but Janet. Kind of risky for a concert that was sure to be about her catalogue, given her album hasn’t come out. Luckily for him, he was armed with a bunch of hot ass remixes that served to only add to my excitement.

The house lights went black and then the show began. There was an animation of birds/eagles flying around and Janet was talking. They played her “Oh I can’t believe what I saw when I turned on the TV, this evening…” from “Scream” and then she appeared behind the screen. Her iconic shadow appeared and whipped ALL of the gays into a tizzy. She launched into her high energy single “Burn”? which featured Missy Elliott via video screen. I don’t think anyone knew the song, but everyone was so hyped that they didn’t care. They were just happy to see the queen return to bless her subjects with her dance moves and her expertly laid weave.

Janet came out covered head to toe in white. She had on these exaggerated drop crotch pants, that I would probably make fun of on someone other than her. Her weave was from the “Janet” era and was just as amazing now as it was then. It was a complete 180 given her last album was about catsuits and bondage gear. I remember writing that she was starting to remind me of your old auntie who steals your forever 21 skirt and smokes your weed. Her overt sexuality felt like she was trying too hard. (Yes, I’m looking at you, Madonna) I was kind of waiting for her to rip off her something and expose some skin but that never happened. There was only a change from white to black, but Janet always remained covered. Funny enough, she looked amazingly radiant, and still sexy as hell. It just goes to show that less can be more, ladies. (and zestlemen..)

All white Janet gave us her upbeat set. “Escapade”, “Pleasure Principle” and “All 4 U” were all among this set. She literally smacked us all upside the head with hit after hit. I thought I didn’t know the lyrics to her hits from the 80s, but I was wrong. She’d start the lyric and I’d finish the WHOLE DAMNED SONG. She didn’t take any breaks. I was kind of hoping she’d slow it down as I was getting winded from performing so hard. Her dancing was ON POINT. Anyone who knows me knows that I am a Bey stan, but watching Janet move reminded me that Bey can hit the choreography, but Janet is just such a smooth dancer. Even her vibing out to a song looked cooler than most artists out today.



All black Janet slowed down the tempo and gave us “Anytime Anyplace” “I Get So Lonely” and her latest single, “No Sleeep” (I still don’t get why we need extra the excess of e’s) I typically am not here for slow songs, but I was just as into the slow jams as I was her up tempos. J Cole (via video screen) made an appearance during the set and she even gave us a bit of their duet. It was funny because everyone around me was like “Oh, that’s right! I totally forgot about that song they had together!”

The show wrapped up, but not before we got “Rhythm Nation” and “If” and I lost my damned life. The show was everything I wanted: ALL the hits with a some new music sprinkled in. She sounded great, but I’m guessing she was lip synching for her life. Actually I caught her off at one point, but I didn’t care. I wasn’t there for her vocal acrobatics. Oddly enough her encore songs were two songs. Instead of her last moments on stage being about reminding us about her biggest hits, she took it to talk about social injustice. I found that very telling about the new era of Janet.

So announcing an arena tour for an album that is yet to be released is ballsy as fuck. Beyonce toured just cause she wanted to and did a few select songs. Janet hasn’t really been on the throne for a minute, so it was even riskier. I do think that Janet pulled it off expertly. I left being reminded of her greatness and excited to see what this next album has in store. Based off the wardrobe and the general vibe, this could really be another socially conscious album like “Rhythm Nation 1814” During that era, she was also covered up (more probably due to her body image issues) and it was more about talking about social issues. Whatever it is, I am here for it. I doubt it’ll be a commercial smash (once again, looking at Madonna more than Taylor Swift) but hey, that’s just the state of the world today. If you have the chance, I would strongly recommend this show. Hell, I am kind of pissed I didn’t buy Tampa tickets. Then again, I had to do some ho shit to pay for the floor seats I had for this show, but that’s for another blog post…

New Album Review: Jordin Sparks: RIght Here Right Now

So Jordin Sparks was on American Idol after I stopped caring. “No Air” was catchy and all over the radio, but I never fancied myself a fan of hers. “Battlefield” came out and I loved it, but I chalked it up to Ryan Tedder’s great writing. I still thought she was kind of boring. The only reason I actually listened to this album was because she’s signed to Salaam Remi, the producer who has works with legends like Amy Winehouse. The man worked on “Hotstepper” so he CLEARLY knows good music. If he saw something, I figured let me give her a listen. Ok Jordin, you have my ear, DON’T F THIS UP!



Work from Home: This song features B.o.B. and starts out all slow and sultry and then builds to a chorus with hand (I think ;) claps and it has a nice knock to it. Even though it’s a slower song, I could totally imagine a dancer at Magic City clapping along to it. (no hands)

1000- Her “Oh yeah” at the beginning made me think this song was gonna be lame as hell. The beat is actually kind of fun. Basically keeping it 100 is for the birds and Miss Sparks is now keeping it 1000. Girl, you’re so innovative! I am not quite sure who or what a J-Doe is, but he’s featured on this song. It’s not the worst rap, but it’s kind of forgettable to me. This song is the first glimpse of her speaking urban slang and it feels weird to me. I don’t take her as a girl that says “ain’t worried bout nuthin!”

Right Here Right Now: The beat once again has a nice knock to it and there is an overall airy and sexy vibe to the song. The chorus feels kind of a letdown given the beat for the verses. I think they could have done more with it, but a decent song nontheless.

Double Tap: I can’t wait for people to look back on this song and laugh the way people laugh about Britney’s “Email My Heart” It’s all about doing it for THE GRAM, which all the kids are loving these days. It’s a fun and silly song that teeny bopper girls (and me) will play when getting ready in front of the mirror. Funny side story: I had to explain to my boss what she was talking about. Yes, she’s talking about Instagram, but we see that it’s a jeu de mot on sex as well when 2 Chainz drops his verse. I love Jordin singing “Double tap that ho” It gets me every single time.

Boyz in the Hood: A piano driven track that wastes little time before dropping the clapping and drums that by this point has become standard for this album. I’m willing to bet good money that the choreography for this song will include a stripper kick or 12. Jordin is talking about wanting boyz from the hood. The guys that wear J’s and whatnot. Girl, I guess… Even though lyrically, it’s kind of trite, I actually like the piano on the track. It gives it a bit more soul

Silhouette: This song is a welcomed pause to all that upbeat trap-pop. It’s sexy and I like the lyrics. The track is perfect for setting the mood. It feels like Jordin is most comfortable in this lane and it feels natural for her

They Don’t Give: This is a song written by Babyface and definitely has a 90s R&B feel to it. It’s not vocally challenging, but Jordin delivers the song quite well and doesn’t try to do too much. I almost feel like I could see Tamia singing this song back in the day. This song is actually able to give throwback but still keep a modern feel to it.

Left, Right: I love how whoever wrote this song uses the play on words with “left, right” Jordin gives a convincing delivery of the lyrics. I don’t know how much of them come from her own experiences, but I’m believing her when she sings.

Casual Love: Apparently Shaggy isn’t dead! Let’s all take a moment and clap for that. I love the island vibe of the song. In the era of the flag waving side chick, it’s nice to hear a girl saying she doesn’t want to be just another girl or a casual love.
Unhappy: I like the pairing of her and Elijah Blake on this one. It sounds like a record Drake would make if he were to make R&B. Then at the end, they stop being restrained and both kind of just snap and give the kids out there a few runs to give them LIFE.

Tell Him I Love Him: a piano driven song that has Jordin talking to her man’s new chick. The subject is dramatic as hell, and lends itself to vocal stunts and shows. Jordin takes advantage of this when the chorus comes around. The last minute she delivers some powerhouse vocals that I honestly never knew she possessed. The first time i Heard it, she literally gave me chills.

11 11: This has Jordin back in that Drake lane. That’s no shade, I actually like the chill vibe to the song.

100 Years: This song feels like one long interlude to me. It kind of overstays its welcome and becomes boring.

It Ain’t You: MUSTARD ON THE BEAT, HO! “Need a pack of gum doo doo breath” and “you ain’t an OG, you an OMG” make this song feel kind of lame. It feels like an update to “No Scrubs” but lyrically it just falls flat. The beat sounds like all other generic Mustard beats.


Overall, once I got used to Jordin having a more “urban: swagger to her, the first half of the album became a lot easier for me to get into. She’s a young girl and I’m sure she wants to make music she can hear in the club. Plus who wants to be pigeonholed into “No Air” and “Battlefield” territory. Well then again, those were her two biggest hits, but I get that people mature and change. She gained my attention with the hood-pop (I’m really trying to make this term stick) but kept it when she got to the R&B. This album aims to please both the ratchet and the rhythmic. Overall, I’d say it’s pretty damned successful.

New Album Review: Ciara: Jackie (Deluxe)

I know I like to joke about Ciara, but I’m actually a big fan. I have all of her albums and even liked her albums that flopped on the charts. I think it’s interesting that she’s had THREE consecutive albums perform crappy on the charts yet still has a contract and is still putting out music. I also think it’s interesting that she’s a pretty woman, who can dance her ass off AND (kind of) carry a tune, yet she doesn’t seem to resonate with masses. She was supposed to be Janet Jackson’s successor, y’all!! Clearly that didn’t happen. Why? Marketing? Videos? Single choices? BEYONCE? So many factors but no one seems to know why. She’s back at it with Jackie, named for her mother, so let’s hope she makes Mama Jackie proud:

Jackie (B.M.F)- So the song starts out with a dramatic string arrangement and lyrics about her mother being a mother and going through mom things. I was mid yawn when she decides to switch the beat up. She goes into an ultra cocky, swagged out version of herself and goes into popping shit. (and cussing BMF stands for Bad Mother Fucker in case you aren’t cook)I quite enjoy it. After about 1:40 seconds the beat switches up again. AGAIN. LIke does she think she’s Justin TImberlake with these beat changes and long ass songs? I think the best description came from Twitter and was “This is Ciara’s ‘Bow Down’” I mean, it does have the same cocky vibe and beat change mid tempo. I won’t bother comparing the two beyond that, as people should not be compared to Bey. It’s just not fair.

That’s How I’m Feelin’: This song features Pit Bull (damn) and Missy (yay!) Polow produced it and it has a 1, 2, Step vibe to it. It feels very Atlanta/Ghost Town Dj’s to me and I actually like the summer vibe of it. The chorus is kind of lackluster and it doesn’t have the same magic of 1, 2, Step.

Lullaby: The song reminds me of Nelly and Kelly’s “Dilemma” in the very beginning and at the chorus. This track would have felt right at home on Ciara’s debut album. It’s cute and may be fun to roller skate to, but kind of forgettable.

Dance Like We’re Making Love: She starts out singing over a sparse track that is snap heavy. Her voice has never struck me as particularly sexy, but I think the production and the lyrics help make this song be a bedroom banger. I kind of wish the bridge was a bit better thought out.

Stuck on You: She starts name dropping designers and destinations. The beat drops and I don’t really understand it. It reminds me of “Love Sex and Magic” but a bad version. The repetition in the chorus that worked in the previous song just sounds lazy in this song.

Fly: I assumed this was going to be a sad break up song but the beat starts to build and I assumed she was going to venture back into Fist Pump Nation. She actually takes it back to the A. This is another Ghosttown DJ sounding track but it feels a little bit more modern. I kinda wish the lyric content matched the fun bounce of the track. It’s kind of a downer.

I Bet: This was the lead single off the album which surprised me given Ciara is not known for her vocals or ballads and she can’t really Matrix on this track. I guess this was supposed to make her a bit more vulnerable and relatable given her recent breakup. People always gave her criticism for being so cold and guarded, so maybe this was to help with that. I like the track but could kind of do without the random guy ad libbing in the background. It’s hard for me to get into my emotions with someone yelling “yeah!” “You trippin!” messing up my vibe. Vocally she has shown some growth, which is always good.

Give Me Love: Up tempo track. I like the song and it feels like Ciara is in her comfort zone when she’s singing songs like this one.

Kiss & Tell: I just don’t feel much about this song. It’s not a bad song, I just don’t think it a good song, or a song that one should put on an album that is “do or die” File this under “Cute for Her”

All Good: This song is a shout out to her hometown of Atlanta. Maybe I’d like it more if I was from there? I don’t care for the track and the lyrics are kind of VERY basic. If you’re repping your town, you’ve got to come harder than this. This track doesn’t evoke Atlanta in my mind. I would think of something with a bit more of a trap sound or even some old school bounce, but not this.

Only One: It’s a decent track. It’s album filler to me. Ciara is really trying to expand her vocal chops and I have to commend her for that.

One Woman Army Into: This was supposed to have been the title track of her album but was scrapped. I don’t know why she kept this intro, as it doesn’t seem to fit in with the rest of the album.

One Woman Army: This is an amped up, high energy song that I think she could really perform and dance her off too. I bet she’s pissed she wasted that choreo and concept on “Gimme Dat”

I Got You: She has her son giggling on the song. I’m not gonna be that asshole that hates on it. Kidding. I don’t like babies like that. I’mma speak my mind. I believe this is a Diane Warren song and it is really beautiful. The woman really does write touching lyrics.


I really wanted to like this album. *Tyra voice* I was rooting for you! We ALL were rooting for you!! After four listens all the way through I’m left underwhelmed. She gave us a taste of her old “Princess of Crunk and B” days and tried to do some new things, but nothing stuck to the point where I’m humming it or trying to Google the lyrics so I can sing along. After leading with “I Bet” I was optimistic, but I can’t really see very many singles or hits on this album. This is feeling like her last album with one breakout single and then nothing after. (although “I Out” was and still is the jam, okay?) On a positive note, I think the cover is beautiful. I think she’s starting to get her confidence as a singer and performer back. She’s actually going on tour again to promote the album, which I think can only help her grow as an entertainer. As she owns that title of entertainer, I’m hoping she will go into the studio and produce a cohesive project that deserves the title of “comeback project” I’m starting to tire of her comebacks at this point. Hell, Miss Jackson may just come out of retirement to snatch that wig if you keep on playing games, Miss Ciara. You’ve been warned.

Album Review: Dawn Richard: Blackheart

So Danity Kane couldn't hold it together. I mean, I get not liking someone, but don’t let the next broad mess up those checks, ladies! Anyway, that ship has sailed. Aubrey and Shannon have taken to Instagram and Dawn immediately went back to her flourishing solo career. I think when DK reformed, people were kind of puzzled why Dawn would bother, since she was doing alright on her own. She was getting critical acclaim and probably making decent money, as she went the independent route. Dawn has blessed us with the next installment of her trilogy and I think it also comes with a side of “You know I didn’t really ever need you bitches anyway, right?”

I’d be lying if I said that I have always thought of Dawn as a star. I watched her on making the band and she kind of reminded me of a black Shannon. (read: she could execute the dance steps and hold a tune) Her tone was something that actually had to grow on me. After the second album, I was pretty certain that she was quickly becoming the heart and soul of the group. Then, seeing her explore her sound with Dirty Money cemented my love of her. She’s been a Dirty Money member and has been in three different versions of the group Danity Kane. Is Dawn bringing enough to the table on her own as a solo artist? I think with Blackheart, Dawn aims to silence any questions that may linger about her. So let’s dive right on in track by track:




Noir: Dawn starts out singing acapella and it kind of demands all of our attention. The beat drops and she starts singing about how she’s trying to find her way. This might be related to the fact that she says that this album represents some of her most eclectic music to date. Or maybe it just made for a good lyric.


Calypso: To say this track has a LOT going on is an understatement. It basically starts out smacking you upside and head and doesn’t ever really let up. At one point there is a nod to the percolator and I about lost my damned mind. This track begs for some Chicago footwork. She kind of sings on the end, but this track is dominated by the instrumental. Her vocals kind of serve as a pause point where we can get water, catch our breath, and fix our wigs.


Blow: This song is a bit calmer than the last. The beat still has a knock and bounce that keeps it interesting, but here Dawn’s slinky vocals shine. I really enjoy the way she attacks the verses with ease.


Billie Jean: This has nothing to do with the tennis great nor does it talk about that hussy that MJ sang about. For some reason, this song makes me think of Drake and him waving his hand as he talks his shit over the beat. Speaking of the beat, I love it. This song has such a great flow to it.


Adderall /Sold (Outerlude) : Taking a cue from Justin TImberlake, she has decided to bless us with a song that is almost seven and a half minutes. I’m not sure what an outerlude is or why it’s not at the end of an album? Girl, you so different! This doesn’t do much for me on first listen and kind of overstays its welcome. I do like the last minute and a half when the beat switches up.

Swim Free: A simple track, driven by percussion with repetitive lyrics makes for a surprisingly ethereal and interesting song.

Titans: I love the beat and the vocals on this interlude. It actually left me wanting more, which is a good sing.

Warriors: This song feels like it’s uplifting, inspirational, and dramatic. I feel like SIa would be proud. (or not. I don’t even know her like that) I wish the vocals were clearer and less muddled.


Projection: This song makes me feel like I’m on something. It feels like everything is moving in slow motion. Maybe like running in water or trying to navigate the DMV. I don’t mind it at first, but then it feels a bit long. I get this being “Zone out” music but I think I would have preferred this as an interlude.

Castles: I’m not sure if this song knows what it wants to be. Is it a slow jam or a mid tempo? THat chopped and screwed voice in the background make it sound a bit like a trap banger. I almost wished they would have peeled away a few layers. I get that you know how to use Pro Tools, but I don’t need to hear EVERY sound that it’s capable of making on one track.

Phoenix: This is the song that people are saying is about the breakup of DK3. IT starts out “you wanted me gone, like the stars hidden by the glowing sun” over a piano. Later Dawn says “I see the only way to fly is freeeeeeeeeeeeeeeeeeeee” I didn’t listen to it until today and just assumed people were being messy, but I can totally see it. Or, it could apply to any relationship… I like the track even though it kind of feels like a generic David Guetta wannabe at times (mainly when it builds up to the triumphant chorus) . I miss hearing Aundrea’s voice and I’m sad they mess with it on the chorus.

Choices: After this Phoenix she just keeps on repeating “I choose me” over one of the album’s lighter tracks. It ties really well into the whole idea of “Phoenix” I usually don’t really endorse the abundant use of interludes, but this is one that makes sense.

The Deep: I like hearing her singing beautiful lyrics over a piano, as it kind of serves as a reminder as to how unique her tone and approach to music are. This is just a really good song, no two ways about it.


Blackheart (Outro): So when the track began, I was thinking “Oh no Dawn, don’t go out on a whimper!!” Whomever produced this track, went IN. This would be what we call musical FLEXIN (said like Beyonce) !


Overall, I think this is a solid album. Like her other projects, it feels cohesive and sticks to her theme. I’m not sure that I agree with Dawn on this being musically risky, as it seems like she is safe and secure in the lane. I mean, good for her for having/knowing her lane, but nothing here is game changing or ground breaking in my eyes. There are times when I feel that the production is so heavy that her voice becomes secondary. Maybe that’s the point, but I think a great producer can take big beats and find a way to make the artist shine (see: Timbaland and Aayliah) She doesn’t need all the effects on her voice and I sometimes feel like she falls back on them like a crutch. Although, I don’t really see much growth musically for Dawn on this album, I still do like it. I think she brings something unique to the table and I really enjoy her approach to her craft. I’m guessing that since this only part two of the trilogy, it may be awhile before we hear Dawn branch out into a new sound. I totally think it’ll be worth the wait.

Album Review: Mary J. Blige: The London Sessions.

Mary Jane Blige is back making music and looking pensive as ever on the cover! #Blessed! During her My Life II album she had to really stop promoting it due to the Burger King commercial fiasco, so it didn’t perform as well as she might have hoped. She put out a Christmas album last year (with a pensive ass cover as well) but that doesn’t really count to me as new music. I was happy to hear her on the DIsclosure remix and curious when I found out that she was going to London and recording with a bunch of Brits for her next project. Was it a last grasp to remain relevant? Would she do a 180 musically? Well the album has dropped so my questions have been answered. Here are my initial thoughts, track by track:

Therapy: This was the lead single from the project. It was written by Sam Smith and has his knack for writing hella emotional lyrics stamped all over it. The beat is simple and allows Mary to showcase her bluesy chops. Truthfully, I didn’t get why it was chosen as the lead single/opening song, but now I get it after a few listens. It has grown to be an album standout to me.

Doubt: This is a piano driven song and once again a pretty simple track. I actually imagine Mary sitting at a piano and playing this during concert. No, I don’t think she’s that good at piano it’s just that simple and repetitive and would allow a ‘Look at me be an artist” moment. Anyway, it builds and ends up being an uplifting I mean “I’m gonna be the best me/sorry if it kills you”? How can you not feel like taking on the world when you have Mary telling you not to doubt yourself? .

Not Loving You: If Therapy, seemed like it could have been penned by Sam SMith, “Not Loving You” sounds like Mary covering a Sam Smith song. This song is just so damned beautiful.that it instantly resonated with me. Vocally, I think Mary nails it.

When You’re Gone: This song almost feels like a follow up to “Not Loving You” Here, she is vulnerable and the lyrics to this song are sweet as well.


Right Now: This was the first song that I heard from the album. This has been my jam all fall. It was produced by Disclosure and written with Sam Smith. When I heard that she was working with Disclosure again, I was expecting another “F For You” and was slightly disappointed that this song wasn’t faster paced. Clearly, I figured out how hard this song. It has such knock and a groove that makes makes me always want to nod my head. I’m sorry I ever doubted you, Disclosure.

My Loving: I was actually surprised that this wasn’t a Disclosure song. It’s a Rodney “Darkchild” Production but it sounds like nothing I’ve ever heard from him. It actually makes me think of an old house remix, but in the best possible way. I don’t know if it’s lyrically that strong, because I get so distracted by the groove of it all.

Long Hard Look: I like the way she attacks the verses in this song. She sounds strong and sells the song with ease.

Whole Damn Year: Emeli Sande wrote on this song and Naughty Boy produced it. This has “Breakup song that you listen to whilst guzzling wine straight from the box” all over it. I like the lyrics,but the way Mary is able to make me feel her pain (even though i really can’t relate on a personal level) is what is most impressive

Nobody But You: This has a loungey vibe to it and builds to a nice chorus. I like it now, but I might LOVE a nasty remix to this song… Go ahead, I’ll wait…

Pick Me Up: This, like “My Loving” makes me think of a house remix, but a bit more turnt down and loungey.

Follow: This takes the previous song and amps up the vibe to a dancier place. The groove in this song is much stronger. DIsclosure to the rescue!

Worth My Time: Dance time ends, and the album wraps up with a piano driven ballad. Some might feel as if this album ends on a whimper, but I think it ends on classic Mary. Not one of my favourite moments on the album, but not horrible either.


All in all, I have to say that I think this ended up being a solid effort from Mary. MJB came on the scene singing over hip-hop beats so we know and like her doing so. It was a risk for her to step out of that and try something new, but I feel like she executed it well. It doesn’t feel forced and seems like a natural progression for someone in the stage of Mary’s life and career. The writers and producers did a good job of showing a different side of Mary, while still managing to keep it “Mary” I really hope this album does as well as it should so I can look about shipping some other artists over to London for a “London Sessions Makeover”

Album Review: Danity Kane: DK3

Do Danity Kane got back together. (Well kind of.. They didn’t include D. Woods, but people seemed ok with that) Then one got fat and quit. She claimed to be pregnant, but I have yet to see a baby. I’m just saying... Then, there were 3! DK3!! SO unique, if you ignore that Destiny’s Child kind of made that their thing when bitches couldn’t hang. Anyway, I was excited. I mean, they had Dawn (the singer with an interesting tone and approach to music), Aubrey (the sex pot with a sultry voice that can ohh and ahh with the best of them) and Shannon ( a decent singer who can dancer her ass off) what could go wrong? Apparently everything. A donkey punch to Aubrey’s head later, we had another breakup on our hands. Fans wondered what would come of the album that was already completed before Dawn got all Street Fighter. Well, wonder no more, they have realised that a check is a check and they are blessing us with their album, DK3!

Rhythm of Love: This track instantly feels like it’s about to build up to something bigger and it really does not disappoint. The chorus and the beat both erupt, taking us to a more upbeat and fun soundscape. It’s not breaking into any new territory as far as dance music, but it’s a fun listen, nonetheless.

Lemonade: This was the group’s first official single (yet had no video? *side eye*) The vibe goes from fist pump dance-y to urban club. The song samples the Clipse’s hit “Grindin” which is still one of the sickest instrumentals. The Neptunes went hard with that beat. I usually despise songs talking to/about haters but the beat won me over.

All In A Day’s Work: I like the riff that starts out the song and the clapping, as it makes me think the song will result in some serious p-popping. The track is quite unique and hard to forget. It just kind of hits you over the head until you submit. This song is the anthem of any boss bitch.

Rage: This song threw me off. If I’m not mistaken this what DK teased as the first single when they first revealed they were in the studio. The intro of the song is anything BUT rage-worthy as it’s Dawn singing sweetly over a piano. It picks up to a fun chorus that kind of reminds me of Rihanna’s “Cheers”

Tell Me: This is a mid temp, snap driven song that sounds like it could have been an interlude from their last album. When the bass line drops it makes me think of “The Motto” I giggled at the “hanging from the shower rod” reference. I’m a sucker for a Love and Hip Hop: Atlanta reference. For what it’s worth, Dawn wrote on this song, which is not surprising at all.

Two Sides: The end of Tell Me pretty much runs into this song. This is another Dawn song and once again, this feels like an interlude to me. I kind of just keep on waiting for it to pick up but it never does. This is a song one sings during concert to catch his/her breath.

Secret Lover: I won’t say this is a bad song, BUT it’s just kind of very forgettable for me.

Roulette: This has a bouncy chorus that makes me think of the 80s (but not in the bad way)

Pieces: Part of the delivery of the verses definitely borrows from Aayliyah’s “ I Don’t Wanna”, which is a song that I have always loved. Go listen to Aayliah and you’ll see what I’m talking about. I believe the song works even when I take nostalgia out of the equaton.

Bye Baby: I have always loved the song from the jump. I like the groove of it. Some people said it was in the vein of Thicke’s “Blurred Lines” but those people are dumb as hell. I like the harmonies and the breezy feel of the song. It just begs for a two step and a snap.

Overall, I have to say that I think this is my least favourite DK album. The first one had great production but felt like it could have come from any girl group. The sophomore album felt cohesive and gave us the feeling that the girls were growing into something a bit more unique. On this album, the girls have continued their vocal growth, but the production leaves a bit to be desired. I wish they would have taken the direction they were going with the first three songs and stuck to it. I can honestly say after listening to DK3, I’m a lot less upset about them breaking up. I guess now I look forward to the upcoming projects from the ladies. (Ok, Dawn)


** I have heard the fight that ultimately ended up breaking the group up was over Dawn being upset about her vocals being omitted. I was half expecting to hear Aubrey and Shannon sing the whole thing ( yawn) but was surprised when Dawn seemed to be showcased on almost every song. Hell, if anything Shannon should have been pissed. Then again, maybe she reached out to Michelle Williams and has found peace with her place in the group.

Album Review: Jennifer Hudson: JHUD

I remember when Jennifer Lopez first started calling herself J. Lo. It seemed like she wanted to be a bit more relatable and show that she was hip and fun. Fast forward to years later, and we have Jennifer Hudson doing the same thing. She’s now going by J. Hud and has changed her image to give us someone who is a bit more age appropriate. I think my initial disconnect with her, was that she was young, had this big voice, but sang adult contemporary music. Can a haircut and wardrobe refresh help redefine this super talented diva? Girl, I don’t know, but here’s my thoughts on the album, track by track.

Dangerous- The beginning of the track had me thinking she was going to do a female version of Drake’s “Hold On, We’re Going Home” I was wrong. So wrong. This song has a breezy, bounce to it. This has “roller skating music” written all over it. It’s disco tinged, but amped up a bit to make it more modern.

It’s Your World- This was written by and features R. Kelly. Dangerous may have been disco tinged, but this is full on disco. Vocally this song is not for the Rihanna’s of the world. She starts singing out the gate and never lets up. The chorus is a long, dramatic ass run done in one breath. Robert (R, to you) comes in and at first his part isn’t very impressive, but then… Lord have mercy… He gets warmed up and he starts going back and forth with her. This song plays out like a textbook on vocal stunts and shows. I tweeted this earlier today: “These R Kelly and Jennifer Hudson runs in “It’s your World” are re-damn-diculous. They are singing like the rent is PAST due” and I think that best sums up this song.

He Ain’t Goin’ Nowhere: THis is an unapologetic Pharell song. It’s alright, but it’s nothing ground breaking in my head. Sometimes P, gets in these grooves and some of the songs start just sounding so similar that they get lost. The Iggy verse is alright but somewhat forgettable and unnecessary.

Walk It Out: This was the lead single that got me excited about this project. I heard that Timbaland was executive producing this and this track sounded so promising to me. It has this sick 90s R&B knock and groove to it. It instantly took me back to Chicago stepping. The chorus is just so simple and effortless. I do enjoy the the back and forth between her and Tim. She is singing her ass off on this track, but she is showing control here, which is something over which she is often given flack. Bonus: she says “fuck” and “shit”

I Can’t Describe: Once again, Pharell is taking us back to the disco. This could easily have been a follow up to “Blow” I know Solange is somewhere shaking her fro and fanny pack to this groove. I like the T.I. verse on this better. I think his flow seems to mesh well with Pharell’s production style.

I Still Love You: This song starts out super dramatic but settles into a groove that is kind of disappoints. I think they could have taken the beat a bit harder and given us something along the lines of “Night of Your LIfe” from David Guetta’s album. She sounds like a hesitant disco diva. The chorus reminds me of of the “I’ll always love you” in “Love Child” by Diana Ross and the Supremes.

Just That Type if Girl: It has a nice bass line. This sounds like the other two Pharell songs. It’s not very interesting at all. It’s something to put on in the background, but not a song to which you’d want to really sing along.

Bring Back The Music: This would have been a fun interlude, but they decided to make it a full song. The vocals are on point and are allowed to shine over a simple, stripped down track. I just don’t love the song, as it makes me think of a Vegas lounge singer.

Say It: I think Jerry Wonda did better with this song than “Bring Back the Music” This song makes you want to snap and rock side to side. The track is kind of funk. I don’t like the bridge of the song, as it’s kind of a let down, but overall this is a decent, soulful track.

Moan: JHud slows it ALL the way down on this song. It’s just her and a piano. It’s clear that Jennifer is capable of slaying songs in this vein. This churchy, ballady, type song is where she shines. I just personally don’t usually get into slow songs of this nature. She sounds great though, and takes us all to church on this song.



Overall this album is a decent effort from JHud. It’s nice to hear her trying new things with her sound, but I wished that they producers would have been a bit more adventurous with her. The disco diva thing is fine, as older motown/disco sounds, are all the rage these days, but they could have taken it to a different level. As I’m listening to this album, I think “Walk it Out” might have been her only radio friendly track, and that didn’t even fare that well. I know Thicke’s “Blurred Lines” sounded completely different from radio and blew up, but I just don’t think Pharell blessed Jennifer with any songs that are that ground breaking/interesting to get people to stop and listen.

JHUD’s makeover and choice of producers had me thinking she was going to do a 180. I was wrong. (weird, Right?) Yes, she sped the tempo up a bit, but she is still giving us adult contemporary. The Iggy and TI appearances might get some younger kids interested, but this is definitely an album for the grown and sexy crowd. This album feels like the album Effie White would have made had Curtis not been shady and played games with her career. Did you really think I'd end this without a reference to Dreamgirls? You are dumb.