"Partners & Cheek To Cheek" (Reviews)

Christmas comes early this year with new releases from two of the most celebrated and familiar voices in music, Barbra Streisand and Tony Bennett.While Streisand receives helping hands from not one but 12 male duet partners, Bennett is kindly assisted by none other than, Lady Gaga. 

Streisand’s “Partners” benefits from its two experienced producers, Walter Afanasieff (the master mind behind Mariah Carey’s earlier albums) and hit maker, Babyface, who also scores big by getting to sing with Babs on two numbers (“Evergreen” & “Lost Inside Of You”).

If the bubbly opener, the  Bublé-featured “It Had To Be You” is an appealing book cover, the Andrea Bocelli- pairing, "I Still Can See Your Face" is the irresistible centerfold, a pure delight where two vocal titans share their beautiful instruments with the world. 

Standouts include the bluesy “Come Rain Or Come Shine”, collaboration with John Mayer and the mum-and-son ballad, “How Deep is The Ocean”. The sheer beauty of Jason Gould’s voice could find audience in adult contemporary genre like Josh Groban if he further pursues music career.

No one sings about love and heartache better nowadays than John Legend. That’s why “What Kind Of Fool” is the perfect choice for him. Both Barbra signature tunes, “Evergreen” and “The Way We Were” get major revamp. While the former succeeds sounding polished and present, the latter is unrecognisable due to overambitious vocal arrangement that tries too hard to stray from the nostalgic original. A classic that doesn’t require an update perhaps. 

Once known for her one-of-a-kind vocal power and soaring high notes, Streisand now finds strength in her warmer texture and deeper tone – that famous vibrato is still in tact and used to emote with full throttle. At 72, her voice is still unbelievably frisky and youthful (“It Had To Be You”) rich and ripe the next (“People” with Stevie Wonder). It gets a tad too raspy during “New York State Of Mind” with Billy Joel. Knowing her current voice all too well, Streisand stays within her comfort zone all throughout. After all this is her 34^th studio album, there’s nothing more to prove but to celebrate.

Tony Bennett, meanwhile, is no stranger to duet albums. He has in fact a few under his belt. His 2011’s Duets II features a chirpy rendition of “The Lady Is a Tramp” with Lady Gaga, which kick started this collaborative effort, “Cheek To Cheek”. 

Singing standards by Porter, Gershwin and Berlin, the duo opens the set with the promising, “Anything Goes”, which sets the tone yet finishes too early leaving the listeners longing for more. The two get playful once again on bouncy "Goody Goody", “Let’s Face The Music and Dance” and “They All Laughed”. But not all duets sizzle. “But Beautiful” for example lacks both energy and chemistry that even Streisand’s virtual duet with dead Elvis, “Love Me Tender” has more oomph. “Nature Boy” as well sounds dreary and detached.

Bennett, skilled and seasoned, is efficient and at ease; another day in the office. Gaga holds her own and even gets to do her thing. Her solos, "Lush Life" and “Ev’ry Time We Say Goodbye” give listeners a side of her voice that’s yet unheard. The live cover of “Bang Bang (My Baby Shot Me Down)”, though not classified as Jazz, displays theatrical quality of her voice and incredible showmanship. However, Jazz is still quite a stretch from her usual EDM and it demands more flexibility, it seems.

Call this a passion project or a drunken dare! But let’s face it; if Mercury and Pluto were to collide, balls of fire are expected. Likewise, anticipations are high for this odd pairing. The truth is, when it was a song, it was exciting. But the entire album, then it becomes excess. 

"I Luh Ya Papi" ~ Jennifer Lopez (Video Review)

J.Lo can do what Mariah Carey has been trying to achieve for decades; a glammed-out diva from the block with legitimate street-cred. And boy, does she do it well.  While Mariah stands stiff looking lost whenever she hangs with her homies convincing us that she comes from da hood, J.Lo is effortlessly fab, full of swag. 

Both divas have been plotting their return to the top of the charts as of late but none of them have managed to rise above #15 so far. Well, this could all change with the newest single from Lopez, “I Luh Ya Papi”, a hip-hop flavoured anthem featuring French Montana on the side. 

The song’s catchy chorus combined with climactic choreography, Papi will roar loud on the radio for sure. Bathing in the sea of beautiful bodies, big bulges, bubble butts and banging beats, J. Lo is going full on Kylie here pleasing her gay fan base (which to be honest, makes up almost 95% of her overall.)

“Why do men always objectify the women in every single video? Why can we for once objectify the men?”, says one of her sidekicks at the start of the video.  However with lyrics like “ I put it down for a brother like you, Give it to you right in the car, that’s you.”, this is hardly a feminist anthem. 

And by the way, is that green jumpsuit with the plunging neckline a recycled Versace she wore to the Grammys years ago??? It sure looks familiar. 

Beyonce' ~ (Album Review)

No hype. No teasing. No promotion. Beyonce’ just pulls her new album out of the box. Literally. The biggest surprise though is the content. In an era where dance divas dominate (Rihanna, Katy P, GaGa), Queen Bee’s fifth solo effort is subdued, steady and sizably stuffed with sizzling slow jams. A cohesive effort that flows seamlessly like a cascade. 

The set’s opener, “Pretty Hurts” is a type of song that Pink or Kelly Clarkson would usually sing. Always the one to count on, Sia Furler, who co-wrote this inspirational anthem sprinkles grittiness and sentiment. Then B gets down and dirty with her husband on “Drunk In Love”. The thumping track is nowhere near the brilliance of “Crazy In Love”, their classic smash hit collarbo, but it definitely has swagger. The theme of raunchy sex continues with “Blow”, produced by Pharrell and Timbaland, a standout track that finds Beyonce asking her man to ‘turn that cheery out’ while begging, “Can you lick my skittles. That’s the sweetest in the middle”

There’s no diva torch song like “Listen” or “Dangerously In Love” here but Beyonce experiments with her vocals showcasing different colours, textures and layers of her voice; rich velvety lower register (“Superpower”, a refreshing duet with Frank Ocean), soft sexy coos, Prince-style (“No Angel”), lush and elegant mid-range (“Rocket”), effortless agility (“Blue”, a song dedicated to her little one) and emotive delivery on soon-to-be-funeral-favorite (“Heaven”) 

No Beyonce' album is complete without a compulsory feminist anthem of course. "Flawless" features empowerment message from the Nigerian literary superstar, Chimamanda Ngozi Adichie. Deep.  But hey, let's face it, “Partition” is the track that will generate some serious twerking round the globe.

So… more Grammys for B? Hell yeah!

~ A Mary Christmas : Mary J Blige ~ (Album Review)

The Album Cover Art : A Mary Christmas

For a diva, a Christmas album not only gives the golden opportunity to stretch her vocals by coming up with her very own renditions of familiar carols but also lets her collect a handsome pay-check, if of course she has a successful seasonal set like Mariah Carey’s that sells like hot cakes every Christmas. 

Mary J Blige has joined the club this year. But you won’t find the Rn’B diva trying to outsing her peers with drowsy jingles like “O Holy Night”. Nor has she delivered a hip-hop flavoured Christmas disc, which by the way, is a frightening thought. Instead, “A Mary Christmas”, conveniently titled, offers subdued, persuasive and respectful interpretations of classic holiday tunes. The maestro David Foster who Blige collaborates with on this set and for the first time in her long career helps provide the album with a timeless, traditional touch. (“My Favourite Things”, “This Christmas” and “Mary Did You Know” are poignant, classy and thankfully not over-done) 

Blige shows off her French on the elegant “Petit Papa Noel” while channeling Ella Fitzgerald on “Rudolph, The Red-Nosed Reindeer”, a jubilant update of a beloved tune. More Jazzy moments follow with “The Christmas Song” and “When You Wish Upon A Star”, an odd pairing of Barbra Streisand and Blige, which surprisingly, results in a Disney-sweet moment that will certainly please fans of both. Angelic voice of Marc Anthony almost outshines Blige’s understated singing on ”Noche De Paz (Silent Night). Expect punchy vocals from both Blige and her duet partner, Jessie J, which makes the dullish orchestration of “Do You Hear What I hear” somewhat bearable. 

Blige’s gritty vocals, her usual street cred and swagger are put away on this project. As a matter of fact, she sounds so polished and regal, showcasing a definitely different side. This easy-listening set will ensure commercial success for years to come for its simplicity and timeless feel while effectively finding her new Adult Contemporary fan base.

"When You Wish Upon A Star" ~ Mary J Blige & Barbra Streisand 

"Do You Hear What I Hear" ~ Mary J Blige & Jessie J

"Noche De Paz (Silent Night) ~ Mary J Blige & Marc Anthony