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    UBG: Reviews

  • Single Reviews!
  • Usher
  • Cover
  • Dhaani's Singles Reviews
  • Love and Other Four Letter Words
  • Mariah Carey BET Event
  • Danity Kane



    • Single Reviews (August)!
    Cassie – Official Girl featuring Lil Wayne (Bad Boy): While most are caught up with what’s going on in her personal life, here at Urban Bridgez it’s all about the music. Cassie returns with her lead single Official Girl from her upcoming sophomore release. “O.G.” centers on monogamy and while most give flack to Cassie for her lack of vocal skills, she actually delivers a quality track you can listen to. On the other hand, Lil’ Wayne wasn’t needed for the guest appearance.

    Jennifer Hudson - Spotlight featuring Rick Ross (J Records): Initially, it took a long time for me to warm up to the song. Just when I started digging the track, the label dumbs down the track by adding a rapper to increase spins on the radio. How idiotic! The public wants to know what Jennifer Hudson is capable of and by her label slapping on a rapper only shows how gimmicky the industry truly is.

    Janelle Monae – Mr. President (Bad Boy): If you haven’t heard from this brilliant vocalist, make sure you pick up her debut Metropolis August 12th. Her new track Mr. President sums up the way how most feel about the current administration; WE NEED YOU! This track is an open letter without all the celebrity endorsements we’ve seen since the Democratic nomination. It’s bold, energetic and you can’t help but to go out and support the cause after hearing it. I’m surprised Sean Combs allowed someone to make this on their album.

    Ludacris – What Them Girls Like featuring Chris Brown and Sean Garrett (DTP): It never ceases to amaze me how people can remix the same stuff over and over again. This seems to be the case with Ludacris’ current single, “What Them Girls Like”. Rodney Jerkins produces a nice hip-hop beat but the random repetitiveness of how beautiful girls are and what you can do for them is quite takes away from it. What was the point of Chris Brown and Sean Garrett? Breezy needs to tend to his own career and “The Pen” needs to stick to writing good songs. Since I hate it, this means lame radio DJ’s will spin it.

    Noelle – Do It (Easy Mo Bee): Wow, I’ve never been impressed at a song after a few seconds into it. This track is funky, edgy, and just plain cool. This track reminds me of something Teddy Riley would have produced for someone such as Janet Jackson back in the day. “Do It” comes from newcomer Noelle who hit us earlier this year with her “Grown Woman” movement. “Do It” is all about making the fellas crazy and loving every minute of it. This track is very different from current radio and could compete with heavy hitters polluting the airwaves. You must seek and listen to this track! Remember who told you so!

    Dhaani (UBG)


    Hidden Beach Bridges the Gap between Young and Old with Unwrapped 5.0
    Since its induction to the music industry in 2001, Hidden Beach’s “Unwrapped” series manages to give a fresh jazzy spin on the popular, overplayed Hip-Hop hits dominating urban mainstream radio. Fast-forward to 2008 and the label present us with Unwrapped Vol. 5: The Collipark Café Sessions.

    Inspired from Unwrapped discs in the past, Atlanta DJ Greg Street suggested an ode to crunk music instrumental style. Anyone who’s familiar with music pretty much knows the south has become the melting pot of the new breed of Hip-Hop. Mr. Collipark (label head of Collipark Records) along with his partner Marcellus Washington pulled out the big guns and called out Atlanta’s best musicians to put together a compilation everyone would be talking about.

    Leading off the compilation is “Shawty”, originally done by Florida rapper Plies, gets it’s jazz makeover featuring saxophonist Mike Phillips. The song starts off with the infamous vocoder re-popularized by T-Pain (he’s not on the song thank god!) leading into a nice groove you can sit back and chill to at a summer barbecue. What’s so special about this is how the instrument allows you to create your own interpretation of the song. Normally you don’t get that feeling once you’ve heard the original version.

    “Ay Bay Bay”, originally done by Hurricane Chris, goes through a big change in a good way. The addictive saying is heard throughout the song but the instrumentation is so smooth, you forget about how annoying and senseless the lyrics were on the original. Mike Phillips once again brings his heat to the track and makes love to the music!

    Throughout the album you’re introduced to hits like “Walk It Out” (UNK), Splash Waterfalls (Ludacris), Soul Survivor (Young Jeezy & Akon ), Salt Shaker (Ying Yang Twinz) and so much more. Mr. Collipark also introduces us to “Bridging the Great Divide”, an original track and first for the compilation.

    Also featured on this disc are Hidden Beach artists Peter Black, Jeff Bradshaw, Atlanta ’s own Jimmy Brown, Kofi Burbridge and the albums Executive Producer Abdul Ra’oof (S.O.S. Band founding member and front man).

    The movement for the compilation is not only to bridge the divide between young and old, but to inspire the new generation of musicians to create as well as develop new styles of music. If you’re into hip-hop and into jazz, this disc is what you’ve been looking for. Play this for the kids and they will be guaranteed to take a liking to this.

    4.0
    Dhaani (UBG)


    Lalah Hathaway | Self Portrait Concord
     In times where the passion of quality fades in R&B, there’s always one to add the color of life back into it. Lalah Hathaway, daughter of the late soul crooner Donnie Hathaway, returns after four years with a new album and a new label. If you haven’t heard about this talented writer and vocalist, you’re probably one of many caught up in the quick hit epidemic overtaking airwaves.

    Self Portrait finds Hathaway retracing her journey over the period learning lessons of life and about herself as a person. With blends of rich, smooth, and soulful R&B, this album is just like a rose with textured petals each revealing various musical layers to Lalah’s music.

    “Let Go”, the fun up-tempo single co-written by Rahsaan Patterson and produced by Rex Rideout, finds Lalah throwing negative issues out the window to move on to something bigger and better. What makes this song extra special is it speaks volumes to those having a hard time letting things go. This is a perfect introduction to get things going for Black Music Month.

    Hathaway continues her road to uplifting the people with the ambient “Breathe”. No over production, no guest artists just feel good R&B at its finest. Just think of being stressed to the max and you just want to escape to the things you were destined to do. Lalah motivates us in believing that detours in life are just obstacles and the roads to possibilities aren’t far away. This is one track that’s a definite repeat and will change your tune from sad to happy in an instant. “On My Own”, a perfect follow up to “Believe” is about you having the power of yourself to make it on your own. This slow R&B groove allows you to feel like you’ve been transported to a classy jazz club. Lalah belts out her signature sultry voice expressing passion and confidence without the extra growls young divas overdo today.

    A portrait isn’t a portrait without getting deep for the fans. Lalah’s confident nature takes us to the strength of family. “Little Girl” (Rideout/Patterson/St. Victor) gives us an inside look into the Hathaway household where she was always under the care from her mother. Lalah refers to her father looking down from the sky with his watchful eye although his presence could be felt around her all time. This track is very sweet like a delicate flower blossoming before eyes. “That Was Then” is like Lalah’s journey to the past reflecting on things she didn’t know growing up. The message in this mid-tempo song is seeing the light will eventually help you find your way.

    Closing out the album is the gritty, sensual, soulful, “Tragic Inevitability “(Burkens/Hugas). This feels like something ripped right out of the 70’s but given a millennium twist. Listening to the instrumentation on the album gives you the impression of making love but it hints on a failed relationship and how things change thereafter. Its simplicity brings out the brilliance of the track and it allows you to have a sense of relief after hearing this song.

    Although many of the tracks weren’t covered in this review, some things must be left for the imagination. Lalah most definitely put her heart and soul in this portrait which blossomed into a masterpiece. Everything from the beginning to the end flows together like a never-ending river! R&B has never felt or sounded so good!

    4.0
    Dhaani (UBG)


    Here He Stands: Usher’s Real Confessions! LaFace/Zomba
     So how does one follow up the biggest album of his or her career? On May 27th, Usher will attempt to answer that question as he releases his fifth studio album, Here I Stand, his first since 2004’s 9.5 million selling Confessions. A success like Confessions, which spawned three number one singles and went on to become the biggest selling album of 2004, places a massive amount of pressure on Usher, who must decide which route to take in creating its successor. Last month, Mariah Carey faced a similar dilemma with releasing the follow-up to the biggest selling album of 2005 and one of the most successful of her career, The Emancipation of Mimi. Ms. Carey took the if-it-ain’t-broke-don’t-fix-it approach, recording essentially the sequel to Mimi. Usher, however, has gone through a great deal of personal growth and change in the four years since Confessions was released, and is instead choosing to create an album that reflects that. Since Confessions, he has starred in movies, done Broadway, got married, and had a son. With Here I Stand, Usher’s main goal is to both chronicle the changes he has gone through and establish where his head and emotions are at currently. A risky goal indeed- to intentionally deviate from the formula that brought him unparalleled success, yet, one must admire Usher’s artistic objective to grow. That said, the results are not always as promised.

    For starters, the first taste of Here I Stand that we get is the first single “Love In This Club,” which is essentially exactly the same thing we have heard Usher doing his entire career: dancing and getting some sex. Now, the Polow-produced track is fire, and the song is an easy smash with a killer melody. The song itself is great, but if the intention is to articulate growth and development, why would Usher start the album talking about the same shit everyone else on the radio is talking about? The same can be said for the will.i.am-produced “What’s Your Name,” which features Usher picking up a girl and looking for sex, with a hook that merely asks, “What’s your name, I wanna know you are.” Once again, the production is bananas, but the lyrics are so uninspired and unoriginal that they could be a Chris Brown leftover. Quite frankly, Usher is too good for that. But sadly, the lyrics on Here I Stand are its weakest point, keeping the album from being truly amazing. In addition, aside from the deep and vulnerable Intro track, the first three songs are really only about sex. Now the songs themselves are fantastic, but to start the album with them doesn’t really tell us as listeners anything of substance about the album’s direction… other than that Usher may possibly be positioning himself to follow in R. Kelly’s horny footsteps.

    The best comes when Usher drops the club-ready front, gets the sexing out of his system, and emotionally vents. Tracks like “Moving Mountains” and “His Mistakes” reveal Usher pouring himself into the music and baring his soul harder than we have ever seen him do before. The “confessions” we saw on Confessions were half-hearted- sure, they were juicy, but had more to do with Usher telling us how he was such a fly player and great with women that he couldn’t control himself. Hardly real. On this record however, we not only are we introduced to a much more emotionally vulnerable Usher, but we also hear him transferring a considerable amount more of emotion through his vocals. Indeed, on tracks like “Moving Mountains” and “Before I Met You,” Usher finally expresses real emotion and deep feeling through his vocals, unleashing his inner Mary J. To that end, technically speaking, his vocals on a much higher level than we’ve ever heard from Usher in the past. In addition, he has gotten smarter and more innovative in the vocal arrangements; taking harmonizing and layering to new heights on tracks like the 80s-inspired jam “This Ain’t Sex.”

    Here I Stand also some features some of the best production Usher has ever had, but it isn’t from who you might expect. The man who made Confessions the success it was, Jermaine Dupri, contributes mostly forgettable material, while Timbaland protégée Danja disappoints on the bizarre “Appetite.” The best of the album, however, comes from Bryan-Michael Cox producers-of-the-moment Tricky and Dream. On “This Ain’t Sex”, Tricky hooks up with Jazzy Pha to create an irresistible 80s dance jam complete with synths and early-Michael-sounding back-up arrangements. “Moving Mountains” finds the best use of Tricky and Dream, utilizing what is becoming their signature “crisis ballad” where Usher panics over his dying love, comparing saving it to “moving mountains.” On the Cox-produced “Before I Met You,” Usher describes how much finding the right woman has changed everything about him. The Cox track is simple, creating the perfect vibe for what needs to be said, making you wish Mr. Cox stayed around for a couple more tracks. Also, despite its lyrical shortcomings, “What’s Your Name?” exhibits a back-to-form will.i.am, who delivers a funky beat that for some reason reminds me of the Batman theme. I can’t promise that you will make the same association.

    As usual, it is the ballads and dance songs that are Usher’s forte, while he falters on the mid-tempos, which are mostly bland and sometimes even boring. On Confessions these stale mid-tempos were mostly the Jimmy Jam and Terry Lewis-produced “Simple Things” and “Truth Hurts.” This time around, though Jam and Lewis were not asked back, the boring mid-tempos somehow still appear. “Love You Gently” is a snoozer that kills the pace of the album about halfway through, while “Lifetime,” produced by Usher’s younger brother JLack, manages to make the topic of proposing to his wife boring. Two or three of these could have been cut from the album’s overly long, 17-song track listing, allowing for a more concise and solid flow.

    Though inappropriately placed, the sex jams, or “baby-making music,” as the more conservative like to call it, are top-notch. I’ve raved about “This Ain’t Sex” too much already, but I’ll mention it again here not only because it’s brilliant but also because Usher would like to make it clear that “This ain’t sex/ It’s a symbol of the true makings of love.” Get it straight. Then on “Trading Places,” the third straight song about getting busy, Usher wonders what it would be like if he and his girl switch roles, suggesting “You get on the top/ Tonight I’m on the bottom/ Cuz we trading places.” Now this song generated a long list of questions in my mind, most of which I probably should not get into. But you really have to wonder, how far is Usher meaning to take this role reversal? It’s kind of unsettling if you think about it. Too many questions… but still a great sexing jam. The highlight climaxes (HA…?) at the bridge, which consists mostly of pleasurable screaming. Fantastic.

    But when the deeper moments arrived, they are by far, the deepest we have ever had with Usher. The album begins with an introduction that’s first line is very un-Usher: “I’ve walked alone and felt like no one cared.” Who is this melancholy, sensitive, vulnerable man dressed as Usher? Elsewhere he cries saving a dying relationship (“Moving Mountains”), expresses the joy of fatherhood (“Prayer For You”), and his dedication to his wife (“Something Special”). The album concludes with the Dre and Vidal-produced “Here I Stand,” which shows Usher singing in a much lower register than we are used to. On the track, he pledges his undying love to his woman, promising “No matter how far I go/ No matter how long it takes/… Forever yours, here I stand.” Nice, right? After several songs pondering infidelity, such as the embarrassingly immature “Appetite,” it is nice to hear the album conclude on such a nice, sappy, romantic note. A similarly sappy moment comes earlier on the “Prayer For You Interlude” which features Usher’s baby son crying.

    Overall, despite some momentary regressions into youthful immaturity, Here I Stand actually does show a more mature, thoughtful Usher. The ego has been taken down a considerable notch (a VERY necessary move), the clothes are on, and despite the misleading first single, Usher does have more on his mind than sex and dancing. Musically, Here I Stand may have more in common with Confessions than intended: it comes equipped with smash singles, but is plagued by mid-tempo filler. But Here I Stand is not just a continuation of Confessions. Much rather, it conquers deeper issues, and approaches them with more creative arrangements and soulful vocals. In fact, this album may be the REAL Confessions. Here I Stand is not as mainstream and radio-friendly as its predecessor, but it is more sincere. I think Usher might have just grown up, as an artist, and more importantly, as a man.

    4.0
    Rory (UBG)


    Cover! Fox
    Cover is the latest film from Bill Duke who has previous directed such blockbuster hits as A Rage in Harlem, Sister Act II & Hoodlum. Starring Vivica A. Fox, Leon, Louis Gossett Jr. with appearances by Patti LaBelle and Mya. The film is one of the first to touch on a quiet epidemic that has been swept under the rug by many, DL (down low) bi/gay men. Men who sleep with men, however live their lives as straight men and many of them are married. Such in the case of Dutch Mass (Raz Adoti) who is married to Valerie (Aunjanue Ellis). Without giving the entire plot away as well as the complete story, just know that this film touches on topics that need to be addressed in 2008. Fans of Leon will be happy to know, he is outstanding in this film, like many of his previous work. Leon plays Ryan Chambers and stays true to character as an egotistic, confident man, however like many of the characters in this film he is hiding a secret. With a murder taking place at the beginning of the film, you're pulled in right away to want to know why and who is really responsible for the murder. R&B artist Mya makes a cameo in the film, looking stunning as always, fans of the singer shouldn't expect much screen time from her. The few times she does grace the screen with her smile and few lines, it's worth the wait. Now available on DVD, Cover is a must see for anybody who loves a great story and more importantly, a story that is hardly ever told!

    Mr. UBG


    Dhaani's Singles Reviews! Week of May 1st, 2008
    Solange – I Decided (Geffen/Music World): Beyonce’s little sister is coming from the shadows to embark on showing the world the makings of her with a 60’s soul inspired tune produced by Pharrell Williams. Solange wants you to know right on she’s not a carbon copy of her sister and she follows the beat of her own drum. She sings to her hearts content about the one she’s found to fit her life. It’s fun, frisky, playful, and definitely a track to get people in an upbeat mood.

    Jazmine Sullivan – I Need You (J Records): She is the most anticipated artist to check for since Lauryn Hill dropped “Miseducation” almost ten years ago. Jazmine finally arrives with her brand new single, “I Need You”, produced by Missy Elliott. The “reggae n’ b” tune made its debut to radio April 25th to rave reviews with its gritty reggae style, soul, and raw vocals strikingly similar to Hill. Sullivan’s soul cries with the need of having that someone special in her life and it makes this track an early favorite leading into summer.

    Madonna – Beat Goes On Feat. Kanye West (Live Nation): Madonna definitely wants people to know that just because she’s hitting the milestone of 50 she’s not ready to retire. “Beat Goes On”, produced by Pharrell Williams, is vintage Madonna meets future Madonna. The electro-disco tune should be an instant club hit due to its hard hitting beat with a funky vibe inspiring any wallflower to get up and dance.

    Janet Jackson – Can’t B Good (Island Def Jam): Despite her less than stellar sales of Discipline, Jackson remains firm on pushing onward. “Can’t B Good” is the third single from the album and this is one of the many best tracks from Janet’s album. It’s sensual, sweet, and oh so sexy like the Janet seen stepping out during the “janet” era. If you haven’t heard this track, it’s most definitely one to check for!

    Mariah Carey – Bye Bye (Island Def Jam): She’s wasting no time capitalizing off of her history making hit “Touch My Body”. She slows it down with her trademark pop-balladry dedicating this track to those who’ve lost someone. It’s very inspirational and so Mariah, so you can’t help but to fall in love with this song. Could this be another number one? Only time will tell.

    R. Kelly – Hairbraider (Zomba/Jive): I would be lying if I said the beat to the song is hot but the same tired rhetoric about doing and screwing gets a little redundant. Hairbraider is the first track from his upcoming disc launching later this summer. Avid fans of Kelly will eat this track up and it’s for sure to be in heavy rotation on radio.

    Michelle Williams – We Break The Dawn (Columbia/Music World): The church-girl from Destiny’s Child puts away her bible and changes up her style surprising everyone with her mesmerizing hit, We Break The Dawn. No one expected Michelle to do this electronica fused pop and it’s amazingly good! The track is very simple, not overly done and it fits with Michelle’s raspy vocals. It’s an instant hit with the UBG family and it’s expected to do the same on the charts.

    Angie Stone – Sometimes (Concord Music Group): There’s nothing like a little soul to liven up adult contemporary radio and Angie Stone does that with her new single, Sometimes. You know how you have the love / hate relationship with your significant other? Angie hits the nail on the head with her vocal hammer tackling this issue on with her soulful vibe. It’s everything a soul track could be—full of life and personality.

    Erykah Badu – Soldier (Universal Motown): Erykah is always dead on with her music with a message. Whether you love it or hate it, you walk away with knowledge. On “Soldier”, Badu doesn’t shy away from talking about real life. Singing over a sweet hip-hop melody, Badu covers everything from random murders on the block to those soldiers in the Iraqi fields. This is a definite listen and I wonder what will happen in the video?


    Love and Other Four Letter Words Image Entertainment
    Successful TV talk show host Stormy LaRue (Tangi Miller) has everything a woman could want- except a man of her own. But when her beloved dying "Nana" (Aloma Wright) expresses her deepest wish - to see her favorite granddaughter happily married - Stormy's life gets turned upside down. In this hilarious romantic comedy, Stormy tries to pull off the biggest show of her life... by faking her own wedding! Things go completely out of control when she tries to dupe her childhood pal (Flex Alexander), who happens to be the minister of the ceremony.

    The film is a wonderful portrayal of young successful African Americans, in love and looking for love. Marcus Patrick known from Days of Our Lives plays a stripper who comes into the story to play Tangi Miller's fake fiancé.' Things quickly get out of control once LaRue's cousins Frieda (Sandy Brown) and Lucille (Tasha Smith), find out and almost ruin the whole ceremony by exposing her fiancé for who he is. Tasha Smith fresh off of Tyler Perry's Why Did I Get Married is great in her character & brings some comic relief to every line she speaks, as usual.

    Essence Atkins plays LaRue's assistant/best friend who comes up with the bright idea for her to get a fake fiancé.' Things are never what they seem as they soon learn not only is Tiger (Marcus Patrick) a stripper, but a full out gigolo/hustler who is sleeping with his boss Carrie (Mary Linda Phillips). Flex Alexander who plays Reverend Arnold Peterson, LaRue's childhood friend who has also been carrying a secret with him where LaRue is concerned since childhood. Rounds off this wonderful cast. This is one of those films, just when you think you know what's about to happen, things quickly get changed up.

    The DVD is in stores now and features audio commentary by Tangi Miller and Flex Alexander, "Behind-the-Scenes" footage, film festival tour featurette, a trailer, and more. This is one you want to add to your collection!



    Mr. UBG


    Danity Kane | Welcome To The Dollhouse Bad Boy
     The big man at Bad Boy Entertainment himself, none other than Diddy, winds his successful girl group, Danity Kane, up in the intro track, introducing them as "five little girls, Shannon, Aundrea, D. Woods, Dawn, and Aubrey... these girls had a dream to make music and entertain" while tinkling children's music plays in the background... and after a bit more of this child's play, the dolls of Danity Kane are all wound up and ready to go.

    Dollhouse starts off fierce with "BAD GIRL", a play off the name of their label Bad Boy. All girls' voices' shine on this upbeat track, sensual and breathy yet never slacking on energy. The collaboration with Missy Elliott really isn't even necessary although it is a nice added effect. This was one of the songs that we all couldn't wait to hear as we faithfully watched episode after episode of "Making the Band."

    Next comes "DAMAGED" -- catchy and clever. This is the first single from the album, and surprisingly so seeing as it is rivaled by many other single-worthy tracks on the album. Not my favorite but it's solid.

    "PRETTY BOY"... while fun and jumpy, I'm never really sure what direction the song is going in. It wants to be old school hiphop, it wants to be Danity Kane... the vocals all seem a little lost on the track, the lyrics a little random and all over the place. Not terrible but let's just say, I heard the leak of this song and didn't think it would make the album.

    DK starts to get seriously sexy on "STRIP TEASE", it is no more just alluded to as on "Bad Girl." Now they are full on ready to please a certain special man, "shoulders down, leg out, bend over, lips pout, back out, shoulders wide, lift 'em up, don't touch". Is it just me or does much of this album HEAVILY revolve around sex, strikingly more than in the Danity Kane album? Maybe it's just the breathiness of their voices getting to me, but while their debut album was all love songs and show stoppin', Welcome to the Dollhouse showcases a more grown up, sensual, and seductive side of Danity Kane. Those breathy vocals lend themselves well to this repertoire. Throughout the album, the ladies of DK seem like fiending sex monsters who just can't help themselves ("And I just can't stop my clothes from coming down") but to whisper into their lover's ear about all the things they long to do ("I got a proposition if you want it, dare you to let me run some game on ya, undress me with your eyes, you're in for a surprise, what's under my exterior").

    So they explain. The reason they fiend so passionately is because each girl is a "SUCKA FOR LOVE." This song has a bit of Euro/international pop/dance feel and definitely has what it takes to rule the charts. Danity Kane paints the picture of just the kind of women they are, and why, especially when it comes to the bedroom. The ladies stress that "I do my best to keep you here all night long, I'm pulling out all my tricks 'cause I don't ever want you going nowhere else for your fix" to make sure their addictions get fed.

    Then comes an interlude, "SECRET PLACE (INTERLUDE)" and we all are quick to just skip ahead to the "real song". But WAIT! The interludes on this album are actually worth listening to, and one, "Picture This" is actually phenomenal and literally sounds as though you are in Bad Boy heaven and the angels are singing to you in perfect soothing harmony.

    "ECSTASY" featuring Rick Ross is a brief ode to a romance set in the street life, and seems to follow suit as it sounds a bit similar to Ross's recent releases. Although it has a peaceful effect, the song often bores me a little bit. I definitely see the need for Rick Ross in this one whereas I did not feel Missy had to add anything to "Bad Girl."

    After the relaxed, calming, and almost intoxicating "Ecstasy," the album shoots off into "2 OF YOU," a song that, contrary to assumptions, is not about a threesome. What the girls are really talking about here is their amazement in that their new man's love is so good, it feels like there are actually two men "working" on them. Not one of their best tracks, but definitely not a bad song at all. The spoken segment at the end is definitely very cute and doesn't sound forced like it does so often when artists try this.

    "LIGHTS OUT," proudly penned by Dawn, is one of those songs that might just stay on repeat. It is sassy and lustful, and I do have to hand it to Dawn for her songwriting abilities. The sometimes robotic sounding hook with its fluctuating pitches ("I don't know what you wanna do, but I want to get you up in my room, I like your swagger, gotta have ya") and brief lesson on spelling Danity Kane ("D-A-N-I-T-Y-K-A-N-E") play the stand out roles in this track.

    "PICTURE THIS (INTERLUDE)" beautifully segues into one of their strongest and most stirring pieces yet -- an emotional, goosebump-inducing ballad entitled "POETRY." When we all thought "Ride for You" was a great ballad from the girls of DK, they have truly outdone themselves with this artful song. Torn, vulnerable, and confused throughout the entire track, each member pours her heart into the crumbling love story. "I missed you 'til you almost took my sanity," the girls tell their lover, at last realizing the toll this heartache has taken on them.

    "KEY TO MY HEART" comes next, and is so overshadowed by the power of "Poetry." The only song that I might even call "filler" on Dollhouse. The production seems a little jumbled, as does the vocal arrangement. It doesn't truly cater to their style.

    The girls re-set the sentimental, passionate tone with "FLASHBACK (INTERLUDE)" and then head into the last ballad "IS ANYBODY LISTENING." A sure comeback from "Key to My Heart," the girls finally come back together, with perfected, strong vocals and a perfected beat backing them.

    The bonus track is "AIN'T GOING" featuring show co-stars and Bad Boy labelmates Day26 and Donnie, an enjoyable song that one is surely familiar with if they have spent any time watching the hit TV show "Making the Band" this season.

    An unreleased track to check out: "FLAWLESS." Although it is a little "Upgrade U"-esque -- wait, VERY "Upgrade U"-esque -- it is still a fun and sassy song that any DK fan would appreciate.

    Overall, Welcome to the Dollhouse has proved to be a killer piece of musical art that is guaranteed to blow up in the coming weeks. The publicity from the show has already been pushing them along, but the fact that the album is a truly solid and amazing sophomore effort will only bolster their already expected sales and popularity. The two things I love about Danity is how their voices can be breathy without being weak, and of course, their EXTRAORDINARY harmonies. Cliche as it may sound, it is actually jaw droppingly incredible how their voices have genuinely matured from their first album in such a major way. Diddy has selected these five lovely women well, and if 2008 allows for a Bad Boy takeover as anticipated, it will be Danity Kane who takes the reins and leads the movement.

    3.5
    Brianna (UBG)


    Mariah Shines In New BET Special Island
     When Mariah Carey geared up to release her last album, 2005’s The Emancipation of Mimi, the question on everyone’s mind was simple: Can she make a big enough comeback to return to her former glory ruling the charts? Nobody could have predicted Mimi would sell 5.8 million copies, spawn two number one singles, and win Mariah three Grammy Awards. Now having firmly reclaimed her place back on top, Mariah is currently prepping the release of her latest album, E=MC2. Though the first single, “Touch My Body,” is already a certifiable smash, this time around audiences cannot help but wonder: Can Mariah possibly top Emancipation?

    Cut to Friday March 7th, 2008. It is a rainy early spring day in New York, and Ms. Carey is set to film a one-hour BET concert special airing the week E=MC2 is released in April. Filmed at CBS Studios in midtown Manhattan, Mariah will perform brand new album cuts for the first time for an audience of loyal/crazy fans, and label execs such as LA Reid, with whom Mariah worked closely with on both this record as well the Mimi album.

    Having met Mariah before, and seen her live on numerous occasions I knew what I was getting myself into. For starters, she would no doubt be late… very late. However, once she finally arrives, she will be nothing but a sweetheart and to the surprise of many, extremely down to earth. The BET Set was fun and simple, a giant “E=MC2” sign hung against a pink and purple backdrop that nicely complimented Mariah’s ultra-feminine persona. The mini-concert was extremely intimate, with close to 100 of Mariah’s closest fans on, around, and against the stage anxiously awaiting the arrival of their Mimi. We all know Mariah fans are absolutely insane for their lady, and as they waited for her entrance, MC periodically teased them with a few notes.

    The set list was a healthy six songs, and before I get into the set-list and detailed description of the new music, I have four essential points to make.

    1. Mariah is HILARIOUS From the second she appeared on stage, Mariah was cracking jokes and giggling with her fans. Just a few lines into the first verse of her first song “Migrate,” Mariah stopped, yelling, “Hold up, stop! I’m sorry… but how in the Sam Hill am I supposed to do this without my sangers?”- pointing to the fact that her background singers had not yet taken the stage. Then, when “Migrate” had to be performed three times due to technical difficulties, Mariah announced, “My name is Mariah Carey, and I’m a professional… I swear.” Also, during one of the songs Mariah took off her sunglasses and handed them to a girl in the front row. She later explained that the sunglasses had been given to her personally by Roberto Cavalli himself and that the girl better like them. When asked by another audience member if they could have her ring, Mariah responded, “I would, but, I’m not THAT crazy.” It was interesting to get a perspective of the woman as she worked, and the main thing I learned was that she does not have a reputation for having a kick-ass work ethic for nothing. However, throughout the entire process, Mariah was lighthearted, funny, and quite the bundle of joy. She also does a mean Russian accent.

    2. Vocally, Mariah sounded BETTER THAN SHE HAS IN SOME TIME! It is no secret that the current state of Mariah’s legendary voice has been the subject of quite a bit of speculation as of late. She often sounded hoarse during 2006’s Adventures of Mimi tour, and fans had begun to wonder if she still possessed the same power and elasticity has she once did. Now I haven’t heard the new record, I haven’t heard Mariah in the studio, Mariah hasn’t sung to me personally in a bathtub full of rose petals (yet), but what I do know is that she sounded phenomenal during each song of the BET Special. Because it was not her ability to hit the high notes, but rather, the quality of her belting range that had been under speculation, I was specifically interested in how she would sound on the more powerful, belting parts both the new and familiar songs. What I found was that her voice sounded extremely clear and strong, and she appeared far more confident and in control than in any of the live performances of the Emancipation Era. The belting was fluid and effortless, and her voice overall seems to be in solid condition. This all despite the fact that Mariah told the crowd she’d been fighting a cold for the past week, and even started coughing at the end of “We Belong Together.”

    3. ANY of the new songs could be NUMBER ONES. The four new songs Mariah performed were all extremely catchy, but original and refreshing. MC definitely has some solid, sure-fire radio hits ready to unload.

    4. Mariah looked INCREDIBLE That body of hers is looking TONED and SEXY, and her ass and thighs are truly astonishing. Having drawn some criticism over the past few years on her curvy physique, it is interesting how much more comfortable she is on stage with her newly svelte and trimmed down figure. She wasn’t doing any of those awkward poses to look slimmer, M. Care was just having a great time and looked very natural in her tight black pants, tight white tank, and tight black sweatshirt. Lots of tight.

    The Set List:

    1. MIGRATE This song is the HEAT. The track was produced by Timbaland protégé DANJA, who gave Mariah undeniably the hottest hip-hop beat she has ever had. M rides the beat confidently and perfectly, starting off with trademark high notes in a fun little concoction, then launches into the catchy melody as the beat kicks in. It is the melody of the song that is also extremely strong, by far one of her best up-tempos in some time. T-Pain is also featured on the song, who has a sizable part, and surprised the audience when he jumped out on stage to perform it. The hook, which ends with “It’s time to MIGRATE,” will be stuck in your head for a long time, as the song will easily be a single very, very soon.

    2. TOUCH MY BODY This was Mairah’s first time performing her current single, which is currently skyrocketing up the charts with the help of strong radio play and its hilarious video, co-starring 30 Rock’s Jack McBrayer. Mariah seemed amused by the audience’s enjoyment of the “I will hunt you down” line. Then, at the end of the song, Mariah GOT DOWNNNNN and started broke into a funny little dance with the dancers. We all know dancing is NOT Mariah’s strongest suit, but this part is hilarious and you’ll have to see it to understand… but it’s FANTASTIC.

    3. SHAKE IT OFF One of two “oldies” she sung of the Emancipation album, Mariah did well but this song really does not translate as well live. Sure, it’s a fan favorite, and a favorite of Mariah herself, but it really is not all that fascinating done live.

    4. LOVE STORY One of several new songs she co-wrote with Jermaine Dupri, the performance started off with Mariah’s best friend’s young daughter and her little friends singing the backup parts on stage. Mariah then entered and launched into the ballad that can best be described as “We Belong Together” meets Mariah’s older catalogue of ballads. The lyrics describe a love story, mentioning how it is not like it is in the movies or “Casablanca,” and there is some extreme belting at the end that sounds great. My least favorite of the four new songs, but is a very strong ballad and could possible be a single down the road.

    5. THAT CHICK This song is BANGIN. Much like “Migrate,” this is one of the best up-tempos Mariah has ever done and is produced by Stargate (BUT THANKFULLY SOUNDS NOTHING LIKE “IRREPLACEABLE” OR “SO SICK”!!!!!!!). The beat is borderline disco, with a similar energy and thump as Ne-Yo’s “Because of You.” Mariah coos “I’m that chick you like!” in the extremely catchy and radio friendly hook. Absolutely must be a single, has “HIT” written all over it.

    6. WE BELONG TOGETHER Even though we’ve seen her do this one a million times, I really enjoyed this specific performance of “We Belong Together” because Mariah seemed to enjoy doing it. During the belting at the climax of the song, she was flailing her arms around old-school style, which I personally find great joy in seeing. Like I said, she started coughing right after that final note, but other than that she sounded great.

    In summary, I would say that even if the rest of the new songs that haven’t been heard yet completely suck harder, Mariah has a solid album on her hands. At the very least, she has radio hits that should last her well into next year. During the show, Mariah described the title, E=MC2, as meaning Emancipation= Mariah Carey to the second power, seeming to suggest that this time around, she is taking the music… and the hits… and the phenomenal vocals… and the funny references… and the nonsensical inside jokes… up to the next level. And from what I’ve heard, that is exactly what she’s done. If the rest of E=MC2, can match these tracks, then Mariah Carey has a strong contender for THE album of 2008.

    Rory (UBG)













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