After wowing audiences in Dreamgirls with her Oscar-winning performance as troubled singer Effie White, anticipation has been growing for the release of Jennifer Hudson's debut album -- the Dreamgirls soundtrack notwithstanding. Many have wondered if the big-voiced diva will be able to translate her surprising film success into a recording career. After all, Hudson rose to fame singing on American Idol, wowing audiences with her stunning version of Elton John's Circle of Life.
However, while Hudson's first album has long been in the making, its eventual release last week was accompanied by little fanfare. Most people I know had no idea she had an album coming out, or that it would be released on September 29th. Hudson herself has made few television appearances, and there has been little buzz surrounding the release of her debut. Her first single, "Spotlight", has been lingering in the lower part of the Top 40 on Billboard's Hot 100 Singles Chart, not a good sign for the long-term success of Hudson's album. "Spotlight" is a decent enough single, but it's nothing special, and hardly allows Hudson to use her impressive pipes.
The lack of fanfare for Hudson's album is surprising since Clive Davis is one of the album's executive producers. Where is that magic touch that he brought to all those Whitney Houston albums he oversaw? Does Davis not feel the same way about Hudson as he does about Houston?
The album has received mixed reviews, and the lukewarm response to "Spotlight" indicates that the buzz around Hudson herself may be faltering. After her spectacular debut in Dreamgirls, response to Hudson's performance in the Sex and the City movie was not as positive, although several critics did compliment her. But reading online reviews on IMDB or other movie sites, many bloggers and posters criticized Hudson's performance.
So, with the lack of interest in Hudson's first album and mixed response to her second film, does this mean Hudson is a one-trick pony? I'd like to think not. She's still young, and I must admit I enjoyed her in the Sex and the City movie, and look forward to buying her album, which I have not heard all the way through. How can anyone not be impressed by that voice? Time will tell if Hudson's career will find success beyond Dreamgirls, but Hudson is very talented, and there is more to her than Effie White.
Tuesday, October 7, 2008
Sunday, October 5, 2008
Alison Moyet
Venturing out to the CNE Grounds, on a Sunday night no less, is not my ideal way of spending my Sunday evening before the dreaded Monday morning. But when you're venturing out to see Alison Moyet, it's worth it. Returning to Toronto to perform at the Queen Elizabeth Theatre after a 14 year absence, the British singer proved that time has been very kind to her soulful, bluesy voice, which remains powerfully intact.
Even if Moyet's recent material, including a number of songs from last year's The Turn, was met with mild response by the three-quarters full audience, her stunning vocals were a treat. Her powerful pipes were well-matched with the jazzy material, including a cover of Elvis Costello's Almost Blue and Billie Holiday's That Ole Devil Called Love. Most members in the audience were looking for nostalgia as Moyet trotted out a handful of Yaz hits (which she covered on their recent reunion tour this past summer, which, sadly, did not stop in Toronto and many last night were probably kicking themselves for not getting to see that much-anticipated reunion). Without Vincent Clarke's trademark synthesizer, Moyet's tight five piece band did an adequate job re-inventing the songs (with violins, no less). Particularly good was an energetic version of Don't Go, although a brief version of Situation, which was the show closer, did not sound as good without synthesizers.
As for Moyet's own early material, she seemed hesitant to trot out her biggest North American hit, Invisible, for its desperate and pleading lyrics, which Moyet joked as unbecoming for an almost-50-year-old woman to sing. But the night's biggest surprise was an intimate version of Is this Love, which was warmly embraced by the crowd. A solid version of Whispering Your Name was also a highlight.
Too much of the newer material weighed down some of the show, and unfortunately Moyet performed only a few songs from her excellent 2004 covers album, Voice. But it was THAT voice that held the show together. Hopefully Moyet won't wait 14 years for next performance in Toronto.
Even if Moyet's recent material, including a number of songs from last year's The Turn, was met with mild response by the three-quarters full audience, her stunning vocals were a treat. Her powerful pipes were well-matched with the jazzy material, including a cover of Elvis Costello's Almost Blue and Billie Holiday's That Ole Devil Called Love. Most members in the audience were looking for nostalgia as Moyet trotted out a handful of Yaz hits (which she covered on their recent reunion tour this past summer, which, sadly, did not stop in Toronto and many last night were probably kicking themselves for not getting to see that much-anticipated reunion). Without Vincent Clarke's trademark synthesizer, Moyet's tight five piece band did an adequate job re-inventing the songs (with violins, no less). Particularly good was an energetic version of Don't Go, although a brief version of Situation, which was the show closer, did not sound as good without synthesizers.
As for Moyet's own early material, she seemed hesitant to trot out her biggest North American hit, Invisible, for its desperate and pleading lyrics, which Moyet joked as unbecoming for an almost-50-year-old woman to sing. But the night's biggest surprise was an intimate version of Is this Love, which was warmly embraced by the crowd. A solid version of Whispering Your Name was also a highlight.
Too much of the newer material weighed down some of the show, and unfortunately Moyet performed only a few songs from her excellent 2004 covers album, Voice. But it was THAT voice that held the show together. Hopefully Moyet won't wait 14 years for next performance in Toronto.
Will Janet Jackson ever bounce back?
Since 2004, when Janet Jackson made the ill-fated decision to spice up her appearance at the Super Bowl Half-time show with the infamous Justin-ripping-away-her-blouse routine, Jackson's once-hot career has been in free-fall, a decline that seems to have no end in sight. Just last week, Jackson announced that she had left her label, Island Def Jam, insisting that it was her request to be released from her contract. The parting of ways between artist and label comes only months after the release of Jackson's first and only album with IDJ, Discipline, which failed to match the buzz and sales of her past monster hits such as Rhythm Nation 1814, Janet, and even 1997's Velvet Rope. Jackson was obviously dissatisfied with the label's lack of promotion of the album, but Jackson herself has not had a hit album since 2001's All for You. Her previous two albums, Damita Jo and 20 Y.O., both bombed, and Discipline appears to have run its course.
Jackson sought to boost album sales by going out on tour. Rockwitchu, her first tour in seven years since 2001's All for You tour, opened recently in Vancouver, but the tour has been plagued by soft ticket sales, and recent health problems for Jackson herself. She has postponed shows in Montreal, Boston, and is now postponing shows in Atlanta, North Carolina and Fort Lauderdale due to an undisclosed illness. Whatever the case may be, this recent development in Jackson's tour is simply another case of bad luck for Jackson, whose career hasn't recovered from the infamous "wardrobe malfunction".
Without a label and a failure to generate buzz or ticket sales for her latest tour (like Madonna who is yet again breaking box office records with her Sticky and Sweet Tour), Jackson finds her career at an impasse. It's obvious Jackson needs new management and new advice. She has exhausted the sex kitten role, a persona she seems reluctant to drop even at the age of 42, and despite the fact that the public has grown tired of the sex act as well, judging by the harsh reaction to her Super Bowl performance and tepid response to Jackson's last three problems. Perhaps Jackson should take a page out of her rival Madonna's book. Following the negative reaction to her 1992 Sex book, the Material Girl regrouped and softened her image to the public, releasing a compilation of ballads, starring in the film adaptation of the musical Evita and releasing the spiritually inspired, Grammy-winning Ray of Light album, all of which helped put Madonna back in the good graces of the public.
Since 2004, aside from starring in Tyler Perry's Why Did I Get Married?, Jackson has not done much to evolve her image or soften it. Her albums continue to feature silly interludes about sex, and her songs themselves are erotically charged. Essentially, she has made the same album for the past decade.
There was a time when Jackson seemed unstoppable. Control, Rhythm Nation 1814, Janet and Velvet Roper were strong albums that were also commercially successful, back in her heyday of 1986 to 1997. But back then, Jackson was more than a sex kitten; she wrote and sang songs about racial harmony (Rhythm Nation); AIDS (Together Again) and domestic violence (What About). But now she appears to be a one-trick pony, trying to compete with the Rihannas and Beyonces with sexed-up image that no longer comes across as sexy or genuine. Perhaps being without a record label will inspire Jackson to take some new risks, but it's evidently clear that her sex kitten days are over. It's time for some new tricks, Miss Jackson.
Jackson sought to boost album sales by going out on tour. Rockwitchu, her first tour in seven years since 2001's All for You tour, opened recently in Vancouver, but the tour has been plagued by soft ticket sales, and recent health problems for Jackson herself. She has postponed shows in Montreal, Boston, and is now postponing shows in Atlanta, North Carolina and Fort Lauderdale due to an undisclosed illness. Whatever the case may be, this recent development in Jackson's tour is simply another case of bad luck for Jackson, whose career hasn't recovered from the infamous "wardrobe malfunction".
Without a label and a failure to generate buzz or ticket sales for her latest tour (like Madonna who is yet again breaking box office records with her Sticky and Sweet Tour), Jackson finds her career at an impasse. It's obvious Jackson needs new management and new advice. She has exhausted the sex kitten role, a persona she seems reluctant to drop even at the age of 42, and despite the fact that the public has grown tired of the sex act as well, judging by the harsh reaction to her Super Bowl performance and tepid response to Jackson's last three problems. Perhaps Jackson should take a page out of her rival Madonna's book. Following the negative reaction to her 1992 Sex book, the Material Girl regrouped and softened her image to the public, releasing a compilation of ballads, starring in the film adaptation of the musical Evita and releasing the spiritually inspired, Grammy-winning Ray of Light album, all of which helped put Madonna back in the good graces of the public.
Since 2004, aside from starring in Tyler Perry's Why Did I Get Married?, Jackson has not done much to evolve her image or soften it. Her albums continue to feature silly interludes about sex, and her songs themselves are erotically charged. Essentially, she has made the same album for the past decade.
There was a time when Jackson seemed unstoppable. Control, Rhythm Nation 1814, Janet and Velvet Roper were strong albums that were also commercially successful, back in her heyday of 1986 to 1997. But back then, Jackson was more than a sex kitten; she wrote and sang songs about racial harmony (Rhythm Nation); AIDS (Together Again) and domestic violence (What About). But now she appears to be a one-trick pony, trying to compete with the Rihannas and Beyonces with sexed-up image that no longer comes across as sexy or genuine. Perhaps being without a record label will inspire Jackson to take some new risks, but it's evidently clear that her sex kitten days are over. It's time for some new tricks, Miss Jackson.
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