Tag Archives: Grammy nominated

Taylor Swift’s Catalogue Ranked by Kit10Phish (final)

14 Mar

I ranked all album songs from least favorite to my very most delightful favorite of all the songs!

How I made this list:

https://kit10phish.wordpress.com/wp-admin/post.php?post=11721&action=edit

and check out the many (not final) lists for more description

(numbers) are the album/era

(C)atchy, (D)etailed story, (G)aylor references, (I)nstrumentals, (L)yrical complexity, very high/low (N)otes, (P)roduction stands out in a good way, (S)entimental

Skips
Last Place Song:
Superman (3)

Soon You’ll Get Better (7)
(best skip) Epiphany (8)

Mehs
3 boring:
A Perfectly Good Heart (1): I, N
(best boring-meh) The Archer (7): G, L

Mehs
2 Personally Dislike:
The Lakes (8): G, L, N, P
End Game (6): C, G, L, P (terrible feat!)
(best disliked meh) Coney Island (9): G, L, N (terrible feat!)

Mehs
1 Exactly Meh:
It’s Nice to Have a Friend (7); D, G, L (Ambiguity bothers me; weird production)
The Other Side of the Door (2): I, L, N
A Place in This World (1): I, N
Right Where You Left Me (9): C, G, L, N (repetitive)
(best exactly meh) The Outside (1): I, N (weak)

OK3 = nearly meh (final)
OK-3B BOTTOM OF LIST:
Tell Me Why (2): C, I, N = 3b (thin voice & a bit generic lyrically)
Sad, Beautiful, Tragic (4): C = 3B (both blah and bummer)
Superstar (2); D = 3B (zzzzzz)
I Almost Do (4); C = 3 (too needy/pathetic/un-feminist. Yet catchy)
(best OK-bottom of nearly meh) Jump Than Fall (2): C, I = 3B

OK3 = nearly meh (final)
OK-3A = TOP OF LIST:
The Other Side of the Door (2); C, I, L, N = 3A
Innocent (3): C, I, N = 3A
Last Kiss (3): C, D, N = 3A
The Best Day (2): C, D, = 3A
(best nearly meh) Fearless (2); C, I, N = 3a

OK2 = exactly neutral
OK-2B = BOTTOM OF LIST:
Peace (8): C, D, G, L = 2b (hate pulsing; lyrics condescending(?))
Miss Americana & the Heartbreak Prince (7); C, D, G, L, N = 2b (don’t care for HS/politics mixing & end chant is too much. But lots of good one-liners)
I Wish You Would (5): C, G = 2A
It’s Time to Go (9): C, D, G, L, N = 2B
Illicit Affairs (8); C, D, G, L = 2B
August (8); C, G, L = 2B
(best OK-bottom of exactly neutral) A Place in the World (1): C, I, N = 2B

OK2 = exactly neutral
OK-2A = TOP OF LIST:
The Way I Loved You (2): C, D, I, N = 2A
False God (7): C, G, L = 2A
Breathe (2): C, G(?), L = 2A
Dorthea (9): C, D, G, L, N = 2A
Happiness (9): C, D, L = 2A
Seven (8); C, D, G, L, N = 2a
(best of OK-exactly neutral) Long Live (3): C, D, I, N = 2A

OK1 = almost good
OK-1B= BOTTOM OF LIST:
Mary’s Song (oh my my) (1): C, D, I, N = 1B
This Love (5): C, G, L, N, P = 1b
I Think He Knows (7): C, G, L, P = 1b
(best OK-bottom of almost good) London Boy; C, D, L, P = 1b

OK1 = almost good
OK-1A= TOP OF LIST:
New Romantics (5): C, D, G, L, N, P = 1A
Hey Stephen (2): C, D = C2
Call It What You Want (6); C, G, L, P = 1A
Tied Together w/a Smile (1): C, D, I, N = C2 (less repetition, some more notes & instrumentals
Gorgeous (6): C, D, L, N, P = 1A
King of My Heart (6): C, L, N, P = 1A (ENDING)
Change (2); C, I (@ END!), N = 1A
Back to December-acoustic (3): C, D, I, N, S = 1A
(best OK-almost good) Cornelia Street (7); C, D, G, L, N = 1A

Good c = almost OK
Gc2 = bottom of category:
State of Grace-acoustic (4): C, L = C2
Begin Again (4): D, I, L = C2
The Last Time (4): C, I = C2 (weird collaboration)
(best Good-bottom of almost OK) Cold as You (1): I, N = C2

Good c = almost OK
Gc1 = top of category:
22 (4): C = c1
Untouchable (2): C, I, N = C1
Come in w/the Rain (2): C, I = C1
All Too Well (4): D, I, L, N = C1 (almost a powwow beat; and yup I did rank it this low)
Starlight (4); C, I = C1
(best Good-almost OK) Sparks Fly (3); C, I = C1

Good b= exactly good
Gb2 = bottom of category:
If this was a Movie (3): C, D, I, N = B2
Never Grow Up (3): C, D, I, N = B2 (problematic sentiment)
’tis the damn Season (9): C, D, L, B2
You are in Love (5): C, N = B2
Stay Beautiful (1): C, I, N = B2
Treacherous-demo (4): C, G(!), L = B2
Cardigan (8): C, D, G, L = B2
Red-demo (4): C = B2
The Last Great American Dynasty (8): C, D = B2
How You Get the Girl (5): C, D, G = B2
(best Good-bottom of exactly good) White Horse (2): D, I, N = B2

Good b= exactly good
Gb1 = top of category:
Everything has Changed (4); C, N = B1
Holy Ground (4): C, D, G, L = B1
This is Me Trying (8): C, I, L(!) = B1
Afterglow (7): C, P = B1
Treacherous (4): C, G(!), L =B1
Daylight (7): C, G, L, N = b1
Come Back…Be Here (4): C, N = B1
Mirrorball (8): C, G, L = B1
I’m Only Me When I’m w/You (1): C, I(!) = b1
Forever & Always-piano (2): C, I, N = B1
The Lucky One (4): C, D, N, = B1
(best Good-exactly good) Fifteen (2): C, D, I = B1

Good a= almost awesome
Ga2 = bottom of category:
This is Why We Can’t Have Nice Things (6): a2
Welcome to New York (5): C, D, G, N, P = A2
Me! (7): C, G, I, N = A2 (yup, I ranked it this high–it grew on me)
Wildest Dreams (5): C, N, S = A2 (sexy)
Delicate (6): C, D, G, L, P = A2
So It Goes…(6): C, G, P, L, N = A2 (sexy lines)
Mine-pop (3): D, I, N = A2
Clean (5): C, G, L, P = A2
Tim McGraw (1): C, D, G, I, N = A2
Champagne Problems (9): C (bridge), D, G, L = A2a
(best Good-bottom of almost awesome) Betty (8): C, D, I, G, L = A2a (catchy, & swelling instrumentals)

Good a= almost awesome
Ga1 = top of category:
Mine (3): C, D, I, N = A1
Haunted-acoustic (3): C, I, N, P = A1
Getaway Car (6): C, D, G, P = A1
Death by a Thousand Cuts (7): C, D, G, L, = A1b
Gold Rush (9): C, G, L = A1b
tolerate it (9): G, I, L = A1
Cruel Summer (7): C, G, L, N = A1b
Red (4): C, I, L, P = A1
New Year’s Day (6): C, D, I, N =A1
Cowboy Like Me (9): C, D, G, I, L = A1
willow (9): C, G, L, N = A1 (so effing catchy!)
Dress (6): C, G, L = A1 (SEXY)
Haunted (3): C, I (!), N, P = A1a
Teardrops On My Guitar-RADIO (1): C, I, L, N = A1 (sounds almost the same to me)
(best Good-almost awesome) Teardrops On My Guitar-POP (1): C, I, L, N = A1 (more beat & echo)

Awesome- 3 BETTER THAN GOOD:
All You had to do was Stay (5): C, N = 3
Evermore (9): C, L, N = 3
Stay, Stay, Stay (4): C, D, S = 3
Bad Blood (6): C, N = 3
The Moment I Knew (4): D, N = 3
(best Awesome-better than good) Ours (3); C, L, N = 3

Awesome-2 SOLID AWESOME
2b = bottom of list:
You Belong w/Me (2); C, D, I, N, S = 2b
I Forgot that You Existed (7); C = 2b
Girl at Home (4): C, N = 2b
Our Song (1): C, D, I =2b
Paper Rings (7): C, D, G, P = 2b
No Body, No Crime (9): C, D, L (pronoun/subject) = 2a
Closure (9); C, G, L, P = 2b
The 1 (8): C, D, G, L = 2b
Wonderland (5); C, G, L, N, P = 2b
(best Awesome-bottom of solid awesome) Ivy (9); C, G, L = 2b

Awesome-2 SOLID AWESOME
2a = top of list:
my tears ricochet (8): D, L, P = 2a
Mad Women (8): C, L, N = 2a
Out of the Woods (5): D (bridge), G, L = 2a (is this car crash real? who and when? major gay closet vibes)
The Man (7): C, G, L = 2a
Invisible String (8); C, D, L = 2A
You Need to Calm Down (7): C, G, S = 2a (the 3 things being compared aren’t related? enthusiastic!)
Back to December (3): C, D, S(!) = 2a
Blank Space (5): C, G, L, N = 2a
(best of Awesome-solid awesome) I Knew You Were Trouble (4); C, N, P = 2a (subtle-moag)

Awesome-1 ELITE
1b= bottom of list:
Love Story (2-TV): C, D, I, N = 1a (same except staccato reme-o & fa-ding)
Love Story (2): C, D, I, N = 1a (her 1st crowd favorite, but rom-com effect w/princess stuff & severe heteronormativity)
Dear John (3); C, D, L, N = 2a
Enchanted (3): C, D(!), I, N, S = 1b
Better Than Revenge (3): C, D, I(!), N, S = 1B (sounds like Paramore; problematic mean-girl stuff, but it was a time)
Exile (8): C, G, I, L, N = 1b
Dancing with Our Hands Tied (6): C, G, L, N, P = 1b
Marjorie (9); C, G, L, P, S = 1b (I love the sentiment more than the song. Intense memories of my Grandma, thanks Taylor, for that)
(best of awesome- bottom of elite) Long Story Short (9): C, G, L, P = 1b

Awesome-1 ELITE
1a = top of list:
Style (5): C, G, I, L, N, P = 1a (who is she talking about, what car crash is referenced, is it real?)
Lover (7): C, G, L, S = 1a
Shake It Off (5): C, N = 1a (love the sentiment, & catchiest of ever!)
I Did Something Bad (6): C, N, P = 1a (moag is the star here)
We Are Never Ever Getting Back Together (4): C, I, P = 1a
Look What You Made Me Do (6): C, P = 1a (exciting like several songs w/in 1 song, I don’t trust nobody bridge)
The Story of Us (3): C, I, S = 1a ( like the next chapter, the end)
Picture to Burn (1): C, I, S = 1a
Shoulda Said No (1): C, I, N, S(!) = 1a
…Ready for It? (6); C, G, N, P = 1a (sexy sounds & moag)
(4th best song) I Know Places (5): C, G, L, N, P = 1a

–and the top 3 songs in the entire catalogue (in my opinion):
*Don’t Blame Me (6): C, G, L, N(!), P = 1a (that moag! She sings her ASS off! Probably the best, barring sentimental favorites)

You’re Not Sorry (2): C, I, N, S(!) = 1a

(My #1 song) Mean (3): C, L, S(!) =1a (after all the listening I learned sentimental really does trump every other characteristic.)

Fiona Apple: Fetch the Bolt Cutters Album Review

14 Dec

I Want You to Love Me:  Beautiful, swirling piano.  The notes are held so long they become discordant.  Singing slowly transitions from sweet to rough.  The song breaks down at the end with piano fluttering and dolphin vocalizations.  It feels weird, but must be symbolic?

Shameika:  Unlike the last song, this song sounds good right away.  The piano playing elevates all of the songs, and you can tell the vocals are very intellectual.  There is so much going on in the song (production-wise, instrumentally, and lyrically), you have to listen several times to pick up what Apple is putting down.

Fetch the Bolt Cutters:  More spoken word, which reminds me of when Jewel used to strip down to poetry.  And the singing remains “off” and intentionally displeasing to the ear.  “I grew up in the shoes I was told I could fill.”  There are many gems of lines in the song.  It’s about filling expectations, then later, realizing what you want to do, and who you want to be.  She is fetching the bolt cutters to remove these chains society has placed upon her. There’s barking and heavy breathing at the end.  Maybe a symbolic, being chased and pursued, for going your own way.  Fear, but defiance in spite of it.

Under the Table:  Apple, won’t be silenced.  Not for society.  Not for her partner.  “Kick me under the table all you want, I won’t shut up.”  The piano steps up, and Apple goes into more of a singing shout to show her passion about the subject.  There is more off-key shout-barely singing, and the piano does a lot of the work.

Relay:  The beat is consistent with the last songs, moving effortlessly through the album’s theme.  A lot of production.  Many repetitions of the phrase.  Fiona presents herself strong here, not a victim, or soft or helpless.  “Evil is a relay sport when the one who’s burned turns to pass the torch.”  And “Presenting your life like a fucking proaganda brochure” is such a great line.  “. . .  If I hate you for hating me I will have entered the endless race” is the key to the meaning of this song.  Pitting women against each other is our patriarchy’s way to hold us all back.  There are some wailing sounds that I don’t understand.  Is there a cello in here?  

Rack of His:  The initial notes and background sound like that popular Matt & Kim song.  More rough singing to tell a story, which was cerebral to the extent I had to listen several times before I picked it up.  She loved this person so much, and they were only with her to avoid boredom.

Newspaper:  More barking.  An incest song?  It’s difficult to listen to details of grooming and manipulation of an incestuous father.  But it’s a good, and an important song, to put out in the world.  The singing is rough again.  Seeing this sister(?) being abused in the same manner makes Apple feel close to her.  Though the father is manipulating them to dislike and distrust each other.  She does vibrato at the end.  Closes with random thumping.

Ladies:  Repeats, “ladies ladies ladies” four times in harsh, displeasing tones before starting to really sing.  “Yet another woman to whom I won’t get through”  The ex wife of another ex of mine, but the dress at many degrees of separation.  Apple is part of the social puzzle that has women policing other female behavior to reinforce patriarchy.  She emphasizes, whether we play along, enforce, or rebel, we’re all still part of that system.

Heavy balloon:  A lot more repetition–Apple really wants to stress her message to the listener.  There are many thoughtful lines.  “I spread like strawberries” “I’ve been sucking it in so long, I’m bustin’ at the seams.”  “The bottom feels like the only safe place that you know.”

Cosmonauts:  Apple is startlingly smart.  She has lines like, “Your face ignites a fuse to my patience…  Be good to me before you’re gone.”  And “Way more gravity than when we started off” to tell us this relationship has gotten burdensome and heavy.  It’s good imagery.  There are chaotic rounds near the middle of the song.  “Started off” is repeated, then shouted.  It emphasizes the difference from where the relationship began to where it has ended up. Ending with Apple whispering.

For Her:  A group of female voices.  “Treating his wife like less than a guest”  “Trying to act like the other girl acts”  The lyrics get fast.  It nearly sounds like a sports chant.  Beat.  A fun sounding verse.  “Like you know you should know when I came to bed, like you don’t know what you did.”  A pretty big musical break– to show a different day?  It almost sounds like the next song.  “You raped me in the same bed your daughter was born in.”  A chorus, but it gets increasingly sharp(?) and displeasing which ends the song.  I think it imitates how things went sour in her life?

Drumset:  She doesn’t understand why the subject of the song, didn’t want to try, and took it all away.  The drumset is gone.  This person won’t take calls, won’t talk at all.  The song ends on “aaannnd” maybe the next song will continue the story.

Oh I Go:  Sung in lower tones, like stage whispering at some parts.  Many levels of voice.  Choppy phrases of woodwind(?) end the song.


I initially was happy to see Fiona Apple releasing music again, because it’s been a long drought, and she’s historically an artist I like.  And on first listen to the album, I could see there was a lot going on and it should be good.  But Apple doesn’t just hand it to you.  You have to work to understand and appreciate Fetch the Bolt Cutters.  And it’s also intentionally not that sweet and pretty and pleasing to the ear.  Apple has made known she can sing beautifully, and play piano with virtuosity, but here she chooses not to.  So it’s a little work to listen.  But also a cerebral masterpiece.  Smartest work of 2020–and that’s saying a lot with folklore on the scene.

Haim: Women in Music Part III Album Review

9 Dec

I tried to listen to Haim before, because I heard a lot about them.  But I just didn’t really connect.  But some of their stuff was good on this album, and it made me want to listen to more of their catalogue again.

Las Angeles:  References to California Dreamin’, a pretty solid instrumental breakdown, and lamenting about the superficiality of LA.

The Steps:  “You don’t understand me” is such a a memorable refrain.  These gals know how to put together songs that will get stuck in your head!

I Know Alone:  The way this song could be a commercial jungle reminds me of Savage Garden’s “I Want You” and that’s an awesome thing.  If you’re writing is so catchy it’s mistaken for a jingle–that’s good.  And the production has a lot of little tid-bits to spice up the track.

Don’t Wanna:  This could very well be–Fleetwood Mac.  Not the Stevie Nicks-centered songs, but that other gal.

Another Try:  I like the chorus, as it is layered and pleasant to listen to.  My favorite thing about this song is the horn that peeks through. 

Leaning on You:  Beautiful harmony.  I know I keep saying on every song, they remind me of someone else.  But this one is reminiscent of an Indigo Girls song with the harmony and the guitar strums.  It’s rich and layered, yet stripped down.

I’ve Been Down:  It’s almost talk-singing, and that reminds me of Sheryl Crow’s “All I Wanna Do…is Have Some Fun” which is always good. 

Man from the Magazine:  “I don’t wanna hear,  ‘it is how it is’. . .  ‘it is what it is’” is an example of what Taylor has been talking about.  Just because you signed some $hitty contract as a nobody, doesn’t make it right for artists to never own their own creative output for life.  The industry needs modified.

All that Ever Mattered:  Inside the album, this song is catchy, with some of the best instrumentation of all.  But on a playlist, that screaming noise is jarring.  

FUBT:  This track has a hollow (acoustic?) sound to it that reminds me of being in a restaurant that has a featured band.  Aren’t those the BEST restaurants?!  But it’s not the best acoustics.  It’s better when more instruments filter in on the breakdown.

Hallelujah:  Sung angelically, I imagine this song brings chills to the skin and tears to the eyes when taken in live.  It’s original but still meaningful.

Summer Girl:  It’s a remixed version of the first song with a bit more jazzy vibe.  The repeated phonemes are super-catchy just as PopVerse told me they should be.  I like this version better, but both hold up.  And they’re different enough to each warrant their place as album bookends.

John Legend: Bigger Love Album Review

28 Nov

Ooh Laa:  The album opens on a sex song.

Actions:  Like the last song there is a bit of a sample.  It’s familiar, yet evolved. “Actions speak louder than love songs.”

I Do:  Some funk flair in this one.

One Life: A disco sound.  The background instrumentals are strongest here.  The sentiment is motivational.

Wild:  The beat is nice.  The chorus is the first one that really made me excited on the album.  I can hear electric violin(?) in the background, and I always like that.

Bigger Love:  This sound reminds me of someone else.  It’s got a bit of calypso.  A female voice comes in, but not til very late in the song.

U Move, I Move:  More of a proper duet.  I think it would sound better of the female voice was a bit more resonant.  And her accent distracts me a little.

Favorite Place:  Yuck.  Both for the subject matter (lesbians are the wrong audience for straight person sex).  I know good writing is specific, but maybe make it a little more generic so I don’t have to picture stuff that’s disgusting to me. And the word choice is bad.  Really bad:  “I love it when my roller coaster dips, right into your ocean.”  Like, he was going with some sea-symbolism/metaphores, and suddenly there was a fucking rollar coaster?  Also, gross.  I do like the strings on instrumentals.

Slow Cooker:  At least now the metaphors are consistent.  It’s still a little weak.  The brass sounds nice.  The layered voices in the last third of the song sound good.

Focused:  I just feel like the writing is weak throughout the album.  I get that he’s happy and in love and lusting also.  I see he’s trying to convey love and make the songs show feelings.  They don’t all that much.  Too many cliche’s.  Too many simple sentences.  The words need to be better.  The sentiment rings hollow purely because the writing is elementary.  At least this song has some good singing.  

Conversations in the Dark:  It’s a nice sentiment that he wants to be with her, never change her, and he won’t break her heart.  It’s all very loving, and that’s so nice to hear.  I like this song.

Don’t Walk Away:  Here’s an, ‘even if you’re mad, don’t walk away’ song.  The interlude by Koffee is interesting and different.  The echo adds to the song.

Remember Us:  What I’m getting from this song is that not all the writing on the album is mediocre to bad.  This one is good and fine.  That tells me some editing should have occurred.  Because keeping weak songs only gave me a bad impression of the whole album.  I’d rather have good songs.  I like many songs, but if they’re weak, throw-aways, it makes an album worse.  Good incorporation of Rapsody.  It’s current and goes with the sentiment of the song.

I’m Ready:  Falsetto singing.  It’s a good change.  More of a true R&B song.

Always:  A continuation of the falsetto and R&B, nearly the same song as the last.  The swirling strings in the background are nice.

Never break:  Perhaps the strongest track on the album, the singing takes the front seat, but the piano is played beautifully.  I would have liked to hear the whole album sound similar to this.  I think this was played after their miscarrage too, giving it extra sentiment.  Adding just a touch of chorus singing, was just enough.  A good closer.

There were many songs on this album that I didn’t like something about.  But each of those disliked songs had at least one redeeming factor, or this entire album would have been ranked lower.

The Lone Bellow: Half Moon Light Album Review

27 Nov

I Can Feel You Dancing:  Would have benefited from another verse.  It’s too much chorus repeating.  I do like the touch of brass.

Good Times;  The bass is cool, there are brass instruments which is great, and the keyboard is nice.  I like the brass!

Wonder;  The harmonic humming sounds good, then when it turns into the sample material it’s still somewhat unique.  They do just enough to tell you it’s a take on the original and call it back, but most of the song is completely original.

Count On Me:  The bass drum heart-beating throughout the song is the strongest part of this one.  The lyrics are a little cliche’, but they sound nice sung as a group.

Wash It Clean:  It is a nice song, but larely forgettable.

Enemies:  Quiet, very quiet.

Interlude:

Just Enough to Get By:  This song suddenly sounds like a completely different band.  There is no indication of this singer or sound prior to this track.  So I like it, it’s a little soulful and bluesy more than the rest–but let’s hear some of this elsewhere on the album.

Martingales:  This song is also a bit of a departure from the rest of the album (in a good way) save for the choral backing.

Illegal Immigrant:  Not an attention getter.  Too soft, too unassuming.  I do give props for any country-leaning group to tackle anything even adjacent to race relations.  This is a pretty mellow and coded and safe take on a hot-button issue.

Friends:  More jazzed up, but I don’t really like that talk-singing stuff.  I do like a touch of whistling so good on ‘em for that.

Dust Settles:  I think it might be a heavily coded political unity song.  And it tells a story in detail, as a good country song tends to do.  But my opinion is that it’s not a very original, or genuine story.  It’s a bunch of cliche’s and probably guesses about how other people feel.  I don’t get a big sense of introspection or personal feeling from the song.  It’s a bit distant, instead of from the heart.  Again though, I really give the band credit for writing on anything political–however coded and arms-length.

August:  big strings are the reason I was attracted to Lone Bellow’s earlier work.  So I’m happy some are included.  But disappointed they’re not center-stage in the song, or featured on more of the album.

finale:

Dua Lipa: Future Nostalgia Review

25 Nov

Let’s get right to it:

Don’t Start Now and Cool are ones that’ll get stuck in your head, though the latter has some decidedly Bieber-inspired vocal similarities.  

Pretty Please:  It’s a stand-out on the album, taking more of a risk than the other songs.  The unapologetic sexuality, especially from a female perspective, is a nice addition.  And lends some validity to the artist.

Hallucinate:  Sounds like a rip-off of Lady Gaga.  WHICH I think is fair since Gaga’s entire fashion, sound, progression as an artist, and career are a direct rip-off of Madonna.

Love Again:  The best thing about this song is the use of the sample, and the occasional strings in the backing.  The signing and the vibe are disco-esque.

Break My Heart:  The syncopation, elevates this one from just another disco-Gaga tune to a little original.

Good In Bed:  This is the best song on the album, because of the playfulness of tempo.  There are the scales which shows any vocal talent.  The repetition of words and syllables make the song a catchy, ear-worm.  And it’s cheeky and sexual.  It’s reminiscent of Lilly Allen, without being a copycat.  This is the song that shows musical influences without just straight up plagiarism.  

Boys Will Be Boys:  A feminist anthem!  I love this song with it’s content about social issues such as patriarchy, gender roles, and sexism.  

The album reminds me a little of the ‘Bring It On’ Soundtrack.  Nothing ground-breaking here, but a fun listen all the same.  There are glimmers of potential on this album.  And when Dua Lipa embraces her own voice, that’s where things go right.  This artist reminds me of a hybrid between Katy Perry’s California-girl lite pop and 1980’s vanilla, Debbie Gibson. And too often she veers into the easy, superficial sound rather that challenging the status quo of pop.