Tag Archives: Kesha

Awesome Albums of 2020 Top 13-1

17 Dec


Black Eyed Peas (8 awesome; 3 good; 1 ok; 2 meh; 1 dislike of 15 = 

53.3% awesome; 

20% good; 

Awesome good avg = 36.65%

80% OK & up; 

6.7% dislike

Awesome – dislike =

46.6% awesome

Awesome good avg – dislike =



Every song could just blend together on this album.  The theme is perfectly executed, where the individual songs can hold up on their own, but the album could be played and the listener might never know when one song ended and the next began.

At one point, I thought Translation would be my winning album of the year.  I decided to weight dislikes heavily though–b/c it takes a LOT for me to not like a song at all.  And I just can’t get behind using the word “bitch” to convey someone you don’t like or respect.  And it pains me to mark down Will I Am because I think he does have a good heart (he is my VERY favorite episome of Songland because he was so nice and fair and awesome), but I can’t get behind that one song…


Taylor Swift (6 Awesome; 7 good; 2 ok; 1 meh; 1 dislike of 17 = 

35.3% Awesome; 

43.8% good; 

avg awesome/good is 39.6%; 

88.2% ok & up. 

Dislike = 5.9%

Awesome – dislike = 29.4%

Awesome good avg – dislike = 33.7%


What a good album–it’s an understatement.  Taylor Swift again shows her dexterity as a writer and performer.  She really can do anything!  Do I like Dream-Pop?  Absolutely not.  But I like Taylor, she’s a sentimental favorite of mine, and I can appreciate what she’s done here.  This album’s strongest feature was the layered writing, which embedded so much information, that it drove multiple listens–genius.  Folklore is most definitely the most lyrically-robust album of the year.  Like Apple’s work, Taylor shows she has a keen knack for saying, showing, and musically burying meanings everywhere.  Just don’t call folklore “Alternative” IT IS NOT IN THE ALTERNATIVE GENRE.  This is most definitely an attempt at dream pop like Lorde and an inspiration to Taylor, Lana del Ray.  But more hooks and catchiness.  Taylor can’t help but to write earworms.  It’s a good departure and makes me excited for whatever is going to follow.

This album was also heavily penalized for a poorly written (in my opinion) hastily added song.  I expect more from a writer of Taylor’s caliber.  She could easily write a hundred better Covid songs, and she should have.  There’s really no excuse for just throwing a song on an album.


Lauren Alaina 

Getting Good (2 awesome; 2 good; 2 ok; meh; dislike of 6 = 

33% awesome

33% good

Awesome good avg = 33.3%

100% OK & up)


I never knew given the choice between some drinking break-up album and a more traditional country good-girl album, that I would prefer the latter.  But in this case I did.  I felt like the Getting Over Him wasn’t very authentic for Alaina.  I suggest she #1, just combine into an album in the future.  #2, stay true to herself, because without even knowing there was a choice I gravitated to her more true story.


Kenny Chesney  (4 awesome;6 good;2 ok; meh; dislike of  12= 

33.3% awesome;

50% good; 

Awesome good avg = 41.65%

100% OK and up)


It feels to me like Chesney knows the exact combination of elements to make a winning record.  And he’s combined them (as he always has) to make a good record.  What I’m not getting, is a lot of genuineness, authenticity, or enthusiasm for making music.  It all seems very detached and formulaic.  Also, this party guy is wearing thin, and feels a bit disingenuous to me.  I’d like to see an album with more introspective, that I can tell Chesney feels.


Brothers Osborne (4 aweseome 2 good 1 ok 3 meh OF 11 = 

36.4% awesome; 

18% good) =

Avg of awesome and good = 



The album takes a sharp turn on song 5.  It goes from trite, bro-party country to something better.  I wish they would cut out the first 4 songs, actually–it’s that much of a change.  


Green Day (4 awesome; 4 ok  of 10 = 

40% awesome; 

Awesome & OK avg =

60% good

80% ok & up)


I think this album utilized the piano better than some of their past works.  And that fast pounding on it, does a lot to increase excitement.  There is also a James Dean sort of 1950s enthusiastic rebel sound that’s still punk-pop, but a little retro.


Indigo girls (4 awesome;  4 good;  3 ok;  meh; dislike of 11 = 

36.3% awesome; 

36.3% good; 

Avg of awesome & good  =


100% OK and up.)


Selena Gomez  (7 awesome; 6 good; 4 ok; meh; dislike of 17  = 

41.2% awesome; 

35.3% good;  

Awesome good avg = 38.25%

100% Ok & up)


Does it feel personal to anyone else that Bieber got 4 Grammy nominations for an unpopular album, full of derivative lyrics, and Selena was snubbed?  Like, she calls him out in this album, this solid, good album.  But he gets the noms and she doesn’t?  It doesn’t make sense to me.  Unless politics and or money were involved…


The [Dixie] Chicks (5 awesome; 5 good; 1 OK; 1 meh; dislike of 12

41.7% Awesome; 

41.7% Good; 

Awesome good avg = 41.7%;

91.7% OK & up)

Grammy nominations proved that The Chicks still aren’t off the blacklist. Which is ridiculous considering the political polarization, and mainstreaming of talking $hit about the top politicians. And the Shit-Show that is Trump. The music industry should be groveling at their feet. And fans should be telling them they suffered from being ahead of their time. But here we are, back in hypocrisy-land.


Dua Lipa 5 awesome; 3 good; 1 OK; 2 meh of 11 =

45.5% awesome; 

17.3% good

Awesome good avg = 31.4%

81.1% OK & up)

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. 


Aloe Blacc (8 awesome; 1 good; 1 ok; meh; dislike of 10 = 

80% awesome; 

10% good; 

Awesome good avg = 45% 

100% Ok and up)


Overall, a very strong album.. Each song builds on the last, and it fits a cohesive theme.  I’ve heard Blacc use his voice more and would have liked to see more low and super-high notes, but it still left me with a lot of feeling.


Fiona Apple (all good–heavy intellectual = 100%)

(8 awesome; 4 good; 1 ok; meh; dislike of 13 = 

61.5% awesome; 

30.8% good 

Awesome good avg = 46.15%

100% OK and up


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.  Do I like to listen to it the most?  No. Do I think Apple had the most technically sound and spectacular album of 2020?  Yes.  I think she deserves album of the year Grammy.  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.


Kesha (14 awesome, 2 OK of 16 = 

87.5% awesome; 

Awesome + ok avg = 

93.75% good

100% OK and up)


Kesha: High Road album Review

13 Dec

Tonight:  Lots of auto-tune, syncopation, and distortion.  Group singing.

My Own Dance:  Female empowerment song, it’s ok for females to have sex.  The song has a lot of production with “hey yeah” in the background throughout.  I’m glad she addresses the “shut up and sing” stuff.  Every artist has a platform and absolutely should engage (intelligently if possible) politically or with social causes.

Raising Hell:  Catchy as hell!  Voice notes.  “Get it.”  Some gospel background flair.  Some danciness.  Kesha is SINGING!  Prayer-sound into a rap interlude. A lot is going on in the song, and despite the busy-ness, I love it.

High Road:  The verse sounds like a Karmin rap, which is a good thing.  The chorus is striking, and I like the sentiment of the lyrics.  Break down:  “Now put your hands up, now put your hands down”  in a distorted voice to close it out.

Shadow:  It’s funny she says “spaceships” because this is a companion to the closer off the last album.  I really like the lyrics, it is a perfect follow up for all the struggles Kesha indicates in the Rainbow album.  My favorite line, maybe ever is, “If you’re here to throw shade then you’re in the wrong place, yeah you’re blocking my sun.”  She addresses the haters, from a place of maturity– while still giving the cheekiness I love Kesha for displaying.  Also, she sings her ass off in this song, hitting a very high note.

Honey:  The sample is used masterfully.  The listener can tell what it is, then it is blended into this track in a unique way.  I like a bitter song, and there are many great one-liners sprinkled throughout.  Love, love, love.  The background sassy singers and “bye byes” and shouting lend to a slumber party feel where your besties have your back.  I mean, if we have to mean girl somebody, instead of blaming the piece of shit man who did the cheating–this is the way to do it.  

Cowboy Blues:  This might be the exact same tune as she had in a prior album.  In a song about aliens?  I’m preeety sure it is just the same.  And I don’t care for the talking in this one.  The harmony in the last third of the song, and the echo are a really nice touch.  A song about missed connections.

Resentment:  I absolutely love the mature sound Kesha has evolved toward.  This duet is a lovely country song.  And she seamlessly transitions into the genre with a catchy chorus.  The male voices are prominent, but don’t over-power her.  

Little Bit of Love:  This song has some talky parts, and tells a story–which Kesha is good at doing.  It’s another remarkable song.  Vocal chops are shown.  The “litta bit a little bit a” reminds me of Mika–in a good way.

Birthday Suit:  Starting with a retro video game sound.  The talking verse is about how great she is.  The chorus is catchy.  The next part has video game in the background to show, not tell,  the chase is a game.

Kinky:  Funny phone call intro.  Having listened to many of those in the 90s, I know they’re funny the first two times you hear them, then it gets annoying and they’re a skip.  It’s too bad she didn’t make that it’s own track for that reason.  The song has some serious 1980s beat.  I think it’s a good thing Kesha embraces her sexuality and does not subscribe to the shame put onto women.

Potato Song (Cuz I Want To):  It’s a silly song with that tuba tune.  And she talks about how she’s stressed out and she’ll take a break.  She sings about how adulthood is all boring responsibility, and she is wanting to reject that.  Kesha sings, “I’m throwin’ all my big girl panties–in the garbage can!”  The ending is rounds, which always sound cool.  And like an end of party tuba theme.

BFF:  Another good duet about best friends.  You don’t hear enough songs about friends (that don’t turn into sex or love) so this is a refreshing topic.  The voices blend together just as well as the friendship they talk about.  It’s nice to hear about an emotionally healthy, supportive relationship.

Father Daughter Dance:  A reflective piece, with mellow production as compared to the rest of the album.  She is introspective about what has made her who she is today.  She belts it out at the end, and it sounds good.

Chasing Thunder:  Another country-vibe song, but with gospel backing.  The hand claps belong here (you know I can be critical of extraneous clapping).  It’s a blend of genres done seamlessly.  It all just “works” and I enjoy seeing Kesha experiment, while also keeping the things I always liked.

Summer:  A nice closer to the album, ending on a note of hope.  At the end, musically it shows the climax and hopefulness.  It’s a triumphant sound.