Review: Wonder Woman v2 #170

After an epic crossover with the Batman family in Gotham City and a bloody civil war on her home turf of Themyscira, Wonder Woman takes a break from the drama in the one-off “She's a Wonder” story in issue #170 of her second series. The issue itself is a beautiful summation of who Wonder Woman is and offers a multi-faceted view of the character that has largely been ignored by most writers.

Told from the perspective of intrepid reporter Lois Lane, “She's a Wonder” sees Lois spending the day with Wonder Woman as she performs her duties as hero and ambassador. Far from being objective, Lois is looking for the cracks in Wonder Woman’s metaphorical armour from the get-go. Her slightly icy reception of the Amazing Amazon offers a fresh perspective and heightens the tension between the characters. Phil Jimenez writes Lois impeccably and her wittiness is on full display in this issue. Additionally, he takes advantage of Wonder Woman’s role as an ambassador to explore the Amazon’s life outside of superheroics. We see Diana meeting with dignitaries, devoting time to charities and giving speeches on her beliefs. Diana is met with antagonism wherever she goes. People are suspicious of her beliefs and she is unfairly criticized for desiring peace. The issue, in essence, holds up a mirror to society and highlights the cynicism with which people lead their lives. Also on display is her intelligence and generosity. Lois observes Diana as she familiarizes herself with alien technology that could lead to curing diabetes and Diana later spends time stuffing envelopes for a charity. Highlights from this issue include a brief sojourn at the Trevor household where Lois interviews Steve and Etta as well as the scene in which Diana meets with Lex Luthor, who was President at the time, after which Diana is notably upset. The most heartrending scene of the issue, however, features Diana lending her aid to an orphanage in Africa where she cradles the ailing infants until they pass away. Phil Jimenez truly paints Wonder Woman as someone who is a relatable role model. She acknowledges her imperfections and embraces her flaws. As can be expected, his art is just as fabulous as his writing. The characters are vividly depicted within a certain realm of realism and the expressiveness he uses is near unmatched. He also flexes his style muscles by depicting various characters in an array of casual and professional attire. Bravo, Mr. Jimenez!

For those interested in familiarizing themselves with Wonder Woman, they need look no further than Wonder Woman #170. It is an accessible story that provides a well-rounded cross-section of the character and effectively answers the question of “Who is Wonder Woman?” For fans of Lois Lane, this is a must-have issue as well. She is at the top of her game and her narration throughout is flawlessly rendered. The best thing about issue 170 is that it is a comic that has something to say. It leaves room for discussion and clearly shows that Diana is unique in her pursuit of peace in that she’s not just about busting bad guys but about inspiring change with her words. If anything can be learned from this issue it is that Diana of Themyscira is a true Wonder Woman.

Grade: A+

Review: Ayumi Hamasaki, MY STORY

As its title would suggest, Ayumi Hamasaki’s sixth full-length studio album MY STORY is a deeply personal record that is as diverse as it is consistent. The album features an eclectic collection of songs that range from head-banging rock tracks to wistful ballads to sugary pop songs. Its varied sounds and autobiographical lyrics make MY STORY an intimate portrait of the Empress of J-Pop.

Having experimented with the rock genre on previous releases, Hamasaki perfects her rock persona on many of the tracks on MY STORY. “About You” features a powerful rock arrangement with layers of guitars and slamming percussions while “GAME” marries a chilling piano melody with an electronic rock composition to create a sound unique to Hamasaki. Similarly, the midtempo track “Liar” and the ballad “HOPE or PAIN” blend rock with electronica enjoyably. The latter song is a standout due to its beautifully delivered vocals and vulnerable texture. Another standout includes the high-octane head-banger “Humming 7/4.” Its clashing drums and heavy guitar arrangement paired with its infectious chorus make it one of the strongest efforts on the album. For the pop-oriented tracks present on the record, Hamasaki takes on a fiercer and more confident tone. The female-empowerment anthem “my name’s WOMEN” is a catchy electronic cut that is brash and honest. The dance track “Inspire” is equally as aggressive with its halting synth composition and Hamasaki’s feisty vocals. Conversely, she takes a more playful approach on “HONEY.” The summery track features a lively arrangement and sticky-sweet vocals on Hamasaki’s part. Of course, MY STORY has its share of Hamasaki’s signature balladry. “HAPPY ENDING” is an exquisite ballad that layers an acoustic arrangement with electronic elements while Hamasaki’s vocals on the track are delicate and vulnerable. Equally as beautiful is “Moments.” The acoustic ballad makes use of a warmer tone in Hamasaki’s voice and is one of her more memorable downtempo songs. The wintry piano ballad “CAROLS” is beautifully sung and drips with vulnerability. Another standout is the self-empowering “walking proud.” The rock ballad has a simple yet effective composition that is paired brilliantly with moving lyrics and solid vocals.

MY STORY has many strengths. It covers a wide range of topics but displays an overall thread of empowerment. Hamasaki’s vocals on the album are as diverse as the genres she employs. She demonstrates her distinctive ability to morph her voice to suit her songs impeccably. Additionally, the album lacks filler and its structure paired with its cohesion is near perfection. That said, MY STORY doesn’t quite reach the same catchiness of its predecessors with its tracks. The songs are great but it doesn’t generate as large a stack of signature and iconic tracks as LOVEppears or I am…. Nevertheless, MY STORY is a solid effort on Hamasaki’s part and is one of her most unified works to date.

Recommended Listening: “About You,” “GAME,” “my name’s WOMEN,” “Liar,” “HOPE or PAIN,” “HAPPY ENDING,” “Moments,” “walking proud,” “CAROLS,” “Inspire,” “HONEY,” “Humming 7/4”

Grade: B+

Video: Kat Graham, Love Will Never Do Without An Escapade

Doing a cover song is never an easy task especially when the original was a huge hit. Comparisons are inevitably made and the singer responsible for the cover is often painted in a less-than-flattering light. That's perhaps why singer-actress Kat Graham, otherwise known as Bonnie Bennett from The Vampire Diaries, is to be commended for her bravery. She didn't only take on one massive Janet Jackson hit but two with her mash-up of "Love Will Never Do (Without You)" and "Escapade." The mash-up is fresh, modern and energetic. It feels like a tribute to the greatness that is Janet Jackson and brings together two of her most iconic songs into one neat little package. For anyone who hasn't checked out Kat Graham's Janet mash-up yet, be sure to click that play button!

Review: Ada Wong, Resident Evil 6

Originally introduced in the 1998 sequel to the first Resident Evil game, Ada Wong has long been a fixture in the zombie smashing franchise as a supporting character. With the release of Resident Evil 6, Ada was given a much-deserved spotlight and played an integral role in the narrative.

Despite the fact that she's considered one of the most popular characters from the Resident Evil franchise, Ada Wong had been no more than an accessory to the games she'd appeared in. While she may have had two mini-games in Resident Evil 4, Ada had never been placed on an equal standing with fan-favourites like Claire Redfield or Leon S. Kennedy. Resident Evil 6 addressed this head-on by building the narrative of the game around Ada and the producers are to be commended for that. Ada is finally given her own campaign within the main game and it is a major selling point for this particular entry. Her campaign is unique in that it combines the pulse-pounding thrills of espionage with the chills of zombie hunting. Ada's segment emphasizes stealth and encourages players to carefully analyse each situation. There is a sense of urgency and imminent danger in much of her campaign as well and, unlike the other campaigns, Ada does not have a partner to rely on when playing independently offline. That said, she does get to pilot a helicopter at one point and pwns just about everything in her crosshairs. It's also worth mentioning that Ada's campaign is essentially the linchpin that holds everything else together as it fills in all the holes in the other campaigns.

Upon beating Ada's campaign, she becomes available for play in The Mercenaries. Unfortunately, Ada's default has one of the most infuriating inventories in the game. While her crossbow was tons of fun in the campaign, it is now a burden. Its need to be reloaded after every shot is a pain-in-the-neck and the fact that it knocks singular enemies back is counter-productive to building up combos. That said, the pipe bomb arrows are useful for crowd control and for firing at boss-level baddies. Her Ammo Box 50 serves as her primary weapon and is more practical than the crossbow. It fires bullets like a machine gun but has the strength of a handgun. As such, there is the tendency to run out of ammo rather quickly so gamers need to be extra careful while using it since Ada doesn't have a good back-up weapon. The incendiary grenades she carries are ideal for tossing at the stronger bad guys when things get hairy. After achieving an A-rank with Ada's default, her alternate is unlocked. It is marginally better than the default. The MP-AF is her primary weapon and is a low-level machine gun that can be set to single or multiple fire modes. The latter mode is more powerful but tends to eat up ammo. Her secondary weapon is a snipe rifle. While the rifle may be high-powered and ideal for inflicting tons of damage, the reload speed is killer and places Ada in danger after each shot. The rest of her inventory contains hand grenades, flash grenades and two always-useful red herbs. The hand grenades will come in handy but the flash grenades should probably be discarded to open up her inventory for more helpful offensive items.

In many ways, Ada Wong is Resident Evil 6's greatest achievement and biggest disappointment. Her campaign is spectacular and serves as a major standout aspect of the game. It blends action perfectly with stealth and problem-solving puzzles. It's a diverse campaign and finally gives Ada the respect and attention she deserves. Conversely, she is one of the most poorly-stocked characters in The Mercenaries. It takes a lot of work to achieve high scores with Ada due to her counter-productive weapons that lack power and devour ammo. However, it's better to have a poorly-stocked Ada than have no Ada at all. After all, what is Resident Evil without its resident femme fatale?

Campaign Grade: A-

The Mercenaries Grade: C

Review: Ciara, Ciara

In the wake of the unwarranted commercial failure of Basic Instinct, R&B songstress Ciara asked to be released from her recording contract and set to work on staging a full-scale comeback with her fifth studio album tentatively titled One Woman Army. When three of the promotional singles failed to climb the charts, Ciara retooled the record with the release of the lead single “Body Party” and re-christened the album as the self-titled Ciara. Intimate at times and playful at others, Ciara is living proof that its maker is willing to accept defeat.

The opening cut “I’m Out” is a bass-laden, hand-clapping post-break-up club anthem. Ciara’s go-get-‘em attitude is palpable and guest artist Nicki Minaj adds just the right amount of wig-tossing sass that the track demands (albeit with a rap that makes little-to-no-sense). Minaj re-appears more effectively on the similarly girl power flavoured “Livin’ It Up.” With its airy electronic composition, “Livin’ It Up” is an empowering contemporary R&B track that delivers a play-by-your-own-rules, make-the-most-of-life message. The rest of the album plays cohesively as a ‘girl in love’ record. The simmering “Super Turnt Up” is an enjoyable love song where Ciara shows off her talent for rapping. “Read My Lips” is a similarly-themed cut that takes on a more pop-oriented sound. Despite its simplicity, it is a bouncy and catchy jam that serves as one of the many standouts on the album. On the tracks “DUI” and “Overdose,” Ciara effectively but predictably compares love to substance abuse. “DUI” is a sensuous slow jam with a winding beat and silky vocals by Ciara while “Overdose” is a radio-friendly Britney-esque electronic number that would serve nicely as a single.  “Sophomore” and “Keep On Lookin’” take a more aggressive approach in their sexuality. Boastful and arrogant, these two tracks are satisfying hip-hip-slanted bedroom bangers with clever lyrics and vocals saturated with attitude. The strongest entry on Ciara is its intimate and sensual lead single “Body Party.” The Mike WiLL Made-It produced track is impossibly sexy and perfectly arranged. Ciara’s vocals are smoother than they’ve ever been on the slow jam and have an undeniable sense of character to them which only adds to the warmth of the track.

Ciara can be favourably compared to Kelly Rowland’s acclaimed fourth album Talk a Good Game. Light on dance anthems and heavy on sex jams, both records are brassy and slickly produced. While it may not be as diverse as Talk a Good Game, Ciara is a more focused collection of songs so much so that it's possible to call it a concept album. Additionally, Ciara’s vocals are to be complimented. They’re stronger, warmer and smoother but etched with a slight grit that guarantees its distinctiveness. Overall, Ciara is must-hear album with unified sounds and themes and without any dreaded filler.

Recommended Listening: “I’m Out,” “Body Party,” “Read My Lips,” “Super Turnt Up,” “DUI,” “Livin’ It Up,” “Overdose”

Grade: A-

Review: Ayumi Hamasaki, Memorial address

Released in the winter of 2003, Ayumi Hamasaki's first EP Memorial address shattered records and became one of the best-selling albums in Japanese history. Labelled a mini-album in her native Japan, Memorial address is a cohesive eight song collection that showcases the Empress of J-Pop at her finest.

Despite its relatively short length, Memorial address is an ambitious set that both adheres to and breaks from convention. From heartfelt ballads to pulse-pounding rock anthems, the mini-album truly runs the gamut when it comes to genre. Hamasaki is playful and sprightly on the opening track "ANGEL'S SONG," adapting her voice to be more saccharine to match the bouncy pop production. The similarly lively "Greatful days" is a cheerful summertime pop song that is a standout due to its undeniable infectiousness. Its jaunty arrangement and Hamasaki's honeyed vocals are a perfect match to create just the kind of song that is ideal for driving with the top down with friends. On the other end of the spectrum is "Because of you," a hard rock composition punctuated by a wall of guitars and a chilling piano melody. The arrangement itself is perfection and Hamasaki's voice is incredibly emotive on the track, making it an obvious highlight on the mini-album. Another pop entry on the collection, "ourselves," takes on a similarly dark tone. Its halting electronic production complimented by a faux-string arrangement make it an astonishingly haunting song. Further highlights on the album include the heartrending "HANABI ~episode II~" and the closing tack "Memorial address (take 2 version)." The former is a rock ballad composed by Hamasaki and features some of her most moving vocal work to date. Her voice on the track is dripping with anguish and the accompanying instrumental works in unison to forge a truly poignant piece. "Memorial address (take 2 version)" begins with a sparse acoustic piano arrangement before transitioning into a heavy hard rock production that mimics the increasing passion in Hamasaki's voice. The only lull on Memorial address comes in the form of the ballads "No way to say" and "forgiveness." "No way to say" features a slightly festive arrangement but ultimately comes across as being too similar to the ballads found on her previous albums while "forgiveness" attempts to be a sweeping epic with its orchestral arrangement but its lullaby-like quality is a little dull. Nevertheless, her emotional delivery on both songs is still to be commended.

There's little doubt as to why Memorial address was so successful. It is a brilliant collection of songs that is beautifully put together with the highest of quality. Hamasaki is versatile in her ability to adapt to the precise emotion needed for each song and it creates a unique and moving listening experience. Memorial address truly is an essential album that is required to complete any J-Pop collection.

Recommended Listening: "ANGEL'S SONG," "Greatful days," "Because of You," "ourselves," "HANABI ~episode II~," "Memorial address (take 2 version)"

Grade: A-

Review: The Tourist (2010)

When a film boasts two megastars like Johnny Depp and Angelina Jolie, expectations run high. The Tourist was promoted as a Euro-thriller and its A-list stars became the selling point for the film. Unfortunately, it fell short of its promises of high-suspense and palpable chemistry.

On paper, the individual elements of The Tourist are brilliant. Johnny Depp as a bewildered American tourist who gets embroiled in a cat-and-mouse chase with international authorities and vindictive gangsters sounds amazing while there’s usually never any going wrong with Angelina Jolie playing a mysterious and seductive femme fatale. It should be said that Depp and Jolie both do what is expected of them. Depp is believable in his role and is actually quite endearing in his portrayal of an unassuming math teacher. Jolie is drop dead gorgeous and there’s no denying that her expressiveness on camera is unparalleled. Her costuming is incredible and she has the tendency to draw all attention towards her in every scene she’s in. Even her British accent is tolerable. The film’s backdrop, meanwhile, is equally as striking as Jolie. The scenes in Venice are stunning and there is an overwhelming sense of opulence that works in favour of The Tourist. Unfortunately, all these elements cannot guarantee the film’s success. The greatest flaw The Tourist has is that it fails to live up to the expectations of international intrigue that the narrative is steeped in. By and large, most of the scenes between Depp and Jolie come across as if they’ve been filmed and composed for a romantic comedy. It clashes terribly with the tone the other scenes establish. Furthermore, there is a woeful lack of action scenes and Jolie is tragically underused in that respect. Why hire Jolie in a supposed Euro-thriller if she’s going to be stuck in constrictive dresses all film long instead of brandishing firearms and breaking bones? The few action scenes that are in the film aren’t as suspenseful as they could be and are essentially boiled down to half-hearted chase scenes rather than the pulse pounding, high stakes blockbuster action scenes one would expect of a Euro-thriller. Another gripe is that former James Bond actor Timothy Dalton was cast but appears far too infrequently. Like Jolie, he has a tendency to scene-steal and producers would have been better off had they expanded his role further.

It’s sad that the combined forces of Johnny “Captain Jack Sparrow” Depp and Angelina “Lara Croft” Jolie couldn’t elevate The Tourist from a predictable Euro-romp to a more respectable action-thriller with just a smidge of comedy. There are some fine moments in the film and both stars are to be commended for the effort they put in but unfortunately the director failed his stars. By heightening the tension and action, the film would have had an urgency it otherwise lacks and would have made good on its promises. Oh well, not every action-romance can be as fun as Mr. & Mrs. Smith.

Grade: D+

Review: Ciara, Basic Instinct

Clocking in at just eleven tracks, Ciara's fourth album Basic Instinct is a focused set of R&B songs that serve as a re-introduction to the Princess following her foray into pop music on her previous record Fantasy Ride. By cutting back on the collaborations and sticking to her tried and true formula of hip-hop-flavoured R&B, Ciara attempts to re-capture the magic of past hits and ultimately crafts a cohesive album that is worth a spin.

Ciara goes hard on the opening track "Basic Instinct (U Got Me)." Borrowing elements from the classic song "Eye of the Tiger" by Survivor, "Basic Instinct (U Got Me)" features an aggressive Ciara blasting critics and haters with incredible ferocity. She partners with Ludacris again to deliver the bass-heavy, grind-worthy jam "Ride." It's a seductive song with a swirling electronic composition and a solid verse from Ludacris. The high energy dance anthem "Gimmie Dat" is a standout with its rapid-fire chorus and Ciara's vocals which exude attitude. The club tracks "Heavy Rotation" and "Turn It Up" are likewise solid offerings on the album. The former makes excellent use of Ciara's silky voice over a skipping synthesized arrangement with an impossibly catchy chorus. The latter is an electric duet with Usher that features a thumping bassline and rhythmic clapping. Ciara and Usher's vocals blend effortlessly together to create a rather enjoyable listening experience. Ciara nourishes her arrogance on tracks like "Girls Get Your Money," a playful hand-clapper, and the brassy "Wants For Dinner" with its stomping and hooting rhythm. Though the sass is high on much of the album, Ciara turns up the sensuality on the downtempo tracks present on the album. "Speechless" sees Ciara indulging in her lower register over a faux-horn composition while "You Can Get It" is a blithe come-hither slow jam with a sprinkling piano arrangement. Likewise, the closing track "I Run It" is an enticing R&B ballad that features Ciara's ethereal vocals over an effortless airy composition. Ciara's magnetic appeal is notable on each track and her versatility is to be commended for being able to adapt so seamlessly from dancefloor diva to bedroom vixen.

Basic Instinct solidifies Ciara's place as one of the most underrated contemporary R&B acts. It's a highly entertaining album that is surprisingly addictive in its arrangement. The production level is high and the number of filler tracks is low. Basic Instinct is a consistent record that is recommended for any R&B lover and casual Ciara fan (since the C-Squad probably already owns the album).

Recommended Listening: "Ride," "Gimmie Dat," "Heavy Rotation," "Speechless," "You Can Get It," "Turn It Up," "Wants For Dinner," "I Run It"

Grade: B+

Review: Ciara, Fantasy Ride

When the time came for R&B princess Ciara to record her third album, she enlisted the aid of A-list producers like Tricky Stewart, The-Dream and Danja. These collaborations resulted in a futuristic record that fully incorporated dance-pop elements to her signature R&B and hip-hop sound. Fantasy Ride serves as Ciara's most experimental album to date and proves she can certainly hold her own against today's pop heavyweights.

On Fantasy Ride, Ciara flirts with different genres and allows herself to enjoy a more seductive sound. She comes across as being confident and in-charge of her sexuality on the simmering opening tack "Ciara to the Stage" where she cleverly coos about approaching a love session as if it were a performance. Her smooth vocals are just what the song calls for. Similarly, the slickly-produced "Like a Surgeon" is styled with a futuristic R&B sound and makes heavy use of metaphor. Ciara's vocals are dripping with attitude, fully transforming herself into the sexy siren the song demands. The standout Justin Timberlake-penned "Love Sex Magic" serves as a pop-influenced sex jam. Its bouncing rhythm and sleek arrangement paired with the velvety breakdown makes it an incredibly polished cut. The production remains high on tracks like "Pucker Up" with its dizzying electronic composition and the sassy "G Is for Girl (A-Z)" where Ciara indulges in some well-earned arrogance. The slow jams "Never Ever" and "Lover's Thing," meanwhile, take a more traditional approach. "Never Ever" is a contemporary R&B ballad featuring Young Jeezy. Its fluttering composition works well with Ciara's corresponding vulnerable vocals. The song deals with the realizations of unrequited love all while smartly borrowing elements of the 1972 hit "If You Don't Know Me by Now." "Lover's Thing" is a smooth duet between Ciara and The-Dream that makes use of the interesting contrast between Ciara's sticky-sweet voice and the warmth of The-Dream's. The result is an effortless and earnest love song. Likewise, the closing song "I Don't Remember" comes across as an 80s-inspired slow jam complete with hand-claps and the sound of a turntable needle scratching against vinyl. This Ne-Yo authored number is one of the standouts. The best song on the 13-track standard set, however, is the Missy Elliott-aided "Work." This foot-stomping, hand-clapping song is a staggering dance anthem with a brazen Ciara on vocals and a memorable guest rap by Missy Elliott. It is just the kind of saucy track that is sure to get anyone off their behinds and get out onto the dancefloor.

Fantasy Ride is an incredibly satisfying record that is rife with attitude and vulnerability. It balances its scintillating slow jams with club-friendly dance tracks with ease. Ciara's silky vocals lend themselves shockingly well to the pop elements she incorporates on the album and would do well to continue to marry her unique style of R&B with electronic music. While Fantasy Ride may not have achieved the same platinum status as its predecessors, it is an ambitious and well-rounded record that stands as one of Ciara's most cohesive works to date.

Recommended Listening: "Ciara to the Stage," "Love Sex Magic," "Like a Surgeon," "Never Ever," "Lover's Thing," "Work," "Pucker Up," "G Is for Girl (A-Z)," “Tell Me What Your Name Is,” "I Don't Remember"

Grade: A-

Review: Ciara, The Evolution

Two years after the release of her debut album Goodies, Ciara unveiled her sophomore effort The Evolution. With a new look and a new sound, the Princess of Crunk&B successfully evolved into a new chapter of her life while still showcasing her sweet vocals and unbelievable dance moves.

In many ways, The Evolution plays like a Janet Jackson album with its usage of interludes and mix of high energy dance tracks and smooth slow jams. As one of the standouts on the album, “Get Up” is a high octane club banger that serves brilliantly as a follow-up to Ciara’s smash hit “1, 2 Step” from her debut album. With its banging arrangement and solid vocals, it is one of the album’s catchiest tracks. Ciara further sticks to her crunk roots with the opening song “That’s Right” but due to the predictable composition and Ciara’s surprisingly uneven vocal delivery it falls short of being amazing. What Ciara makes good on with The Evolution, however, is in her willingness to explore different sounds. She incorporates elements of ‘80s R&B on tracks like “I Proceed” and “Can’t Leave ‘Em Alone” as well as ‘90s hip-hop on “Make It Last Forever” and “Bang It Up.” The latter song is another strong dance offering from Ciara with its thumping rhythm and assimilation of percussions beneath the electronic composition. She similarly experiments with more acoustic sounds on the string-led kiss-off track “Like a Boy.” As one of the most unique songs on the album, “Like a Boy” features stinging criticisms of the male half of the population and comes across as a satisfying anti-player anthem. Conversely, another one of the album’s strongest cuts comes in the form of the airy love song “Promise.” Making full use of Ciara’s purring breathy vocals, “Promise” is a scintillating slow jam that is tailor-made for an intimate night for two (candles sold separately). As with Goodies, many of The Evolution’s most interesting moments come from downtempo tracks. “So Hard” speaks of entering into a new relationship with baggage from the previous one all to a slightly Asiatic composition and “I’m Just Me” makes heavy use of a piano arrangement with lyrics of accepting oneself. The most ambitious song on the album also happens to be one of the most traditional. “I Found Myself” is an acoustic ballad speaking of self-empowerment with Ciara stretching herself vocally on the track. Thankfully, the Princess rose to the challenge.

There are some great things to say about The Evolution. The album is structured brilliantly thanks to the use of interludes, which help to group tracks thematically and sonically. Many of the songs on the record are incredibly infectious and there are moments of lyrical interest thanks to Ciara’s expansion into a more varied range of topics. Unfortunately, much of the album is tragically stuffed with filler. Many of the songs are either too generic or simply tend to blend together due to their similar sounds. Nevertheless, The Evolution deserves a spin even if it’s just for the standout songs (and the gorgeous pictures of Ciara in the accompanying booklet).

Recommended Listening: “Like a Boy,” “Promise,” “Bang It Up,” “Get Up,” “So Hard,” “I’m Just Me,” “I Found Myself.”

Grade: C+

Review: Ciara, Goodies

With the release of her hit single "Goodies" in 2004, Ciara breathed new life into R&B with her coquettish vocal stylings and gravity-defying dance moves. The parent album Goodies went multi-platinum and spawned two additional top-three singles. Despite this, her debut album continues to be vastly underrated and serves as a reminder of a unique turning point in popular music that ultimately paved the way for R&B acts like Rihanna and Keri Hilson to achieve success.

The titular track "Goodies" with its signature whistle and Ciara's breathy vocals is a solid dance offering. It's more unconventional in its styling but provides a sound unique to Ciara. The Missy Elliott-aided "1, 2 Step" serves as a major standout on the record. With its pulsating beats and swirling electronic composition, it proves to be an infectious piece of ear candy with a memorable rap verse courtesy of hip-hop goddess Missy Elliott. "Hotline" is a melodic club-thumper which sees Ciara indulging in attempts to stretch herself vocally. "Oh" is another standout as it takes on a darker edge with Ciara purring over the winding arrangement. The guest rap by Ludacris helps to elevate the track and is a highlight on the album. Surprisingly, some of the more interesting cuts on the album are the slow jams. The downtempo hip-hop track "Thug Style" is finger-snappingly catchy and Ciara's husky vocals come across as sweet yet seductive. The twin ballads "Next to You" and "And I" are smoothly produced. The R. Kelly-penned "Next to You" features a soft composition paired with rich vocals while "And I" is an effective acoustic love song that serves as a standout during the album's latter half. Despite this, both play it a little too safe and predictable. Still, the album's most fascinating moments are when Ciara employs more conventional sounds. “Lookin’ at You” features a hip-hop groove that is reminiscent of rap music from the ‘90s while "The Title" takes a welcome old school approach to its arrangement and sees Ciara cooing over a more traditional R&B sound. Both these efforts do their job in emphasizing Ciara’s ability to adapt to a variety of styles.

As far as debut efforts go, Ciara's is definitely a goodie. It features many standout tracks and the mix of uptempo and downtempo is successful in its attempt to show off Ciara's versatility as a performer. While some tracks are fairly generic, there is a more conscious effort to be more experimental and modern on Goodies while still paying homage to the acts that came before her. Additionally, Ciara is to be applauded for her skills as a song-writer and for taking a more active stance in the music making process. Since there are only two songs on Goodies that she did not co-write, it becomes clear that Ciara is one independent woman whose songs are uniquely her own.

Recommended Listening: “Goodies,” “1, 2 Step,” “Thug Style,” “Hotline,” “Oh,” “Lookin’ at You,” “Next to You,” “And I,” “The Title”

Grade: B