kuskklassic
New member
thats not good for her. in my opinion she aint gettin lover for kinda swagger jacking Lady Gaga. She shoulda stuck the swag from her last album it was her most mature stage.
Last edited:
Christina Aguilera's new album "Bionic" is predicted to sell...
Punisher__
New member
haute;793366 said:
Basically.
This album was way too divisive, amongst critics and fans. And plus, she didn't have a top 20 hit preceding the album's release like she did with B2B.
They're gonna play it safe next album. Think Kelly Clarkson, "My December" and "All I Ever Wanted."
Last edited:
georgia boi
New member
Loved Back 2 Basics, don't like Bionic outside of about 2-3 songs.
Last edited:
georgia boi
New member
a.mann;888440 said:
They did some work together for Bionic, but Christina wanted to go w/ a futuristic sound. Fortunately, there's a possibility Premo's tracks will turn up on her upcoming Burlesque soundtrack.
The beauty of her last album is that it was soulful which is something that Bionic lacks. It's possible to do something futuristic and still maintain a soulful atmosphere to it, but I think she chose some cookie cutter production outside of the tracks that Focus did. Tricky Stewart and The Dream delivered some tracks that were very generic and Polow delivered tracks that could've been given to someone else. "Woo Hoo" could've been a big hit if it was Nicki's song. Both Tricky and Polow also had tracks that sound like Timbo retreads. Polow insists on using the "Sexy Back" drum pattern ("Not Tonight") and Tricky's "Desnudate" sounds nearly identical to Tim's "Ease Off The Liquor" (the drum pattern, beat switch, and latin influence).
The production on the first disc of Back 2 Basics was nearly flawless. Premo, Mark Ronson, Kwame and Tank all delivered on that one.
Last edited:
dontdiedontkillanyon
New member
I never found her music to be good anyway regardless of how good her voice was; she always seemed like a bit of a heartless ice maiden when it came to music. Regardless of that though I did think that this album could've been a bit special before hand once she started mention people like Le Tigre, Ladytron, Sia, M.I.A., Santigold, etc. Obviously didn't work out that well
All that talk before hand about going more left with her music by working with the likes of Ladytron, Santigold, etc. only to then fill the album with the same generic crap that already fills the rest of the charts, plus did she even bother to promote it? I know in the UK she couldn't even be bothered and that the album had the largest single-week drop in UK chart history. People sussed out the album was shit and didn't bother with it
All that talk before hand about going more left with her music by working with the likes of Ladytron, Santigold, etc. only to then fill the album with the same generic crap that already fills the rest of the charts, plus did she even bother to promote it? I know in the UK she couldn't even be bothered and that the album had the largest single-week drop in UK chart history. People sussed out the album was shit and didn't bother with it
Last edited:
dontdiedontkillanyon
New member
Who clipped Christina Aguilera's Bi-On-Ic wings?
Christina Aguilera's album is disappointingly predictable. Is she just the latest artist to suffer from record label intervention?
Pushing the pop envelope? ... Christina Aguilera
In his review, Alexis Petridis called Christina Aguilera's Bi-On-Ic "occasionally brilliant and brave, occasionally teeth gritting and stupid". Well the biggest disappointment arises out of how much more brilliant and brave it could have been had it not been for someone, possibly Aguilera's record label RCA, getting cold feet regarding the original vision of the album.
As Alexis points out, the wonderful Ladytron collaboration Birds Of Prey has been relegated to the bonus disc. But so has the duo of great Santigold tracks, Monday Morning and Bobblehead. At least they had a better fate than the Goldfrapp co-writes and her cover of Ladyhawke's My Delirium and (according to collaborator Sia) the proposed first single; the dubby sounding title track, all of which missed the boat. These snippets of information, however, give a tantalising insight into what the album could have been.
From early quotes about Bi-On-Ic, it seemed like it would be experimental, driven by alternative pop classics. During interviews for 2008's Keeps Gettin' Better: A Decade Of Hits, Christina said her next album would sound "futuristic", taking pop art cues from, of all people, The Velvet Underground and Nico. As if this wasn't mind-boggling enough, Johanna Fateman from Le Tigre excitedly blogged that "Deceptacon was Christina's jam", while Ladytron's Reuben Wu revealed the former Mouseketeer played Elastica in her car.
To fit with this new musical edge, Christina even hinted at a persona change, brought about by her pregnancy. She told Ryan Seacreast: "I can't say too much but I've been brainstorming for the last nine months of pregnancy so I have all these mood boards for visuals and how I'd like to evolve and transform into a new character."
As Reuben Wu of Ladytron told Spinner earlier this year: "My feeling is that she got to a point in her life where she wanted to take her music to a different level. She was willing to take a risk and go in a completely different direction."
But the final product is an album that takes too few risks and, aside from a few bright spots (the Sia ballads, the MIA track), eschews the more outré collaborations for by-numbers contributions from Tricky Stewart (known for his work with Mariah Carey) and Polow da Don (associated with the Pussycat Dolls).
So what happened? Given the snippets we know about what was happening in the run up to Bi-On-Ic, it would be fair to assume that the resulting album is the result of the record label playing it safe, ditching the challenging for the predictable. After all, record companies have a habit of getting their big acts to change planned releases. Famously, the now-classic likes of Diana Ross's Diana and Blur's Modern Life Is Rubbish were meddled with after mutterings from unhappy label heads, while Marvin Gaye's What's Going On and Fleetwood Mac's Tusk dismayed their paymasters. Lindsey Buckingham snarkily commented that "when the people at Warners first heard Tusk they saw their Christmas bonuses going out the window". Most recently, both Klaxons and Jennifer Hudson were told to re-record their all-important second albums.
It would be easy to imagine an out of touch A&R blanching at the sound of Aguilera pushing the pop envelope. The thing is though, "playing it safe" in a post-Gaga world is a pop anomaly. Diana Vickers scored a number one with an album featuring a song co-written by Lightspeed Champion and a Sugarcubes cover. Consequently, Bi-On-Ic is not the sound of assured success; it's the sound of Aguilera going from a knowing anti-Britney to a lacklustre relic from a different era. The public seem to agree: the single Not Myself Tonight has failed to make a significant impression on the charts, her American tour has been scrapped and fans have been bemoaning the tracks that made the final cut of the album. From potentially the biggest pop reinvention since Madonna's Ray Of Light to this? A shame and a lesson that labels should have more trust in their artists.
http://www.guardian.co.uk/music/musicblog/2010/jun/07/christina-aguilera-bi-on-ic
Christina Aguilera's album is disappointingly predictable. Is she just the latest artist to suffer from record label intervention?
Pushing the pop envelope? ... Christina Aguilera
In his review, Alexis Petridis called Christina Aguilera's Bi-On-Ic "occasionally brilliant and brave, occasionally teeth gritting and stupid". Well the biggest disappointment arises out of how much more brilliant and brave it could have been had it not been for someone, possibly Aguilera's record label RCA, getting cold feet regarding the original vision of the album.
As Alexis points out, the wonderful Ladytron collaboration Birds Of Prey has been relegated to the bonus disc. But so has the duo of great Santigold tracks, Monday Morning and Bobblehead. At least they had a better fate than the Goldfrapp co-writes and her cover of Ladyhawke's My Delirium and (according to collaborator Sia) the proposed first single; the dubby sounding title track, all of which missed the boat. These snippets of information, however, give a tantalising insight into what the album could have been.
From early quotes about Bi-On-Ic, it seemed like it would be experimental, driven by alternative pop classics. During interviews for 2008's Keeps Gettin' Better: A Decade Of Hits, Christina said her next album would sound "futuristic", taking pop art cues from, of all people, The Velvet Underground and Nico. As if this wasn't mind-boggling enough, Johanna Fateman from Le Tigre excitedly blogged that "Deceptacon was Christina's jam", while Ladytron's Reuben Wu revealed the former Mouseketeer played Elastica in her car.
To fit with this new musical edge, Christina even hinted at a persona change, brought about by her pregnancy. She told Ryan Seacreast: "I can't say too much but I've been brainstorming for the last nine months of pregnancy so I have all these mood boards for visuals and how I'd like to evolve and transform into a new character."
As Reuben Wu of Ladytron told Spinner earlier this year: "My feeling is that she got to a point in her life where she wanted to take her music to a different level. She was willing to take a risk and go in a completely different direction."
But the final product is an album that takes too few risks and, aside from a few bright spots (the Sia ballads, the MIA track), eschews the more outré collaborations for by-numbers contributions from Tricky Stewart (known for his work with Mariah Carey) and Polow da Don (associated with the Pussycat Dolls).
So what happened? Given the snippets we know about what was happening in the run up to Bi-On-Ic, it would be fair to assume that the resulting album is the result of the record label playing it safe, ditching the challenging for the predictable. After all, record companies have a habit of getting their big acts to change planned releases. Famously, the now-classic likes of Diana Ross's Diana and Blur's Modern Life Is Rubbish were meddled with after mutterings from unhappy label heads, while Marvin Gaye's What's Going On and Fleetwood Mac's Tusk dismayed their paymasters. Lindsey Buckingham snarkily commented that "when the people at Warners first heard Tusk they saw their Christmas bonuses going out the window". Most recently, both Klaxons and Jennifer Hudson were told to re-record their all-important second albums.
It would be easy to imagine an out of touch A&R blanching at the sound of Aguilera pushing the pop envelope. The thing is though, "playing it safe" in a post-Gaga world is a pop anomaly. Diana Vickers scored a number one with an album featuring a song co-written by Lightspeed Champion and a Sugarcubes cover. Consequently, Bi-On-Ic is not the sound of assured success; it's the sound of Aguilera going from a knowing anti-Britney to a lacklustre relic from a different era. The public seem to agree: the single Not Myself Tonight has failed to make a significant impression on the charts, her American tour has been scrapped and fans have been bemoaning the tracks that made the final cut of the album. From potentially the biggest pop reinvention since Madonna's Ray Of Light to this? A shame and a lesson that labels should have more trust in their artists.
http://www.guardian.co.uk/music/musicblog/2010/jun/07/christina-aguilera-bi-on-ic
Last edited:
soulatlantic
New member
the album is a grower, don't write it off without giving it at least another listen...
i'm really enjoying it, and i'm happy i gave it a second chance
my favorite tracks are:
You Lost Me
Prima Donna
All I Need
WooHoo (feat. Nicki Minaj)
I Hate Boys
i'm really enjoying it, and i'm happy i gave it a second chance
my favorite tracks are:
You Lost Me
Prima Donna
All I Need
WooHoo (feat. Nicki Minaj)
I Hate Boys
Last edited:
