What Should Selena do for Her Music?

Reiterating what I’ve said before: Another album like this and Selena might simply become another star who made some music that few will remember.

Selena really needs to decide whether she’s taking this music venture seriously. She has said she doesn’t care if her album goes Platinum; she just wants to make music her fans like. That’s great! She shouldn’t be concerned about the sales as much as the quality. Still, without the sales, you won’t have the chance to give fans the quality you want. In any case, her statement isn’t entirely believable, especially since she’s been in the entertainment business long enough to know how important it is to a career that producers can count on you as a money-maker. For that reason, I tend to believe she is treating this as a serious and viable aspect of her career.

On that assumption, her next step should be to take control. She has to find her own voice. Right now, she’s allowing others to find it for her. Other people write the music, arrange the music, and produce the music. She has people directing her to follow a certain style (i.e., “As a Blonde”) and sing in a certain way (i.e., “More”). In a nutshell, she’s being production-made.

For good or bad, Selena needs to take to the pen and write. In the course of writing, she will find a style that she can hone to make uniquely hers, and will develop a susceptible sense for picking songs that fit that style. In the end, the songs she sings should be a collection to which she feels an emotional attachment; songs she can sing from the heart and not by direction.

 

Did any of the Songs have Chart-Topping Potential

Topping the charts is often more about perception; that is, it’s about who sings a song, how a song affects you at a particular time, how much it permeates the airways. Of course, that isn’t a formula for all chart-topping hits, but the point is you can’t know how well a song will do no matter how well written. But you most certainly cannot judge it, penalize it or even reward it simply due to its ranking on the Top 100.

With that said, I believe “Crush” would have performed much better than “Falling Down” as the album’s single. After that it’s a toss-up between “I Won’t Apologize” and “I Promise You” as to which would have been a more solid follow-up. The reasons behind these choices not only have to do with the writing but also the appeal.

“Crush” is not only entertaining but catchy. It has an immediately recognizable sound, and fans can get into it because they can relate to the lyrics and because they can sing with it at a more palatable pace. This is opposed to the song “Falling Down” with its tumultuous tempo and more demanding vocal arrangement. And of course the lyrics in “Falling Down” don’t gain it any points either. They seem to be about a guy who is vastly popular, almost like a teen star that Selena is already familiar with. But what teen can relate to that down here in the natural world?

“I Won’t Apologize” or “I Promise You” would have made great follow-ups because they are intelligent, emotionally-written pieces. Teen fans love those types of songs.

So, while nothing is written in stone, I believe “Crush” would have made more sense as the lead single, followed-up by “I Won’t Apologize” or “I Promise You.”

 

What’s Wrong with the Release Strategy?

From the initial release of the single “Falling Down,” to the playlist picked up by Radio Disney beginning with “Kiss and Tell” and “Naturally,” the producers seem content in giving us unsavory doses of what might otherwise turn out to be a decent album.  All albums seem to have their unattractive sides, but producers don’t generally use them to promote the rest of the collection.

Upon listening to the full album, these first few releases are overshadowed by the more emotional “I Promise You,” the more artistic “I Won’t Apologize,” and the more dynamic and fun “Crush.” Why were these not more favorably promoted?

I like Selena Gomez. She’s funny, a darn good actress and has the vocal strength to match the energy she puts forth in her music.  But so far I don’t see the same effort from her producers. For the most part, the songs on this album sound as though they have been made for a quick buck, like another teen movie that’s only expected to do well within the first few days.  Another album like this and Selena might simply become another star who made some music that few will remember.

 

What’s Wrong With Kiss and Tell?

Writing a song is much like any other art form in that although the artist can claim a thorough understanding of his or her work, the audience sees (or in this case hears) all the rough edges. And although rough edges can often be beautiful, it’s only when they have been reconciled or blended harmoniously with the rest of the piece.

The song Kiss & Tell fails to do that. Rather, it stands as a classic example of a song that has been written from the inside-out, meaning that the songwriter narrowed down a chorus or hook-line and then tried to wrap three more minutes around it.

 

I Won’t Apologize: Nicely Arranged, Sweetly Sung

Finally! High on the list, after one of the oddest release strategies for any debut album I’m aware of, we find a musical gem patiently waiting beneath the title track. I began listening to my brand spankin’ new CD, hoping for the best but not expecting much after the initial few releases, and was more than pleased when “I Won’t Apologize” began to play.

The intro with simple guitar licks that resonate with a style throughout the entire song, leads off with a subtle, but quick leap into the first verse. Complimenting the guitar intro is a synthesized instrument that beautifully provides volume to an otherwise extremely relaxed instrumentation. Whether or not the first few releases were given the same treatment, it seems that on this song someone paid close attention to the way the music was harmonizing with the voice.  

It’s Selena’s vocal style that drives this song. That is, her voice isn’t simply falling in time with the rhythm, as a player waiting to hit her mark; rather, it’s pushing the rhythm to keep up with her. The music could stop completely and she wouldn’t lose pace. There is a peculiar passion I sense from her in this particular song, like one who is absent-mindedly singing to herself. It’s almost like we get a glimpse into a mind that’s racing as she thinks back to an event that certainly had an impact on who she has become.

In fact, although the lyrics describe the song as being mostly about not apologizing for who you are, the way it’s sung, from the preoccupied emotion to the softness of her high notes, makes me think it’s more about a moment in life when you realize you are moving forward yet cannot help feeling some sadness for what you thought you wanted as you leave it behind. So it seems the song is mostly about a state of melancholy. And perhaps that’s what she intended.

In all, I’m pleased with the musical arrangement and the lyrics, but mostly in the vocal styling by Selena. No, she’s not belting like Christina (for all those who think singers should sound alike), but of course she’s not Christina; she’s Selena. And while Selena might not have the vocal range of some of the top singers, still she sings with emotion. And that makes her very pleasing to listen to.

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modified from an original article @ http://www.selenathescene.com/selena-and-the-scene_i_wont_apologize.html

 

Naturally: A Step in the Wrong Direction

Naturally is the third song from Selena Gomez’s much-anticipated debut album to get some playing time. Like the title track, Kiss & Tell, it’s an upbeat tune performed by an exceptional singer, but also like the title track it fails to propel the album forward. As a matter of fact, it seems to be taking a natural step backwards, back to the 80’s synthpop, the artificial percussion, and the worn-out electronic effects often used to cleverly mask the vocal abilities of a lead singer. Of course, effects and excessively synthesized music isn’t enough to kill a song. There have been some beautifully arranged pieces that relied heavily on manufactured sound (Sweet Dreams by the Eurythmics comes to mind). What really causes this song to fail is the predictable arrangement and unoriginal lyrics.

It’s predictable in the vocal sequences, the echoes, the obvious loop back to the beginning, and the continuous repetition of the title statement. It’s unoriginal in the obvious grouping of words (“it comes naturally”, “it takes my breath away”, “thunder and lightning”). These weigh heavily against the assessment of the album mainly because with the current release strategy, we are being given these unsavory doses of what might otherwise turn out to be a decent album.

I like Selena Gomez. She’s funny, a darn good actress and has the vocal strength to match the energy she puts forth in her music.  But so far I don’t see the same effort from her producers. The songs sound as though they have been made for a quick buck, like another teen movie that’s only expected to do well within the first few days.

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modified from an original article @ http://www.selenathescene.com/selena-and-the-scene_naturally.html

 

Kiss and Tell (the single): Not The Strongest Contender

Kiss & Tell, the title track from Selena and the Scene’s debut album (Kiss and Tell) is the first song to get some radio air time  following a mediocre reception for the album’s initial single release, Falling Down. Having listened to the previews for each track prior to hearing this song, I have my doubts whether this was the strongest contender to lead off with. While fast-paced and flaring with all the expectations of today’s teen pop (energetic, blazing guitar riffs, and lyrics that tell it like it is), still, it’s rather disjointed. The verses do not reconcile very well with the chorus, as if the transitions between the two were either removed or ignored or perhaps just never thought out. This leaves the song sounding more like a compilation of songs rather than as one distinct.

However,  my unsatisfactory opinion of the song is not a reflection on the voice of its singer. Make no doubt, Selena Gomez pours out the emotion. Her lively performance makes the song fun to listen to; unfortunately, it can’t completely make up for the clumsiness of the writing.

Writing a song is much like any other art form in that although the artist can claim a thorough understanding of his or her work, the audience sees (or in this case hears) all the rough edges. And although rough edges can often be beautiful, it’s only when they have been reconciled or blended harmoniously with the rest of the piece. The song Kiss & Tell fails to do that. Rather, it stands as a classic example of a song that has been written from the inside-out, meaning that the songwriter narrowed down a chorus or hook-line and then tried to wrap three more minutes around it.

Fortunately, you don’t have to love a song to love an album or the voice of its singer. And Selena is fun to listen to.

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modified from an original article @ http://www.selenathescene.com/selena-and-the-scene_kiss&tell.html