HEAR THIS: Who is Jesse J?

I have created in draft and deleted no fewer than six different posts regarding the musical conundrum to me that is Jessica Cornish, better known as Jessie J. After fully digesting her US debut album, the at-times-brilliant Who You Are, my mind has been made up. I am indeed a fan, but there have been times on and off since she first broke out on the hype scene with "Do It Like A Dude" when I doubted this fact. I  do wish I could truthfully nail down exactly who Jessie is, not just as an artist but as a songwriter. 

I suppose that's part of her charisma in a way -- she's a bit of a pop chameleon. At times she sounds like a Christina Aguilera protege, wailing away at her melismatic riffs and proving to the audio-obsessed public that she can in fact sing and sing well in a market saturated with poptarts (especially of the female persuasion) far too reliant on Auto-Tune to do the heavy lifting. Sometimes she sounds like a British, Caucasian version of Rihanna (with a stronger, more consistent voice). There is no question there are traces of Katy Perry in her image presentation. In her own way, she's a mixture of all three, with a British accent. Her singles have been on point in terms of catchiness, and much of this is due to the fact that her album's production and writer list reads like a who's who in Pop Production Royalty -- Toby Gad, Claude Kelly and of course, the at times unbeatable Dr. Luke, the latter two being responsible for her breakthrough US hit "Price Tag". Many will argue that with people like that in your corner, almost anyone can sound popilicious...and at times I tend to agree.

My main caveat with Jessie J is the omniscient image problem. Obviously this girl can sing, however this tends to take a bit of a backseat to her history as a songwriter. She was part of the crew that brought us Miley Cyrus' huge pop hit "Party in the USA" (and apparently was in talks to use the song as her own first single, but that didn't end up working out). She has also written for Chris Brown and has submitted cuts for Christina Aguilera and Britney Spears. Clearly, she was meant for the pop music game. Maybe this was why when you combined these facts alongside the powerful first single that is "Do It Like A Dude", many people especially in the pop blogosphere started getting powerful Lady Gaga flashbacks in a very good way.

"Dude" is one of the biggest (English-language) earworms I've heard from a new artist in a long while (even though at times the main hook sounded kind of sounds like a musical parody of one of MadTV's infamous sketches..."He look-ah like a man"...was that just me?). It's stickiness is damn near undeniable.

Just when excitement for Jessie's full project was hitting fever pitch thanks to "Dude" (especially Stateside as too many Brit pop artists get the shaft when it comes to American releases), we  (as Americans anyway) get saddled with "Price Tag", her main introduction to the American public complete with a verse by the semi-rapper of the moment (arguably), B.o.B. I've got nothing against him -- I loved "Nothin' On You"  and "Airplanes" as much as the next person -- but so much about "Price Tag" rubbed me the wrong way, and a lot of the problem was in the cliched (and at times self-righteous) lyrics. I guess I was just expecting more from Mr. Claude Kelly.

It's not about the money, money, money

We don't need your money, money, money

Just wanna make the world dance

Forget about the price tag

Ain't about the cha-ching cha-ching

Ain't about the buh-bling ba-bling

Wanna make the world dance

Forget about the price tag

Certainly I've heard (and loved) worse. (I mean, it's not like "Party in the USA" got points for being lyrically complex anyway.) But a part of me was hoping for something much punchier from a young woman who got her pop start with something as sassy as "Dude".

Her earnest girl-powery brand of songwriting was evident as early as "Dude", and it's something I won't bemoan. We definitely could never have too many examples of strong, confident, powerful females period, let alone in pop music. That being said, given potential and opportunity, I found "Price Tag" to be a little too cliche and preachy even for my taste (although I'm certainly tired of the "video hoes," too).

It almost put me off listening to the full record entirely, in fact, but I am glad I did. Who You Are can be labeled as a bit hit and miss (and a few other tracks fall victim to the "Price Tag" type of infliction), perhaps  due to the large gamut of different producers that contributed to the project. However, there are several cuts that are diamonds in the rough. Among them: the funky bass-line and piano-driven "Abracadabra" and the tongue-in-cheek, power to the under-dog "Who's Laughing Now" (because who doesn't relate to that idiom at least once in their lives?). For the most part, Who You Are leans on the "Price Tag" side of Jessie rather than "Dude", forgoing more laser-y synth for more organic sound samples (and I'm not complaining about that, no matter how much I love "Dude").

While much of Who You Are took a few listens to really warm up to, there was one cut (aside from "Dude") that was an immediate ooooooh yes! to my ears, that song being "Nobody's Perfect" (not to be confused with the guilty pleasure Hannah Montana cut of the same name). It's the perfect combination of positive (but still creative) lyrics and Jessie's big brash, downright raw vocals that at times verge on too melismatic, even for yours truly (yes, occasionally it does happen!). No matter how you slice it, it was the type of song I really wanted to see performed live (and after her appearance on Saturday Night Live, Jessie made it abundantly clear that her recorded self is no enigma -- she really sounds incredible and legit in a live setting). Hence my forgiving state when I gained wind that it's her choice for a follow up to "Price Tag", in the UK at least. Take a look at Jessie performing the song live during a private showcase here in New York:

If Jessie J is truly asking "who" she is, then it's the "Nobody's Perfect" Jessie that I want to see more of in the future. "Dude" is a lot of fun and all, but give me a popstar who can make me feel good about being female with vocals that don't quit and hooks that truly hook, and Mel is a very happy camper indeed. If her smattering of releases has left you a bit unsure of where to begin, heed my suggestion and download "Nobody's Perfect". You won't be disappointed. Keep poppin', Jessie.

WATCH THIS: Jada Rises

The last time I checked in on the lovely ladies of Jada was about eight months ago, when we gained word of their third single, the RIO-produced "The Party's On Fire" (not to be confused with RedOne, who produced their dynamite first single "American Cowboy"). For reasons unknown and shelved to the side, the girls are still grinding and working on said single -- the long-awaited music video for the song is hopefully a breath away. They are also tantalizing us fans with some important bit of unknown news upon a certain number of views of the video's teaser.

Take a look at the teaser below and be sure to watch till the end (it's a mere 23 seconds, people) so the count registers. 

For now we can only speculate on what the news might be, so watch the trailer (at least once, but a few times would be helpful) and spread the word about Jada. My fingers crossed the news is a tangible album release date. We've been waiting for far too long, ladies!

FLASHBACK: Simon Curtis & 'Superfraiche'

As a fan of Mr. Simon Curtis since 2006, words cannot even begin to express the fun I had on April 1st, 2011 -- at the swanky Galapagos Night Club in Brooklyn, NY.

The bill included two-piece set She's The Queen, duo Databoy, the aforementioned Curtis and headliner Sky Ferreira.

I was mostly there in support of Simon, but was pleasantly surprised by the quality of pre- and post-Curtis acts that night. The club was small and packed to the brim, multi-leveled with a swirl of tables in front of the stage set on mini "lily pads" with actual water and bridge walk-ways to get from table to table (to stage). It was truly unlike any other live venue I've seen before.

She's the Queen set the night off in the right direction, mostly thanks to their fab-tastic vocalist and genuine energy. Their short set was quickly followed up with Databoy, whom I was vaguely aware of thanks to my role on Resolution Radio. Their performance was highlighted by matched choreography that quickly got the crowd properly warmed up before Simon took the stage and literally killed the crowd.

To my delight, Simon's set was the longest of all four acts, performing a handful of cuts from 8 Bit Heart, but relying mostly on brand new material from the forthcoming RΔ (pronounced "Rah" for those of you who are curious), including upcoming staples like "Don't Dance", "Enemy" and "Pit of Vipers" (his producer Jadion joked to me during this cut Simon originally wanted to dedicate it to the "escaped" Cobra from the Bronx Zoo that had become a running gag around the City). My favorite of the new cuts was undeniably "Laser Guns Up". All of these songs can be heard in snippet form thanks to Billboard and their streaming RΔ Album Sampler. 8 Bit Heart is a tough one to one-up, but it's looking like Simon is having no trouble with a potential Sophomore Slump. In addition to the new cuts, he also sang Britney Spears' "...Baby One More Time" totally acapella in an homage to Ms. Spears, since Femme Fatale was released that week.

Finally, Sky Ferreira took the stage, and considering the amount of hype behind her projects (and the fact that Bloodshy & Avant is backing her), the stakes for her project are certainly very high. There was no doubt the crowd was loving her -- she remained to be the only act that night that truly got the crowd down on the floor moving and grooving (and literally grabbing at her), as she gyrated and shimmed along in her Lolita Schtick kind of way. While I found her instantly eye-catching, I was kind of dismayed by her incredibly short set (despite being the "headliner") of around four songs. A bit of a letdown to say the least, but still very much impressed by her energy and showcased material.

Following the performances, myself and the girls I came with spent the next few hours literally dancing the night away in a sea of gyrating bodies -- it's been awhile since I've last clubbed it out till the wee hours and there's nothing quite like waking up the next morning to still having an omniscient ache in your hips, knees and the balls of your feet. Still...not complaining. The music spun at Galapagos that night read like a who's who on my personal list of amazing, including Robyn, Yeah Yeah Yeahs, Sugababes, Jessie J, and yes, the new Britney record. Throw in Girls Aloud and The Saturdays and you would have had the ultimate trifecta.

It's easy to say it will come off as bias, but Simon was undoubted the star of the night, despite the fact that this was officially not only his first show in New York City, but his first trip to the City ever. I'm pleased to say I finally saw a musician I've admired and supported for so long in person! The night was made completely noteworthy because I got to see Simon in the flesh on stage, and also backstage and after his set -- and he truly couldn't have been nicer and more down to earth if he tried. Thank you, Simon, for an incredible evening -- we're ready for RΔ now, please!

In addition to Mr. Curtis, I would like to extend my thanks to Jeff "Jadion" Wells for making me feel so welcomed; Databoy, who I got to meet in person as well (I was just off to Simon's left when this photo was taken, actually); and the incredible Mr. Arjan Writes for making it all happen and bringing together four truly poptastic acts.

FOR THE SCRAPBOOK: Me & Simon

My thoughts on the Simon Curtis/Sky Ferreira swaree are still on the way. The delay is mostly due to my computers issues with the video of Simon my plus one took. The whole she-bang should be ready for your consumption shortly. But until then...

Yes folks, that's me (on the right) and my BFF Kristin posing with Mr. Simon Curtis himself. A big thank you to Simon for being so sweet, and for slaying Brooklyn with his unstoppable pop.

More to come...

The 'Feedback' on Janet

The past few weeks have been a blur for me, with a slew of lots of promising new artists, brand new music and two incredibly epic live performances. But before I get to one, I can't not recount the other. Stay tuned for a full blast of the amazing time I had at the Simon Curtis show Friday. But to hold you over...

On the 21st, as I've mentioned previously, I was fortunate enought to finally see one of my absolute idols live in person. Janet Jackson stormed the stage at Radio City Music Hall here in New York City, and I got to see her on her final performance after three sold out shows at the iconic theatre.

Radio City Music Hall, for those of you who have never been there, is truly a gorgeous venue. It's large without being truly concert hall large, and the theatre itself is dome-shaped, lending itself to some amazing acoustics. I myself had never been until that night and was really wired from the moment I stepped foot in the place, mostly because of what the location meant and the history that had taken place within its walls. After nabbing some cocktails (that came with lightup stirrers), myself and my friends headed inside to the staging area. It was then that we realized how great our seats were. The venue is tiered, and we were seated in the first mezzanine, providing us with a view that was close enough to the action without being on top of the stage. 

 

Janet was introduced by an up and coming boy band Mindless Behavior, put together in 2008 by a pair of urban pop super producers. They had already opened for the likes of Justin Bieber and Jason DeRulo, but it was clear this was their biggest coup to date. We were plesantly surprised by the group's tight choreography and catchy beats, very akin to the B2Ks and Immatures of yore. Their sound is very radio friendly, and one of the highlights was their first single, the teenage love anthem of the 21st century that is "My Girl". It's kind of cheesy in that boy-band-erific way, and we all know how much I love me a boy band. As much of an impression as they did leave, however, it was hard to recall how exciting they were after the Queen took the stage.

The subject of Janet's current tour is her recent greatest hits compliation, Number Ones, highlighting her 35 number one hits (on any given assortment of charts) released in 2009 on the back of the Rodney "Darkchild" Jerkins-produced single "Make Me". It was also her first outing since the death of her elder brother, Michael.

Having never seen Janet perform live other than in videotaped recordings prior to this, I don't think I was really ready for what I saw, but what I did re-confirmed what I already knew about Ms. Jackson. Not only is she an icon, worthy of the most supreme of praises for her incredible body of contributions to the world of pop music, but she is one of the fiercest artists I have ever seen grace a stage. Unlike her tours of the past, this one strove to be more "up close and personal" as she herself states, stripping away extensive pyrotechnics and elaborate sets for a very simple set up of band, dancers and large LED screenage, setting up various vignettes that wove together as a true medley of her music. Just when you thought you had heard your favorite, another song was cued up and you got even more amped.

Given that Janet is known for her dancing, I wasn't too optimistic in terms of how much she would be singing live, but I stand as a witness that she was not only dancing enough to break us into a sweat (in tight leather and stilettos to boot), she was also showcasing her truly unique voice. It was an invitation into Janet's world, and served as a great jumpoff point for anyone who is somewhat new to her music, as it played out like a introduction to what makes her great. (I continue to state that if I were to teach a music history class, both Michael and Janet would get their own semester-long courses.)

It would be impossible to go over every nuance detail, just suffice to say I had never sung along so loud to so many songs consecutively on my feet (in heels) in my life. Highlights included: singing along to "Again", watching her dance the iconic routine to "Rhythm Nation" in person, "If" (in its entirity), the power of "Scream" (with Michael in the background on the screen), and her dedication of "Together Again" as the encore closure to her late brother, giving it an entirely new meaning.

The full set list, as I saw it:

The Pleasure Principle
Control
What Have You Done For Me Lately
Feedback
You Want This
Alright
Miss You Much
Nasty
Nothing
Come Back to Me
Let's Wait Awhile
Again
Doesn't Really Matter
Escapade
Love Will Never Do (Without You)
When I Think of You
All For You
All Night (Don't Stop)
Call On Me
That's The Way Love Goes
I Get Lonely
If
Scream
Rhythm Nation

Encore:
Diamonds
The Best Things In Life Are Free
Make Me
Together Again

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Dear Popstars of Today, please step your game up. After seeing that live, it has become very difficult to impress me.

Love,

Mel

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All photos were taken by yours truly. Please give credit and a link back if you choose to use. Thank you!