Hear Me Out
Ke$ha, 'Animal'
Pop's new "bi" on the block is the kid Katy Perry would have if she could birth a 22-year-old smart ass. Her stock elocution is an almost-clone of the "I Kissed a Girl" phony's. But Ke$ha likes booze more – or so she sings (and sometimes raps) in her teen-sounding tone. The no-BS-taking brat is hammered on much of her drunk-on-dance debut, sneaking alcohol into her purse, guzzling it like water or using it as a metaphor. Oftentimes she unleashes some snarky, cackle-causing zinger. All this is sloshed over electro-pop beats via music-making majors like Dr. Luke and Max Martin, who manipulate Ke$ha's Katy-meets-Miley vocals to crazy robotic, half-Chipmunk effect. Much of "Animal" is cut from the same blippity-blooping that assaults the first single, "TiK ToK," with the opening lead-in of songs offering irresponsible fun – especially on the fuzzed-out "Take It Off," promoting drunken hot messes. But as if to make her seem like a real person, she turns to insufferable ballads that aren't believable when she's channeling more machismo than a frat boy. There's still instant gratification to some of this disposable, processed party-pop, but it's on par with a night of nonstop drinking. You won't remember much of it tomorrow. Grade: C
Patty Griffin, 'Downtown Church'
When this little big-lunged lady dropped her dynamo debut "Living With Ghosts" in the mid-'90s, she wrote of a queer bestie. Bette Midler would cover the song, called "Moses" – about needing the prophet, not just a gay, to part the pain. Now Griffin's got Jesus. On her venturesome seventh CD, she immerses fully into the gospel goodies she's honed here and there, like her last disc's "Up to the Mountain," butchered on Susan Boyle's debut. But redoing a Griffin song, like many have (including the Dixie Chicks), is near impossible; she's a vocal virtuoso, emitting a raw, sky-reaching soar, fetching nuances and finding the emotional gut of all she sings. The power of her sinewy instrument is in full palette on "Downtown Church," an album that still maintains a Griffin feel – melancholy, cathartic, a warm blanket on a cold night. Her two original ditties fit seamlessly among covers and traditional tunes (the best being "Never Grow Old," sung in a crackly ache). One of them, "Coming Home to Me," is breathtaking. She also sounds positively glorious on the high-sung closing hymn and could bring a Southern Baptist church to its knees on "Move Up" – the only way Griffin continues to head. Grade: A
Also Out
Robin Thicke, 'Sex Therapy: The Experience'
Oh, it's so Thicke … with requisite Robin sounds that might make you want to hump the hell outta someone. Who could resist with that pillow-talk falsetto, singing in a come-hither hiss on songs like "Mrs. Sexy" and "Shakin' It 4 Daddy." The R&B love doctor is more doting than desirous on "2 Luv Birds," a sweet G-rated delight. Everything else, as corny as some of it is, should make your new sex soundtrack.
Alicia Keys, 'The Element of Freedom'
Pop music's anti-ho is all about the slow reveal on this big-on-ballads disc. During it, it's hard not to feel like Keys' musicianship mojo is destined for higher glory, but there's a cool panache to her love and longing meditations – especially on supple standout "Try Sleeping with a Broken Heart." And with one of her worst songs – the embarrassing Beyonce duet – already behind her, it's only up from here, right?
Timbaland, 'Shock Value II'
The producer du jour knows how to build a good beat. He did so on Justin Timberlake's best album and again on the edgy predecessor of this mountain of monotony that peaks early with JT's contribution. Then, in what sounds like B-sides from the original, it becomes a redundant bore with the least bit of brains, talent and none of that music-making magic expected from a name like Timbaland.
