Monday, March 9, 2009.

The first American Idol releases her fourth album tomorrow. Almost six years since her debut album, Thankful was released, Kelly Clarkson brings us All I Ever Wanted (out March 10^th, 2009, in the U.S.). Clarkson brings us a mix between Breakaway and My December (her second and third albums, respectively) influenced by her country music roots, her soulful beginnings as an American Idol, and the rock edge she started on Breakaway working with such writers and producers as Ben Moody (formerly of Evanescence), Dave Hodges, and, now American Idol judge (the fourth, coincidentally), Kara Dioguardi. Other influences apparent on this album are Ryan Tedder of OneRepublic, who has recently worked with Leona Lewis (“Bleeding Love”) and Beyonce (“Halo“), and Katy Perry, whose songs (originally recorded for the album (A) Katy Perry) “Hook Up” (renamed “I Do Not Hook Up”) and “Long Shot” made it onto this album. Although the title of the album (All I Ever Wanted) is appropriate considering the rise to stardom for this 26 year old Texan, the song itself is unreflective of the work on this album, most of which is not written by Clarkson herself: the first time since Thankful.

The first single and track, “My Life Would Suck Without You” is an electropop track about a boy who comes back to a girl who was “wrong” for letting him go, the exact opposite of “Never Again”, the first single from My December. While all the words aren’t quite catchy the first time through, the melody hooks the listeners in and has them screaming “My life… would suck… without yooouuu” by the end of the song. What more can you ask of in a pop song?

“I Do Not Hook Up” is more than reminiscent of a Katy Perry song, it is a Katy Perry song. The rock/pop girl is the big thing on the pop scene today. While the song doesn’t make you get up and dance as much as “My Life…”, it does make you bob your head in a “rocker chick” sort of way. Clarkson’s delivery, in her uniquely raspy R&B voice and beautiful, distinct vibrato, channels Perry and other rock/pop chicks of today. However, the strong pulse, heavy drums, improvisational background vocals, and sustained high notes are Clarkson’s personal touch on a song written by one of today’s rising stars.

The first rock ballad, and first song co-written by Clarkson, is “Cry“. With layers of guitars, drums, and strings, the song reflects Clarkson’s country influences while the verses are uniquely Clarkson, rocky and real. With no manufactured, sentimental rhymes, Clarson states “Is this what it’s like to really cry?” Beautiful and thought provoking, there was no mistake about putting “Cry” on this album, although it pales in comparison to the ever heart-wrenching “Sober” of My December.

“Don’t Let Me Stop You” delivers a very real message in a very real voice, lyrically, and holds a steady pulse, but provides nothing special for Clarkson’s voice. The only thing it offers the album is it’s rock/pop status and interesting overlaps between the bridge and chorus.

“All I Ever Wanted” channels a Pink sound and feel, especially in the pre-chorus. It isn’t very catchy except for an anthem-like cry of “All I Ever Wanted” in the beginning of the chorus. This song also ends with very little climax or excitement, leaving the listener desiring for more. However, the bridge has an interesting little background with little instrumentation, few drums, and layers of low background vocals.

“Already Gone”, the first Tedder/Clarkson collaboration on this album, sounds similar to much of Tedder’s work, which is currently hot on the charts, including “Bleeding Love” and “Halo”. It gives Clarkson a different sound, even for this album. It is the essential 2009 electropop sound, with Clarkson’s unique country influence on the delivery of the verses in her delightful, raspy R&B tone. The next collab is “If I Can’t Have You”, which has a little more rock edge and a stronger dance beat. The lyrics allow the song to pulse away from the drums and the chorus sounds fresh and anthem-like but isn’t very strong. These two tracks have amazing pop and dance chart potential, especially “Already Gone”.

“Save You” starts out in rock/pop fashion, with sweet guitars, a solo voice, moving into layered vocals. The first chorus comes in before the heavy drums add a strong pulse to a song that should come across a little more subtle. However, the drums are overshadowed by Clarkson’s strong vocals. The bridge of the song is an experiment influenced by Mozart, displaying true musicianship, though possibly not appropriate. The song ends with the drums alone, which for a song that could have done better without the pulsing drums, is not a good sound.

“Whyyawannabringmedown” is a rocker song whose verses scream, which does nothing for Clarkson’s voice, and the chorus has too many non-vernacular words to be extremely catchy to the entire mainstream audience. However, Clarkson channels her inner blues rock diva throughout the song, giving it a soulful edge, which may indeed save this from being a disaster for Clarkson.

In “Long Shot”, Clarkson’s version adds plenty of strings, a stronger lead guitar, and steady drums but keeps Perry’s basic melody and rhythm instruments. Perry’s rock drums and live performance channeling are left behind for the story-telling inflections of Clarkson’s soulful voice. However, the song offers very little climax, climbing and climbing, but going nowhere.

“Impossible”, the last official collaboration on this album between Tedder and Clarkson, gives you a strong pulse before the drums enter, giving you a contradicting but complementing inner pulse. The song in only slightly predictable, offering a strong chorus and stops the music at times during the second verse to make it interesting. A piano enters in on the bridge, while the drums remain constant, which is almost inappropriate considering the background music. However, the song returns to the strong chorus at the end and gives Clarkson a chance to improv, ending in a reiteration of the first verse, a reliable close to a reliable song.

“Ready” is reminiscent of today’s rock song mixed with classic country and pop songs of the late 60’s and early 70’s: the kind that would provide the theme song for a weekly half-hour sitcom. Of course, Clarkson’s voice offers interesting inflections and tonality in telling the story and emotion of the lyrics. The bridge channels modern rock, returning to the television theme song structure quickly. However, it ends strangely, which will probably not be heard when it becomes a television theme song. (I’m telling you it’s gonna happen.)

“I Want You” has Clarkson lyrics and a doo-wop, 1950’s, Amy Winehouse, Akon feel. It’s pleasant, but the constant repitition of “I want you you you you you you you, I I I I I I I want you” becomes droll. If one pays attention enough, however, the play on words becomes only slightly interesting when Clarkson says “I want No one else but you. I want No one makes me smile,” etc.

“If No One Will Listen” is a cover of a song by pop song Keri Noble, which only slightly fits the format of this album. As Simon Cowell, American Idol judge, would say, choosing this song for All I Ever Wanted was self-indulgent. While it is a pleasant and powerfully emotional song, Clarkson’s voice is not well-suited to the little inflections unique to Noble. While Clarkson does add layers of instrumentation and voice to the track, she does little to make it her own vocally.

Bonus Tracks on the Deluxe Edition include “Tip Of My Tongue” and “The Day We Fell Apart”, while the iTunes pre-order (and Japan edition) bonus track is “Can We Go Back”.

“Tip..” is another Tedder/Clarkson collaboration with heavy drums and a strong chorus. This song should have probably replaced “If I Can’t Have You” or Clarkson’s rendition of “If No One Will Listen”. “The Day…” is an angry electropop song in which the lyrics due little to hook you in or keep you there. “Can We…” is a short rock piece that offers little chart potential, but is one of those great tracks that you can just enjoy listening to in your living room, in the shower, or in the car on your way to work/school.

Clarkson has shown us from the beginning that she can do so much more, even in “Whyyawannabringmedown”. It’s a no go, vocally, for this American Idol. Vocally C-

This album offers some interesting twists, like the Mozart-inspired bridge in “Impossible” and overlapping pre-chorus/chorus in “Don’t Let Me Stop You”. Musically B-/B

The dance-ability, rock-ability, and overall mainstream feel of this album (going by today’s standards and charts) is high, and Clarkson has several potential singles on this album. Clarkson gives us today’s diverse, dance, electropop, R&B artist turned rocker edge that the charts have been dying over. Overall Mainstream B/B+

While this may not be Clarkson’s best album vocally, and may not be her best work as an artist, that work has rarely been heard by the public or released as singles. This time, Clarkson went for something a little LESS personal, a little less edgy, and a little more mainstream. While many of her fans (or former fans) hope for her return to the R&B Kelly of yesteryear (2003 to be exact), mainstream Kelly will have to do for now. My own personal rating for this album, a B/B+. Good job, Kelly, but you can always do better.