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i just wanna post this because some must have missed it.
it's a great review.

Quote:

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Thread: you are not ready: a comprehensive album review of "breakaway"


spjk2k 11/30/2004 5:00:00 AM Msg 1 of 52
album: "breakaway"
artist: kelly clarkson
rating: five stars

it happened. in the english language, there are combinations of words that seem destined never to be uttered:

"we have discovered the solution to everlasting world peace."
"we have confirmed that the message is from an intelligent lifeform located in the andromeda system."
"i twisted my ankle last night in the moshpit at the kelly clarkson concert."

wait. might have to scratch that last one. okay, maybe that's a stretch. or maybe it's not.

in any case, with the much anticipated release of her long awaited second album, kelly clarkson has indeed taken a risk, taken a chance, and made a change, and this is one grammy nominated artist who didn't bother resting on her ample laurels. in fact, she apparently decided to wrap her laurels in composition 4 pbx and chuck them into an active volcano, just to show everyone she means business.

the result is "breakaway", an extremely well-realized cathartic collection of brutally honest music that efficiently eclipses her debut disc "thankful" by about 437 levels, and may very well actually be one of the best albums of 2004. and frankly, any record of this caliber cannot be sufficiently expounded upon with a few paragraphs full of hyperbolic drooling. hence, what follows is around forty paragraphs full of hyperbolic drooling, loosely categorized by the title of each song on the album. take a moment to grab a bib before continuing.

"breakaway" (m. gerrard, b. benante, a. lavigne)
produced by john shanks

so begins the experience with the inspired "dah-dah-dah-n-daaaah-dahs", promising a bowl of pop and delivering a pot of gold, and more than ably produced, mixed, and performed by a pair of experts on the subject of gold, john shanks and jerry rothschild. as a point of interest, kel performed all the vocals on this song, as well as every vocal note found on the entire album.

everyone knows the "breakaway" story by now, and enough has been said about this omni-relatable crossover hit that any further exposition is academic. as the opening track, it is at least out of the way quickly for album purists who can't bring themselves to skip tracks, but are sick of hearing the song ever since radio beat it into the ground like whacking day in springfield. in the final analysis, however, this tune will forever remain the sweet little 6/8 anthem to which everybody secretly sways while 'dreaming of what could be'. easily a recognizable calling card for kel, "breakaway" has rightfully earned its place with "a moment like this" and "miss independent" as another signature song under her belt.

market strategy meetings notwithstanding, kel herself has stated that the song had always been destined for the sophomore effort, despite the fact that it wasn't necessarily written for the album. inasmuch, the variegated concepts of "breakaway" couldn't be a more appropriate prelude to what follows on the disc. case in point:

"since u been gone" (martin sandberg, lukasz gottwald)
produced by max martin & lukasz "dr. luke" gottwald

at the time of this writing, "since u been gone" was flying past everything on the charts like neo bolting across the nameless metropolis, leaving a wake of automobile-sized debris. the destructive-woman-scorned video had just debuted on mtv, and radio play was already spinning out of control. as the maniacal anticipation for the album's official street date reached fever pitch, this single appeared to be headed down the same path as its predecessor, and for good reason.

"since u been gone" starts out innocuously enough, with a subtle guitar groove and a moderately funky beat, but once the chorus drops, it transforms into one of those songs that makes people play air guitar with reckless abandon and bang their heads like they're learning a stick shift. an incendiary three minute neopunk bender marked by obnoxiously loud dirty guitars, the full frontal hook flat out rocks hard enough to compete with the big boys. recent interviews confirmed kel's the one who wanted to crank up the axes on this one so that it would be "explosive" (future producer flexing some skills?). yeah, well, mission accomplished.

martin and gottwald (from the 'saturday night live' band, who wrote the song with the kel in mind) unleash various forms of intentionally overbearing feedback and harmonics alongside olle dahlstedt's frenetic drums throughout this tribute to anti-anger management. at times, it's as if they're alternately channeling the ramones and the cars while kel alternately "yeah yeah"s the bouncy new-wave verses and effortlessly wails multiple high e's and g's over the distortion.

fox's reality version of "simon & simon" is all but a memory for kel now, but fuller and cowell probably turned over in their graves when they first heard this song, and they're not even dead yet. as the followup to "breakaway" both on the album and as a single, "since u been gone" may as well be kel's bodacious farewell refrain to a world that tried so desperately to drag her kicking and screaming into a pop asylum for fifteen minutes. as she would say, "pigeonhole this."

"behind these hazel eyes" (kelly clarkson, martin sandberg, lukasz gottwald)
produced by max martin & lukasz "dr. luke" gottwald

while the previous track has invariably ensconced itself as the definitive 180 of kel's career, this one follows wisely as the second cousin that openly confirms the matter for those who dare to remain skeptical. martin and gottwald bring in 'snl' bandmate and renowned drummer shawn pelton to bang out an alt-pop bottlerocket that adds kel's writing to the mix. fortunately, kel shows all the maturity of a veteran songstress on this track, constructing a fragile facade of fortitude in her smoky voiced verses that cry out shamelessly in the hook.

"behind these hazel eyes" commences like a stone temple pilots crunch before settling into its main groove, a more-rock-than-not song that smells like a surefire hit for top 40 radio. plenty of noisy feedback and percussive accents help to maintain the live band feel of the song while kel belts out her hidden heartache. most notable in the vocals is the way the soprano line is purposely backburnered until the abrupt halt at the end of the drum heavy bridge, itself a good display of instrumentally dramatic prowess by an industry pro. from there on, kel's high f#'s are clearly bumped to the forefront of the mix for maximum impact.

the liner photos feature several extreme closeups of kel's eyes, possibly to ensure that people know they're hazel in color. but inside her eyes, we can see the reflection of the cold world around her, a world that has swallowed her up and spit her out, as she increasingly relays to us throughout the course of "behind these hazel eyes" and, indeed, the majority of the album.

"because of you" (kelly clarkson, david hodges, ben moody)
produced by david hodges & ben moody

kel strays onto a familiar sidewalk here, if that's possible, with this somewhat by-the-numbers power ballad, but it comes with a nice twist: truly introspective lyrics which she composed at the ripe age of 16. the words underline an apparent subtext regarding a death of sorts, but they are carefully crafted to avoid outright proclamation of such an event, even when the line "i watched you die" pops up in the bridge. metaphorically cloaked in isolationism and depression, "because of you" hits hard where it really does hurt, and the effect is nothing short of beautifully bittersweet.

this is one of two tracks produced by moody and hodges, both former members of the band evanescence, and, to their credit, they wisely managed to prevent the song from sounding too much like "my immortal". both contributed on the music as well, moody donning the guitar while hodges tickled the ivory and arranged strings with another industry vet, david campbell. marty o'brien (methods of mayhem bassist) and mark colbert (hodges' drummer) round out the rhythm section, and all of these musicians keep "because of you" at just the right tone, appropriately grandiose without sinking into overwrought pretention.

clearly, though, the strongpoint of this track is the writing, which is an eye opener for anybody who was expecting another "anytime" the moment the piano kicked in. kel has unequivocally proven with "because of you" that she is more than capable of profound songwriting ripped straight from the underbelly of her most personal disenchanting ruminations about the dysfunctional aspects of life, misery, and the persecution of loneliness.

"gone" (kara dioguardi, john shanks)
produced by john shanks

after detouring into the obligatory balladlands for a bit, the album returns to uptempo valley and jumps straight into a staccato drumloop, gated guitars, and vocals of the overtly processed ilk to churn out the instantly infectious and (insert current popstar name here) sounding "gone", a track that only solidifies kel's genre-bending appeal. rothschild returns on drums and paul bushnell gets a nice little bass lead with this shanks-layered package deal that incorporates various elements of protools and pop rules to end up sounding like... well, another hit.

it isn't until the song passes the two minute mark that kel's too-incredible-to-ignore range makes its high g-force appearance, which is the only thing that separates this expertly produced bubblegum machine from the morass of similar sounding tunes currently splattered all over the charts. with mega-hitmakers like shanks and dioguardi at the helm and kel whipping out more ear-shattering chops from her always formidable arsenal, it's at least fun ride, even musically interesting at times.

beyond the implications of the lyrics, kel seems to be giving us her take on continuity with "gone". inserting a song so blatantly pop into this album's midsection defies a lot of so-called expert logic, but there's a hidden truth these self-proclaimed music historians don't want anybody to figure out for fear of their personal tastes and opinions being ignored. the truth is that artistic diversity represents a necessary and inevitable progression in music, and there's no permanently etched monument anywhere that says it can only happen between albums, regardless of what gets printed in trendrags like 'rolling drone', 'entertainment weakling', or 'billbored'. besides, it's always a good thing to have a decent pop song floating around out there by somone who can actually sing when required to do so. speaking of total disregard for continuity short of including a vowel in all of the song titles...

"addicted" (kelly clarkson, david hodges, ben moody)
produced by david hodges & ben moody

opening with the breathily intimate and deftly implicating "it's like you're a drug", this mesmerizing track creeps unapologetically into a hauntingly gothic 12/8 masterpiece that openly thrives on unhealthy obsession, sexual submission, self-deprecation, and thinly veiled suicidal innuendos. as the second moody/hodges collabo on the album, the chilling virtuoso production on "addicted" plays like an audio amalgam of "9 1/2 weeks", "angel heart", and "the basketball diaries", leaving mickey rourke unable to figure out which one he's in at any given moment, or if he's even in all three.

there's a lot to be said about this song. kel's lyrics here are utterly brilliant, an infinitely clever use of so many metaphors and double entendres, it's almost impossible to decode them all in one listen. simultaneously trudging through at least three different themes without ever really providing closure either way is an admirable feat by any measure, and kel pulls it off in spades. as a result, the words skulk out of a dark recess in the mind like a tyler durden soliloquy, meticulously scraping away at self-control and reason until reality is a blur.

as with several other tracks, there are sweepingly composed vocal countermelodies lilting in the background, and an eerily enveloped percussive loop augmenting the piano progression in the verses, which boom hard with low sine waves. the main vocal mix is always concise, laced with the cracked intensity of kel's whispery confession and the warbling hunger of dependency, exacting aural attacks to the psyche at just the right moments. the dismal tension and anxiety in her voice spirals into madness during the stunning orchestration of the bridge, which is practically a miniature opus, and the song climaxes with kel almost mournfully eking out the last line.

hodges and moody utilize the same musicians from "because of you" on this one, and this time they all get to open the knobs and pound on their instruments with rolling passion. moody's moody guitar sustains and hodges' lo-fi piano arpeggios enhance the sullen atmosphere of this waltz-dismal-world, marty and mark come crashing down like bodies in the chorus, string orchestration is scary movie-spooky, and kel digs deep into her weary soul and throws her nightmares all over this sublimely sick thing of beauty. again, the bridge is the mastermind behind "addicted", a megalomaniacal monstrosity too wonderful for words, an inhuman symphonic grotesquery of fantastic proportions. the overall effect of "addicted" is the most powerfully disturbing song of the album. not to mention the year.

"where is your heart" (chantal kreviazuk, kelly clarkson, kara dioguardi)
produced by raine maida & chantal kreviazuk

if there's figurative response to the confused denouement of the previous track's exercise in self-torture, it's probably the line "i want your heart to bleed, that's all i'm asking for", which sums this song up to a morbidly misleading degree. the second of the two new ballads on the disc ("breakaway" is riddled with pairs), "where is your heart" couldn't be more despondent if kel bought a flannel shirt and moved to seattle.

a swelling and gorgeous number with a gargantuan sound, it's a bit like a modern alt-rock power ballad (think "glycerine" meets "beautiful" . this is most likely due to the presence of canadian duo maida and kreviazuk behind the wheel, both of whom are critically acclaimed and ridiculously talented survivors of the alternative scene, or whatever it was called. phil x (guitarist for powder, rob zombie), randy cook, jason lader, kreviazuk and maida (frontman for our lady peace) all heavy it up with a pensive string quartet arrangement and a more pronounced rhythm section (notably the jacked up sub 60-100 hz frequencies) that provides a truly overwhelming experience.

laced with delays in the chorus and peaking at high f, kel's astonishingly textured and rich vocals drip with soul and quite plainly stir the blood. this is maybe her best display of contrast yet, quivering through painful words to the point of almost audibly weeping, then navigating between falsetto and full voice without even trying. it's no secret at this point that she can belt with the masters, but somehow it's like discovering her all over again every time it happens in a song. and thanks to the impressive power trio of songwriters and the cuts-like-a-knife vocal interpretation, the sad sentiment of "where is your heart" is likely to induce massive puddles of saline. anybody who thought "because of you" should be released because it would win a her grammy hadn't heard this song yet. and anybody who can reduce grown men to tears with a single note deserves at least two grammies.

"walk away" (chantal kreviazuk, raine maida, kara dioguardi, kelly clarkson)
produced by raine maida, kara dioguardi & chantal kreviazuk

almost a lyrical sequel to "where is your heart", "walk away" nearly out-miss-independents "miss independent". the album rolls doubles again with this encore performance by the team from the previous track, who kick it up a notch or two (hundred) on a hard grooving hit-the-road-jack attack full of attitude and aretha. with hints of a "word up" beat and perhaps a reference to a classic song by the clash ("should you stay or should you go" , wideranging influences are subconsciously twisted together on "walk away", creating a modern pop blend of soul, retro-funk, dirty blues/rock, and even old school hip hop. or something.

as fat as the bottom end bumps on this tight track, the highlight of "walk away" is in the vocals (again), capping in full voice at high g (again), and greatly dependent on kel's heretofore unknown ability to clip syllables like a scratched cd. obviously there's a lot of compression and gatework on both the vocals and the song to enhance this characteristic, but it's still a blast to hear the girl repeatedly challenging her image throughout the album. the barely sung rant during the climb to "leave" in the bridge is worth the price of admission alone, and would garner a lot of "you go, girl!" recognition if the song ever hit radio.

"you found me" (kara dioguardi, john shanks)
produced by john shanks

somewhere out there, in an executive suite in a tower somewhere, someone decided that all of the kaleidoscopic colors of kel's voice simply weren't all being heard, and as a result, the ethereal acoustics of "you found me" found this album. a second helping from the hit single-producing pair of shanks and dioguardi, "you found me" is one of those alt-pop generators with lots of open e strings ringing in the guitar line. amidst the drum loops and programming, shanks thankfully brings in another awardwinning studio staple, in-demand drummer kenny aronoff, to help keep the top 40 shufflebeat alive and well. overall, the song succeeds at its task, which is basically to hum like a well-oiled machine and serve as a foundation for kel's smile-inducing melodies.

the interesting aspect of this track is the way kel manages to convey a subliminal vocal homage to jaci velasquez. after the revelation in an interview that she's a fan, it's likely that kel's texas upbringing probably made it impossible to avoid the influence in some form, so it's not a surprise to see it manifested. this album reveals a cornucopia of influences that have shaped her circumferential singing style, of course, and her chameleonic vocal cords tend to change accordingly with whatever she happens to be singing at the moment. it's a rare and enviable quality, and paradoxically emphasizes how unique kel really is.

"i hate myself for losing you" (kara dioguardi, jimmy harry, shep solomon)
produced by clif magness

kel has repeatedly stated in various interviews that some of the songs on this cd would be "soulful rock... like janis joplin without the drugs", and if anything describes the raspy climax of this track better, it hasn't been said yet. the cat's out of the bag with this song, and somebody forgot to declaw the sucker. though it's bound to be left behind as a secret treasure of the cd once singles start spewing out, "i hate myself for losing you" is a fierce blow-the-wad blues-infused rocker that sticks its head out the window and shouts "i'm mad as hell and i'm not going to take it anymore!"

with "i hate myself for losing you", some familiar faces from the past are back at the table, including the producer, writer, and musicians from her hit single "low" and "just missed the train", the secret treasure that never got released from her first album. in addition to that winning combo, shep solomon signs on, another hot property who's worked with everyone from p diddy to britney, and dioguardi makes her talent known again to help pen the track.

kel stated in another interview that she "knew who she wanted to work with this time", and the fruit of her foresight here is a musical powderkeg that blows the doors off the barn. magness' programming and fretboard work is dead on the money as usual, and the mindbogglingly talented drummer josh freese (cofounder of the band perfect circle) does what he does best: absolutely kill every thing his sticks touch. production on the track is flawless, and it gives kel something to reckon with musically, something she's more than capable of doing.

the hook is a catchy rollercoaster, to be sure, the verses contain their own special brand of throaty kellified storytelling, and the bridge is exactly the sort of skewed reverse psychology interpretation we can expect from kel by this point. but throughout the last half of "i hate myself for you", she takes no prisoners, grunging up her throat and scratching out classic dorian riffs that punch holes in the clouds and once more rise to the high g stratosphere. nothing else on the "breakaway" disc even comes close to the totally raw, unadulterated wailing that takes place in the last minute of this track. it can't possibly rock any harder than "i hate myself for losing you", can it?

"hear me" (kelly clarkson, kara dioguardi, clif magness)
produced by clif magness

fine, it can rock harder than "i hate myself for losing you", and kel's bent on proving it. to quote shakespeare (and maynard), "once more into the breach, dear friend, once more."

arguably one of the two best songs on the album, the category 5 hurricane that is "hear me" relentlessly assaults an array of human senses. with syncopated distortion storm surges, gale force in-the-pocket 6/8 percussive patterns, and a deluge of screams blanketing the radar like horizontal rain bands, "hear me" is practically modern rock without the pop slashmark.

the production is plagued by perfection, and kel never has to struggle to be heard in the mix, despite her impetus for writing the song in the first place. if there's a common thread running through "breakaway", it's the one found in "hear me", which is basically a polite way of saying "shut up and listen." her low register droning and wistful leads complemented by the loosely organized background vocals are just the right ingredients for the suffering in the verses. the panic in the bridge is appropriately evident, and the chorus, especially during the refrain, is a staggering barrage of high f's conveyed in the absolute depths of desperation. kel essentially ignores a lot of the unspoken rules about writing hits here, opting instead to write something she felt was real, and she chose the right group of people to make it happen.

since the genius of this tricked out track is the result of a collaborative effort, it would be remiss not to elaborate a little on the musical aspects of the song. after some graceful piano teases and a little structural building, magness throws caution to the wind, blasting the stack, kicking on a few stompboxes and shredding every chord with chunky grit. freese drops wood like it's the antidote, banging out technically intricate flurries of hardcore aggression amidst the torrent of beats. the finale rips everything to pieces, but honorable mention goes to the "more, please" bridge, a completely jawdropping, subwoofer-rattling bombardment of audio angst, without a doubt the heaviest sound on the cd, and there is not a single female artist currently being overplayed on mainstream radio who has achieved anything remotely close to this glorious mosh-worthy sound.

along with "addicted", "hear me" is one of the two tracks that make this album patently unique, more than satisfying, and a must have in any collection.

"beautiful disaster" (matthew wilder, rebekah jordan)

captured live during a tour date in san jose, the breathtaking "beautiful disaster" was originally an alt-pop fan fave from the "thankful" disc. kel created the infamous 'unplugged' rendition while on tour with keyboardist jason halbert (one of the original members of sonic flood), who arranged it for piano. the act featured kel somberly crooning a gutwrenching torch song, accompanied by nothing more than the piano upon which she sat. the remix was a rousing showstopper with audiences everywhere, and soon gained underground status as an instant classic. demand was so high for the remix that eventually kel began performing it on the talk show circuit, which only increased speculation that it should be included on the sophomore album. this particular reverb soaked melismatic performance is an incredibly spinetingling experience, as evidenced by the overwhelmed crowd reaction. with the freedom to express herself, kel breathed magic into a meager microphone and created an audio gem that has since become another piece of teary-eyed nostalgia for many fans. now, as the fade to black on "breakaway", the rest of the world is invited to capitulate to it as well.

summary

orson welles once accepted an academy award, and when the roaring applause abated, he walked up to the mike, held up the statue, and said, "to movies. to good movies. to every kind of movie."

substitute the word 'music' for 'movies', and that might come close to the message kel is trying to give us with this album. her "breakaway" collection is a journey into the future, a future consisting of artists who have realized the futility of conforming to 'hoyle's book of album rules', a mythical publication she seems to detest more than clothing for pets. people like kel simply cannot be encapsulated with a category, and their work will always reflect that fact. they are the pioneers, plowing through uncharted territory, living on the precarious edge of a new renaissance, while the huddled masses stare in trembling awe with baited breath, waiting to see what happens next.

there's really no way to summarize any of this, except to point out that excessive alliteration is awfully annoying, and that kelly clarkson's "breakaway" is, in many respects, ahead of its time. perhaps it's an experience of a personal revelation, leading us on another important step towards inevitability, and the meaning of it all is not always verbally articulated on the cd. so forget everything you've seen, heard, and read about it. including this review. just listen to it.

and hear her.

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KikiMets 11/30/2004 5:14:00 AM Msg 2 of 52
WOW. I'm printing this out to read along as I listen to the album. You are amazing. I could quote and WORD the entire thing, but this line deserves to be spotlighted:

anybody who thought "because of you" should be released because it would win a her grammy hadn't heard this song yet.

Un4gitible 11/30/2004 5:18:00 AM Msg 3 of 52
Wonderful review Rob

I couldn't have said it half as good - let alone better



-MostlyHarmless- 11/30/2004 5:34:00 AM Msg 4 of 52
OK, I haven't read the whole review yet, but I thought you were going to say that Breakaway _was_ the solution to World Peace.

RealFan21 11/30/2004 5:37:00 AM Msg 5 of 52
You have a way of saying some of what I'm thinking, but have no clue how to put into words. And so eloquently too. Thank you.

houster6 11/30/2004 5:37:00 AM Msg 6 of 52
Are you sure you are not the reincarnation of Rod Serling?

That was a great exposition, and you've thrown down a gauntlet for me, but I will not do a review until I've heard the whole thing on CD.

Although, if I understand you correctly, I strongly disagree with you on "Because Of You". To me, its combination of surprisingly good songwriting combined with deep, soulful and emotional vocals makes this a lock for a Grammy nomination, and a very strong conter for a Grammy win. Its one of the reasons I hope the Grammys return to New York in 2006 so I can hear Kelly sing this song live and then carry out a boxful of N.A.R.A.S. trophies. (Assuming I can get a ticket!)

Thankful4Kelly 11/30/2004 5:37:00 AM Msg 7 of 52
SO TRUE!! THIS CD ROCKS!

houster6 11/30/2004 5:38:00 AM Msg 8 of 52
That's strong contender. I'm typing too fast again.

AndyBear1980 11/30/2004 5:39:00 AM Msg 9 of 52
WOW this might just be the best post I have ever read. This one is a keeper! I am in awe.

ames 11/30/2004 5:47:00 AM Msg 10 of 52
Rob, I've been waiting for this! WOW, I'm gonna have to agree with Andy on this one, I am in awe! Thank you for articulately putting into words what many of us feel, but cannot express!

WONDERFUL REVIEW!!!

(btw, i didn't know Jason (keyboardist) was an original member of sonic flood! that's so cool!)

Sleepless4Kelly 11/30/2004 5:49:00 AM Msg 11 of 52
This thread is destined for the Hall of Fame, without a doubt.

What an amazing review. Your way with words simply awes me. I don't even know how to respond except to say thank you for your incredible insights.

Im_Coolcat15 11/30/2004 5:54:00 AM Msg 12 of 52
Rob, you amaze me everyday. All I have to say is thank you, and that I couldn't agree more.

NoNameFace 11/30/2004 6:06:00 AM Msg 13 of 52
: drops::

um, damn. your way with words coupled with your extensive knowledge of music...um, damn. phenomenal post, man. love the title as well. thank you. kc fans are so smart.

bixblitz 11/30/2004 6:09:00 AM Msg 14 of 52
WOW

dfwKCfan2 11/30/2004 6:24:00 AM Msg 15 of 52
Man I am glad you are a Kelly fan! You add a lot to this board. Awesome review. It gave me goose bumps.

Jûmbo 11/30/2004 6:49:00 AM Msg 16 of 52
The only problem I can find with this review spjk2k is it might be more enjoyable than the actual album. A pleasure to read.

Drummergirl-NJ 11/30/2004 6:55:00 AM Msg 17 of 52
spj: What can I say? WOW! A great review for a great album from a great artist!!! Love your details in every aspect of the album. If it weren't so late, I'm sure I could muster up a couple of other compliments but sorry, this is all ya get at almost 2 in the morning. Keep up the "detailed" reviews. Hopefully, critics will see it as you and the rest of us do too. Kelly is in a class all by herself. I just hope and pray that she's ready for the gigantic trip she's about to make to SUPER stardom cuz it's coming. There's a one-way ticket with her name on it. Better hold on tight and enjoy the ride ...

aloe1 11/30/2004 6:59:00 AM Msg 18 of 52
spkj2k i went back and listened to the album on AOL for the second time while reading your review, track by track. you put into words what i couldn't express about my favorite tracks on the album (addicted and hear me) after my first listen. i also have a new appreciation for some of the tracks that were not on my favorites list before.

simply, thank you.

nancysanfran 11/30/2004 8:10:00 AM Msg 19 of 52
wow that was completely tantalizing. awesome review. i think you should post that to kelly's friend Jessica or just mail that review to Kelly herself. wow. that was great. u should be a bonafide writer in my opinion.

TXPhotoguy 11/30/2004 11:08:00 AM Msg 20 of 52
excellent. Your thoughts on "Where is Your Heart" are SO true. THIS is the song to win the grammy.....

one4kelly 11/30/2004 11:24:00 AM Msg 21 of 52
spkj2k: I don't even know you and I U!
OK, Please post this/send this review to as many places as you can!
Because you are just an awesome writer/reviewer. I love all the metaphors, alliteration, imagery and humor. And that you know your music speaks volumes in itself, giving creditability to all the well-deserved gushing over Kelly. I hope some critics follow your lead. She deserves to be recognized for the genius she is! And major props to all those who had a hand in putting together this awesome album!
Did I mention that This review Rocks!?!

d4wgystyle 11/30/2004 11:25:00 AM Msg 22 of 52
Great review. I will say one thing though and it is that it would be much easier to read if you used capitalization.

LoveAndTheLogical 11/30/2004 12:03:00 PM Msg 23 of 52
::Bows down::

That was an amazing review. Thank you for taking the time to put into words how I feel about this album. Every time I listen to it I find something else to love about it. It would be a tragedy should Kelly not win at least one Grammy for this album.

quincy 11/30/2004 1:40:00 PM Msg 24 of 52
spjk2k, I you, big time. I love to read all your posts, but this one was even more amazing than usual.

shannon-kellyfan 11/30/2004 2:37:00 PM Msg 25 of 52
from one writer to another that was AWE inspiring!! truly beautiful and amazing!! thank you so much!

jwittenmyer 11/30/2004 3:02:00 PM Msg 26 of 52
I am so impressed with your review, once again
You should post a shortened version of this on every amazon, wal-mart.com, etc. It's perfect.

misstikme 11/30/2004 3:21:00 PM Msg 27 of 52
Jumbo- the review is AWESOME!!!!!! But lets not get carried away.... hehe...

GodBlessedMeWithKC 11/30/2004 3:25:00 PM Msg 28 of 52


lespack 11/30/2004 3:30:00 PM Msg 29 of 52
I'm adding this baby to the Respect-Press section! Wow!!!

stlkcfan 11/30/2004 8:48:00 PM Msg 30 of 52
Great stuff Rob! Thanks for posting it.

_-North-_ 11/30/2004 9:55:00 PM Msg 31 of 52
wow. spjk2k, I am in awe of your amazing ability to capture the feelings we experience while listening to this amazing album, and to express them in such beautifully articulate prose. Your review was insightful and wonderfully elequent.
You've greatly increased my eagerness to purchase Breakaway. Thank you so much for sharing your thoughts with us!

Jûmbo 11/30/2004 10:01:00 PM Msg 32 of 52
Bad news, spjk2k. I just heard the CD, and it won by a nose over your review. But if it's any consolation, they both took me about as long to get through.

--franka-- 12/1/2004 12:56:00 AM Msg 33 of 52


Sleepless4Kelly 12/1/2004 5:31:00 AM Msg 34 of 52
I added this album review to the Hall of Fame. It's just such an incredible review.

Hall of Fame

RealFan21 12/4/2004 6:25:00 PM Msg 35 of 52
Just wondering if everyone has read this yet.

brunette-smurfette 12/4/2004 11:29:00 PM Msg 36 of 52
Wow, kudos to you.....seriously, do you want some kudos? I've got extra.....
GREAT review!

2desky 12/4/2004 11:55:00 PM Msg 37 of 52
It took forever to read! Anyway, this is an awesome review! Thank you.

_HearMe216_ 12/7/2004 3:18:00 AM Msg 38 of 52
"Is that, Is that, Is that...how you measure a ma'am"

_sooozya_ 12/7/2004 3:19:00 AM Msg 39 of 52
You're right, she's not Jesus. We all know who Jesus is right?

_HearMe216_ 12/7/2004 3:20:00 AM Msg 40 of 52
JEE JEE JEE JEE JEE!

JacquieT_aus 12/7/2004 3:20:00 AM Msg 41 of 52
I don't normally dog on Clay fans, but please, if you're going to be a downer don't be such an obvious Clay fan. I had you crazy Claymates pegged down for at least some brains. But MOAM in your Screen Name? sigh...

You are right though. She's not Jesus. I just won't continue with what I'm thinking to finish this phrase off...

cubbieb83 12/7/2004 3:20:00 AM Msg 42 of 52
Thank You _______


They deserved that!

cubbieb83 12/7/2004 3:21:00 AM Msg 43 of 52
Dont worry Jac,

The big guy with the hammer made sure they were no longer a problem!

sauron_9 12/7/2004 3:21:00 AM Msg 44 of 52
another one bits the duste - QUEEN

JacquieT_aus 12/7/2004 3:22:00 AM Msg 45 of 52
Suz, you, me...same minds...we're brilliant.

JacquieT_aus 12/7/2004 3:23:00 AM Msg 46 of 52
The big guy with the hammer in the sky? Maybe he's Jesus.

Gotta_Kelly_In_My_Pocket 12/7/2004 3:23:00 AM Msg 47 of 52
Gosh, they are pathetic!!


cubbieb83 12/7/2004 3:25:00 AM Msg 48 of 52
From: <NOBR>JacquieT_aus</NOBR> Sent: 12/6/2004 9:23 PM
The big guy with the hammer in the sky? Maybe he's Jesus.





Ugh Jacq

I think the hammerdropper just burst into tears since you compared them to Clay!


_sooozya_ 12/7/2004 3:25:00 AM Msg 49 of 52
Haha, exactly Jac. And you pointed out something else I was thinking: if people are going to come here and try and rain on our parade, they can at least ATTEMPT to come up with a more creative screename. *sigh* They have about as much artistic creativity as the one they worship.

JacquieT_aus 12/7/2004 3:31:00 AM Msg 50 of 52
Oh no...I made Jesus cry!

Cubbie, word of advice, that news is best kept to yourself!

*runs away in tears*

houster6 12/7/2004 3:35:00 AM Msg 51 of 52
Rob, people seem to think I'm a music expert, but really, I just have listened to the radio a lot, bought a lot of records, watched a lot of VH1 type "Behind The Music" shows, and tend to soak up facts like a sponge on many topics.

Then I get all sappy about it and embarrass myself.

You, however, know 10,000 times more than me about the technical aspects of music. Terrific review.

And you found a Clash reference -- while I found Pink Floyd. You know, I'm going to have to inspect those liner notes to see if someone is really trying to cater to the (classic) rock fans around here.

kclarkson4 12/7/2004 4:17:00 AM Msg 52 of 52
Omg...I have never read a better article. Good thing someone bumped this so I saw it. Wow, the author really know how to play with words. My favorite part was:
"there is not a single female artist currently being overplayed on mainstream radio who has achieved anything remotely close to this glorious mosh-worthy sound."
And the part about beating day in Springfield...that was funny because I LOVE the Simpsons!