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Younger Simpson still honing sound
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by Carolyn Vidmar
Monday, April 28, 2008
On her third studio album, Bittersweet World, Ashlee Simpson experiments with new sounds from new producers, including Timbaland and Chad Hugo of the Neptunes. The result is a lighthearted, dance-influenced album worthy of a spin or two.
With a recent engagement to Fall Out Boy bassist Pete Wentz and rumors of a pregnancy, it seems as if the Simpson clan is hoping that interest in Ashlee’s personal life will contribute to record sales. Congrats to the happy couple, but the announcement of their engagement surfaced suspiciously close to the album’s release date.
Bittersweet World was actually scheduled for release months ago, but the album’s first single, the Timbaland-produced “Outta My Head (Ay Ya Ya),” bombed on the radio — and for good reason. Simpson sounds like she’s channeling Gwen Stefani, which tends not to work for anyone but Stefani herself. However, she redeems herself with “Boys,” an ’80s-influenced dance track produced by Chad Hugo of the Neptunes.
On the following song, “Rule Breaker,” Simpson claims she “feels like a rebel ‘cause I keep makin’ trouble.” This rebellious, bad-girl image is what separates Ashlee from her older sister Jessica, and Ashlee uses such lyrics to solidify her reputation as the edgier Simpson sister.
The album’s second single, “Little Miss Obsessive,” is an organic and catchy power-pop tune. Tom Higginson of the Plain White T’s provides vocal harmonies that complement Simpson’s breathy alto. Fresh beats on “Ragdoll” and the album’s title track “Bittersweet World” give Simpson the edge she desperately needed. “Hot Stuff,” however, is just too bizarre and outlandish for this pop star. Surprisingly, the hip-hop and reggae-influenced “Murder” is one of the album’s best songs, again produced by Timbaland and featuring rapper Izza Kizza.
Still, the soporific “Never Dream Alone” seems like a terrible closer for such an upbeat album — not to mention that Simpson doesn’t really have the vocal power to support the soft piano ballad. However, the cheeky hidden track “Follow You Wherever You Go” serves as the album’s actual closer, on which Simpson identifies herself as the recklessly persistent but fun-loving girlfriend she is.
Throughout the album, Ashlee’s favorite topic remains herself, and she’s still struggling to establish her place in the world, as evidenced by the coming-of-age anthem “What I’ve Become.” Her lyrics are sometimes contradictory, though, and it’s almost as if she can’t decide whether or not she’s still daddy’s little girl — or if she even wants to be.
Nevertheless, Simpson’s risks in terms of production show musical growth. Whether or not these risks are entirely successful, this album is a far cry from the guitar-driven teen pop songs that began Simpson’s career. Bittersweet World may be somewhat inconsistent, but with the help of hip-hop powerhouse Timbaland, Chad Hugo and Kenna, the album is quirky and often enjoyable.
3 stars out of 5
Anonymous (April 28, 2008 @ 2:36am):
In Ashlee's world, it's all about Ashlee. Why waste your money buying this stuff and encouraging her obsession. Not all celebrities are obsessed with self, it just seems that way.
Anonymous (April 28, 2008 @ 3:58pm):
Why would the Badger Herald take the time to write about this filth? This is art?
Anonymous (May 10, 2008 @ 8:40am):
Ashlee Simpsons music is pure crap
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