Not sure if anyone heard, but Ashlee Simpson was the musical guest on Saturday Night Live. No, not last year — two weeks ago. Besides trying to gain back a shred of dignity, she returned to the SNL stage to promote her sophomore album, I Am Me, which hit stores Oct. 18.

Now a year after the infamous lip-synching debacle that took place on that show and made her the laughing stock of the music industry, Simpson has a lot to prove — most importantly, that she can actually sing. While this time she may have used her actual vocals and left out that impromptu jig she does so well, Simpson's SNL performance failed to prove her as a remarkable musician. Her new album doesn't either.

Currently ubiquitous on the radio waves is "Boyfriend," Simpson's fun, upbeat track and first single off of I Am Me. Although it may not be lyrically profound and would seem better suited for Lindsay Lohan or Hilary Duff (oh Aaron Carter, what a player), the song definitely has a guilty pleasure vibe. That feeling of "this is so bad it's kind of good" worked for Simpson on her debut album Autobiography, which was filled with catchy Top 40 tracks like "Pieces of Me" and "La La." The first single for "I Am Me" will definitely drive album sales at first, but do not be fooled by "Boyfriend" — it is by far the high point of the album. The rest of I Am Me falls short of delivering anything nearly as enjoyable.

The main problem with I Am Me is that it fails to provide what was needed — proof that Simpson can actually sing. Simpson never uses the huskiness of her voice in a flattering way. She always sounds like she just finished smoking a couple packs of cigarettes. Furthermore, songs like "Burning Up" and the title track showcase the unpleasing nasal whine of her voice. To top things off, on her ballads "Beautifully Broken" and "Say Goodbye" (which would be far better suited for her older sister Jessica,) Simpson brings back her oh-so-annoying breathiness with a vengeance.

Nevertheless, everyone knows it does not take an amazing voice to produce a hit album these days, especially in the pop genre. I Am Me, however, does nothing to make up for her blatant lack of vocal talent. Aside from "Boyfriend," there is nothing that makes listeners want to get up and dance, nor are there any songs people will want to belt out at the top of their lungs while driving — the essentials of a feel-good, bubble-gum pop album.

This is not to say that the tracks are all unbearable to listen to, it is just that I Am Me is quite monotonous. The album has two types of songs — breathy ballads and not-so noteworthy upbeat numbers — and they all tend to sound the same, making the album entirely forgettable.

Then there is the track "L.O.V.E." which stands out and will be remembered by listeners, but for all the wrong reasons. Gwen Stefani she is not, and the song is Simpson's ridiculous stab at some sort of white girl pop/hip-hop that fails miserably.

Simpson is an artist constantly critiqued for the phoniness of her persona. Whether she is trying to dress punk to come off as edgy or dying her hair dark to distinguish herself from Big Sis, her actions never seem quite authentic. Instead, the image of Ashlee Simpson seems like some corporately contrived idea of how she should be perceived. There is no question that the same feeling is reflected in her music. All of the tracks on I Am Me are entirely lacking in emotion, and none come off as genuine, leaving the album hollow and uninspired.

"I wrote this song after my last Saturday Night Live appearance," she explained to the SNL audience before she warbled through her feel-sorry-for-me ballad "Catch Me When I Fall." The song questions, "Who will save me from myself?" Good question, Ashlee, because this album sure won't. Although the girl should at least be given kudos for the sole fact that she tried to bounce back from an almost sure-fire career-ending fiasco, I Am Me is not the salvation Simpson so desperately needs.

Her locks are back to platinum, and her album sales probably will be too, thanks to hoards of middle-schoolers with too much allowance burning a hole in their pockets; but the album hardly deserves it.

Grade: D