The cover of Oral Fixation Vol. 2 features a Biblical allusion, with Shakira obscured only by a few carefully placed leaves, apple in hand — the picture of the typical bottle-blonde, scantily clad pop star. However, the album's rich content and melodic experimentation assert the Latin diva's increased substance. Listeners can enjoy the forbidden fruits Oral Fixation offers, although the aftertaste of select tracks is not pleasant.
The Colombian-born artist rose to American fame in 2001 with her crossover album Laundry Service, a disc that featured the hip-shaking "Whenever, Wherever" and the heartfelt "Underneath Your Clothes," dispersed among an equal arrangement of Spanish tracks. In less than a year, Shakira's album went triple platinum, placing her among the likes of another Latin success story, Jennifer Lopez. However, Shakira's recent efforts show she is not simply another manufactured pop star with tight abs.
From a selection of 60 songs written by herself or in collaboration with Luis F. Ochoa or Lester Mendez, Shakira chose 20 and split them into two albums: an all-Spanish disc, Fijacion Oral, Vol. 1, which was released in June; and the latest, the all-English Oral Fixation, Vol. 2, released Nov. 29.
Fijacion Oral, Vol. 1 marked the artist's return to her Latin roots, as her first completely Spanish album since 1998's Dónde Están Los Ladrones? Vol. 1's single, "La Tortura," a track featuring Alejandro Sanz, garnered moderate play on MTV over the summer. Fans may remember the duo seductively chopping vegetables and Shakira gyrating while dripping with a black substance.
Oral Fixation, Vol. 2 continues the mature precedent set by its Spanish counterpart and features re-recordings of Vol. 1's "En Tus Pupilas" and "Dia Especial" in the forms of "Something" and "The Day and the Time," respectively. Although Shakira's English vocals convey less confidence than those in her native language, the album chips away at the walls of standard pop music and shows that the Latin star is capable of delivering more than upbeat dance numbers.
Shakira displays her unparalleled ability to transition between tone qualities in the album's first single, "Don't Bother," a song seemingly written to an ex-boyfriend who left her for someone "fat-free" and better educated than she. She offers her final pleas to make the man stay in a breathy, whispered voice but quickly builds to an assertive tone as she realizes he's not worth her time and belts out the chorus, "Don't bother, I'll be fine … I promise you won't ever see me cry."
The failed relationship theme continues on "Illegal," which features the signature guitar work of Carlos Santana between the words of a deceived and bitter Shakira, and "Your Embrace," a melodramatic glimpse into a breakup. Aside from Santana's high-pitched solo, the melody and overall background arrangement of "Illegal" is kept simple to allow the emotion of the chorus to ring through, as Shakira wails, "You don't even know the meaning of the words 'I'm sorry' / You said you would love me until you die / And as far as I know you're still alive." Alternately, in a style reminiscent of The Cranberries, "Your Embrace" displays a more vulnerable side of the singer. Shakira plays up her valuable assets — a 24-inch waist, a closet full of clothes, TV appearances each day, but says they mean nothing without her "best friend" in her life.
The artist proves she is not only a cynic of the opposite sex, but also the industry and fame, in "Animal City." The track begins with a strange yodel of sorts and breaks into a mariachi-flavored dance rhythm, complete with horn interjections, that finally gives listeners a chance to shake their hips. Shakira advises to "Be obedient, don't argue / Some are ready to bite you," and overall, the track leaves that impression in the minds of listeners, as it succumbs to unoriginal gimmicks, like muffled wolves howling, to play off the animal theme.
The questionable production choices continue on the album's closing track, "Timor." While the song critiques our democracy and sarcastically offers, "It's all right, It's all right / 'Cause the system never fails / The good guys are in power / And the bad guys are in jail," the message is lost in the strange blend of an annoying children's chorus and a disco arrangement of synthesized beats.
Although Oral Fixation, Vol. 2 stumbles a bit in the end, the album effectively displays Shakira's lyrical maturity and pushes audiences to appreciate her for more than her remarkable belly-dancing ability.
Grade: BC
