Published on Sep 10, 2003
I am (or was) a casual closet fan of Christina Aguilera’s
singles. It’s easily apparent that the shared link between her
singles is that they are exceptionally sung and immediately catchy.
While viewing the Video Music Awards, I noticed that she was the
third wheel in Britney and Madonna’s shared moment. After that sad
obligatory peck from Madonna (it almost look like ‘The Material
Girl’ spat on her), I wanted to console the updated, coiffed and
excessively tanned songstress. Coming to grips with my inability to
get her off my mind, need for immediate gratification and
obsessive-compulsive nature, I bought
Stripped.
So far, four singles have been released from this album.
“Dirrty” was the initial delivery. Unfortunately, she got more
press for being an audacious minx in her video than for the song,
and its updated Michael Jackson-inspired dance-pop did not even
reach the top 20. The ballad “Beautiful” smartly changed
Christina’s tone to sober yet dynamic and became a deserved radio
smash. “Fighter” and “Can’t Hold Us Down” are weaker, but adequate
“Dirrty”-phile tracks that peaked higher than its predecessor due
to the strength of “Beautiful” and sans the circus of
controversy.
Several spins of
Stripped exhibit that it is a lifted blend of a mild
Madonna’s
Erotica, Michael Jackson’s
Dangerous, Mariah Carey and Alicia Keys. Since nearly
two-thirds of the songs are ballads, the singles misrepresent the
rest of the album. Unsophisticated words about self-empowerment,
need for an orgasmic release and ‘motivating’ positive messages
pour out like an orgy of unedited musings. Within
Stripped, any sign of sagacity is nonexistent, but Christina
certainly meant well (*wink*).
A couple of decent album tracks surfaced with an intense
archaeological dig. Linda Perry’s (former 4 Non Blondes lead
singer) effort with Pink was exploited to help compose a
similar-veined number with “Make Over.” Although it sounds
completely shocking in the semi-soulful
Stripped setting, “Make Over” boasts rabid hooks and
definitely coerces return listens. The Alicia Keys-written and
produced song “Impossible” uses driveling banter between the two as
an intro, before evolving into a fascinating ballad with a depth
that is sorely lacking with the balance of
Stripped‘s prosaic pieces.
RCA’s naive lack of involvement and/or their gratuitous support
was the undoing of
Stripped. The overall duration (70 plus minutes), use of
three interludes plus one intro and spewed/maladroit lyrics reveal
that Christina made this album purblind. With no guide, a
disservice was done to this vocal virtuoso.
Stripped would be near mainstream perfection if only 10-12
tracks and a professional co-writer were employed. However, her
celebrated singing ability and openness to experimentation are
stained as a direct result of no reasonable check being applied to
filter the young artist’s disgorged expressions.
Presently, Christina exists exclusively as a singles artist. If
you have yet to expose your wallet to
Stripped, wait a couple years for her implicit ‘best of’
compilation.