reviewed by Shardae Jobson
Leona Lewis’ first album Spirit was a bit of a bore, she was part of a wave of British gals that captured a lot of fans and press in America back when it was released. It is obvious homegirl can sing, and her voice is a throwback to the likes of Dion, Carey and Houston. Her second album Echo is an improvement, and features much needed personality, even as her debut swept the floor selling 7 million worldwide. Displayed on nearly every track, Lewis enjoys singing emotionally driven songs. She’s in her own land, away from over the top pop music, and sings about life as it really is in straightforward, non-Fiona Apple-esque lyrics. Lewis even co-write much of the songs on the album, placing her closer to a Mariah Carey career which is great to see with a voice like hers.
The best song by far on Echo is “Don’t Let Me Down”, a heartbreaking song that while features Justin Timberlake in background vocals, yet his presence is unnoticed as a star cameo, and is instead just a great addition to an already outstanding track. The lyrics display promise of hope and perseverance and are the “I Hope You Dance” of the latter end of the decade, even if Timberlake’s inclusion is as grand as the group Sons of the Desert were on Lee Ann Womack’s hit. “Don’t Let Me Down” is the kind of song that captures the essence of a true talent and feelings, and reminds us why Lewis’ star worldwide is completely irreversible.
Lewis challenges her otherwise angelic voice to other sounds on Echo that are not piano or elegantly stringed based on this disc. On “Outta My Head”, she gears towards being randomly disco and it actually works for her. It is an obvious different vehicle for her, yet neither the lyrics or voice sound pretentious. She’s quite good at this opposite sound, done again on “Fly Here Now”, and she should give herself more credit for.
Lewis is in an interesting position in mainstream pop music as while Susan Boyle is celebrated as the anti-thesis to the Barbie dolls of music, Lewis looks like one and can sing amazingly well, but wasn’t Echo a smash out the box. On an album containing stellar cuts as “Can’t Breathe” which will literally leave those of us who can’t sing in a jealous mode, Lewis as an artist succeeds as a true vocalist. Her work is a spark plug to operatic singing, and while her debut sold 7 million, heavy-ballad music is not often bought in massive numbers like it used to be for the aforementioned singers of Houston and Dion. While other high octave artists like Christina Aguilera have gained worldwide fame, she’s always followed a similar regime like most pop stars of today. Lewis, though adorned in extensions, loves her ballads as a purveyor of love and while carrying a more light-hearted, yet still regal veneer.
A majority of Echo's songs sound like they could be the soundtrack to a romantic film, which isn’t a bad thing. If anything, it would be quite beneficial to the promotion of any film, as shown with “Happy” (which should have been as big as "Bleeding Love"), the first single and soaring background music for the trailer of the crestfallen film “Precious”. There is a resilience on this record that wasn’t necessarily devoid from Spirit, but at the same time was hard to uncover atop the sugary creations. No song can trump Lewis’ voice but most songs were utterly bland, allowing her voice to be used unproductively. Echo excels in in showing us Lewis is the same girl who won The X Factor, but the same girl amplified because there is growth heard on the record, and Lewis has a terrific take on nuances thanks to her brilliant voice. Some more noteworthy moments are heard on"Love Letter" and "My Hands".
For Susan Boyle, surprisingly there was room for the late forties ugly duckling turned swan singer, but for Lewis her work may be more of a hard sell because while her talent is evident, she isn’t a party animal or Janet Jackson wannabe. There is an audience for Lewis’ music with the right selection of singles, and anyone regardless of their preference, knows a good voice when they hear it. The last song “Lost Then Found” ends the album on an aspiring note, with the band OneRepublic joining in. “Lost Then Found” sounds short when in listening, but is affective. The cover of Echo is equally alluring, with a come-hither but deadly stare that Lewis has had much practice perfecting on her magazine shoots for U.K. women magazines (too bad the booklet photos are ridiculously monotone, the only real complaint on the whole package, music and otherwise).
Spirit sold very well because it was the first official outing by the girl that Simon Cowell promoted as an important figure in today’s music. Echo has a lasting appeal because not only does Lewis take part in its creation, she sounds self-assured this time. She's singing from not only the heart but from words she help put on paper. Sing on, Leona.
This album gets: three stars
original post written with peace, love, and hair grease
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