REVIEW: Ashlee Simpson's 'Bittersweet World' fails to lift her out of mediocrity
By PRESTON JONES
Star-Telegram staff writer
For most of her career, Ashlee Simpson has been a pop music punching bag.
Catching a break has been next to impossible: The infamous, lip-synched 2004 appearance on
Saturday Night Live, her reviled 2005 Orange Bowl gig, the did-she/didn't-she nose job, middling critical reaction to her albums and, of course, there's the association with her big sister Jessica (no stranger herself to public derision).
Is Waco native Ashlee the most wretched performer turning out product these days? No, but it's hard to see how she'll ever emerge from the considerable shadow of the tabloids (her brief run in a touring production of
Chicago did net her some positive press) and be anything more than a paparazzi magnet. To do that, she'd need a killer disc, a record so stacked with effortless (or inventive) hits that any and all doubters were silenced.
Maybe next time --
Bittersweet World, Simpson's long-gestating third album, has been the subject of some outlandish rumors (at one point, the Cure's Robert Smith was supposed to be collaborating with the 23-year-old) but the final product picks up where 2005's
I Am Me left off. Diving headlong into the '80s fascination she's only flirted with previously, Simpson drafted some heavy hitters to help out, notably Timbaland (whose boomy, oddball beats pop up frequently), Chad Hugo of the Neptunes and little-known Ethiopian artist Kenna.
As with so many young performers aching to subvert expectations, Simpson tries on different sonic styles (
Ragdoll feels like a gum-chewing teenager's take on the Police; the title track is a bizarre cocktail of Stray Cats swagger and Avril Lavigne pop-punk) but can't find the conviction to commit. Near the album's end, Simpson lets her freak flag fly with
Hot Stuff and
Murder, a pair of angular, exotic tracks that don't feel like anything else on
World -- rather than using these as a jumping-off point, Simpson treats them like afterthoughts, quirky ideas she just needed to get out of her system.
Most of
World is in the vein of singles
Outta My Head (Ay Ya Ya) and
Little Miss Obsessive, songs cut from the cloth of Kelly Clarkson and Rihanna -- tunes that fade into the din of Top 40 radio, doing little to distinguish themselves. As the Papa Joe Simpson-engineered publicity machine cranks up for this disc (She's engaged! She's pregnant!), you can't but feel a little sorry for Simpson. She's the victim of an overbearing father and a public that cares more about who she's dating than what she's doing to earn a living.
Bittersweet World, unfortunately, won't do anything to change that.
Star-Telegram.com: | 04/22/2008 | REVIEW: Ashlee Simpson's 'Bittersweet World' fails to lift her out of mediocrity