The UrbanWire      

J.K Rowling’s beloved conception of a boy wizard who discovers his true identity in the world of talking spiders and sleek flying broomsticks in his quest for an ultimate showdown with the Dark Lord is surely the template for the newest kid on the old fantasy block.

They say that imitation is the best form of flattery. But I digress.

The Lightning Thief, Rick Riordan’s bestselling children fantasy that is alike Harry Potter in so many of its elements, takes its shot at joining older and more established film franchises with its first big screen movie adaptation. The story gives a contemporary, pop culture twist to ancient Greek mythology, making it all the more fun and appealing to a young audience: the Empire State Building is actually Olympus, home of the gods, the Underworld is below Hollywood, and every Greek god that lives in the heavens also has an updated 21^st century persona. (Well, if I were Hades, I’d take a Mick Jagger human form too!)

As with previous fantasy novels that have been brought onto the silver screen, the books are infinitely better. While the first of the Percy Jackson & The Olympians print series was lavish on details of its hero’s epic adventure to the Underworld and his side quest to find out more about his heritage (his mother is mortal, while his dad is an ancient Greek god), the movie had streamlined the book’s 375 pages to a 119-minute film that’s bigger on its visual effects than its flimsy plot.

Zeus (Sean Bean), ruler of Olympus and god of the skies, accuses Percy Jackson, son of the sea god Poseidon (Kevin McKidd), of stealing his master lightning bolt that’s the most powerful one on earth and the heavens as well. The teenager has 10 days before the summer solstice to return the bolt to its master, before an apocalyptic war so disastrous and destructive even mankind won’t be spared, begins between the gods.

So now, Percy must travel to Half-Blood Camp, a lousy reference to the title of the sixth Harry Potter book, where he will train in swordfighting and learn more of his long ancestral past before he begins on his dangerous quest to the Underworld.

Joining him on his Herculean mission across America is the daughter of the goddess Athena, Annabeth Chase, who is played terribly by Alexandra Daddario because she tries too hard to ape Hermione Granger, and the satyr Grover Underwood, who’s reinvented by actor and funnyman Brandon T. Jackson to reflect a more comedic personality onscreen than the timid role he played in the book.

Undoubtedly the best looking of the ensemble cast, Logan Lerman (3:10 to Yuma) stars as the titular hero. His cheeky grins and mythical god image are set to put him on the radar of screaming fan girls worldwide, even though he makes you barf whenever he tries to get all emotional during the film. The scene where Percy had discovered the sacrifices that his mum had made for him after she had supposedly passed away is a reason enough to send the actor for some classes that the scriptwriter should tag along for as well. “She did all these for me? Why didn’t she tell me earlier?” says the boy who has just lost his mother, with a few drops of teardrops glistening in his sparkly blue eyes. Double barf.

The strong supporting cast that includes Pierce Brosnan as Chiron, trainer of heroes and half-man half-horse, Uma Thurman as she vamps it up as the seductive Medusa (who has little snake friends on her head where her hair should be), and Sean Bean, fans may remember him as Boromir from the Lord of the Rings series, who plays the angry lightning god.

However, the action sequences were jam-packed with fast cuts and spectacular digital effects that are worth the value of the movie tickets alone. This comes as no surprise given director Chris Columbus’ track record with big budget action-packed pictures like 2 of the Harry Potter film franchise and the Fantastic Four films. Whether Percy is battling the gargantuan Minotaur or the 5-headed fire-breathing Hydra, the film is rapidly paced to keep you at the edge of your seat while throwing up some dazzling lighting bolts and nimble swordplay in the air.

By the first 60 minutes, most people who are able to follow the poorly developed story would have guessed the identity of the original lightning thief already, which is such a letdown considering that the author of the books had gone to such great lengths to keep his readers in suspense right till the last chapters. Screenwriter Craig Titley had also forgone some of the breathtaking moments in the book, such as the first time Percy had learnt to will water to his advantage in Half-Blood Camp and the taming of the ferocious 3-headed dog Cerebus by the sharp-witted Annabeth, for a much looser narrative that would have buckled in the film if not for its strong visual support. Perhaps the director should have been more faithful to the original story that made Riordan’s book a major bestseller.

The ultimate showdown in the book between Ares, the war god, and Percy was also scrapped in favor of a completely new face-off where the lead character summons water in air bending and gravity-defying fashion to defeat the main antagonist. The consequences of doing so may spill over into the subsequent films where the additional arc of Percy’s bitter relationship with Ares will call for additional screen time and development.

Forged with danger, suspense, action, evil dark lords, and even a cheesy romantic subplot, Percy Jackson and the Lightning Thief is poised for big numbers at the box office. The heroic saga made and marketed to capture of some of the Harry Potter and Lord of the Rings colossal fan base will inevitably do so, as movie-going audiences get their fix of magic and glitter in a year that’s quickly shaping up to become one in celestial territory, given the upcoming release of mega blockbuster Clash of the Titans on Jan 25 in Singapore that is also based on the legends of greek god Perseus.

UrbanWire gives Percy Jackson & The Lightning Thief 2.5 out of 5 popcorns.

Release: 11 Feb (Singapore)

Duration: 119 minutes

Rating: PG

Language: English

Genre: Fantasy / Action

Director: Chris Columbus

Screenwriter: Craig Titley

Cast: Logan Lerman, Alexandra Daddario, Brandon T. Jackson, Steve Coogan, Uma Thurman, Pierce Brosnan, Sean Bean, Kevin McKidd

The first impression of The Blind Side from its 150-second long trailer is certainly underwhelming, with its seemingly cheesy plot, mushy dialogue and yawnfest of a story. Even its promotional poster featuring a petite woman gently guiding a giant of a man would draw a puzzled look from most people.

But any expectations you have are likely to be exceeded after you actually sit down and watch the movie. Set in the southern state of Memphis in the United States, the production costs only US$29 million (about S$40.3 million), which is relatively low budget in Hollywood terms. Yet during its first 7-week run, it manages to hold its own against the likes of bigger blockbusters like sci-fi mammoth Avatar and the slick and sexy Sherlock Holmes, grossing over a cool US$200 million, according to the Hollywood Insider.

But all that’s possible because the picture is a powerful and true story in itself – one that must be told. A homeless black teen (Michael, played by Quinton Aaron) is literally scooped off the freezing streets by the altruism of a blond woman, who takes him into her family and makes him feel like he belongs.

Sandra Bullock is without a shred of doubt, the megastar of the 128-minute feature. Formerly known for her funny lady turns in popular romantic comedies like The Proposal and Miss Congeniality, her career has taken a surprise turn with this compelling and emotionally demanding role as Leigh Anne Tuohy. This leading lady of the film and family in the film is spirited and steely, often delivering sass and strength. Bullock colours her character with such an emotional intensity that makes you feel for Leigh every time she tries to make the boy’s life better, like when she makes his bed, invites him to the dinner table with her family, buys him new clothes, and even coaches him in his football games.

The movie surely leaves you guessing if there’s some sort of Pay It Forward imperative that drives Leigh to such an extent, that she’d invite a complete and total stranger into her life and very expensive home. She asks herself precisely this in one scene where she’s visibly frustrated with the situation after Michael leaves during a quarrel.

“Am I a good person?” Leigh sighs. “It’s not a joke. Not rhetorical…”

“You are the best person that I know. Everything you do… You do it for others,” replies Sean Touhy, her husband and fast-food tycoon.

“And why is that?”

He laughs a little, before saying, “I have not a clue. But um… you obviously get some sort of sick satisfaction out of it.”

“Sean…” Leigh says in her thick Southern accent, “What if Michael never comes back?”

Most of the screen time is devoted to how the family deals with their new addition, who’s probably twice their individual sizes and comes with some very deep hurt from his childhood experiences. While Michael is every bit capable of talking, he prefers to mutter under his breath and keep his sentences to a few lines. His GPA at school is a total disaster; much to his tutors’ despair. He struggles through soccer practices as well, using his brute strength to shove his opponents to the ground instead of tackling them properly as you’re supposed to as the offensive lineman in American football.

The Herculean job of helping “Big Mike” get back on track then falls on the tiny shoulders of Leigh, who’s dressed in Gucci and Chanel for the most part. While it may seem like a Disney fantasy that a wealthy white woman would extend her manicured nails to help Michael find the hope to live again, the fact remains that the story has happened. American journalist Michael Lewis wrote the remarkable and uplifting tale of Touhy and sports legend Michael Oher into a book that was published in 2006, which while not very popular sales-wise, became the source material for director John Lee Hancock to make The Blind Side.

In this, Lee never lets any explosive effects or extravagant music direct the picture as popular tastes dictate. Instead, he expertly layers the film with the development of the story’s characters with very light touches, and lets his talented cast give weight to the sensitive roles they play.

Blessed with meaty scenes and delivering a hell of a performance, Bullock will be the actress to beat for the Oscar, come March.

Country singer Tim McGraw stars in the role of Mr Tuohy, and is a fitting match for the good-natured and charismatic man that he plays, while child actor Jae Head makes the little brother look and sound as cute as a button every time he is on with Michael. Kathy Bates is the feisty Miss Sue, who’s hired by Bullock’s character to help the kid ace his exams so that he may qualify for a football scholarship.

Newcomer Quinton Aaron plays the troubled and lonely Michael Oher, who cannot understand what his teachers are saying in class most of the time and carries around his wardrobe of a shirt and pair of pants wherever he goes. We discover his heartbreaking past with his own family through a series of fast cuts and flashbacks.

Even without any formal training, Quinton is as convincing in every scene he appears with the other veteran actors. His droopy eyes and hunched posture exude the sadness of a boy who has lived most of his life forgotten by society. It’s a role that’s hard to play well without milking an unnecessary extra dose of pity from the audience, but Quinton does unexpectedly well and reminds you of the male version of another newcomer, Gabourey Sidibe, who stars in the similarly themed Precious (2009), which is, unfortunately, not likely to see a release in Singapore. Both Quinton and Gabourey certain make the list of stars to watch during 2010’s many award ceremonies.

By the time the movie ends on a triumphant note where Michael Oher finally earns his place in college and in the football team, it’s hard not to shed tears with the spitfire of his blond adoptive mother as she quickly dashes off into her car to hide her heartache that her new son is going off to live in college.

It’s the short and quiet scenes like these that make Bullock the serious leading Hollywood actress that she already has been for a long time, just waiting for the right role.

While the film also has many of those big sentimental moments, it’s the little nuances in body language or facial expressions by the characters that make you feel a little warmer on the inside and give the movie the big heart that it deserves.

Ultimately, The Blind Side is a big package of love, hope and all things good in a family. Paired with the drama of a young black man’s awe-inspiring story, a very convincing and skillful cast, and America’s all-time favourite sport, you’ve a winning formula that’s sweeter than fudge, and bound for greater things during its run on the silver screen.

The UrbanWire gives The Blind Side 4 popcorns.

Release: Jan 14 (Singapore)

Duration: 128 min

Language: English

Rating: PG-13

Genre: Sports / Drama

Director: John Lee Hancock

Cast: Sandra Bullock, Tim McGraw, Kathy Bates, Quinton Aaron, Lily Collins, Jae Head

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As the blaring sounds and fireworks of 2010 start to play and remind us that we’ve come to the end of yet another decade, UrbanWire compiles the greatest of the reigning 8 American Idols debut music for your auditory pleasure.

At no cost or canticles, it’s our way of wishing you the very best for the new year ahead!

This article is the last of a 3-part series on American Idol releases. Be sure to check here for a recap of past seasons and here for our review on reigning Idol champ Kris Allen’s debut CD!

The brand new ninth season of American Idol begins on Jan 12.

Some called her a one-trick pony. Some said she couldn’t live up to the expectations set by herself when she first wowed the crowds on national television. There were even others who questioned the authenticity of her song gifting.

In the company of all that negativity and overdrive of media frenzies, it’s no wonder that Susan Boyle was checked into a psychiatric ward by Britain’s Got Talent’s show executive for emotional and physical tiredness shortly after the results were announced. She was tipped as the hot favourite to win the third season of the immensely popular talent contest but eventually placed second in the finals.

And now, with the release of I Dreamed A Dream to record-breaking figures, the runner-up to the star-search programme can finally stick a finger up to her naysayers. It’s estimated by her label that the CD has collected worldwide sales of more than 5 million, overtaking rapper Eminem for the highest sales in its opening week. This makes the never-been-kissed singer a major contender for the biggest selling album of the year, backed by the apt description of her astonishing claim to fame in the teaser for her promotional appearance on The X Factor: “She sang… and the world listened”.

Her sultry, warm and emotionally riveting vocal performance is absolutely stunning to the point of perfection. It’s hard to deny the singing sensation’s god-given gift of timbre and tone that lends a certain degree of timelessness to her debut album of 11 covers and 1 original composition. Whether it’s the jazz-soul standard of “Cry Me A River” or grandiose Christian hymns (“How Great Thou Art”, “Amazing Grace”), her mighty chops are spot on and pitch-perfect.

The studio recording of her signature song from the musical Les Miserables is essentially fashioned in the same mould as the “I Dreamed A Dream” performance that turned the frumpy, cheeky and unknown 48-year-old into an overnight household name. Just when you thought it couldn’t get any better, the monumental track on the album sounds more polished and majestic this time round – definitely a highlight of her grand entrance into both worlds of reality television and the music business.

But amidst the bundle of gems, the Britain’s Got Talent finalist shines her brightest in the 1971 Rolling Stones classic “Wild Horses”. Accompanied by a sparse piano arrangement, her composed delivery drips of melancholy and heartbreak so powerful that every note overwhelms your auditory senses and sends tingling waves of goosebumps after each stanza. This is a vocalist not particularly pretty nor nubile and young, but she sings like she’s been singing for all her life and before. One can only wonder how the world could’ve missed this Scottish spinster’s world-class talent previously, before reaching out for the nearest Kleenex when she belts out the climatic closing chorus: “Fate has been suffered and tears must be cried / So let’s do some living after we die / Wild horses, would of dragged me away / But wild horses, couldn’t drag me away…away”. The original writers, Mick Jagger and Keith Richards, would’ve been proud.

The album doesn’t come without a few missteps. “Who I Was Born To Be” – the only original piece that’s basically the Youtube star’s famous overnight rag-to-riches story set to song – sounds like a cheesy American Idol winner ballad that is instantly forgettable. Also, Madonna’s defiant ballad “You See” doesn’t quite suit Boyle’s knack for showtunes. The 43-minute long CD, packed with downtempo and dramatic tracks, may also be a tad too slow for those who are already accustomed to the thump and thrum of contemporary radio.

But that little miscalculation pales in comparison to her awe-inspiring talent. Because Susan Boyle embodies a timely reminder for those of us who have forgotten what music is truly about – that is, to just sing, and sing like you mean it. Not even this year’s best production technicalities or the biggest stars of Taylor Swift, The Black Eyed Peas, Kanye West, Lady Gaga and 10-time Grammy winner Beyonce can steal Boyle’s well-deserved thunder.

All in all, I Dreamed A Dream is a pop album stylised with the author’s unique brand of classic music, making the record sonically ravishing and almost magical – one that’s for the ages and those to come.

The UrbanWire gives I Dreamed A Dream 4/5 stars.

Win Susan Boyle’s I Dreamed A Dream from UrbanWire!

Album: I Dreamed A Dream

Best tracks: “Wild Horses”, “I Dreamed A Dream”, “Amazing Grace”

Artist: Susan Boyle

Distributed by: Sony Music Singapore

Language: English

Track list:

1.  Wild Horses (by The Rolling Stones)

2.  I Dreamed A Dream (from Les Miserables)

3.  Cry Me River (by Julie London)

4.  How Great Thou Art

5.  You’ll See (by Madonna)

6.  Daydream Believer (by The Monkees)

7.  Up to the Mountain (by Patty Griffin)

8.  Amazing Grace

9.  Who I Was Born to Be

10 . Proud (by Heather Small)

11. The End of the World

12. Silent Night

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With the release of the multi-platinum selling Good Girl Gone Bad in 2008, the world crowned its newest pop princess. Robyn Rihanna Fenty seemed destined to rule the fickle kingdom of mainstream music.

The album was a career-defining moment for the Umbrella hit-maker, one that thrust her into the international spotlight thereafter. But just when the coronation ceremony was about done, ex-boyfriend and dethroned R&B prince Chris Brown quite literally knocked the mojo out of Rihanna with his primitive and violent behaviour.

Rated R, the album that comes hot on the polished heels of her abusive relationship, is unmistakably the 21-year-old’s response to the dramatic episode. Thematically, the concept isn’t unheard of, (think Janet Jackson with The Velvet Rope) except that the lyrical and production value of Ms Jackson’s critically-acclaimed CD are far stronger than what’s heard on almost-princess Riri’s new album.

These days, all that Jay-Z’s protégée looks and sounds like is a good girl gone really, really angry.

Granted, music is supposed to be an outlet of expression where the musician tells her side of the story. But for all 13 tracks on a commercial studio album to be dedicated to an outpouring of overdramatic grievances (“Photographs”, “The Last Song”), mad revenge fantasies (“G4l”, “Fire Bomb”) and unnecessary self-reprimand (“Stupid In Love”) is just plain pathetic to the point of self indulgence. When pop icon-turned-pop trash Britney Spears was more known for her wardrobe malfunctions and hair-shaving craziness, her record label knew better and channelled all of Spear’s personal troubles into the makings of the slick electro-pop Blackout, arguably her best album, both sonically and critically, to date. The singer’s emotional burden was carefully and cleverly layered into the modern sounds of the album that made all the difference. (Are you taking notes, Def Jam?)

Such a pity for the Barbados diva who used to command the club, urban, pop and Top 20 formats like no other – her chart-topping prowess rivalling even that of R&B queen Beyonce Knowles. With chart heavyweights like Britney’s dancefloor romp of “3”, Lady Gaga’s kickass single “Bad Romance” and Jay-Z’s hot collaboration with Alicia Keys “Empire State of Mind”, Rihanna’s lacklustre efforts simply don’t stand a chance – Not even with her label going full force in backing her up.

Before all you Rihanna-diehards condemn UrbanWire to the rat holes and dungeons of hell, there are a few tracks on Rated R that are worth a listen. “Russian Roulette” should be given credit for its shock value and artistic maturity. From its first note, the unsettling number doesn’t hit you like her previous hits of “Disturbia” or “Take A Bow”, but put the song on repeat and you’ll find yourself drawn to the hypnotic and broody imagery that it conjures.  If you ask us, either “Rude Boy” or “Wait Your Turn” should’ve been the lead single to precede the release of the album. The hard rock and club beats of the former stay in your head like a bad cold that won’t go away. We can’t say this enough, but on the latter track, the anthemic chorus is pure ecstasy when the lady purrs, “It’s getting crowded over here / But babe the wait is ova / Sometimes it takes a thousand tries to win / The wait is ova / Fumble don’t you fumble / That’s a flag on the play / Babe if you don’t wanna / Then you don’t have to wait / But together we gon’ be taking over”. Justin Timberlake appears and contributes lyrics to the curious “Cold Case Love”, which features a highly intriguing soundscape made up of groaning organs, melodramatic beats and orchestral-type strings.

And for all it’s worth, her immaculate sense of style and fashion remains on top of the game. For the cover art of “Russian Roulette”, Rihanna can be seen topless and provocatively wrapped in barbed wire that strategically hides her lady bits. She is even sporting a Mohawk-styled hair for her album promotional appearances.

Other than that, the overdramatic Rated R doesn’t quite fit in the current market that Lady Gaga seems to have dominated with her club-friendly melodies and eye-popping music videos. Even by her own standards, Rihanna disappoints with her fourth album, that’s better off in the discount bins.

The UrbanWire gives Rated R 2.5/5 stars.

Release Date: November 20, 2009

Artiste: Rihanna

Album Title: Rated R

Track List:

1. Mad House

2. Wait Your Turn

3. Hard (featuring Young Jeezy)

4. Stupid In Love

5. Rockstar 101 (featuring Slash)

6. Russian Roulette

7. Fire Bomb

8. Rude Boy

9. Photographs (featuring will.i.am)

10. G4L

11. Te Amo

12. Cold Case Love

13. The Last Song

For those who have taken the Idol crown, life after the single biggest reality show in the world is packed with showers of adoration from fans, media frenzies and work with first-rate producers in the business, who would eventually set them on the path of global music dominance.

Of course, there are exceptions to this superstar-creating formula (think Season 2‘s Ruben Studdard and Season 5‘s Taylor Hicks).

But for the laid-back, awkwardly charming and unbelievably humble Kris Allen, who recently won the eighth season of American Idol, playing at smaller venues and crafting his own tunes for his debut CD seemed like the only thing to do; or the only thing he wanted to do. Unlike the glitzy Glambert who recently went to Michael Jackson’s This Is It premiere with his celebrity pal Katy Perry, the shy Arkansan native chose to work with his less splashy or flashy friends like Joe King of The Fray, Jon Foreman of Switchfoot and Greg Kurstin of The Bird and The Bee.

So the biggest question among fans is probably whether we’ll get to hear Kristopher Neil Allen do his own thing on his debut album, since previous winners have aspired to do so. And most importantly, can the man of the hour live up to the great expectations that freight his first real foray into the spotlight?

As we’ve come to expect, the draw of Kris’ performances is the man himself. His emotional connection and ability to relate to his audience makes his debut album hard to resist in a music store full of “artistes” who are nothing more than well-packaged and well-designed products to meet the needs of their customers.

Sonically, Kris Allen is a smorgasbord of different musical styles – combining the guitar-driven singer-songwriter charm of blues-rock musician John Mayer, power-pop/alternative fare of The Fray and the adult-contemporary ballads of Lifehouse to produce an overall collection of songs that sound like they were conceived by and for a radio station.

The standout tracks are a real delight for fans and will likely see some new converts: “Before We Come Undone” sticks out from the rest of the album with its insanely catchy chorus and has the most potential to stir up the pop charts, while “Alright With Me” is likely to resonate with radio audiences with its pulsating beats and highly engaging vocal performance. “I Need To Know” sounds like the “Heartless” singer’s most vulnerable yet; the track is drenched in melancholy that is perfectly executed with the Idol winner’s natural flair for weaving narratives. He pleads: “Feels so far away / I want to see your face / Are you even there? / Can you show me? / Can you make me believe? / I need to know…”

“Can’t Stay Away” is a particularly rousing number that borders on flirtatious and funky with all the right finishes like something you’d hear on Maroon 5’s latest music endeavors, which makes the track a major contender as a follow-up to the album’s upbeat lead single “Live Like We’re Dying”.

Aside from the poppy choruses and radio-friendly car tunes, Kris actually sounds superb when he’s left on his own. “Red Guitar”, a track that he wrote entirely on his own even before Idol, is really nothing about the colour or the instrument in general, but a sweet and endearing love song dedicated to his wife: “It may not be the best one/ It may not be like the rest of ‘em/ But she makes it sound so sweet/ The melodies she makes it sing…”

The best thing about the disc, however, is that the horribly written Idol coronation single “No Boundaries” has been left out and replaced by a new and improved “Heartless”, whose previous acoustic version was the real reason Kris managed to secure a spot in the Idol finals anyway.

That said, the married boy-next-door still has a long way to go if he wants to crack the Top 40. While the outstanding tracks are terrific, they are a rare find in his otherwise bland album. Having his hand in 9 of the CD’s 13 songs may be the perfect opportunity to showcase his songwriting capabilities, but the show-and-tell should have been left to future releases when Kris has matured both as an artiste and as a person. We say, let the pop maestros help make some really sensational music first to confirm his place as a recording star, and when the singer-songwriter in him feels ready, the opportunity will present itself for Kris to transform into one of music’s leading men.

And that’s the beauty of American Idol. Aside from its over-the-top commercial airtime and hilarious auditions, the talent show gives the man on the street a platform to show the world how understated he has been, and let viewers at home decide who they want to fall in love with.

It’s not a competition for the best vocalist. Neither are the voters looking for the next hotness that is Megan Fox or Robert Pattinson.

It’s really the search for the new American sweetheart; someone whom the world can listen to all day and feel like they’ve known him like an old pal.

So here’s to Kris Allen, the reigning Idol champ whose remarkable win is perhaps bigger than the man or his music itself. He is proof to the world, and young people especially, that you don’t need a voice with a bazillion octaves or a commanding stage presence to win people over. Nobody needs a vocal god to sing to them through the times; they need a friend who can make them feel like he understands through his story, his music and his lyrics.

I think Kris Allen has done, and will continue to do just that.

The UrbanWire gives Kris Allen 3/5 stars.

This review is the second part of a 3-part series on American Idol. You may check out Part 1 of the article here. And be sure to check back soon for our ultimate American Idol playlist!

Release Date: Nov 17

Artiste: Kris Allen

Album title: Kris Allen

Track List:

1. “Live Like We’re Dying” (3:33)

2. “Before We Come Undone” (3:32)

3. “Can’t Stay Away” (3:20)

4. “The Truth” (4:40)

5. “Written All Over My Face” (3:35)

6.  “Bring It Back” (3:43)

7. “Red Guitar” (4:28)

8. “Is It Over” (3:34)

9. “Let It Rain” (3:30)

10. “Alright With Me” (3:08)

11. “Lifetime” (3:38)

12. “I Need To Know” (3:34)

13. “Heartless” (3:42)

With new music due from American Idol Season 8’s holy trinity of Kris Allen, Adam Lambert and Allison Iraheta, UrbanWire takes stock of previous winners as we head for the fiercest chart battle from the show’s contestants yet.

This is American Idol.

Season 1: Kelly Clarkson

Debut: Back when American Idol was still a cheap-looking 90s talent show with 3 unknown judges and countless unrecognisable faces, all eyes were on a particular small-town Texas girl. With her extraordinary vocal abilities, she serenaded the crowds with her infectious personality and burst into the music scene with such force that convinced the producers of the show that Season 2 was definitely happening. Kelly Clarkson’s debut album Thankful, sold almost 3 million copies worldwide, making the music charts sit up and notice tracks like “A Moment Like This” and “Miss Independent”.

After: Since her sophomore album Breakaway in 2004, which produced monster hits like “Since U Been Gone” and “Because of You”, the wide-eyed pop singer has been transformed into a world-class pop/rock superstar – one that’s truly deserving of her Idol win and serves as an important reminder of why American Idol is still the best talent competition on this planet. She released 2 more CDs thereafter, bringing her total album sales to over 20 million copies according to Sony Music. These days, she can be seen promoting her newest power ballad “Already Gone”, which she co-wrote with OneRepublic frontman Ryan Tedder.

Best performance on Idol: “(You Make Me Feel Like) A Natural Woman” by Aretha Franklin

Season 2: Ruben Studdard

Debut: For the newer Idol converts, here’s something you probably never knew about the Velvet teddy bear: He has the second highest first week sales in Idol history of more than 400, 000 copies of his debut album sold in the United States. Fueled largely by the success of its singles (“Flying Without Wings”, “Sorry 2004”), Soulful unexpectedly turned in sales of over a million copies, although we know all too well who (Clay Aiken) had the last laugh.

After: When his next 3 studio offerings (I Need an Angel, The Return, Love Is) struck out at the charts and their singles failed to make any impact on radio at all, it became too obvious that Ruben Studdard couldn’t survive apart from the American Idol brand. We pity the guy, who was once such a crowd pleaser with his soulful vocals, and full cheeks that everyone felt like pinching.

Best performance on Idol: Superstar by The Carpenters

Season 3: Fantasia Barrino

Debut: There was, and still is, no question that Fantasia Barrino is one of the most versatile and explosive performer to grace the titanic stage of American Idol. Her pop/gospel-influenced sound brings a young Aretha Franklin to mind, while her rags-to-riches story only boosted her popularity on the show. Her performance of “Summertime” from the operatic Broadway musical Porgy and Bess is simply mind blowing-ly superior to anything else seen on Idol, and made it to the 2004 Emmy Awards’ list of Greatest Television moments. After she won the competition, the quirky single mom raced up the music charts with her coronation single “I Believe”, making her the first recording star to hit No. 1 on Billboard Hot 100 with a debut single.

After: Not surprising, her innate talent for performing and singing caught the eye of the world’s most influential woman Oprah Winfrey, who cast her in the lead role of the wildly successful Broadway musical The Colour Purple. On the recording front, the R&B singer released her second album in 2006, pushing her Grammy nominations to a total of 7. Her third is due next year.

Also interesting to note is that besides Fantasia, Season 3 also discovered future Academy Award-winner and President Barack Obama’s good friend, Jennifer Hudson.

Best performance: “Summertime” from the musical Porgy & Bess

Season 4: Carrie Underwood

Debut: Woe to those who actually thought that runner-up Bo Bice stood any chance against the future country megastar of the season. When Carrie Underwood performed “Alone” (originally sang by Heart) on the show, her transformation to greatness was complete. No longer was she just the countryside girl who tended to animals and sang to them, here was the new American sweetheart whose powerful voice formed the base of multi-platinum selling records and countless industry awards that followed thereafter. With sales of more than 9 million copies, her first CD Some Hearts is still the best-selling debut album in the Idol catalogue and country music history.

After: Underwood followed up her massive success with another stellar record in 2007, Carnival Ride, which cemented her superstar status in the business by producing 5 No. 1 hits on the Billboard Country charts (“So Small”, “All-American Girl”, “Last Name”, “Just A Dream”, “I Told You So”). Be sure to check out her recent release, Play On, where the singer takes more control of her music and co-authors 7 of its 13 tracks.

Best performance on Idol: “Alone” by Heart

Season 5: Taylor Hicks

Debut: For UrbanWire, this is by far the worst of American Idol. Compared with the previous 4 seasons, 5 was painfully frustrating to watch and horribly difficult to listen to. We couldn’t remember anyone who came out from this except the sexy rocker Chris Daughtry. Hicks’ name was thrown up because we googled “Does anyone remember who won American Idol Season 5?” and found him in Wikipedia.

After: After the tears of joy that he beat the beautiful-but-boring Katherine McPhee, Hicks recorded his low-selling self-titled debut and toured on Broadway. Yawn. Like many of you, we maintain that Chris Daughtry should have won. (can we hear an Amen)

Best performance of Idol: You Are So Beautiful by Joe Cocker

Season 6: Jordin Sparks

Debut: Thank the Heavens that Jordin Sparks triumphed that haughty tart nicknamed Melinda Dolittle and what’s-his-name, the beat boxing dude. Although Jordin showed no real sparks during the show’s run, her performance on the finale was a relief for us that she had the potential to grow into her own musicality and niche. Her self-titled CD became the first of those before and after her to contain 4 Top 20 hits. “No Air”, which she recorded with Rihanna-beater and then-R&B superstar Chris Brown, also became the best-selling track by any Idol contestant and enjoyed tremendous worldwide success.

After: Together with fellow Idols Kelly Clarkson and Jennifer Hudson, British singing sensations Leona Lewis and Adele, and American pop star Miley Slutty Cyrus, Jordin Sparks headlined the VH1 Divas Concert this year, which apart from its charitable cause, served as the industry’s anointment ceremony of pop music’s future Divas. She performed her latest dance-pop single “S.O.S (Let The Music Play)”, a track off her sophomore album Battlefield.

Best performance on Idol: I (Who Have Nothing) – Shirley Bassey

Season 7: David Cook

Debut: The Internet was abuzz with fans from both camps yelling at each other when it was announced that David Cook would take on David Archuleta for the season’s finale, as though the side with the loudest screams would secure their Idol’s win. Who was going to triumph – the David who rocked the house each night with his own unique music arrangements, or the other David whose teenybopper/pop/soul tunes earned a devout following known as the “Archies”?

After: The rocker eventually took the night by a nose and released his self-titled platinum-selling debut. Cook has since gone on a national tour, playing at various venues across the United States to promote his new CD, and performed occasionally with other Idol alum like Carrie Underwood, Kris Allen and Adam Lambert.

Best performance on Idol: Always Be My Baby by Mariah Carey

Season 8: Kris Allen

Debut: It was the biggest, and most closely watched finale in the 8 seasons of American Idol. Show frontrunner and sexually ambiguous Adam Lambert was up against show underdog and boy-next-door Kris Allen. The pundits called it an obvious and decisive win for the flamboyant Lambert, while the fans decided otherwise with their votes. The star-studded night ended after a record 100 million votes was cast, and Allen, with all his heartfelt and endearing delivery every week, finally charmed his way into America’s heart and took the crown home.

After: Featuring collaborations with guitarist Joe King (The Fray), producer Steve Kipner (Christina Aguilera, Natasha Bedingfield, Cheryl Cole) and more, Kris Allen’s highly anticipated debut album will face some serious chart contentions from his chummy friend, Adam Lambert, whose record is set to drop a week after Kris’. Third runner-up from the season, Allison Iraheta, will also have her shot in December, less than a week after Adam’s CD release. Together, “Kradison” (Kris, Adam, Allison) should give us the most intense duel on the Billboard charts yet. And then, perhaps, Kris will finally prove to his critics that he’s able to hold his own and let his star shine brighter than his contemporaries.

Best performance on Idol: Falling Slowly from the movie “Once”

This article is the first of a 3-part series on American Idol releases. Be sure to check UrbanWire here for our review on reigning Idol champ Kris Allen’s debut CD!

^{(Images are a courtesy of Gunther von Hagens’ Body Worlds and the Institute for Plastination)}

Yes, it is real.

The question that most people would ask, according to a few tour guides at the highly peculiar Body Worlds Exhibition: The Original & The Cycle of Life that’s held at the Singapore Science Centre, is whether the exhibits that feature the human body in visible intricate detail are genuine.

^{Dr Gunther von Hagens}

So yes, the showpieces are authentic, non-fictional and real-life, or at least they used to be alive, walking and talking people. Through a preservation method known as Plastination that he developed and refined since 1977, German anatomist Gunther von Hagens, 64, managed to sustain the human corpse by removing fat and water in the body tissues before injecting plastic into the specimen, which may then be used for further medical examinations and academia for lasting periods of time. The entire process takes about 1, 500 working hours to plastinate a human body. The result is that scientists and the public may study and marvel at the complexities of the human body and the various systems that work seemingly effortlessly together, without having to deal with the foul stench of decomposing bodies.

The travelling exhibition gets its supply of plastinates from the Institute for Plastination’s body donation programme, where 10, 500 living and deceased donors worldwide have made informed decisions to willingly pledge their bodies to this cause. The process is monitored closely by official authorities to prevent any form of abuse or moral outrage.

Interestingly, the human race isn’t the only attraction at Body Worlds. Animals like the reindeer, horse and octopus are interspersed between other exhibits, allowing the crowd to get beneath these animals’ skin and compare for themselves the striking differences between the human and animal anatomy. This is probably the closest one can get to staring long and hard at wildlife without scaring them off or getting painful attacks for intrusion.

Another noteworthy feature is the attention to the décor and aesthetic look of the place and plastinates. Kudos to Dr Angelina Whalley, wife of Dr von Hagens and creative and conceptual designer of Body Worlds, for the effort and meticulous hand in ensuring that the aesthetic and didactic quality remain high, perhaps even better than the standards presented by those found next door. The spotlights are adequate for viewing purposes and doubles up nicely as a prop for the bone-chilling atmosphere, while the specimens are placed strategically in clear glass containers so that the crowd may gather around to look from any side of the container, instead of queueing up like a buffet line like for most public displays.

In addition, the concept of taking the visitor through a make-believe aging process works surprisingly well here, with one starting his journey as developing foetuses that look synthetic on first sight, but on closer examination, appears to be more like an actual unborn human baby that has been soaked in plastic glue. Fast-forward 20 years and the child “grows” into a life-size adult male, who plays basketball and chess, with his muscle and nervous system exposed for all to explore visually. At this point, lifestyle choices and natural causes are considered in precision too, with several displays contrasting the look of a healthy lung and a cigarette-ravaged one; a healthy liver and one ruined by cirrhosis; and a cross section of a healthy female and another who is obese. These pieces are specifically designed as educational instruments by Dr von Hagens and team to raise public health awareness about their own bodies. All the learning, looking and wondering in bewilderment takes place in an exhibition space of about two and a half Olympic-sized swimming pools that sees up to an average of 1000 visitors on a weekend.

The journey finally comes to an end with old age, quite literally, as “elderly folk” are displayed with the natural consequences that come with seniority – Alzheimer’s, osteoporosis, weakened eyesight, wrinkled skin – providing a much-welcomed dose of reality that Man, despite all his genius, flaws and deeds, will still come to the same finish line as every other living organism that walks this earth.

For those who visited Body Worlds when it came to the Singapore Expo in 2003, you’ll be pleased to know that the thematic experience, together with the new animal additions, makes Body Worlds 2009 a different show altogether.

Initial concerns that the explicit nature of the subject matters may not be suitable for children that plagued Body Worlds 2003 seemed almost non-existent when UrbanWire visited the place on a weekend, with more than half the visitors found there to be families with children. In fact, parents may use the corner of the show that is entirely dedicated to puberty as a talking point to discuss the various bodily changes that occur in teenagers. One young curious boy was even spotted asking his parents, “What is that thing hanging in between those two balls?”, to which his parents correctly named the male reproductive organ.

“It can’t be!” he exclaimed. “Mine isn’t even that big!”

Visitors can also find brief write ups of every display piece that sufficiently explains the biology, purpose and rationale that the creator had intended for his audience in a manner that anyone who has passed their secondary school science subject would understand. For those who wish to add an auditory dimension to their experience, talking manuals are available at a nominal fee.

However, some may find certain parts of the show to be nauseating or even offensive. When the show first opened in Germany this year, many visitors complained about the bad taste of one of the key plastinates, The Skin Man, where the adult male is stripped of his skin to reveal his muscular and skeletal systems, while holding his own preserved skin weighing almost 9 kg with his right arm. For those who are curious about the buzz surrounding the controversy, The Skin Man is one of the highlights of the Singapore exhibition that you don’t want to miss.

For one, this UrbanWire reporter felt rather queasy and uncomfortable after scrutinising the exhibits for over an hour, as he’s constantly haunted by the fact that the displays are actually real corpses, and that he’s standing in a room full of them.

Apart from that, Body Worlds Exhibition promises an insightful, thought-provoking, and as chief executive of the Singapore Science Centre Dr Chew Tuan Chiong describes in an interview with The Straits Times, a perfect “venue for holding difficult conversations” about the graphic and bizarre realm of human physiology.

You’ve been warned.

BODY WORLDS: THE ORIGINAL & THE CYCLE OF LIFE

Where: Annexe Hall, Singapore Science Centre

Admission:
With admission to Singapore Science Centre: $21 for adults and $13 for children (3 – 16 years old)
Without admission to Singapore Science Centre: $20 for adults and $12 for children
When: The exhibition will run till Mar 6, 2010. Opening hours: 10am to 6pm, Mondays to Sundays
More: For general enquiries, you may call 64252 500 or email specialevents@science.edu.sg

Sounding everything except what you’d expect from its title, “Happy” by Brit pop diva Leona Lewis is the latest single preceding the release of her upcoming studio offering Echo, which features collaborations from hit-maker Timbaland and pop superstars like Justin Timberlake and Ne-Yo.

As you’ve come to expect of Ryan Tedder, whose recent production credits can be found on albums by Beyonce Knowles and Kelly Clarkson, the gloomy and broody track begins with a quiet piano riff showcasing Leona’s masterful restraint at delivering the song’s sombre lyrics “Don’t you take chances/ you might feel the pain/ don’t you love in vain/ because love won’t set you free”, before the pace quickens with the addition of looping drums in the background that set your pulse racing and ready for the storm to begin. As the other instruments such as the strings and horns bring on the drama and dazzling effects, the stage is once again set for Leona’s supreme vocal talent to take its rightful place centre stage and in the spotlight. After slightly more than 150 seconds of spectacular sonic fireworks, Leona’s voice finally takes flight and soars into the stratosphere of melodic highs where only a few like Mariah Carey and Whitney Houston have reached, before everything drops to a deathly quiet to prepare for the show’s grand finale. And as the curtain for the final act is drawn, Leona cries out the final lines with an emotional depth that would jumpstart even the coldest of hearts: “So what if it hurts me/ So what if I break down/ So what if this world just throws me off the edge my feet run out of ground/ I gotta find my place/ I wanna hear my sound/ Don’t care about all the pain infront of me/ Cause I’m just trying be happy/ Just wanna be happy…”

(Check out her performance of Happy at the recent VH1 Divas Concert)

The song is written, produced and sung in the exact mould of her previous monster hit “Bleeding Love” from her debut album in 2007, with even Ryan Tedder, reprising his roles as producer and songwriter. Only this time, “Happy” is bigger sounding, more electrifying vocally and, all in all, the best diva anthem we’ve heard all year.  Not only will the song race to the top of the charts faster than you can say Leona, the blockbuster track will probably wind up as one of the biggest singles of the year, accelerating Leona’s rise to megastardom faster than what “Bleeding Love” did for her. It’s that good. And if the song is anything indicative of what the whole of Echo might sound like, UrbanWire is sure to grab a copy of the CD when it hits our music stores in November.

Until then, “Happy” is definitely happening for us.

Echo will be released worldwide on Nov 15.

Ruling the Billboard charts for 11 weeks, Taylor Swift’s latest country-pop album, Fearless, enjoyed such phenomenal success that it couldn’t be upstaged even by Beyonce Knowles. This isn’t surprising because the last time any album was that popular was in 1999, and it was Supernatural, the one that garnered Santana 8 Grammy award wins.

The standout track of the album is unquestionably White Horse. Not only has the mid-tempo ballad earned raving reviews for its down-to-earth and earnest vocals, it is on this track that Taylor’s lyrics and tender tones pulls her listener into a heart wrenching imagery of a dreamy fairytale gone horribly wrong. She croons, “I’m not a princess, this ain’t a fairy tale / I’m not the one you’ll sweep off her feet / Lead up her the stairwell / This ain’t hollywood, this is a a small town / I was a dreamer before you went and let me down.”

Other tracks like You’re Not Sorry, Love Story and Hey Stephen showcase her remarkable skill at crafting pop hits and reminding us why we fell in love with her sensational eponymous debut album in this first place. She had her hand in all 13 tracks of Fearless, either co-writing or writing the songs herself.

But that’s also the problem with this album. In an attempt for commercial success and scoring hits on Top 40 radio, Taylor’s songwriting remains amateurish and at the best, acceptable. Sure, the tracks have delivered what her current fan base of young listeners want, but that’s about it. Fearless will not go beyond keeping your feet tapping.

As a songwriter, she has stuck to themes that she was comfortable with and what her fans wanted. When her debut album was released in 2006, it showed us that there are still pop stars with brains. Too bad, her almost flawless work there set unrealistic expectations for this follow-up, which gave us more of the same, only of less quality. If only she had tried to break out of the successful mould with this, we might have forgiven her for her lapses, knowing she was operating outside her comfort zone.

Vocally, she’s nowhere near a country superstar like Carrie Underwood or Shania Twain, with her thin-as-paper voice and her girlish and nasal sounds on most tracks. Perhaps this has served her well on ballads like White Horse and You’re Not Sorry, but certainly not for anthems like Change.

That said, Fearless remains one of the better pop albums of 2009 so far, with its heart-on-the-sleeves vocals, passable songwriting and radio-friendly hooks. Taylor may not have veered too much off her debut album in terms of artistry and lyrical themes, but Fearless is nonetheless a satisfactory offering from this teen superstar.

Tracklist

1. Fearless
2. Fifteen
3. Love Story
4. Hey Stephen
5. White Horse
6. You Belong With Me
7. Breathe
8. Tell Me Why
9. You’re Not Sorry
10. The Way I Loved You
11. Forever & Always
12. The Best Day
13. Change

Rating
Urbanwire gives Fearless 3.5/5 stars
★★★ .5☆