Upon the release of
The Singles 1992-2003, speculation arose about a No Doubt breakup. All of this was understandable though, as more often than not, greatest hits releases and other compilations are released after a band's liftetime. There is also the fact that Gwen Stefani was obviously the driving force in No Doubt; did any of the others even matter by the releases of platinum plus
Rock Steady and the chart topping "It's My Life"? The answer is a necessarily blunt "no".
Since Gwen Stefani has probably become one of the most recognizeable figures in the vogue pop trash culture, designing clothes and looking good, it is anything but surprising that
Love. Angel. Music. Baby is anything less than a pop culture mash up. Stefani enlisted some of the best producers and writers including Linda Perry, The Neptunes, Andre 3000, Dallas Austin and Dr. Dre to assist her. As a result, the album has a scattered feel as most songs are a product of a certain producer, yet have a unified theme sonically.
Love. Angel. Music. Baby comes crashing in with "What You Waiting For?", qualifying as one of the most kicka
ss singles in awhile, with a heavy dance groove, chiming vocals, synthesizer, and all sorts of other stuff. In a sense, it reminds oneself of Madonna, but then again Madonna isn't cool enough to say "Take a chance you stupid girl" and not come off as ironic at the same time. "Rich Girl" and "Hollaback Girl" are both insanely catchy, with the former being another heavy-bottom dance tune, the latter being a boot-up-the-a
ss featuring thudding bass and handclaps, acoustic guitar and horn samples, b-a-n-a-annas, and saying "sh
it" 37 times, oh my! The song proves the massive amounts of sass that Stefani still has in her, and more cool points for being a marching band favorite.
Somehow, that damn girl follows this solid bunch with even more great tracks. "Cool" is the best song on [i]Love. Angel. Music. Baby.", with an authentic synth pop feel thanks to chugging/chiming guitar, bubbly keyboard lines and what is Gwen's most understated vocal work on the album. It offers a break inbetween all that stupid fun stuff. "Bubble Pop Electric" is equally 80s with stuttering drum beats and backseat lovin' crap (However, she fails at that sort of innuendo in "Crash", which sounds more awkward than sexy). Yeah, she wants Andre 3000/Johnny Vulture's "candy". That boy sure has a sweet tooth. "Luxurious" is another drifter, but instead of synth pop we get slow jamz R&B, and it surprisingly works within the context of the album, though it goes on the slow jamz rules: slow, bass-heavy beats, cheesy keyboard, chimes, all that. A fashion ode, "Harajuku Girls" can either be interpreted as such or as some crazysexycool Japanese lesbian fantasy lust thing. Either way you decide to think, "Harajuku Girls" basically wins at life, with a mega-catchy chorus ("Harajuku girls, you got the wicked style. I like the way thatcha are; I'm your biggest fan") where she comes off sounding like Ninja on a bizarre shopping spree.
However awesome the first half of
Love. Angel. Music Baby. can be, quality seems to drop
slightly as we come towards the second portion. "Crash", as fun and catchy as it is, fails lyrically with dare I say, stupid innuendo referring to cars. Yes Gwen we all know you rule and that you can get away with things like this, but I noticed so like uh, yeah. Whatever. "Long Way to Go" sports an wonderfully retarded spoken word intro, references to Martin Luther King Jr., and an overall sociopolitical feel that doesn't fit the album at all. The intention is there, but honestly doesn't mean much when you combine it with the material. If
Love. Music. Angel. Baby proves anything, it's that a shallow pop album can be one of the most fun experiences. Gwen Stefani isn't trying to write a masterwork, depth is not the concern: it's all about insanely brain-frying hooks and songs about lovers, fashion, getting some action, and being oh so luxurious.
Most definitely.
