MOST people never really had much interest in Robin Thicke until about three weeks ago. But the raunchy hit single “Blurred Lines” (and its now notorious accompanying video) has certainly grabbed attention. Whether the R&B album of the same name (his sixth in total) will retain the spotlight is less certain. The Californian’s soulful croon is respectable enough, but tracks such as “Ooo La La” merely sound like unconvincing Michael Jackson knockoffs. Additionally, the burgeoning image of Thicke as a borderline sex pest isn’t helped by the lyrics of dancier songs such as “Take It Easy on Me” or “Give It 2 U,” which makes repeated references to his apparently large manhood. Thicke might be packing a big love gun but, title track aside, “Blurred Lines” lacks any real ammo.
AS their appearance in the Seth Rogen film “This Is the End” proved, the Backstreet Boys can laugh at themselves, and for any aging boy-band that’s an essential life skill. But their likability as people doesn’t excuse the agonizingly bland pop featured on their eighth album. Their attempt at a more grown-up sound falls flat almost every time, whether it’s the watered-down Jack Johnson vibes of “Trust Me,” the plastic rock riffs of “Feels Like Home” or the laughably overblown love song “Soldier” — which sounds like it should be soundtracking the trailer of a Lifetime movie. If this is all they can come up with, then the Backstreet Boys had better hope that Hollywood throws them some more bones.
THIS hotly tipped post-dubstep duo from Britain have never been secretive about their love of ’90s American R&B. Hidden away at the end of their impressive debut album, “Body Music,” is further evidence of their fine taste in the shape of a smooth cover of Montell Jordan’s classic, delivered immaculately by the group’s baby-voiced singer Aluna Francis.
