Artists tend to evolve over the course of their careers. Whether it's just a natural development like growing up or a switching of record labels to state more of an independence, music styles could swiftly change and the singer, if they haven't had the chance before, could take a shot at writing some of their material.
One example of a person that shifted their career trajectory is Miley Cyrus, former Disney Channel darling who broke out of that mold (and out of the associated record company), chopped off all her hair and bleached it, and became associated with twerking and 'dancing with Molly' in the summer of 2013. It was an abrupt but not exactly unexpected swing, what with the more sexual imagery involved with her 2010 album Can't Be Tamed (which was pretty much just a typical Miley Cyrus album at the time, TBH) and the fact that Hannah Montana was ending, and with no hope of appearing on a future Disney show, it shouldn't be a surprise that something did happen. However, I was still shocked by these changes. I grew up watching and adoring Hannah Montana and Miley Cyrus, and I guess I was still stuck in time or expecting that she would be the down to earth girl like Hilary Duff on Lizzie McGuire all those years ago. Besides, my 13 year old brain was baffled and confused by the idea of Miley Cyrus still being a role model for young girls when she was talking about doing drugs in the bathroom in "We Can't Stop" (which was fine until it was played to death at a camp I went to that summer; after that I wanted to scream every time I heard it).
Fast forward another two years, and Miley had established the non-profit organization The Happy Hippie Foundation (which sounds pretty cool, actually, although I'm not exactly sure what they do) and released a new album you could stream for free: Miley Cyrus & Her Dead Petz (yes, that is 'pets' with a 'z'). It was an experimental record that was panned by YouTube critics and baffled me from the little that I listened to on Soundcloud (although I have listened to almost all of "Dooo It!" and the entire "BB Talk", which will be eight minutes of my life that I unfortunately won't get back). While I understand the idea of Cyrus wanting to exert more creative control, that didn't help the album from being very uncomfortable to the bits I listened to and for me to cringe at the lyrics I read. It's a complete jump into the pool of debauchery, and while that might be fun for some people, I prefer my cereal without milk, thanks.
Let's step off the Miley train and start talking about the evolution of Ariana Grande instead. She first became popular on the Nickelodeon show Victorius as Cat (the redhead who progressively got dumber as the show went on) before skyrocketing onto Top 40 radio with her debut single "The Way" with Mac Miller (she had released her first debut single called "Put Your Hearts Up" in 2011, which she later scrapped because she felt it didn't represent the style she was going for and felt inauthentic). Her debut album Yours Truly was a pop-R&B crossover that was cutesy and fun but didn't really deviate much from its main template, even though her voice was easily one of the strongest points on the album (it was also a really consistent and strong record overall). Her next record that was released a year later, My Everything, showcased Grande hopping from genre to genre with the help of several different producers, including Zedd, Tommy Brown (who had produced some of the tracks on Grande's first album), and some of Sweden's hottest that have produced countless pop tracks: Max Martin and Ali Payami. Although that album wasn't nearly as cohesive in the production, Grande grew as a performer vocally and thematically, opting for more sensual material that really elevated her to the next level (plus, she had a couple more songs she co-wrote). Both records have their own strengths, and it's been really fun to re-listen to them in preparation for Dangerous Woman.
Originally titled Moonlight coupled with the lead-off single "Focus", the idea was scrapped ("Focus" wasn't included on any of the album editions except on Japan's deluxe) and Dangerous Woman came to life with the title song being the new first single. It was definitely an edgier style from Grande that I wasn't expecting, and it definitely made me more excited for the album to come, especially since it seemed she was taking one more step into making her material as mature as possible.
So how was Dangerous Woman? Was it the treat that I was expecting it to be? Or did it disappoint and made me view it as more of a trick?
This album was definitely the treat that I was eagerly expecting from the moment I grooved out to the faded guitars of the title track. It takes the best elements of My Everything and refines them, creating a more mature body of work and elevating Ariana Grande from teenage star to bonafide pop starlet. It's an album with sexy love songs, fun dance tracks, but, most importantly, the most confidence Grande has shown throughout her entire career. It's a record that will ultimately be one of the best this summer, and it should provide a lot of sassy hair flips and enjoyment for all.
One example of a person that shifted their career trajectory is Miley Cyrus, former Disney Channel darling who broke out of that mold (and out of the associated record company), chopped off all her hair and bleached it, and became associated with twerking and 'dancing with Molly' in the summer of 2013. It was an abrupt but not exactly unexpected swing, what with the more sexual imagery involved with her 2010 album Can't Be Tamed (which was pretty much just a typical Miley Cyrus album at the time, TBH) and the fact that Hannah Montana was ending, and with no hope of appearing on a future Disney show, it shouldn't be a surprise that something did happen. However, I was still shocked by these changes. I grew up watching and adoring Hannah Montana and Miley Cyrus, and I guess I was still stuck in time or expecting that she would be the down to earth girl like Hilary Duff on Lizzie McGuire all those years ago. Besides, my 13 year old brain was baffled and confused by the idea of Miley Cyrus still being a role model for young girls when she was talking about doing drugs in the bathroom in "We Can't Stop" (which was fine until it was played to death at a camp I went to that summer; after that I wanted to scream every time I heard it).
Fast forward another two years, and Miley had established the non-profit organization The Happy Hippie Foundation (which sounds pretty cool, actually, although I'm not exactly sure what they do) and released a new album you could stream for free: Miley Cyrus & Her Dead Petz (yes, that is 'pets' with a 'z'). It was an experimental record that was panned by YouTube critics and baffled me from the little that I listened to on Soundcloud (although I have listened to almost all of "Dooo It!" and the entire "BB Talk", which will be eight minutes of my life that I unfortunately won't get back). While I understand the idea of Cyrus wanting to exert more creative control, that didn't help the album from being very uncomfortable to the bits I listened to and for me to cringe at the lyrics I read. It's a complete jump into the pool of debauchery, and while that might be fun for some people, I prefer my cereal without milk, thanks.
Let's step off the Miley train and start talking about the evolution of Ariana Grande instead. She first became popular on the Nickelodeon show Victorius as Cat (the redhead who progressively got dumber as the show went on) before skyrocketing onto Top 40 radio with her debut single "The Way" with Mac Miller (she had released her first debut single called "Put Your Hearts Up" in 2011, which she later scrapped because she felt it didn't represent the style she was going for and felt inauthentic). Her debut album Yours Truly was a pop-R&B crossover that was cutesy and fun but didn't really deviate much from its main template, even though her voice was easily one of the strongest points on the album (it was also a really consistent and strong record overall). Her next record that was released a year later, My Everything, showcased Grande hopping from genre to genre with the help of several different producers, including Zedd, Tommy Brown (who had produced some of the tracks on Grande's first album), and some of Sweden's hottest that have produced countless pop tracks: Max Martin and Ali Payami. Although that album wasn't nearly as cohesive in the production, Grande grew as a performer vocally and thematically, opting for more sensual material that really elevated her to the next level (plus, she had a couple more songs she co-wrote). Both records have their own strengths, and it's been really fun to re-listen to them in preparation for Dangerous Woman.
Originally titled Moonlight coupled with the lead-off single "Focus", the idea was scrapped ("Focus" wasn't included on any of the album editions except on Japan's deluxe) and Dangerous Woman came to life with the title song being the new first single. It was definitely an edgier style from Grande that I wasn't expecting, and it definitely made me more excited for the album to come, especially since it seemed she was taking one more step into making her material as mature as possible.
So how was Dangerous Woman? Was it the treat that I was expecting it to be? Or did it disappoint and made me view it as more of a trick?
This album was definitely the treat that I was eagerly expecting from the moment I grooved out to the faded guitars of the title track. It takes the best elements of My Everything and refines them, creating a more mature body of work and elevating Ariana Grande from teenage star to bonafide pop starlet. It's an album with sexy love songs, fun dance tracks, but, most importantly, the most confidence Grande has shown throughout her entire career. It's a record that will ultimately be one of the best this summer, and it should provide a lot of sassy hair flips and enjoyment for all.
Grande's material hasn't changed much from My Everything (like I said in the last paragraph, this is merely clearing up the haze from that album), but she has more co-writes here and was one of this album's executive producers, which is a good sign that this is the material she wants to write. A lot of the songs focus on infatuation and lust and how those feelings of love turn Grande into a dangerous woman (see what I did there?), but there's also moments of yearning, sadness, annoyance, and innocence that always makes the material refreshing and fun to revisit. It may blend together a little bit, but the little touches to each song make each of them special in their own way.
Let's start off with the original title track and the first song of Dangerous Woman: "Moonlight". A sweet love song that captures the charm evident in Grande's debut record, this is definitely one of the more straightforward tracks on the album, as Grande compares her lover to moonlight and talks about how much she cherishes him. Punctuated by a plucky string section in the chorus that reappears throughout the song and a synth line that sounds like bells, "Moonlight" makes for a nice slow dance and a charming beginning that all but evaporates with "Dangerous Woman", even if some of the lyrics are questionable (a man so bossy that he 'cancels [her] plans' doesn't sound very charming in my opinion).
This video perfectly captures the feelings of this next track, which completely blew me out of the water the first time I heard it. A simmering and sensual song with a fiery anchoring guitar line, "Dangerous Woman" deals with the carnal desire Ariana Grande feels when she's with her lover and how it brings out the 'bad [girl] underneath like that'. It may be a simple song lyrically (Grande didn't write this one), but that doesn't stop it from being incredibly catchy and impossible to not sing along to. The saturated hook complete with that heavy keyboard line and drums also gives this song a boost in sex appeal, even though Grande can handle her own as she shows off her strong vocal range from cooing to full on belting (that final chorus still slays me, especially the acapella version). With this song, the shift in material makes perfect sense: this is undeniably a hit. Not only do we have a track even stronger than "Focus" (I did like that song but can completely get behind where people are coming from when they say it's similar to "Problem"), we have Ariana Grande's greatest strengths shown off: a pop/R&B blend with killer vocals and undeniable sensuality that she pulls off effortlessly. This is still one of my favorite songs off this album, and I can't wait to see where Grande will take this style next.
First promotional single time! "Be Alright" is a little different from the first two tracks in that it's a lot more R&B. Although everything starts with something that sounds like a graceful and maybe even glacial xylophone, the chorus combines a techno synth line with sampled deep pitched vocals and percussion snaps to create an irresistible groove that reminds me a lot of something Brandy or Beyoncé would have done in the mid 2000's. In terms of lyrical content, this piece is definitely uplifting in that the narrator is reassuring her lover that no matter what happens to them and their relationship, they will survive and live to breathe another day. It's definitely inspiring and motivational, almost as if Grande is directing this message to her fans: we'll be fine even if our lives are complete and utter hell. We have music, we have love, and that's all we really need. It's food for thought, don't you think?
"Into You" is another one of my absolute favorites from this album due to the fact that it takes the thoughts of "Dangerous Woman" and puts them into action. Now that her infatuation for this guy has been made clear, Grande wants nothing more than to have a good time with him in the comfort of privacy. She wants it to be risky and something only the two of them know, but all that's left is waiting for the guy to make his move. Although her vocals once again are absolutely phenomenal here, the production deserves special note because it helps set this song on fire with just how sexy it is (I know it's an odd metaphor, but bear with me). Gritty synths churn in the background as Grande's vocals rise higher and higher until they reach the pinnacle on the chorus, where the synths come front and center to create a dynamic groove. The bridge is definitely the best part of the whole song, where the synths leave room for punchy percussion saturated with fuzz that creates a climatic frenzy that Grande easily matches with her delivery of lines like ''cause I can't, I can't wait no more' and 'I'm on the edge of no control'. I'm super excited that this is the second single from the album, and I really hope to hear a lot of it this summer, because this could very well be the song for all the summertime sojourns this year.
Up next is the song with our very first featured guest: rapper Nicki Minaj! "Side to Side" is a reggae-inspired jam that could either deal with indecisiveness or a really good time in bed, but one cannot deny that this song is an absolute blast. While the instrumental is funky and has a great groove (courtesy of the keyboards that provide a light Jamaican vibe), the lyrics are a little more traditional Ariana Grande. She just wants to have fun with a guy without worrying about her friends telling her that he's bad news. She may have to keep it secret, and she may be doing something a little dangerous, but what's a little fun without 'making deals with the devil'? Meanwhile, Nicki Minaj's verse contains a new phrase to use during sex ('ride dick bicycle'), and her rap contains some pretty solid puns and is overall pretty fun (her use of the word 'pop' is the best example of this). I can definitely see this being a single sometime down the line, but for now, it's the perfect dance song at the club during those feisty summers where we just want to cut loose, Footloose style!
We have another collaboration with our sixth song and the second promotional single, "Let Me Love You". A smoky and simmering track anchored by a gleaming synthesizer and with special guest Lil Wayne, Grande contemplates moving on from a breakup and the idea of falling in love again with a guy even better than her ex. The lyrics confuse me for some reason because it shows Grande content with just chilling before rushing this new guy because '[she's] a mess' and other mixed messages like that. However, the production is nicely done and pulls everything together in a smooth and slick fashion. Lil Wayne's rap is incredibly corny with lines like 'I'm triple X love' and ' she grinding on this Grande', and in my opinion, he doesn't really add anything memorable to this song. However, it definitely is something that I can dance to or use as the soundtrack to love scenes because I'm that kind of person.
Up next is a super fun track called "Greedy". It definitely brings in the retro R&B vibes with the sick bass, sassy background vocals, and the horns (yes, there are horns in this song!) that pop up in the chorus. You also may hear some string instruments in the beginning of the final chorus when the key change hits ;). This song is another one of those with the subject of infatuation that we know Grande can slay, even when she doesn't co-write all of her material (the songwriters she works with know how to capture her signature style well). Here, she talks about being 'greedy for love' and how she needs things to get more physical with her beau. It's undeniably super catchy and one that you'll probably end up singing along to, and Grande's infectious voice soars throughout this track effortlessly and with grace, matching the sometimes boastful and sexual lyrics of the song ('Baby, you got lucky 'cause you're rocking with the best' and 'You know I'm coming tonight. I know I'm coming tonight').
"Leave Me Lonely" is another favorite of mine from Dangerous Woman. Not only does it bring in the legendary Macy Gray from "I Try" fame (her verse may be repeated twice after the first time, but her singing is absolutely gold), but Ariana Grande brings her a-game and presents us with her best vocals on this album period. Her voice breaks with remorse as she sings about a relationship gone sour, a situation in which her lover is barely there for her and oftentimes leaves her hanging rather than treating her with the affection she wants. The instrumental is also incredibly beautiful, using live drums and an orchestra exceptionally well alongside a classy piano. I don't know if this will ever be a single, but for an album deep cut, it's a standout and will definitely sound gorgeous live both vocally and for the background band.
Ready for something raunchy? "Everyday" should be right up your alley! This collaboration with Future has him not swearing (which is strange for someone in hip hop) while Grande coos 'shit' like she might as well be spitting out candy. This is a pure unfiltered sex jam that has our narrator talking about how awesome being with her boyfriend is and how 'he [gives] it to [her] everyday'. Future and Grande have really nice interplay in the chorus while the instrumental swells up behind them in a noisy and saturated groan, and although it takes up the entire mix, it still provides an anchor for the track. Meanwhile, Future's verse is actually pretty good. I haven't listened to a lot of his discography (most of it's been from Spectrum Pulse's Billboard Breakdown, and the songs have mostly consisted of him whining about Ciara), but his verse compliments the explicit nature of Grande's by dialing it back a bit and talking about dedication. Overall, this is a pretty fun song and although the subject material is familiar territory, it's never been dealt with straightforwardly quite like this. Kudos to Ariana Grande and her team for that!
Although "Sometimes" starts off with an acoustic guitar and sampled vocals, it blends together with something a little more traditionally pop by the chorus: a bouncy electronic beat that makes this song an absolute treat. This is definitely one of the more tender tracks on this album, as Grande realizes just how much she appreciates being in a relationship and how she isn't thinking of giving up on this one. Rather, she'll continue to troop through because it looks like things can finally work out. The production on this song is easily some of the album's best. It's light and breezy and has a really nice relaxed vibe that really sets this apart from the rest of the more adult tracks here. It's sweeter and isn't exactly completely innocent (the last part of the bridge shows the signs), but it goes to show that Ariana Grande doesn't need to be completely sexual in either lyrics or performances to be a good performer. With versatility like this, she can do it all.
"I Don't Care" is the shortest track on Dangerous Woman and definitely one of the sassiest. It's a pretty relaxed song considering its content that basically shows that Ariana Grande has moved on from worrying about what other people think of her. She's letting go of the past and being her own person because she puts herself above others' opinions. It's a pretty tongue-in-cheek track given all the tabloid attention Grande received, and the instrumental easily backs up her tone. Although it begins with string instruments, it fades away to a chilled keyboard and, by the time the outro hits, we've got a really swanky guitar giving us some swagger. Here, the production gives plenty of room for Grande's vocals to breathe by stripping back the reverb and the instrumentation a bit. This allows for her singing to shine, especially when she's in her softer register like she's doing in this track. "I Don't Care" may be over just as soon as it begins, but it's still a nice highlight and an interesting counterpart to "Sometimes", the preceding song.
We return to the Bad Behavior Show with our next track and definitely potential single, "Bad Decisions". Like the title track, "Into You", and "Side to Side" before it, this song focuses on Grande becoming attached to a bad boy and ignoring everyone else's advice by throwing herself head first into this relationship. This lyrical theme may be tiring considering that this is probably the fourth or fifth time it's popped up on Dangerous Woman, but this song is definitely Grande's most unapologetic out of the series. The bridge is easily the clearest sign of this, where after a bright synth with some poppy percussion in the chorus, it dissolves into a sleek R&B breakdown where she croons 'Don't you know I ain't fucking with them good boys?' (yeah, you read that right) and easily one of the most iconic lines off the entire album: 'Ain't you ever seen a princess be a bad bitch?' It's pretty clear that Grande has moved on from her Nickelodeon days and embraced what she's become, and that in a sense is empowering. So, with that in mind, "Bad Decisions" is the mission statement for this album: be courageous and don't be afraid to get a little crazy in love.
Absolute favorite track of the album time is upon us!
Much like the tenth track on this album, "Touch It" dials things back a bit but also deals with something completely different from the rest of the tracks: insecurity yet resilient desire. Grande is freaking out over the fact that her lover seems to be shutting her out and not wanting to give himself to her, but she doesn't want that. She knows that by holding each other back they won't be true to each other's feelings, which is why they should be honest because, after all, 'ain't nobody gonna touch it'. It's this very vulnerable feeling that I absolutely love here. It once again shows Ariana Grande's versatility as a performer and that she can do more than just Sex Kitten (heck, judging from the song title would make this song appear far more sexual than it actually is). The instrumental is dense by the time we get to the chorus with crunchy keyboards and a little percussion snap, but it adds to the frantic nature of the song and gives the entire album one of its best musical moments. In the outro, Grande's vocals soar as she reaches her whistle notes while the busy chorus surrounds her and allows her to break free from its walls. It's an absolutely beautiful part that stands out from the rest of the album, and I always can't help but close my eyes and feel myself fly when I hear that part begin.
"Knew Better/Forever Boy" is a two for one deal for our second to last song on the track-list. "Knew Better" is gritty and atmospheric with brittle snaps as Grande lets an ex have it (Big Sean?). She starts off by saying the only thing he can do is 'turn [her] on', and no matter how hard he tries to make her stay, she isn't having it because he knows jack squat about her. It's a harsh and confrontational song that I can't help but like because Ariana Grande's attitude is the same as in "I Don't Care": she isn't putting up with any more crap. As this part bleeds into the next, things get lighter and happier, and although the production sounds somewhat similar on "Forever Boy", it immediately sticks out as different because of the subject matter. Here, Grande notes that she's 'never been with a boy more than six months' due to them never clicking with her. However, she's found that maybe this new guy could be her forever. It's a little cheesy, sure, but it's sung so earnestly that it's hard to laugh at it. Besides, after the chew-out of "Knew Better", it's nice to have something brighter to lighten the load of this duo.
Last up is "Thinking 'Bout You", another one of my favorite tracks and the one I was listening to on repeat while writing the sex scene to Uncovering Scars (a Bungo Stray Dogs fanfic that I absolutely loved to write because Atsushi is too darn precious for his own good even in the middle of intercourse, go check it out here). A dreamy song that has me floating every single time I kick back and listen to it (it's that synth line, man, that synth line!), the lyrics tell a somber story of Grande missing her boyfriend, who's gone for some unexplained reason. She remembers all the times they've spent together, causing her mind to wander and do some 'thinking' (read between the lines and you'll see what I mean). The production here is light and airy and allows plenty of wiggle room for Grande's voice, which is partnered here with Chloe Angelides's (one of the co-writers behind this song) background vocals that provide the right amount of foundation for Grande to jump off of. Another great musical moment comes up right after the bridge and before the final chorus, where Grande's vocals reach their climax as the synth explodes into sugary goodness and pops. It's a glorious part that I rewound to every single time so I could hit it right as I was writing the fanfic characters' own respective...climaxes...things, and as Grande hits her higher register one last time before the song fades out, you'll probably end up playing it once more just to relive the ending.
Despite its reliance on repetition in its themes of proud sexuality, wild love, and everything in between, Dangerous Woman is still an absolutely stunning album that shows a skilled vocalist and songwriter (for 10 of these 15 tracks) continuing her evolution and reaching the highest point since her career began. Ariana Grande has proved that she can pull off sensual and coy, regretful and yearning, and happy and sweet and remain versatile at the top of her game, and her production brings everything together in her strongest and most cohesive work to date. For those interested in listening to this album, it's available in digital, physical, and for streaming on Spotify through Republic and Universal Records. Until next time!
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