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▌────── Release Info ───────────────── ▐▌ ──────────────── ▌ ──────── ▐
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Originally released : 12-05-2006
Release date : 05-29-2007
Album name : The Sweet Escape
Artist : Gwen Stefani
Ripped by : Team EOS
Genre : Hip-Hop
Label : Interscope
Encoding Software : Lame EOS
Quality : -V 2
Tracks : 12
Size of Files : 62,6 MB
─ Track list ───────────────────────────────────────── ─── ─ ─
01 03:10 Wind It Up
02 04:07 The Sweet Escape
03 03:24 Orange County Girl
04 04:45 Early Winter
05 03:00 Now That You Got It
06 04:51 4 In The Morning
07 04:57 Yummy
08 04:19 Fluorescent
09 03:47 Breakin' Up
10 03:38 Don't Get It Twisted
11 03:08 U Started It
12 03:59 Wonderful Life
Total time: 47:05 min
─ Release notes ─────────────────────────────────────── ─── ─ ─
Awkward and alluring in equal measures, Gwen Stefani's
2004 solo debut, Love.Angel.Music.Baby., did its job:
it made Gwen a bigger star on her own than she was as
the lead singer of No Doubt. With that established and
her long-desired wish for a baby finally fulfilled,
there was no rush for Gwen to get back to her regular
gig, so she made another solo album, The Sweet Escape,
which expanded on what really sold her debut: her
tenuous connections to Californian club culture. There
was always a sense of artifice behind the
turn-of-the-century makeover that brought Gwen from a
ska-punk sweetheart to a dance club queen, but that
doesn't mean it didn't work at least on occasion, most
spectacularly so on the gloriously dumb marching-band
rap of "Hollaback Girl," the Neptunes production that
turned L.A.M.B. into a blockbuster. There, as on her
duet with Eve on "Let Me Blow Ya Mind," Gwen made the
transition into a modern-day material girl with ease,
but when she tried to shoehorn this ghetto-fabulous
persona into her original new wave girl character, it
felt forced, nowhere more so than on the Linda Perry
written and produced "What You Waiting For." Gwen
doesn't make that mistake again on The Sweet Escape --
by and large, she keeps these two sides of her
personality separate, favoring the streets and
nightclubs to the comfort of her new wave home. Just
because she wants to run in the streets doesn't mean
she belongs there; she continues to sound far more
comfortable mining new wave pop, as only a child of the
'80s could. As always, it's those celebrations of cool
synths and stylish pop hooks that work the best for
Stefani, whether she's approximating the chilliness of
early-MTV new romantics on "Wonderful Life," mashing
Prince and Madonna on "Fluorescent," or lying back on
the coolly sensual "4 in the Morning."
Only once on the album is she able to bring this style
and popcraft to a heavy dance track, and that's on the
irresistible Akon-produced title track, driven by a
giddy "wee-oh!" hook and supported by a nearly anthemic
summertime chorus. Tellingly, the Neptunes, the
architects of her best dance cuts on L.A.M.B., did not
produce this track, but they do have a huge presence on
The Sweet Escape, helming five of the 12 songs, all but
one being tracks that weigh down the album
considerably. The exception is "U Started It," a light
and nifty evocation of mid-period Prince, with its
lilting melody, silken harmonies, and pizzicato
strings. It sounds effortless and effervescent, two
words that do not apply to their other four
productions, all skeletal, rhythm-heavy tracks that
fail to click. Sometimes, they're merely leaden, as on
the stumbling autobiographical rap "Orange County
Girl"; sometimes, they're cloying and crass, as on the
rather embarrassing "Yummy"; sometimes they have an
interesting idea executed poorly, as on "Breakin' Up,"
a breakup song built on a dying cell phone metaphor
that's interesting in theory but its stuttering, static
rhythms and repetitive chorus are irritating in
practice. Also interesting in theory is the truly
bizarre lead single, "Wind It Up," where the Neptunes
force fanfares and samples from The Sound of Music's
"The Lonely Goatherd" into one of their typical
minimalist tracks, over which Gwen spouts off clumsy
material-minded lyrics touting her fashion line and her
shape. Nothing in this track really works, but it's
hard not to listen to it in wonder, since its unwieldy
rhythms and rhymes capture everything that's currently
wrong about Stefani.
From the stilted production to the fashion fetish, all
the way down to her decision to rap on far too much of
the album, all the dance-pop here seems like a pose,
creating the impression that she's a glamour girl
slumming on a weekend night -- something that her
self-proclaimed Michelle Pfieffer in Scarface "coke
whore" makeover showcased on the album's cover doesn't
do much to dissuade. If the dance production on The
Sweet Escape were better, these hipster affectations
would be easier to forgive, but they're not: they're
canned and bland, which only accentuates Stefani's
stiffness. These misfires are so grand they overshadow
the many good moments on The Sweet Escape, which are
invariably those songs that stay true to her
long-standing love of new wave pop (not coincidentally,
these include every production from her No Doubt
bandmate Tony Kanal). These are the moments that give
The Sweet Escape its sweetness, and while they may
require a little effort to dig out, they're worth the
effort, since it proves that beneath the layers of
bling, Gwen remains the SoCal sweetheart that has
always been as spunky and likeable as she has been
sexy.
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