Review Summary: Shameless pop revisited.
She’s been described as everything from the creator of “smart chick radio pop” to being labelled a “boner dyke” in the past year or so, but no matter where you stand on miss Katy Hudson (best known to the world as Katy Perry), it’s a tough argument to deny her as one of the great pop successes of recent history. The source of said success is entitled
One of the Boys – an entity that can easily be perceived as less an actual record and more an unstoppable chart-topping machine (and this is definitely not negative criticism). Even though re-releasing the record at this stage feels a lot like a wise corporate cash-grab with a thrown together second disc, it gives pop aficionados as good a reason as ever to listen up to what the starlet has to offer, as well as tacking on a few surprisingly worthwhile additions.
Of course, nothing’s changed to the original disc. As a listening experience,
One of the Boys remains lightweight and occasionally ridiculous but nevertheless likable to varying degrees. Like many pop records in the current musical climate, the record’s faults can be pinpointed very easily. For starters, the mostly co-written lyrics often fail to maintain their balance and topple into either pseudo-D&M sap or downright immature babble. "Thinking of You" moans over long-lost love that has been done better thousands of times before and shall be done better many times to come, whilst "I’m Still Breathing does" the whole “I won’t let our break-up get me down, baby” thing – yawn, next please, etc. "Ur So Gay", by far the worst offender of the latter fault, suggests to its antagonist to “buy a Happy Meal” in order to cheer up, not to mention plotting their suicide involving a scarf, masturbation and classical music (don’t ask).
It’s also alarmingly clear from the very beginning that most of the tracks not picked to become singles have had much less thought put into their creation. Even still, your little sister isn’t losing her sh
it for nothing in particular. Any and all claims to receiving no guilty-pleasure joy from the rock shuffle meets synth hammer of "I Kissed a Girl", the thumping stadium pop of "Waking Up in Vegas" or even the sassy finger-waving disco stomp of "Hot N Cold" means you’re either incompatible with modern pop or simply a straight-faced liar. The more upbeat, rock-influenced numbers also prove worthwhile listens – "Self Inflicted" and closing number "Fingerprints" highlights the kind of polished guitar pop that Perry would be wise to revisit in future endeavours. These highlights are the kind of joyous shout-alongs that thrive on simple yet effective hooks and the kind of A+ production you’d normally have to sell a house for in order to afford. Disposable? Somewhat, but that doesn’t mean there’s no fun to be had.
The second disc commences with Perry remaining discontent with having her own chart-topping hits – she needs to take on others, as well. MGMT’s "Electric Feel" is given a less-psychadelic and more rootsy feel with jazz brushes and dream-like organ replacing the unmistakable synth hook of the original. Perry’s voice is strong here, and it turns out to be a somewhat clever choice of cover. Next up to be Katy-fied is electro-pop darling Sam Sparro and his smash hit, "Black & Gold". There’s a bit more of a swing to this acoustic-driven version, and Perry’s vocal switches to an airy falsetto that serves its purpose, despite being slightly grating. Even considering that the song itself is open for reinterpretation, Perry’s version is still definitely lacking in the triumphant swagger of the original. In spite of this, the cover is a passable attempt.
The rest of the disc, excluding a forgettable b-side and a dull acoustic Thinking of You, is all about the remixes. Of the four on offer, it’s perhaps Calvin Harris’ late-night dancefloor take on "Waking Up in Vegas" that succeeds the most. Harris has proven many times in the past that he is better off leaving his irritating solo work alone and collaborating with others ("Dance Wiv Me", anyone?), and here is no exception. The phased-out synths and clicking beat create a bizarrely catchy, polyrhythmic bop – nothing from the original version remains with the obvious exception of Perry’s vocals. It’s a shockingly inventive reworking that allows the song to work in a completely different context to its original – a trait of any good remix to begin with.
Those unconvinced of Perry’s talents (or at the very least, her potential) won’t be likely to be converted by this repackaging. All curious fans, however, are more than welcome to pick this version of the record up – with a little extra meat upon its bones, this pop juggernaut will continue its mainstay in contemporary collective conscience for awhile yet.
