3 minutes ago, bearman said:

Maybe I'm Delusional.mp3, but even the meanest reviews are basically saying that she could be better and compliment Rainbow and Gag Order. Reviews are meant to provoke to get clicks, that's how they get paid but in essence I don't think I disagree with some of the critiques.

 

What doesn't help either is the success of Brat and the automatic comparison that happens every time someone with a ****** puts out an album.

All of this. 
 

Although it's pretty clear Brat was on the moodboard for this album which I don't think is negative, I hope that doesn't continue in the same way going forward.

2 minutes ago, collin said:

I think interest in her in general is just kind of low.

I mean... it's low because there is no effort to appeal beyond the story she's peddling.

Hot Ones, Chicken Shop Date, Call Her Daddy, Therapuss, Las Culturistas, Track Star, Recess Therapy, a Zane Lowe interview, Last Meals... and the list goes on and on and on. So much could have been done to make her more present this release week. It's really not about smashing or anything, but it's shame that nothing was done. 

27 minutes ago, TomTom said:

This guy just wrote a really gross review that reads worse than 5/10 and is trashing Joyride on socials.

 

 

At least now we have a actual name for that Katy Perry dupe user 

50 minutes ago, bearman said:

I mean... it's low because there is no effort to appeal beyond the story she's peddling.

Hot Ones, Chicken Shop Date, Call Her Daddy, Therapuss, Las Culturistas, Track Star, Recess Therapy, a Zane Lowe interview, Last Meals... and the list goes on and on and on. So much could have been done to make her more present this release week. It's really not about smashing or anything, but it's shame that nothing was done. 

Let's try and be a little more positive. She released a happy and fun album that I'm personally quite happy with. YAY

All I wanted to see was Joyride live 🥲 sad that I'll miss out on experiencing that for a while 

This is not good. The production in particular is very amateurish and beige sounding. Joyride and Boy Crazy are the only non-skips but shoutout to Glow for being cute-ish and at least decent production-wise.

Her first 3 projects > Gag Order >>>>>>>>>>>> Rainbow/High Road >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> .

Are y'all keeping both versions of Boy Crazy? I deleted the solo one, Jade did so good on the remix but I wish she was on the choruses after her verse (and if she is I can not tell her voice apart from Keshas at all) 

I think the unfortunate reality we have to accept is that High Road killed the momentum she built with Rainbow and her career is still feeling the ramifications of that. Pop music stans (aside of casual listeners and her own diehard fans) stopped checking for her because it was that bad. She could have easily carved out a nice Kacey/Lana niche if she kept in the folk/rock direction. It says a lot that the only consistently well-regarded tracks from High Road are Resentment and Cowboy Blues.

 

She became a critical and GP darling with Rainbow, so critics gave her a pass on HR because they knew what she was capable of. Gag Order was acclaimed, but nobody checked for it, which is sad, but definitely a mix of sabotage and inaccessible music. I still think it will stand the test of time. 

 

A mainstream pop comeback would have required an album full of JOYRIDE's, not another High Road situation (even though this record is leagues above High Road). Even then, people would have been hypercritical because her past pop music is *that* good. I have a feeling she's never going to be able to fully appeal to pop listeners ever again because people are so hung up on nostalgia and her "sounding like Kesha", so it would be commercially better for her to release a rock/folk record or pop-rock more in line with Rainbow. 

 

All signs point to her not slowing down any time soon, so I'm hopeful her output will increase with her newfound freedom. I think she needed to get some stuff out of her system with Period and that's why it's so polarizing and messy (which is why I enjoy it, personally). She talked on the Monica pod about feeling unsettled by the idea of making/recording music just to fulfill a contractual obligation. Now that she's past that artistic blockage, I imagine she's keen to release music frequently post-lawsuit and recording contract. Rock album next hopefully!

 

EDIT: @collin basically summed up my last thoughts in his post on the other page -- this was definitely an album for her and the fans, and she'll continue to course-correct as she celebrates her freedom. 

Edited July 10, 20251 yr by gettsleazy

Y'all are WILD for even thinking that this is a bad album… i mean love forever, the one and too hard stomp on a lot of your faves' discographies

 

That being said, i don't care about what anyone else says but those 3 songs are literally what I call Kesha pop perfection, she owns this genre! 
 

They're in the vein of learn to let go, last goodbye, animal, the harold songs and I love it! 

21 hours ago, bearman said:

Kesha's thoughts on High Road:

 

 

 

Your username sounds like it could a be a song title on her next album 

26 minutes ago, gettsleazy said:

I think the unfortunate reality we have to accept is that High Road killed the momentum she built with Rainbow and her career is still feeling the ramifications of that. Pop music stans (aside of casual listeners and her own diehard fans) stopped checking for her because it was that bad. She could have easily carved out a nice Kacey/Lana niche if she kept in the folk/rock direction. It says a lot that the only consistently well-regarded tracks from High Road are Resentment and Cowboy Blues.

 

She became a critical and GP darling with Rainbow, so critics gave her a pass on HR because they knew what she was capable of. Gag Order was acclaimed, but nobody checked for it, which is sad, but definitely a mix of sabotage and inaccessible music. I still think it will stand the test of time. 

 

A mainstream pop comeback would have required an album full of JOYRIDE's, not another High Road situation (even though this record is leagues above High Road). Even then, people would have been hypercritical because her past pop music is *that* good. I have a feeling she's never going to be able to fully appeal to pop listeners ever again because people are so hung up on nostalgia and her "sounding like Kesha", so it would be commercially better for her to release a rock/folk record or pop-rock more in line with Rainbow. 

 

All signs point to her not slowing down any time soon, so I'm hopeful her output will increase with her newfound freedom. I think she needed to get some stuff out of her system with Period and that's why it's so polarizing and messy (which is why I enjoy it, personally). She talked on the Monica pod about feeling unsettled by the idea of making/recording music just to fulfill a contractual obligation. Now that she's past that artistic blockage, I imagine she's keen to release music frequently post-lawsuit and recording contract. Rock album next hopefully!

 

EDIT: @collin basically summed up my last thoughts in his post on the other page -- this was definitely an album for her and the fans, and she'll continue to course-correct as she celebrates her freedom. 

Agreed. I loved Rainbow and think I only listened to High Road once. I kinda hated it. I'm still sifting through this new record. I like Joyride and Boy Crazy but not a fan of Delusional. The rest are TBD.

 New peak position!

 

 

I love this new amped ending. Come through JADE  @Sexyzinger

7 hours ago, Burqa said:

Hymn was for the OG animals, it's like a slower Shots On the Hood of My Car. not everyone can get it and that's okay

Hymn was the C'mon of Rainbow. Both stale and outdated by the time they were released 

 

If anything, Shawts On The Hood Of My Car was ahead of its time 

Just now, Igirus said:

Hymn was the C'mon of Rainbow. Both stale and outdated by the time they were released 

 

If anything, Shawts On The Hood Of My Car was ahead of its time 

C'Mon is pop perfection though and one of the best pop songs ever.

 

Hymn is…Hymn.

 

Time, the ultimate truth teller.

 

 

28 minutes ago, gettsleazy said:

I think the unfortunate reality we have to accept is that High Road killed the momentum she built with Rainbow and her career is still feeling the ramifications of that. Pop music stans (aside of casual listeners and her own diehard fans) stopped checking for her because it was that bad. She could have easily carved out a nice Kacey/Lana niche if she kept in the folk/rock direction. It says a lot that the only consistently well-regarded tracks from High Road are Resentment and Cowboy Blues.

 

She became a critical and GP darling with Rainbow, so critics gave her a pass on HR because they knew what she was capable of. Gag Order was acclaimed, but nobody checked for it, which is sad, but definitely a mix of sabotage and inaccessible music. I still think it will stand the test of time. 

 

A mainstream pop comeback would have required an album full of JOYRIDE's, not another High Road situation (even though this record is leagues above High Road). Even then, people would have been hypercritical because her past pop music is *that* good. I have a feeling she's never going to be able to fully appeal to pop listeners ever again because people are so hung up on nostalgia and her "sounding like Kesha", so it would be commercially better for her to release a rock/folk record or pop-rock more in line with Rainbow. 

 

All signs point to her not slowing down any time soon, so I'm hopeful her output will increase with her newfound freedom. I think she needed to get some stuff out of her system with Period and that's why it's so polarizing and messy (which is why I enjoy it, personally). She talked on the Monica pod about feeling unsettled by the idea of making/recording music just to fulfill a contractual obligation. Now that she's past that artistic blockage, I imagine she's keen to release music frequently post-lawsuit and recording contract. Rock album next hopefully!

 

EDIT: @collin basically summed up my last thoughts in his post on the other page -- this was definitely an album for her and the fans, and she'll continue to course-correct as she celebrates her freedom. 

Great post bestie. I'll add that she absolutely needs someone that can help her organise the chaos and edit her ideas. I hate to be typing this, but Luke was good at streamlining the mess and transforming it into a palatable product while maintaining her 'messy girl' persona. Same could be said about Rick Rubin who was really successful at helping her express herself and produce something so focused. There is this recent misconception that her music has always been messy while in fact she used to release super sharp pop music that was incredibly well produced and vibrant. It's kinda a mindfuck how the new generations are relating to her old music more than the new stuff. I really believe she doesn't know what actually worked on Animal and why people like it. 

 

There is no shame in getting help in producing something that is more focused. Charli has AG, Gaga worked with Cirkut and Watt and they really helped her create her best album in years, Billie has Finneas etc... Kesha is amazing pop star, a great songwriter, an A+ singer but I do think she needs help to synthesise her ideas. 

36 minutes ago, gettsleazy said:

I think the unfortunate reality we have to accept is that High Road killed the momentum she built with Rainbow and her career is still feeling the ramifications of that. Pop music stans (aside of casual listeners and her own diehard fans) stopped checking for her because it was that bad. She could have easily carved out a nice Kacey/Lana niche if she kept in the folk/rock direction. It says a lot that the only consistently well-regarded tracks from High Road are Resentment and Cowboy Blues.

 

She became a critical and GP darling with Rainbow, so critics gave her a pass on HR because they knew what she was capable of. Gag Order was acclaimed, but nobody checked for it, which is sad, but definitely a mix of sabotage and inaccessible music. I still think it will stand the test of time. 

 

A mainstream pop comeback would have required an album full of JOYRIDE's, not another High Road situation (even though this record is leagues above High Road). Even then, people would have been hypercritical because her past pop music is *that* good. I have a feeling she's never going to be able to fully appeal to pop listeners ever again because people are so hung up on nostalgia and her "sounding like Kesha", so it would be commercially better for her to release a rock/folk record or pop-rock more in line with Rainbow. 

 

All signs point to her not slowing down any time soon, so I'm hopeful her output will increase with her newfound freedom. I think she needed to get some stuff out of her system with Period and that's why it's so polarizing and messy (which is why I enjoy it, personally). She talked on the Monica pod about feeling unsettled by the idea of making/recording music just to fulfill a contractual obligation. Now that she's past that artistic blockage, I imagine she's keen to release music frequently post-lawsuit and recording contract. Rock album next hopefully!

 

EDIT: @collin basically summed up my last thoughts in his post on the other page -- this was definitely an album for her and the fans, and she'll continue to course-correct as she celebrates her freedom. 

Very well put.

 

However I feel like she is going to do another dance-oriented album before returning to anything folk, rock or singer songwriter adjacent. Just a hunch.

I don't know if it's been posted but Fantano made a review of Period

 

 

 

TLDR: He gave it a 4  

 

 

3 hours ago, bearman said:

I mean... it's low because there is no effort to appeal beyond the story she's peddling.

Hot Ones, Chicken Shop Date, Call Her Daddy, Therapuss, Las Culturistas, Track Star, Recess Therapy, a Zane Lowe interview, Last Meals... and the list goes on and on and on. So much could have been done to make her more present this release week. It's really not about smashing or anything, but it's shame that nothing was done. 

Call me crazy but I'm of the belief that we should be happy for the things that we do get, rather than upset about things that we didn't which were just made up in your head. 

 

Her first free and independent album is here and its fantastic, she is happier than ever and is currently on her biggest and best tour. As a fan I couldn't be more pleased with this era, and I don't understand any other viewpoint. 

1 minute ago, fountain said:

Call me crazy but I'm of the belief that we should be happy for the things that we do get, rather than upset about things that we didn't which were just made up in your head. 

 

Her first free and independent album is here and its fantastic, she is happier than ever and is currently on her biggest and best tour. As a fan I couldn't be more pleased with this era, and I don't understand any other viewpoint. 

Happy for you, but if we all had this viewpoint we'll have nothing to discuss. Not directing this at you at all but I wish people had other arguments than 'she's happy' to counter-point any criticism. I'm not even criticizing, just saying that it's shame nothing was done promo wise especially that we had very high expectations on how Crush will perform. 

5 minutes ago, bearman said:

I'm not even criticizing, just saying that it's shame nothing was done promo wise especially that we had very high expectations on how Crush will perform. 

I get it's frustrating that this promo drought occurred and I agree the release week was rather uneventful, but that's really just the logical outcome of the tour coinciding with the album release.

 

Like I just said, it was clear from the beginning that the tour preparation would take priority over the album promo under these circumstances. Honestly, if I was about to perform my biggest tour to date and first arena tour in over a decade with a massive setlist, I also couldn't be bothered to sit down with podcasters to talk about my new album.

 

It'd make more sense to criticize the tour not starting a month later or so and I might agree with that. But we don't even know whose idea that was and why. I don't think it was just Crush.

Daily Mail stanning . with a 4/5 was not on my bingo card .

 

Shame it doesn't count for Metacritic.

 

1 hour ago, bearman said:

Great post bestie. I'll add that she absolutely needs someone that can help her organise the chaos and edit her ideas. I hate to be typing this, but Luke was good at streamlining the mess and transforming it into a palatable product while maintaining her 'messy girl' persona. Same could be said about Rick Rubin who was really successful at helping her express herself and produce something so focused. There is this recent misconception that her music has always been messy while in fact she used to release super sharp pop music that was incredibly well produced and vibrant. It's kinda a mindfuck how the new generations are relating to her old music more than the new stuff. I really believe she doesn't know what actually worked on Animal and why people like it. 

 

There is no shame in getting help in producing something that is more focused. Charli has AG, Gaga worked with Cirkut and Watt and they really helped her create her best album in years, Billie has Finneas etc... Kesha is amazing pop star, a great songwriter, an A+ singer but I do think she needs help to synthesise her ideas. 

I agree with you fully. Any artist needs a collaborator that is willing to course correct and help them edit down. People that would give you **** for this take are missing the point. 

 

I think she was approaching that kind of relationship with Zhone, but he's still relatively inexperienced as a full-blown album producer. His work with Troye was exceptional but his work with her has been a mixed bag (see JOYRIDE vs. Delusional.) Same goes for Pink Slip. Obviously Rick Rubin is out of the question -- Gag Order was a singular experience and he's insanely expensive. 

 

It could be good for her to take the direction of Addison and work with a small, two person production team on an entire album. Drew Pearson and Stuart Crichton could be this kind of vibe for her. She trusts them and they make legitimate magic together. 

Edited July 10, 20251 yr by gettsleazy