Alexis Jordan - Alexis Jordan, a review

It seems that every year there comes an American talent star to the UK with a considerably bigger success story than she's enjoyed in her home country: Jordin Sparks' follow-up singles did considerably better over here, and Jennifer Hudson and Adam Lambert have also done rather well for themselves. Alexis Jordan, however, seems to have gone the long route - in 2006 she appeared on America's Got Talent, but failed to get past the semi finals. And so she turned to YouTube, which, whilst certainly popular, has had negligible success stories (and the majority tend to be for the wrong reasons). Nonetheless, she appears to have pulled off an Esmée Denters, rather than a phatgaykid.

Debut single 'Happiness' kicks off the album, poised carefully to keep the attention of the fickle and it's not difficult to see why it's enjoyed success - a slow-burning electronic anthem (indeed, cowritten by Deadmau5) with stuttered lyrics and a 'euphoric' moment in the chorus. Similarly, follow-up 'Good Girl' is all pop drumbeats and vague references to fashion, dating and 808s (if someone could comment as to what the hell an 808 is, that would be lovely) and another fine chorus secures its place in the iTunes stratosphere. However, this is where it all goes wrong. 'How You Like Me Now?' is all clattering synths and echoed sound effects that are immediately unoriginal and would struggle to succeed as a Rihanna b-side.


Things are subdued a little on 'Say That', a safe pop ballad that Taylor Swift wouldn't be unashamed of. But again the chorus is tainted by those pesky intrusive synths that are frankly unnecessary. On 'Love Mist' there's at least a quirky tune to thrust things along in a kind of soft-reggae way, but generic lyrics about "the way I feel when we kiss" and "ting-a-ling-a-ling when I think about us" that ticks all of the frustrating pop clichés with depressing tenacity.

The beat of 'Habit' is at least catchy enough to pique your interests and though it could benefit from a better chorus, being again a vague assertion about how irrelevant material wealth is in place of love. 'Hush Hush' doesn't just borrow a name from the Pussycat Dolls, being a confident assertion of seduction with all the convincing delivery of Diana Vickers (read: not much). Nevertheless, the chorus is all hands-in-the-air and a typical, what I hereby coin, Guetta-blaster.

The tune to Ladyhawke's "Magic" might stir a few in 'High Road' and despite the similarities it's quite easily the album's best track that isn't a single. Like the best of Xenomania productions it's full to the brim with hooks and effective precision. It's just a shame it's followed by the wall of shite that is 'Shout Shout', yes, a torrid sample of the Tears for Fears anthem. As if the song wasn't already tainted by recent offerings.



'Laying Around' is all tambourines and Disney guitar chord sequences, delivering saccharine romantics with cuteness and predictability, but at least with a catchy enough chorus. And we finish with 'The Air That I Breathe', thankfully this time not a cover - but it seems to be the revelation of the Alexis Jordan that got her a record deal with Roc Nation in the first place. Her voice is more than capable when given the right song and neglected of the wrong corrective equipment. Unfortunately, this isn't much of a redemption, and the song is more dull than dazzling.

It just seems all too unlikely to end well. With a market full of Alicia Keys, Jennifer Hudson, Jordin Sparks and a bubbling undercurrent of Adele, Dionne Bromfield and Alexandra Burke, there really isn't much of a market for pop-tinged songstresses, and given Jordan's lack of creativity it's hard to see where she goes next. It also seems a mighty shame to take such a voice and tamper with it for the purposes of selling out. Either way, I can't say that I'm bothered in the slightest. Farewell, Alexis.

Rating: 3/10
Highlights: Happiness, High Road, Good Girl, Habit
Avoid: Shout Shout, Love Mist, Say That, Hush Hush