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All I Ever Wanted is a masterful rapprochement with the mainstream, full of cheerfully ear-snagging tunes, inventive production, exhilarating vocals and enough inherent Kelly-ness to put aside fears that her label bosses implanted blond electrodes in her brain to make her behave.
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She just tries it all, co-writing six of All I Ever Wanted's 14 tracks-- and stumbles only rarely
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No matter the stage of the romance, it's always DEFCON 1 in Clarkson-ville. And on All I Ever Wanted, out Tuesday, that melodrama translates into a delightfully incongruous good time.
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Clarkson's always had the best throaty yell in the business. But now she's becoming a masterful interpreter too.
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On her third album, Clarkson finds a Third Way: She makes nice with the pop machine and takes back the mall while keeping her integrity and personality intact.
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The most immediate parts of All I Ever Wanted read a bit like Kelly Clarkson karaoke: back are the Swedish writers and producers and their laser-guided arrangements, with dynamics that are particularly well suited to her voice, broad, nimble and gale-force strong.
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This is a rare talent and while it's not perfect, largely due to those dreary Tedder tunes, much of All I Ever Wanted does justice to Clarkson's considerable skills.
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All I Ever Wanted, which though always singable swings wildly from bruised to bubblegum, sounds like a team of hired hands writing hits to order. Still, the increased chorus count is welcome and will put a smile back on Clive Davis's face.
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I had to make several return trips to the lyric sheet to clear up which songs were love letters and which were screw-yous. But this sort of tone-deaf emotional bludgeoning tends to work in her favor on monstrous power ballads.
Awards & Rankings
User score distribution:
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Positive: 111 out of 156
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Mixed: 4 out of 156
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Negative: 41 out of 156
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Dec 21, 2012
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Apr 5, 2019
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Oct 31, 2018A tiring and generic album coming straight from America's favorite racist. Yay.