My Guilty Pleasure


Generally favorable reviews - based on 13 Critics

Critic score distribution:
  1. Positive: 5 out of 13
  2. Negative: 1 out of 13
  1. It's a sad case of an artist forgetting what makes her great, settling for what makes her merely good instead.
  2. 50
    With a handful of good moments, and one standout track, this sophomore effort by one Sally Shapiro and her producer Johan Agebjörn, is mediocre.
  3. There are a number of songs with enough stuff to listen to many times, but there isn’t anything grand enough to linger in the mind like an inamorata.
  4. My Guilty Pleasure, which, if not boring, is too similar both to her own prior work and that of dozens of other European chanteuses who offer dark, icy ballads striving for breathy mystery.
  5. My Guilty Pleasure is more cohesive, its production more varied, its songwriting more effective.
  6. Under The Radar
    My Guilty Pleasure pleasantly picks up right where Disco Romance left off. [Summer 2009, p.62]
  7. In the meantime, this may be a holding pattern, but it's one worth holding on to. Diminishing results are, after all, still results.
  8. Those needing something to occupy themselves with during Annie's prolonged absence from the fold will find plenty to keep them happy (and, at the same time, a little bit sad) on My Guilty Pleasure.
  9. Q Magazine
    This follow-up to 2006's clubland sleeper Disco Romance revealing a polished synthesis of Balearic beats and featherly harmonies. [Oct 2009, p.116]
  10. My Guilty Pleasure is a very listenable album, with plenty of high points, but overall it tends to fade into the background a little too easily.
  11. My Guilty Romance is not quite as good a record as its predecessor. It just doesn’t have the density of great tunes that made "Disco Romance" such an addiction.
  12. Agebjorn seems utterly uninterested in taking Shapiro to a new place--not even a different dance floor--and though you can't blame him for drawing out a good time, it feels as if we'd been here forever.
  13. Most of Sally Shapiro’s sophomore LP falls victim to that ancient killer of dance music’s credibility: sameness.

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