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Bottom line, this is neither a great nor a poor Ashanti album. It's decent, just like the rest of them.
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On the synthy, Darkchild-produced 'So Over You,' Ashanti croons about getting past a former relationship, while the Jermaine Dupri-mixed 'Good Good,' featuring elements of Michael Jackson's 'The Girl Is Mine,' finds her confidently belting about her abilities to please in bed.
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Ashanti’s still got a decent voice, but she’s badly in need of a better songwriting and production team.
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On her fourth album, she's still doing the diva-by-numbers thing, alternating between angry-at-her-man anthems and lovey pleasantry.
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Past releases have displayed an ostensible desire to follow in the melodramatic steps of Mary J. Blige and much of Declaration continues in that quest.
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Entertainment WeeklyThe Declaration simply doesn't make much of a statement, and its high point isn't enough to unseat the Beyonces and Mary J.'s of the world. [20 June 2008, p.66]
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After four years away, Ashanti declares that she's back, but this middling, familiar set of songs is unlikely to reclaim her spotlight.
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But even with all the emo-passion, nearly half of this album is lukewarm.
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Nelly and Akon do a reasonable job of making 'Body On Me' sound almost like a single, but it's not enough to change the fact that what could well be the best album of Ashanti's career is almost certain to be her most overlooked.
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Sleek but insubstantial fourth outing from R&B songstress.
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UncutThis is too timid for modern R&B, too bland to rival Blige, and won't halt the sharp decline since 2003's "Rock Wit U." [Sep 2008, p.110]
User score distribution:
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Positive: 25 out of 113
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Mixed: 65 out of 113
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Negative: 23 out of 113
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Jun 29, 2022
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May 30, 2022Body On Me is the only song on this album thats worth listening to, everything else sounds so dated.