It's goodbye to the good girl indeed with the release of Ariana Grande's third studio album "Dangerous Woman," which became available midnight May 20, 2016. Grande's newest record skyrocketed on the charts ahead of the also much anticipated "Lemonade" and "Views," both released earlier the same month. With tracks featuring collaborations with the likes of rappers Nicki Minaj, Lil Wayne, and Future, to the soulful sounds of Macy Gray, the album is a breakthrough in Grande's new, more grown-up image, accompanied by her usual powerhouse vocals, silky-smooth falsettos, and killer riffs and runs evident in her past 2 albums. "Dangerous Woman," much like its predecessors as well, is reminiscent of timeless 90's R&B beats and is a consistent blend of old and new, which is clearly discernible in her new, more mature and refined sound introduced in this album.
Composed of 11 tracks on the standard edition, four of which were released ahead of the album itself in the promotional manner she is known for: "Dangerous Woman," "Be Alright, Let Me Love You" featuring Lil Wayne, and "Into You," respectfully, were used to showcase the general feel of the album. The album boasts influences from many different genres, such as pop, R&B, reggae, house, electro, disco, and dance pop, therefore helping Grande find and create her particular blend of originality for the third time with the release of this album. Originally thought to be titled "Moonlight," after the first titular track on the album, the album title changed in favor of the first released promotional single instead due to the singer's desire to empower her fans and portray herself in a new light.
"Moonlight" is one of the more mellow and romantic tracks on the album reminiscent of the 50's swing and doo-wop vibes present in the ballads on Grande's first debut album, "Yours Truly," such as "Honeymoon Avenue," "Tattooed Heart," and "Daydreamin'." As the first album was a 'throwback' of sorts to the kinds of music Grande grew up listening to, this song is a throwback to the beginnings of her own personal sound.
"Dangerous Woman" was the first promotional single released and the subsequent track the album was named after. The song, accompanied by Grande's new film noir slash superhero slash princess slash bad bitch image, sent listeners into a frenzy as it was a far cry from the image and sound portrayed in "Focus," which wasn't too long ago, fans note. This song set the tone for the entire album as it was the single that introduced her new, more refined sound and image. The song currently has 1 visual accompaniment available on the singer's Vevo channel on YouTube, with another one to come in the works.
Probably the track with the most influence from the popular 90's hits she is known to sample from. "Be Alright" is the second track released from the album beforehand, the first instance of which it was "released" was when she performed it during the second musical performance on Saturday Night Live as both host and musical guest star.
The fourth and last song to be released before the album itself, "Into You" was surprisingly also revealed to be the second promotional single from the album. The pop/electro single was recently praised by fellow singer Lorde when she Tweeted, "also the first sentence, that "I'm so into you / I can barely breathe" is like maybe the closest to pop perfection i've ever heard." I'll have to agree with Lorde on this one.
Having worked a couple times with Nicki Minaj before, this collaboration follows the perfected template the two have become used to, creating a balance between easy listening and unusual jam session material. The first track to draw inspiration from reggae, Grande tries her hand at still making "Side To Side" sound a little like home with her effortless riffs placed strategically throughout the song.
Yours truly's current personal favorite. Reminiscent of a previous collaboration with ex-lover Big Sean in her sophomore album "My Everything", the song drew several comparisons to "Best Mistake" (one of yours truly's favorites off that album as well.) "Let Me Love You" is the third song to be released before the album itself, and the second song to have a visual accompaniment available on the singer's Vevo channel as well.
Another heavily influenced track by the 90's with a disco twist; if "Focus" is "Problem's" older sister, then "Greedy" is their older brother. Probably the track with the catchiest beat, with potential to become a single.
Probably the most remarkable track on the album vocal-wise. "Leave Me Lonely" opens with a dramatic and jazzy intro by the amazing Macy Gray, adding Grande's soulful soprano range and haunting backing vocals equals auditory masterpiece. There really isn't anything better than two strong feminists singing about walking away from dangerous loves.
"Everyday" is an example of one of the newer sounding songs on the album. It's the kind of song I wouldn't be surprised to hear getting overplayed on the radio. (Also correct me if I'm wrong but do I hear "Panda" being sampled in some parts in the background? Ariana's got broads in Atlanta. Ariana's got broads everywhere.)
True to her R&B roots, Grande mixes what she knows with the same reggae influences found in "Side To Side" making "Sometimes" a track mellow enough for easy listening. This particular song is reminiscent of a song from her second Christmas album, "Christmas & Chill", "Winter Things," proving that inspiration can be found anywhere and at any time of the year.
To read my review of Grande's "Christmas & Chill" album, read it here: https://www.theodysseyonline.com/ariana-grandes-ch...
A dramatic end to the standard edition of the album, "I Don't Care" is far from your typical hater anthem. A laid-back throwback to her base tone genre, this R&B track is an unapologetic apology for who she is as a person and as an artist; an amazing close to a work of art.
Deluxe/North American edition bonus tracks:
There has to be at least one rebellious pop hit in her albums, and in this album, "Bad Decisions" fits that mould to a T. A taste of Grande's personal brand of sass accompanied by her typically perfect phrasing makes this song a must-listen. As if an answer to why she chose to drive her image a different direction, ain't you ever seen a princess be a bad bitch?
Another rebellious pop hit Grande hits out of the park, "Touch It" is a mix of the old and new genres she's experimented with in her third studio album.
"Knew Better/Forever Boy" is the third in a sequence of slow pop jams leading to the close of the album.
Another of yours truly's favorites. A perfect balance of Grande's vocal capacity and control and catchy reff make this song a great end and summary to the deluxe/North American edition of "Dangerous Woman". It weaves seamlessly into the first track "Moonlight" as well, making for endless album replays.
My overall opinion on this album?
Grab a copy at your nearest Target.
