#and Kesha ended in a whole year long legal battle

[hezuart]

What do you think of the newly revealed casting in Hazbin Hotel?

So right off the bat, just gonna say replacing all the indie VA's with bigger name broadway stars is a very Vivzie thing to do. It's not Chris Pratt as Mario levels of upsetting, but its still very unfortunate, especially considering that most of the new VA's sound... extremely close to what the previous VA's were going for in the pilot. So the replacement seems a bit sore or unnecessary. I've been told several times by my voice acting friend that this isn't an issue of Union Contracts, but an issue of replacements in favor of more famous talents and burned bridges amongst staff with Viv. Which, you know, if the VAs did undergo unfair treatment of any kind and didn't care leaving the project then kudos to them, but if its not the case for all of them and they were booted off without warning, I'd probably be hurt too.

But I'll be honest in saying Erika, Charlie's new VA is a better singer than the pilot singer. The pilot singer's voice was a little too high pitched, but it could have also been the fast high key song that made it difficult.

Vaggie's VA Stephanie voiced Mirabel from Encanto. Again sounds pretty close to the original VA, just maybe a pinch deeper.

Angel's VA is a bit more nasally and croaky? But only by a little.

Alastor's VA doesn't have as thick of an accent as Bosco gave him, but again, its very subtle. Husk's new VA on the other hand is straight up Keith David. Cat from Coraline and the Witch Doctor from Princess and the Frog. Husk sounded like a deeper more dead inside Rick Sanchez in the pilot but now he's gonna sound like a... suave jazz singer???? which is a very different take on his character.

Niffty's VA Kimiko is straight up Peni from Spiderverse. I think Viv said she imagined Niffty was half Japanese and from the 50s (Japanese Concentration camps ended in 1946??? I feel like that should effect Niffty's history) Her original VA wasn't Japanese, but she was bilingual and was an Japanese exchange student. So one could make the argument, that is to say if Niffty's Japanese heritage is actually going to be legitimately utilized, that Niffty got a new VA to prevent white washing. But I'm not one to representatively speak on a topic like that.

Alex Brightman is already the VA for Fizzarolli from Helluva Boss, so him as Sir Pentious makes sense. But I think Stamper the original VA already had a really good voice for that character. Perfectly quirky and evil.

So really I feel like maybe one or two characters have significant voice changes while the rest sound almost exactly as they did in the pilot. They are indeed very good VA's and singers, I'm excited they got this opportunity and I'm excited to see what they bring to Hazbin. On the other hand I just feel so awful for the indie VA's that got replaced because they're not famous broadway singers.

Like that's kind of the whole point of being Indie? Not being a big, major, famous company? Not having big major famous people?

But well, Hazbin Hotel was sold to A24 so... they're certainly not indie anymore.

#hazbin hotel #hazbin hotel critical #its just that viv with her indie studio is still trying to hire big names #she tried to hire Norman Reedus and Kesha and both didn't end very well #norman being too expensive and too busy to bring back on #and Kesha ended in a whole year long legal battle #like girl just hire indie!!! make something of the unknown folk! #i think the original VAs for Angel Alastor and Husk were the best #they were really good and fitting of those characters #the others i werent as attached to i suppose i also liked vaggies #so yeah its a little sad #text post #ask

[lalalouie]

Err, do YOU understand how the legal system works? If Louis stood up tomorrow and said he wasn't Freddie's Dad, how would that result in a years long legal battle with Sony? It would be SONY that would have to pursue legal action, not Louis. And what exactly is Sony going to argue before the court? "Your Honor, we faked a child, obtained a real birth certificate for a fake child, forced Louis to pretend to be the father, and now he's blown the whole thing so give us his money"? Are you 12?

aldjakdkfka you’re really being like this?! What world do you live in where people who have signed contracts in the music industry can wake up any random morning and publicly state whatever they want without any ramifications?! WHEN HAS THAT EVER BEEN THE NORM?! how many fucking times do we have to point out cases like MJ, Prince, and Kesha? You do not go up against record companies and win. You spend millions of dollars on lawyers and years arguing with them in court and in the end you lose.

(Did you literally think i meant they’d demand his money from him in court? It gets tied up in lawyer fees you nutsack. Imagine the cost of paying top notch attorneys for years when they bill at $400+ per hour?!)

#i said i wouldnt answer again BUT HERE I AM being WEAK because IM TIRED

[yaz-the-spaz]

Hey I have a question, nothing to do really with your current convos but I had seen this video about zayn being forced out of the band. I personally don’t believe this because of all the stuff he was going through with his mental health and his ED but the video was saying how naughty boy was paid off and that the zouis fight wasn’t them it was management . They also touched on the subject of zayns contract almost ending and how he would have to pay like (cont)

How he would have to pay a shit ton of money to get out of the band ..which could be total bs idk I have no idea how that works. After googling tho I found like a tweet from naughty boy saying like “zayn who” or something like that. Also how like at the Asian awards he was with Preston which was weird cause Preston works with 1D and zayn was seen with him even after he “wasn’t suppose to”??? I couldn’t really find anything tangible. So I just wanted your opinion on the whole z being forced out

hoooo boyyyy, so this is a complicated question and i would recommend taking a look through my zayn leaving tag after reading this and i’m probably not gonna address every single thing you mentioned here just cause i feel like a lot of it has been talked about ad nauseam and you’ll probably see quite a bit of what i mean when you read through some of the stuff in the tag though i will try to address as much as i can, but i do fully believe that zayn’s departure was not all of his own choosing. emphasis on ‘not all’ because as i always say we’re all speculating here and ofc have no idea of the details of what all actually went down or how it played out but my current standing at the moment, having marinating a lot on the things he’s said and the way he said them over the years in addition to the events surrounding it all (the e.d. and visible weight loss, anxiety and depression ramping up, etc.) and just his character in general, is that if he wasn’t altogether forced out against his will and if it really was his own decision to leave it was because he felt like he had no choice (and therefore was essentially still forced out to some degree imo), whether because he was given some sort of ultimatum or manipulated somehow or felt like it was the only way to save himself and his relationship or what-have-you.

this ofc is gonna get wayyyyyyy long i already know, so putting the rest under a read more…

first off we’ll start with the bit you mentioned about having to pay to get out of the band. if you look at this all from a legal standpoint, there were a ton of contracts that were still in place (marketing/commercials, public appearances, events, the tour/performances, etc.) with the expectation of the participation of the band as a five-person unit, not to mention the contracts up the yin yang they would’ve had with the label and mgmt in general ofc. all of those contracts would have presumably included zayn as a still-standing member of the band at the time, and necessitated his signature/agreement in some shape or form to comply and fulfill whatever obligations those contracts entailed. those don’t just go away overnight. let’s say there were around half a dozen major companies if we’re being modest (i’m sure there was more than that but we’ll just go with that for example’s sake), that they still had existing/standing contracts with to do appearances and endorsement deals or events with. you can’t just call up half a dozen huge companies and be like ‘hey, yeah remember that contract we signed last year where we promised all 5 members of the band would show up to fulfill that obligation you wanted? well, we’re gonna have to cancel, so yeah what do you say we just rip all those up, pretend it never happened, draw up all new contracts for a 4-person band instead, and we’ll call it even?’ hell no. those companies/people are gonna be pissed as hell that they’re not getting what they’re paying for and are gonna want a shit ton of money for nulling/violation of contracts, the paperwork alone would be a mess (a la harry’s joke in the four interviews), not to mention the probable souring of what i’m sure were some long-standing business relationships. all of that is gonna be a huge months-long legal mess, involving lots of lawyers, lots of money, lots of sour feelings all around, lots of legal in-fighting, and back-and-forth paperwork, etc. then you’ve got the contracts zayn had with the label itself (and by proxy, mgmt) which presumably would have included his contractual agreement to finish the tour, be involved in any future albums obligated in their record contract, make appearances, do promo, etc. all of those contracts don’t go away overnight either. so the idea that zayn just woke up one morning, decided to leave, and hopped on a plane and that was that is pretty ludicrous imo esp when you consider all the things a contract can force a person to do even at risk of their mental and physical health (take a look through my contracts tag for more on this and/or look at rebecca ferguson’s situation for example). and even when you look at it from the flip-side, from sony/syco’s pov, when you consider all the things they’ve done just to keep people beholden to their disgusting shitty contracts, it’s absolutely mind-boggling to me how anyone would think they would just let zayn, 1/5 of their biggest money-making enterprise, just up and walk away without suing him up the ass and without any kind of repercussions (just look at kesha, for example). so yes, i fully believe that whether it was fully zayn’s decision to leave or not, he would have had to pay a fuck ton of money and legal fees and go through a fuck ton of shit to get out of all those contracts, and they would not have let him go that easily unless they were getting something they wanted out of it

(and side note: i think his $10 mill drop* in networth compared to the other boys shortly after he left, shows all that pretty clearly too) 

on the matter of him still appearing with 1d staff, that’s honestly the biggest proof there is that he was still connected to the band and to syco/sony even after he supposedly “left” and also a big part of what fueled the rumors/theories that he might still be coming back at the time. because, if i remember right, he was still listed officially as like a share-holder or partner or something in 1d’s business ventures for like a year after he left and also a ton of other legal/business-y stuff. if he had really cut all legal and monetary ties (and contracts) with 1d and syco/sony and every person or company associated with them within those first few days after he left as was claimed, WHY was he still publicly listed as a partner in all of 1d’s business enterprises over a year after he had “left”? why was he still employing/working with people on 1dhq’s payroll months after supposedly severing all contracts with them and everyone related to them? if he really had cut all ties and was completely alone and removed from everyone in 1d and 1dhq as he claimed in interviews and even in his book after the fact, then how was it he was still using 1d’s same security guards and staff? you’re telling me the company he just went through this huge public nasty legal and monetary battle with and violated a shit ton of contracts with to get away from is now totally a-okay with just letting him continue to use their employees? nah fam. literally nowhere in the business world is that believable. if i was with some company for five years, and then just up and quit in the middle of a huge project and cost them a shit ton in legal fees and violated all sorts of business contracts and company rules on my way out, they’re sure as hell not just gonna let me walk right back in and borrow one of their employees for my own private use

as for the zouis twitter fight, considering all the heaping evidence we have of 1dhq abusing using their accounts for nefarious reasons, it’s not at all far fetched to me to think that that fight could have fabricated, esp cause the quote on quote “feud” between them (and between zayn and ot4 in general) really only played out through twitter and print media, and personally i just have a hard time believing anything that plays out strictly through those mediums esp so publicly and also a hard time believing that liam and louis’ friendship would have remained so steady and seemingly positive/strong whilst louis publicly shat on liam’s best friend/boyfriend (depending on what you believe) over social media, though i mean it’s all a matter of opinion, and i’m in no way trying to force you to adopt my point of view if you believe their rift was genuine, that’s just my take on it

anyway, all that said, it has just never made sense to me that he would risk all the monetary and legal blowback/repercussions (not to mention the isolation, public ridicule, and and uncertainty/instability of starting all over with his career and contracts and business connections, etc. all of which one would think, if anything, all the stress of which would only make his mental health worse not better) that quitting the band would entail, especially mid-tour. like why not quit during the break they’d just had a couple months before? or wait it out just a couple more months esp knowing (which i’m sure he did by then) that the hiatus was coming up? and all this happens right before they’re about to go to the very countries that he has the biggest fanbase/the biggest connection to (middle east and northern africa - predominantly muslim countries) for the first time in their careers? it all just seems very fishy. and i also just don’t think he’s so callous as to have left them all high and dry like that in the middle of a tour unless there was some degree of manipulation/enforcement involved, but again that’s just me. take all this as you will and take a look through some of the stuff discussed on those tags i linked above and you can make up your own mind, but feel free to come back here if you have more questions or wanna talk further about any of this, and i hope this long rambly ass dissertation of an answer (sorry lol) finds you well :)

#asks #brodferd #zayn #zayn leaving #theories #speculation #good lord this took me like two hours to answer #i really hope this gets at least a couple of notes #but also considering it's hella long i wouldn't blame ppl for not reading it lol #(*at least i'm pretty sure it was around 10 mill or something like that #just pretty sure i recall his networth dropping down to like 30-something mill #while all the other boys stayed around 40)

[dearly]

The buried Instagram comment and hastily deleted tweet have become a kind of desperate cri de career for female artists who have founded professional lives on on bold statements. This weekend, both Madonna and Grimes used Instagram’s comments section to express their frustration with how their respective teams were handling their new material.

On Saturday Madonna’s manager, Guy Oseary, posted a glowing tribute to Madonna’s album Ray of Light on its 20th anniversary: “Love this woman. Love this album,” he wrote. Deep down the comments thread were two contributions from the artist herself. “Can you help me now please!! 😂” read the first, followed by a pointed addendum that referenced her work with William Orbit on the album. “Remember when I made records with other artists from beginning to end and I was allowed to be a visionary and not have to go to song writing camps where no one can sit still for more than 15 minutes … 🔥🔥🔥🔥🔥 coming soon”

Also on Saturday, Grimes (AKA Claire Boucher) revealed in an Instagram comment that she’s recording two albums to follow up her 2015 record Art Angels, one expressing “extreme darkness and chaos”, the other, “glorious light”. These would appear “separated by a period of time”, she wrote. “One final album for my shit label”, followed by another “on a label of my choosing”.

This wasn’t the first intimation that Grimes is struggling with the independent 4AD. Earlier this month, she told one fan that her new album was due this year. But two weeks later, she edited an old Instagram caption to read, “no music any time soon after all music industry is trash”. On Twitter, she explained to a fan: “I’m not allowed to say but there r people involved in my career who would rather destroy me than build something. indie music is more about egos than money. if u hurt someone’s ego, they don’t mind forgoing what you are potentially worth to them to take u down”.

The tweet was swiftly deleted, as was another, reading: “srsly fucked up and crazy shit going behind the scenes in my career this whole time i’ve never spoken of to protect myself legally”. Grimes and 4AD have unfollowed one another on Twitter. (4AD has declined to comment on the matter.)

One is the greatest pop star of all time, the other an avant-garde visionary whose comparatively short career is disproportionate to her vast influence. Both are fighting for creative control in an industry that loves to sell the idea of female independence but does not like to enable it. Their remarks – the modern equivalent of messages curled into bottles and thrown hopefully into the sea – are a reminder of the price of creative freedom for female artists, and the action they have to take to be heard.

The platforms on which Madonna and Grimes are protesting may be new, but the issue is as old as pop itself. Over the past few years we’ve seen Kesha fighting to free herself from her contract with the producer and Kemosabe label founder Dr Luke, alleging sexual and emotional abuse. (Dr Luke, real name Lukasz Gottwald, denies the allegations.) Both judges and parent label Sony declined to release her from her contract; the trade-off was Rainbow, her third album, and the first that reflected her “true” musical influences and that was “truly from the inside of my guts” – released on Kemosabe.

In the 1980s and 90s, Aimee Mann fought relentless battles against her record labels – firstly with the band ‘Til Tuesday, then as a solo artist – to be able to release her music when A&Rs failed to hear a hit among the material. (Eventually, she gave up and started her own label, Super-Ego, which has buoyed her career ever since.) Interviewing young female musicians last year, the Guardian’s Harriet Gibsone found many of them lamenting that they were being forced to dilute their originality to reach the broadest audiences possible. “I had to learn what compromise was at a really young age,” said the solo artist Raye.

In the wake of the #MeToo movement, and given the lack of a Weinstein-level reckoning in the music industry, there is a laser-sharp focus on the power dynamics that lie behind female musicians’ careers. This is paramount. But equally worthy of scrutiny are the creative limitations placed on female musicians, and the commercial funnels that they’re forced through to get their music (or some semblance of it) out there. Male pop stars are allowed to be auteurs now; more often than not, women have to conform to narrow ideas of what is marketable. As Grimes would seem to testify, any attempt to challenge that may have serious repercussions – and when many artists on major labels are tied into decade-long contracts, the odds of escaping an adversarial working relationship aren’t in their favour.

Put it this way: while Madonna is subject to a songwriting crapshoot, Justin Timberlake – an artist of nowhere near her stature – gets to release a 16-track longueur about his weird woodsman fantasies, made with an intimate team. I know which one I’d rather see reined in. Maybe Madonna doesn’t have another Ray of Light in her – but after 36 years in the business, she’s at least earned the right to give it her best shot.

#music #grimes #madonna #culture #kesha #this is something they exercise with male artists they don't value also though lbr #i didn't see those other grimes comments i'm not surprised though #music industry #music industry: case study

[latesthollywoodnews]

Kesha REVEALS Katy Perry Was a Victim Of Dr. Luke in Texts to Lady Gaga?

Kesha REVEALS Katy Perry Was a Victim Of Dr. Luke in Texts to Lady Gaga?

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Allow us to break it down for you… People magazine recently obtained court documents, first published by The Blast, which reveal that Kesha may not have been the only pop star that was allegedly raped by well-known music producer, Dr. Luke.

According to the court docs filed by Dr. Luke’s legal team, Kesha sent a text message to Lady Gaga in 2016 claiming that Katy Perry was a victim of his as well. Now, these allegations have become a key point in Dr. Luke’s defamation suit against Kesha, and after a judge dismissed Kesha’s abuse claims in 2016, there’s no telling how this will end.

The documents, which were originally filed on May 31st, focus on the text messages sent to Lady Gaga. QUOTE, “In this text message, [Kesha] also falsely asserted that Gottwald (professionally known as Dr. Luke) has also raped Kathryn Hudson (professionally known as Katy Perry). Following this text message, and with [Kesha’s] encouragement, Ms. Germanotta (Lady Gaga) spread negative messages about Gottwald in the press and on social media.” Wow.

We know what you’re thinking: This is a MESS. But honestly, it’s about to get a whole lot messier. In a statement that Luke’s legal team made to People, they’re claiming that Katy has denied Kesha’s allegations that Luke raped her.

The statement to People says, QUOTE, “Katy Perry herself confirmed that Dr. Luke did not rape her. Kesha’s accusation to the contrary— just like her other outrageous lies about Dr. Luke— is baseless and irresponsible, and it is disrespectful to both Katy Perry and Dr. Luke.”

Despite the claim that Katy denied the allegations, though, it’s still important to note that she split professionally with Luke several years ago. Of the decision to no longer work with him, Katy told the New York Times, QUOTE, “I had to leave the nest.” Interesting…

To this day, Dr. Luke denies any and all allegations of rape. In February 2016, he tweeted, QUOTE, “I didn’t rape Kesha and I have never had sex with her. Kesha and I were friends for many years and she was like my sister.”

From a legal standpoint, Kesha never got the justice she was seeking. She did, however, release her third album, Rainbow, which is her most raw and honest release yet. In June, she told Cosmopolitan, QUOTE, “I’ve taken ownership of myself. I’m taking control of my life and my name and the music it’s attached to.”

As for Gaga and Katy, a rep told Rolling Stone in July of last year that Lady Gaga would present all of the relevant info she has to the court. It’s also known now that Katy has been deposed as a part of the lawsuit, so depending on what was said, it’s anyone’s guess on how this legal battle could possibly end.

So, what do you guys think about Kesha’s alleged texts to Lady Gaga? And, while you’re at it, do you think Dr. Luke can actually win this defamation suit? Sound off in the comments section below, and then click right over here to get your first look at Wonder Woman 1984. Thanks for watching Clevver News, I’m your host Renee Ariel and I’ll see you next time!

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[girl4music]

Track by track review of Kesha’s ‘Rainbow’

This album has been highly anticipated for 5 years due to all the legal trouble between Kesha Rose Serbert and Lukasz Gottwald (known to the music industry as Dr. Luke). I won’t go into too much detail about this as it’s about Kesha’s music, but I will say that I’m so glad she got away from him. Personally, I feel she should of got away from RCA records as well since they were aware of what was going on between them and didn’t do a damn thing to help her. But anyway, that’s not my business to have any kind of opinion on. So long as she’s safe. I have actually never bought any material from Kesha at all. Not just because it’s Dr. Luke’s productions but also because it genuinely is terrible music. I’m someone that prefers real instruments, non-autotuned vocals and lyrics about something other than partying, drugs, alcohol and sex. That’s the main difference with this album now that’s she’s free to be as creative and expressive as she wants to be. It’s REAL, it’s HONEST, it’s AUTHENTIC and it displays Kesha’s surprisingly VERSATILE vocals. I’ve always considered her an artist with far more potential than what she was allowed to showcase as a singer/songwriter. I never blamed her for that. I knew it was down to Dr. Luke and the label why she was releasing rubbish. So that’s a big reason to support this album. It’s important. If you care about that, then please support it.

Fair-warning: There is a lot of swearing, profanity and explicit lyrics in this album, however, it’s used more as genuine expression than shock value. She’s clearly a swearer. I have no problem with that because so am I. For me it just makes it all the more real because I can tell it comes from a sincere place. And a swearer tends to be more honest and frank. People with a lot of integrity, which I respect. But I just put it here so you were aware of it if it’s not something you like. Now we’ve established my views on the album, let’s get into the review itself.

1. Bastards

It’s an acoustic. Right off the bat Kesha tells you she’s going in a completely different direction musically to what you know her for previously. It also seems to be a live recording but I could be wrong about that. It just sounds like it to me. It’s just a song about how you shouldn’t let the “bastards tear you down”. The haters, naysayers and doubters won’t change the way she feels about herself. It develops heavier and fuller instrumentation towards the end giving it a climatic and empowering finish. Good opener but a song that pales in comparison to some of the others on the album. It’s nice to hear her do something more stripped back for once though. 6/10

2. Let Em’ Talk

This is a collaborative effort with a band called ‘Eagles Of Death Metal’. Despite the name they are definitely a Rock band, not Metal. She has two tracks with them on this album. When I heard this song it was a shock to me. I never thought Kesha would touch anything Rock. This just exhibits how versatile she really can be when she is free to showcase all she’s got as an artist. Now I’m a Rock lover, especially Pop/Rock, so this track appeals to me more so over the first track. Kesha isn’t a powerhouse vocalist but she seems to be able to do Rock quite well. She vocalizes some ‘yows’ which is more appropriate for the Rock genre than Pop. It’s a guitar-driven uptempo where she’s just letting loose and having fun. Much more the kinda thing I’d listen to so I’m biased with this one. 9/10

3. Woman

Another collaboration. This time with ‘The Dap-King Horns’. A Jazz, Funk and Soul band. Very interesting choice there. She definitely isn’t going for the mainstream names. Some would say that was risky if she wanted to be successful, but I say this album isn’t about sales. It isn’t about having chart hits. This is her chance to showcase who she really is as an artist and change the general public’s perception about her and she really needed the opportunity to be as creatively involved as possible.  This album is for her. She’s certainly changed my mind about her, although I never really had a negative opinion to begin with. Like I said earlier in this review, I knew it was all Luke making the creative decisions and making her do music she didn’t really want to do. You’ll be surprised how often that happens in the music industry. It’s really upsetting. But I always say the same thing, if you are authentic to who you are as an artist, success will come to you. Never sell yourself out just to have a hit. It works but you will not feel accomplished whatsoever. It’s the easy way, not necessarily the best way. It really depends on you and what kind of music you are passionate about. This song is a statement of feminism. As the chorus’ lyrics say, ”I’m motherfucking woman, alright?” She absolutely SELLS that assertive, independent attitude. A true Amazon. Great song, very addictive. I can see this being played frequently on Jazz and Soul radio stations and appealing to adult audiences. Giving her that musical accreditation she deserves. 10/10

4. Hymn

This song really hit me hard. I will admit that sometimes I feel like an alien to my own planet. That I don’t belong here but somewhere in outer-space instead. A theme she comes back to at the end of the album. Lyrics such as “If we die before we wake, who we are is no mistake. This is just the way we're made” resonate with me so much that it made me burst out crying first time listening to it. The lyrics completely relate to my experiences on a daily basis going about my day in the society I was born in. Just feeling like I don’t fit in and nobody understands me. I am comforted with the thought that I’m not the only one who feels this way. This song reminds me that I don’t need to fit in because I’m meant to stand out and my individuality shines. Every negative experience I have regarding this makes me a stronger and wiser person. Musically the song is much more on the Pop/Electronic side which isn’t really my cup of tea but the lyrics over-shadow that for me. It’s a beautiful ballad and it’s not all electronic. There’s a lovely guitar instrumental in it that balances the electronics out. This one means a lot to me personally so it gets a high mark. 9/10

5. Praying

We’ve all heard this one by now. The power ballad and debut single from ‘Rainbow’. This is what initially caught my attention and made me want to check out the album when it released for what else she had. It’s empowering, inspiring, motivating and an all out absolutely stunning song musically, vocally and lyrically. A real stand out and deserving of being the debut single. I’ve never heard a ballad from her before this so it really shocked me to learn that it was Kesha. She had this emotive voice inside of her and was chained to Dr. Luke who would never let her expose it for all to hear. The song is about her battles with this monster and recovering from all the internal damage he caused her emotionally and mentally. Recovery albums are often cited for being “attention-seeking” and “sob-story” and therefore not taken seriously as true creative works. But I adamantly disagree with that because people who listen need to hear the message that it is possible to recover from addiction and eating disorders. Moreover, music is a Universal language and can be cathartic medicine for the mind and soul. It does more to help and heal emotional and mental trauma and turmoil than conventional therapy. Music about recovering from that is very important and needed to reach out to those who feel like they have no way out and are afraid to ask for help. This was the situation Kesha was put in and this is her finally expressing it and showcasing what’s she’s capable of as a vocalist while she’s at it. 10/10

6. Learn To Let Go

Another song that I relate to and resonate with to a considerable degree. The song is about learning to let go of the negative experiences of the past and the things you’ve done or said as a result of that. Chaining yourself to them and letting those lower vibes take control and define who you are as a person. The song basically tells you that you’re not a bad person even if you’ve done bad things. All of it just brought you where you are today and made you who you are now. It’s all been for a reason and it was a positive one. The song also mentions, that sometimes you will give this message to others but you won’t listen to it yourself. You don’t practice what you preach. You don’t try to make your life any better by changing the way you view and think of it. It’s an introspective and thought-provoking song that may help you recognize how you see yourself and the world around you and that it’s only weighing you down to feel resentment and contempt towards yourself. It’s not helping you, it’s hurting you. The song will make you look in the mirror at your own reflection and see the soul more so than the body, helping you to realize you’re no worse or better than anybody else. It’s also Pop/Electronic musically but again, the lyrics and real drums/percussion really make up for that. 8/10

7. Finding You

This track is another acoustic. Also one of the few songs on the album about love with another person and being in a relationship. Not anything to shout about lyrically. A bit repetitive but I like the whole future life line “I know forever don’t exist, but after this life, I’ll find you in the next”. Builds in production and tempo after the first verse when the guitars and drums come in. Tempo changes make this song much more interesting than it would without them. Not really much else to say about it. I like it but it feels more like a filler track that doesn’t really fit with the overall theme and throws it’s consistency off. It’s one you’d probably skip after a few times listening to the album all the way through. 4/10

8. Rainbow

The title track and the foundation to the concept of this new revolutionary era for Kesha. I was reading Kesha’s commentary about this song. She explains about where it started and how it led to her coming up with the entire theme and musical sound of the album and how writing it and playing it constantly on her toy keyboard in rehab saved her life. It was pretty much her way of processing her emotions and thoughts. Helping her to express her feelings and all the negativity that was plaguing her mind. Just like I mentioned earlier, music is a far more effective way to overcome pain and depression. ‘Rainbow’ was the beginning for a whole new life for Kesha. Born from the ashes of self-hatred and abuse came this beautiful song about loving yourself and caring for your mental health. She calls the song and the album ‘Rainbow’ because for her the colours of the rainbow represent freedom, hope, light and acceptance. All of which she needed to recover from her deep troubles. And according to her, it’s no coincidence the colours are the symbol for the LGBTQ community for they need those themes too. It’s a flowing orchestral ballad. There is a live orchestra which lifts the song into the stratosphere. If fact, if you close your eyes while listening to it, you can feel yourself being lifted above this Earthly plain and into Heaven. Watching and listening to Kesha recording it you can see just how joyful and free she is. Her face lights up and she looks like an angel. Just thinking about what the song makes me feel listening to it with my eyes shut, it probably feels exactly that way for her too. Like flying into Heaven, unrestricted and answering to no one but her own Higher power. 10/10

9. Hunt You Down

Kesha goes Country! This was really interesting change in the album. We’ve had Rock, Pop, Electronica, Jazz and Power Balladry thus far. Now we have Country. This album truly is versatile musically and vocally which I am extremely happy about. Versatility is my number one drawcard when it comes to any kind of entertainment, but especially with music. I hate hearing the same song over and over again with the same production, vibe, lyrics and tempo. Drives me crazy. This was a huge factor for me buying the album. Kesha shows off her Nashville routes. Americans do love their Country music so I could see her being successful with it there. Internationally however, it might be a bit difficult. I live in the UK and for some unknown reason to me, our music industry hates Country music. It will go as far as completely editing, remixing and mastering a track and giving it more of a Pop production just to be played on our radio stations. I don’t understand it myself because if it was a choice between mandolins, fiddles, harmonicas and steel guitar over DJ’s pressing buttons, messing with sliders on turntables and sampling the fuck out of tunes from the 80′s and 90′s that I adore as they already are ... I’d take it any day, at any time and for any price. Least Country music is real instruments. You know what I’m saying? That actually matters to me! Furthermore, Kesha has a natural twang to her voice which is perfect for singing Country. It’s definitely a musical direction she could look into more thoroughly in the future if she wants. 7/10

10. Boogie Feet

Here we have the second collaboration with ‘Eagles Of Death Metal’ and it has a much more funky and groovy sound to it than the first collaboration she did with them. It’s got a melody that is highly addictive. You’ll be playing this one on replay at some point, believe me. An all out Rock banger with driving electric guitars and thumping drum beats. Kesha sings it with such attitude and personality. You can tell she was having loads of fun recording it, completely happy and free. If there was another title for this album that would be most suitable to the concept and musical theme other than ‘Rainbow’, it’d be freedom. Because that’s what you feel from her singing these tracks. Complete utter freedom. Unrestricted and unlimited in what she can do with her voice and her performance. This song will make you sing, dance and feel that freedom along with her. 9/10

11. Boots

This one is a personal favourite for it’s progressive composition structure. It’s the first thing I noticed about it. It’s progressiveness. How the addition of production and instrumentation with each verse keep building the song to it’s climax. It’s full sound effects you and excites you beyond belief. At least it does for me. Completely up my alley. Another song about love and relationships. This time it’s about the person taking her in her au-naturel look. The way she is without her make-up on or fancy clothes. He loves her wearing nothing but his boots. Pretty self-explanatory I would say. Still sticking to that Country vibe. 10/10

12. Old Flames (Can’t Hold A Candle To You)

You cannot get more Country than Dolly Parton. Probably the most surprising collaboration of all. Mrs. Big Hair herself. An absolute legend in the Country scene. Once again, Country sounds so RIGHT on Kesha. She truly does suit it. Production is entirely real on this track. Layers of steel guitar and the typical Country sound. Country enthusiasts will really love this one. Not a personal favourite for me though. 5/10

13. Godzilla

This song is hilarious. Her attempt at the comedy/satirical genre. It reminds me of Katy Perry’s ‘Ur So Gay’. It’s got that nursery rhyme feel like that song does, however, far more appropriate for the children to listen to. I also feel like it has a darker tone to it. I’m picking up something a little sinister there with the use of the term ‘Godzilla’. I won’t go into it because I’m still working it out myself. But it’s probably the least interesting song on the album as far as the theme and musical sound goes. Nursery rhymes are never interesting when you’re an adult. But once again, the versatility is there, and it works for her so this only adds to it. 3/10

14. Spaceship

Now we come back to the most relatable and resonatable topic for me. That topic being of not belonging in the world, and feeling like you’re meant to be somewhere in outer-space. I always say that I’m too alien for the Earth, too human for space. That’s just how I think and feel. I don’t fit in. My mind level is just completely different to everyone else’s where I live. I hope I get abducted. The aliens can come for me and take me home. ‘Spaceship’ is also a Country song. An acoustic Country song. 7/10

That’s my track by track review. I hope you enjoyed reading it. Check out the album if you liked what you read about the songs. I’ll leave you with the ending monologue to ‘Spaceship’ that ties up the concept for ‘Rainbow’. Words I could of just as well have written myself as it’s something I would say and the philosophy I believe in.

"As I leave this Earth and sail into the infinite cosmos of the Universe, the wars, the triumphs, the beauty, and the bloodshed, the ocean of human endeavour, it all grows quiet, insignificant. I'm nothing more than recycled stardust and borrowed energy, born from a rock, spinning in the ether. I watch my life backwards and forwards and I feel free. Nothing is real, love is everything, and I know nothing."  - Kesha Rose Sebert

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