NFOmation.net - Your Ultimate NFO Upload Resource! Viewing NFO file: 00-gwen_stefani-the_sweet_escape-2006-debt.nfo 00-gwen_stefani-the_sweet_escape-2006-debt
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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
░▓█████▓░░░ ░ ╚═════╗ ╔════════╝▀ ░ ░░░▓█████▓░
▄▄███░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░███▄▄
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▐░ ▀▓████║ Gwen_Stefani-The_Sweet_Escape-2006-DeBT_iNT ║████▓▀ ░▌
▀ ░████╚════════════════════════════════════════════════════════════════════════════╝████░ ▀
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▄░▓███████▄▄▄░ ARTiST.... Gwen Stefani ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... The Sweet Escape █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... Interscope ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Alt. Rock ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2011-06-03 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 2006-12-05 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CD ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 243 kbps / 4410kHz / Joint Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 12 / 46:57 ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 86.06 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with LAME 3.98.4 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... ░▓████░▄
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▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 1 Wind It Up 3:09 ████▓▄ ░
░ ▄▓████ 2 The Sweet Escape 4:06 ████▓▄ ░
░ ▄▓████ 3 Orange County Girl 3:23 ████▓▄ ░
░ ▄▓████ 4 Early Winter 4:44 ████▓▄ ░
░ ▄▓████ 5 Now That You Got It 2:59 ████▓▄ ░
░ ▄▓████ 6 4 in the Morning 4:51 ████▓▄ ░
░ ▄▓████ 7 Yummy 4:57 ████▓▄ ░
░ ▄▓████ 8 Fluorescent 4:18 ████▓▄ ░
░ ▄▓████ 9 Breakin' Up 3:47 ████▓▄ ░
░ ▄▓████ 10 Don't Get It Twisted 3:37 ████▓▄ ░
░ ▄▓████ 11 U Started It 3:08 ████▓▄ ░
░ ▄▓████ 12 Wonderful Life 3:58 ████▓▄ ░
░ ▄▓████ ---------------------------------------------------------████▓▄ ░
▀▄░████▓ ████░▄▀
░▓████▓▄ TOTAL TiME: 46:57 MIN ████▓░
░▓███████▄ TOTAL SIZE: 86.06 MB▄█████▓░
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░▓█████▓░╟─────────────────────────────────────◄RELEASE NOTES►╢░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ Awkward and alluring in equal measures, Gwen ║▀░▓████░▀▄
▄▀░████▓░▀║ Stefani's 2004 solo debut, ║▀░▓████░▀▄
▄▀░████▓░▀║ Love.Angel.Music.Baby., did its job: it made Gwen ║▀░▓████░▀▄
▄▀░████▓░▀║ a bigger star on her own than she was as the lead ║▀░▓████░▀▄
▄▀░████▓░▀║ singer of No Doubt. With that established and her ║▀░▓████░▀▄
▄▀░████▓░▀║ long-desired wish for a baby finally fulfilled, ║▀░▓████░▀▄
▄▀░████▓░▀║ there was no rush for Gwen to get back to her ║▀░▓████░▀▄
▄▀░████▓░▀║ regular gig, so she made another solo album, The ║▀░▓████░▀▄
▄▀░████▓░▀║ Sweet Escape, which expanded on what really sold ║▀░▓████░▀▄
▄▀░████▓░▀║ her debut: her tenuous connections to Californian ║▀░▓████░▀▄
▄▀░████▓░▀║ club culture. There was always a sense of ║▀░▓████░▀▄
▄▀░████▓░▀║ artifice behind the turn-of-the-century makeover ║▀░▓████░▀▄
▄▀░████▓░▀║ that brought Gwen from a ska-punk sweetheart to a ║▀░▓████░▀▄
▄▀░████▓░▀║ dance club queen, but that doesn't mean it didn't ║▀░▓████░▀▄
▄▀░████▓░▀║ work at least on occasion, most spectacularly so ║▀░▓████░▀▄
▄▀░████▓░▀║ on the gloriously dumb marching-band rap of ║▀░▓████░▀▄
▄▀░████▓░▀║ "Hollaback Girl," the Neptunes production that ║▀░▓████░▀▄
▄▀░████▓░▀║ turned L.A.M.B. into a blockbuster. There, as on ║▀░▓████░▀▄
▄▀░████▓░▀║ her duet with Eve on "Let Me Blow Ya Mind," Gwen ║▀░▓████░▀▄
▄▀░████▓░▀║ made the transition into a modern-day material ║▀░▓████░▀▄
▄▀░████▓░▀║ girl with ease, but when she tried to shoehorn ║▀░▓████░▀▄
▄▀░████▓░▀║ this ghetto-fabulous persona into her original ║▀░▓████░▀▄
▄▀░████▓░▀║ new wave girl character, it felt forced, nowhere ║▀░▓████░▀▄
▄▀░████▓░▀║ more so than on the Linda Perry written and ║▀░▓████░▀▄
▄▀░████▓░▀║ produced "What You Waiting For." Gwen doesn't ║▀░▓████░▀▄
▄▀░████▓░▀║ make that mistake again on The Sweet Escape -- by ║▀░▓████░▀▄
▄▀░████▓░▀║ and large, she keeps these two sides of her ║▀░▓████░▀▄
▄▀░████▓░▀║ personality separate, favoring the streets and ║▀░▓████░▀▄
▄▀░████▓░▀║ nightclubs to the comfort of her new wave home. ║▀░▓████░▀▄
▄▀░████▓░▀║ Just because she wants to run in the streets ║▀░▓████░▀▄
▄▀░████▓░▀║ doesn't mean she belongs there; she continues to ║▀░▓████░▀▄
▄▀░████▓░▀║ sound far more comfortable mining new wave pop, ║▀░▓████░▀▄
▄▀░████▓░▀║ as only a child of the '80s could. As always, ║▀░▓████░▀▄
▄▀░████▓░▀║ it's those celebrations of cool synths and ║▀░▓████░▀▄
▄▀░████▓░▀║ stylish pop hooks that work the best for Stefani, ║▀░▓████░▀▄
▄▀░████▓░▀║ whether she's approximating the chilliness of ║▀░▓████░▀▄
▄▀░████▓░▀║ early-MTV new romantics on "Wonderful Life," ║▀░▓████░▀▄
▄▀░████▓░▀║ mashing Prince and Madonna on "Fluorescent," or ║▀░▓████░▀▄
▄▀░████▓░▀║ lying back on the coolly sensual "4 in the ║▀░▓████░▀▄
▄▀░████▓░▀║ Morning." ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ Only once on the album is she able to bring this ║▀░▓████░▀▄
▄▀░████▓░▀║ style and popcraft to a heavy dance track, and ║▀░▓████░▀▄
▄▀░████▓░▀║ that's on the irresistible Akon-produced title ║▀░▓████░▀▄
▄▀░████▓░▀║ track, driven by a giddy "wee-oh!" hook and ║▀░▓████░▀▄
▄▀░████▓░▀║ supported by a nearly anthemic summertime chorus. ║▀░▓████░▀▄
▄▀░████▓░▀║ Tellingly, the Neptunes, the architects of her ║▀░▓████░▀▄
▄▀░████▓░▀║ best dance cuts on L.A.M.B., did not produce this ║▀░▓████░▀▄
▄▀░████▓░▀║ track, but they do have a huge presence on The ║▀░▓████░▀▄
▄▀░████▓░▀║ Sweet Escape, helming five of the 12 songs, all ║▀░▓████░▀▄
▄▀░████▓░▀║ but one being tracks that weigh down the album ║▀░▓████░▀▄
▄▀░████▓░▀║ considerably. The exception is "U Started It," a ║▀░▓████░▀▄
▄▀░████▓░▀║ light and nifty evocation of mid-period Prince, ║▀░▓████░▀▄
▄▀░████▓░▀║ with its lilting melody, silken harmonies, and ║▀░▓████░▀▄
▄▀░████▓░▀║ pizzicato strings. It sounds effortless and ║▀░▓████░▀▄
▄▀░████▓░▀║ effervescent, two words that do not apply to ║▀░▓████░▀▄
▄▀░████▓░▀║ their other four productions, all skeletal, ║▀░▓████░▀▄
▄▀░████▓░▀║ rhythm-heavy tracks that fail to click. ║▀░▓████░▀▄
▄▀░████▓░▀║ Sometimes, they're merely leaden, as on the ║▀░▓████░▀▄
▄▀░████▓░▀║ stumbling autobiographical rap "Orange County ║▀░▓████░▀▄
▄▀░████▓░▀║ Girl"; sometimes, they're cloying and crass, as ║▀░▓████░▀▄
▄▀░████▓░▀║ on the rather embarrassing "Yummy"; sometimes ║▀░▓████░▀▄
▄▀░████▓░▀║ they have an interesting idea executed poorly, as ║▀░▓████░▀▄
▄▀░████▓░▀║ on "Breakin' Up," a breakup song built on a dying ║▀░▓████░▀▄
▄▀░████▓░▀║ cell phone metaphor that's interesting in theory ║▀░▓████░▀▄
▄▀░████▓░▀║ but its stuttering, static rhythms and repetitive ║▀░▓████░▀▄
▄▀░████▓░▀║ chorus are irritating in practice. Also ║▀░▓████░▀▄
▄▀░████▓░▀║ interesting in theory is the truly bizarre lead ║▀░▓████░▀▄
▄▀░████▓░▀║ single, "Wind It Up," where the Neptunes force ║▀░▓████░▀▄
▄▀░████▓░▀║ fanfares and samples from The Sound of Music's ║▀░▓████░▀▄
▄▀░████▓░▀║ "The Lonely Goatherd" into one of their typical ║▀░▓████░▀▄
▄▀░████▓░▀║ minimalist tracks, over which Gwen spouts off ║▀░▓████░▀▄
▄▀░████▓░▀║ clumsy material-minded lyrics touting her fashion ║▀░▓████░▀▄
▄▀░████▓░▀║ line and her shape. Nothing in this track really ║▀░▓████░▀▄
▄▀░████▓░▀║ works, but it's hard not to listen to it in ║▀░▓████░▀▄
▄▀░████▓░▀║ wonder, since its unwieldy rhythms and rhymes ║▀░▓████░▀▄
▄▀░████▓░▀║ capture everything that's currently wrong about ║▀░▓████░▀▄
▄▀░████▓░▀║ Stefani. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ From the stilted production to the fashion ║▀░▓████░▀▄
▄▀░████▓░▀║ fetish, all the way down to her decision to rap ║▀░▓████░▀▄
▄▀░████▓░▀║ on far too much of the album, all the dance-pop ║▀░▓████░▀▄
▄▀░████▓░▀║ here seems like a pose, creating the impression ║▀░▓████░▀▄
▄▀░████▓░▀║ that she's a glamour girl slumming on a weekend ║▀░▓████░▀▄
▄▀░████▓░▀║ night -- something that her self-proclaimed ║▀░▓████░▀▄
▄▀░████▓░▀║ Michelle Pfieffer in Scarface "coke whore" ║▀░▓████░▀▄
▄▀░████▓░▀║ makeover showcased on the album's cover doesn't ║▀░▓████░▀▄
▄▀░████▓░▀║ do much to dissuade. If the dance production on ║▀░▓████░▀▄
▄▀░████▓░▀║ The Sweet Escape were better, these hipster ║▀░▓████░▀▄
▄▀░████▓░▀║ affectations would be easier to forgive, but ║▀░▓████░▀▄
▄▀░████▓░▀║ they're not: they're canned and bland, which only ║▀░▓████░▀▄
▄▀░████▓░▀║ accentuates Stefani's stiffness. These misfires ║▀░▓████░▀▄
▄▀░████▓░▀║ are so grand they overshadow the many good ║▀░▓████░▀▄
▄▀░████▓░▀║ moments on The Sweet Escape, which are invariably ║▀░▓████░▀▄
▄▀░████▓░▀║ those songs that stay true to her long-standing ║▀░▓████░▀▄
▄▀░████▓░▀║ love of new wave pop (not coincidentally, these ║▀░▓████░▀▄
▄▀░████▓░▀║ include every production from her No Doubt ║▀░▓████░▀▄
▄▀░████▓░▀║ bandmate Tony Kanal). These are the moments that ║▀░▓████░▀▄
▄▀░████▓░▀║ give The Sweet Escape its sweetness, and while ║▀░▓████░▀▄
▄▀░████▓░▀║ they may require a little effort to dig out, ║▀░▓████░▀▄
▄▀░████▓░▀║ they're worth the effort, since it proves that ║▀░▓████░▀▄
▄▀░████▓░▀║ beneath the layers of bling, Gwen remains the ║▀░▓████░▀▄
▄▀░████▓░▀║ SoCal sweetheart that has always been as spunky ║▀░▓████░▀▄
▄▀░████▓░▀║ and likeable as she has been sexy. ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
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▀░▓███████▄▄║ the mechanic that would perfect his work must ║▄▄███████▓░▀
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▀░▓███████▄▄║ ║▄▄███████▓░▀
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°²ÛÛÛÛÛÜ°° Ü ß TiTLE..... The Sweet Escape ÛÛÛÛÛ²°
ß°ÛÛÛÛ²°°ß ° ß LABEL..... Interscope ß ° ß°°²ÛÛÛÛ°ß
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° ܲÛÛÛÛ 1 Wind It Up 3:09 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 2 The Sweet Escape 4:06 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 3 Orange County Girl 3:23 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 4 Early Winter 4:44 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 5 Now That You Got It 2:59 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 6 4 in the Morning 4:51 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 7 Yummy 4:57 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 8 Fluorescent 4:18 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 9 Breakin' Up 3:47 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 10 Don't Get It Twisted 3:37 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 11 U Started It 3:08 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 12 Wonderful Life 3:58 ÛÛÛÛ²Ü °
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°²ÛÛÛÛÛ²°ÇÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄRELEASE NOTES¶°²ÛÛÛÛÛ²°
°²ÛÛÛÛ²°°º º°°²ÛÛÛÛ²°
Üß°ÛÛÛÛ²°ßº Awkward and alluring in equal measures, Gwen ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Stefani's 2004 solo debut, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Love.Angel.Music.Baby., did its job: it made Gwen ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº a bigger star on her own than she was as the lead ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº singer of No Doubt. With that established and her ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº long-desired wish for a baby finally fulfilled, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº there was no rush for Gwen to get back to her ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº regular gig, so she made another solo album, The ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Sweet Escape, which expanded on what really sold ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº her debut: her tenuous connections to Californian ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº club culture. There was always a sense of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº artifice behind the turn-of-the-century makeover ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº that brought Gwen from a ska-punk sweetheart to a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº dance club queen, but that doesn't mean it didn't ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº work at least on occasion, most spectacularly so ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº on the gloriously dumb marching-band rap of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº "Hollaback Girl," the Neptunes production that ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº turned L.A.M.B. into a blockbuster. There, as on ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº her duet with Eve on "Let Me Blow Ya Mind," Gwen ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº made the transition into a modern-day material ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº girl with ease, but when she tried to shoehorn ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº this ghetto-fabulous persona into her original ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº new wave girl character, it felt forced, nowhere ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº more so than on the Linda Perry written and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº produced "What You Waiting For." Gwen doesn't ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº make that mistake again on The Sweet Escape -- by ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº and large, she keeps these two sides of her ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº personality separate, favoring the streets and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº nightclubs to the comfort of her new wave home. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Just because she wants to run in the streets ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº doesn't mean she belongs there; she continues to ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº sound far more comfortable mining new wave pop, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº as only a child of the '80s could. As always, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº it's those celebrations of cool synths and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº stylish pop hooks that work the best for Stefani, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº whether she's approximating the chilliness of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº early-MTV new romantics on "Wonderful Life," ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº mashing Prince and Madonna on "Fluorescent," or ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº lying back on the coolly sensual "4 in the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Morning." ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Only once on the album is she able to bring this ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº style and popcraft to a heavy dance track, and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº that's on the irresistible Akon-produced title ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº track, driven by a giddy "wee-oh!" hook and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº supported by a nearly anthemic summertime chorus. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Tellingly, the Neptunes, the architects of her ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº best dance cuts on L.A.M.B., did not produce this ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº track, but they do have a huge presence on The ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Sweet Escape, helming five of the 12 songs, all ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº but one being tracks that weigh down the album ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº considerably. The exception is "U Started It," a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº light and nifty evocation of mid-period Prince, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº with its lilting melody, silken harmonies, and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº pizzicato strings. It sounds effortless and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº effervescent, two words that do not apply to ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº their other four productions, all skeletal, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº rhythm-heavy tracks that fail to click. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Sometimes, they're merely leaden, as on the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº stumbling autobiographical rap "Orange County ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Girl"; sometimes, they're cloying and crass, as ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº on the rather embarrassing "Yummy"; sometimes ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº they have an interesting idea executed poorly, as ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº on "Breakin' Up," a breakup song built on a dying ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº cell phone metaphor that's interesting in theory ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº but its stuttering, static rhythms and repetitive ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº chorus are irritating in practice. Also ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº interesting in theory is the truly bizarre lead ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº single, "Wind It Up," where the Neptunes force ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº fanfares and samples from The Sound of Music's ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº "The Lonely Goatherd" into one of their typical ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº minimalist tracks, over which Gwen spouts off ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº clumsy material-minded lyrics touting her fashion ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº line and her shape. Nothing in this track really ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº works, but it's hard not to listen to it in ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº wonder, since its unwieldy rhythms and rhymes ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº capture everything that's currently wrong about ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Stefani. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº From the stilted production to the fashion ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº fetish, all the way down to her decision to rap ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº on far too much of the album, all the dance-pop ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº here seems like a pose, creating the impression ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº that she's a glamour girl slumming on a weekend ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº night -- something that her self-proclaimed ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Michelle Pfieffer in Scarface "coke whore" ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº makeover showcased on the album's cover doesn't ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº do much to dissuade. If the dance production on ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº The Sweet Escape were better, these hipster ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº affectations would be easier to forgive, but ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº they're not: they're canned and bland, which only ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº accentuates Stefani's stiffness. These misfires ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº are so grand they overshadow the many good ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº moments on The Sweet Escape, which are invariably ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº those songs that stay true to her long-standing ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº love of new wave pop (not coincidentally, these ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº include every production from her No Doubt ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº bandmate Tony Kanal). These are the moments that ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº give The Sweet Escape its sweetness, and while ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº they may require a little effort to dig out, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº they're worth the effort, since it proves that ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº beneath the layers of bling, Gwen remains the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº SoCal sweetheart that has always been as spunky ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº and likeable as she has been sexy. ºß°²ÛÛÛÛ°ßÜ
° ß²ÛÛÛÛß º ºÜ°ÛÛÛÛ²ß °
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