Echo [Import]

When I first heard the CD I was a bit disappointed as I had immediately loved Spirit but found myself flicking through tracks of this. However after a few times have found that it really grew on me, I like the variety and Leona's voice just seems to get better and better. I particularly love Happy, Broken and Naked. Only track I cant stand is Outta my head, reminiscent of a Stock, Aitken and Waterman 'classic'!

I loved Leona's debut album, Spirit, so went out and bought this one immediatly. And I have to say, I was impressed. So much so, I will even go to say it is a million times better than her first! Leona's definitely developed more as an artist in this album, taking more risks with her song choices, and even her voice has definitely matured as well. She had a lot more imput in the making of this album, co-writing the majority of the songs, which is nice to see. If I had one complaint, it would be that she needs a few more up tempo songs, she had Forgive Me on her last album and Outta my Head on this one; and she's pretty good at them! Hopefully next time she'll include more of a range.
1. Happy: 9/10 - Definitely the right choice for the lead single; catchy with clever lyrics
2. I Got You: 7/10 - Loved it the first few times, but can get slightly boring after a while. If I'm honest, not the best choice for a follow up single; there's far better on the album
3. Can't Breathe: 7/10 - Catchy but slightly repetitive.
4. Brave: 10/10 - Very clever lyrics, nice idea for a song. Definitely one of the best on the album
5. Outta My Head: 10/10 - Catchy, up beat song. Love it!
6. My Hands: 10/10 - My personal favourite. Brilliant lyrics, different and catchy. You'll be singing along in no time!
7. Love Letter: 8/10 - Good song, good lyrics.
8. Broken: 10/10 - Very dramatic with good heartfelt lyrics. Brilliant and one of the best!
9. Naked: 10/10 - Lovely song, again, very dramatic
10. Stop Crying Your Heart Out: 7/10 - A bit boring at first, but gets better at the end. Better than the original
11. Don't Let Me Down: 6/10 - My least favourite track. Still good, but quite slow with not much dramatic impact. A bit boring
12. Alive: 8/10 - Very dramatic with lovely lyrics
13. Lost and Found: 9/10 - Lovely song with soft vocals...keep listening for a bonus track!

As X Factor's most successful winner to date, Leona Lewis releases her second album with much expectation, following her blockbuster debut. Mega-hits such as `Bleeding Love' and `Run' concreted Lewis within not only the British pop industry, but the world pop market. This follow up provides an offering that loses that sappiness some of `Spirit''s songs possessed, and finds Lewis delivering a grounded, mature, and distinctly adult contemporary offering.

Known as the `girl with the voice', Lewis has developed unique phrasings and an interesting style that was lacking from her first set of studio vocals. Her diction is more emotional - the voice more wholesome, and ultimately, even bigger than before. Production here is split between some of the best in the industry, namely Arnthor, chorus smackhead Ryan Tedder, and pop genius Max Martin. There are undercurrents of R'n'B dance beats, but hugely the arrangements are big affairs: full of heavy bass lines and exaggerated drum rhythms, and sweeping string sections. Interestingly, Lewis co-wrote a number of these tracks: an essential for any artist to become relevant in the industry.

The set kicks off with lead single, `Happy'. Arguably Lewis' best song, artistically. The track tackles the trials and tribulations faced in everyday life, the heartbreaks of failed relationships, and the constant pursuit of happiness: all with an extremely versatile set of lyrics. Tedder's production is welcome here - the exaggerated drum beats reminiscing Beyonce & Clarkson hits - and creates the atmosphere impeccably. Lewis' vocal shines amidst a heavy feeling arrangement, showing us her instrument in a similar vein to which it was used in `Run' - it is dramatic, emotional, vast, but is ultimately sophisticated and well controlled. This went #1 in the UK, and was a fair hit in the US.

`I Got You' is a killer follow up to a high standard setter. A mid-tempo track with a fantastically emotional melody, the track follows the narrator letting their lover go, even though they still love them entirely. The chorus is ridiculously catchy, whilst remaining musically exquisite - Lewis' mature phrasing emphasised to the best effect here. The lyrics are touching, avoiding cliché and the unoriginal catchphrases pop radio has become saturated with. A fine track.

`Can't Breathe' however detours us from what seemed to be an artistic flow. From the get-go, this track is evidently a Mariah Carey pass off. Everything from the melody, the falsetto chorus, the atypical Pop/R'n'B one line hooks - this song has Carey written all over it. I personally don't know everything about Mariah's work, but everybody knows her style - the feel of her songs. This is one of them, and Lewis seems to lose the originality she gained in the opening tracks to this mediocre R'n'B number. `Brave' follows with another track that doesn't feel overly `Lewis'. Surprisingly, Tedder is not a songwriter here. It is very, very `One Republic'. A bland verse melody, with an exposed drum beat, the song only builds at the chorus. Even then, it completely overcompensates with an oversung melody and poor lyrics. The theme of the song is a little battered in pop music - love as a warzone etc - and although it takes on a new perspective with the theme, it is ultimately forgettable and disposable.

`Outta My Head' is an ultimate floor filler. A completely new offering from Lewis, the song has an unbelievable club beat (albeit very, very camp), and a superb pre-chorus repetition. The lyrics are of good quality, and a sincere take on a kiss-off number. The production is first class, and an absolute highlight of the album. It will indefinitely become a single. `My Hands' follows with a very different approach. A return to the persona of tracks 1 & 2, the song is an enormously emotional ballad, with possibly the biggest chorus on the album. Used on the `Final Fantasy' soundtrack, the song tackles the aftermath of a breakup - what the narrator is experiencing post-split. Lewis' delivery is one of her best over her 2 albums. She avoids the easy pot holes of singing such a big song - she never oversings the melody, nor does she incorporate sweeping notes throughout. She is classy: allowing the arrangement to stir as much as the lyrics; yet using the conviction in her vocal to portray the haunting themes and devastated atmosphere of the track perfectly. This is the ideal type of ballad for Lewis.

`Love Letter' however poorly follows. Another detour from an artistic flow, the song is mediocre: a so-so melody with fairly weak and unoriginal lyrics. The arrangement is too bland, and only emphasises how lesser the song is to others on the album. `Broken' is an improvement on what preceded, but is by no means great. The melody is a solid affair - a good range explored, requiring a big, but restrained vocal, and the hook is used cleverly. Lewis' vocal is actually quite poor here however. The song requires a big vocal in such as someone with short phrasings, and an overly powerful edge to their voice - almost a rock vocal. This is something Lewis can't deliver. The lyrics are average too.

`Naked' is a true highlight of the album. One of the best tracks Lewis has recorded. The concept of the song is original, and is developed fantastically with the lyrics and melody. The chorus is sheer killer: driving, emotional, full of conviction, and requiring a stellar vocal. The song follows the narrator post break-up, and tells us of the impossibility that comes with a break up to live everyday life. Utterly convincing, Lewis brings an outstanding vocal to the table: exploring her range cleverly, remaining true to the melody, and using her mature phrasing to accentuate the meaning of the song. Breathtaking.

Track 10 will inevitably be the song that either makes people love or hate Lewis' artistry. No doubt, she will be met with severe retaliation from the indie world, and open arms from fans of the X Factor. `Stop Crying Your Heart Out' is a cover of the Oasis song, and, in identical vein to `Run', it is blown up into a huge pop/rock number. I won't divulge deep into this track, but what I will say, is that this is probably a mistake on Lewis' behalf. `Run' was a one-off, widely accepted, musically fantastic cover - thanks to the song itself. This song however is a mediocre pop number - the beginning verse and chorus melody exposing that. It is an innately average song. Also, Lewis may now have confirmed an uneasy stigma upon herself that suggests she `sings other people's songs', which will be unfortunate if it sticks.

`Don't Let Me Down' is another weaker song. A so-so melody, the whole affair feels very `filler'. The lyrics are again weak, and the production oddly sparse - as with `Love Letter' - ultimately meaning the song is forgettable. The beginning sounds very `Use Somebody' by Kings of Leon, and only confirms the thought that the song isn't very original. `Alive' however takes Lewis back to top form in the penultimate track. A driving bass line emphasises a compact melody, and reflects the abstract themes the song tackles. A superb vocal from Lewis sets off the dramatic production with staggering emotion, and provides an incredible moment on the record.

`Lost then Found' is a duet with `One Republic', and produces an interesting song. The track itself oozes Ryan Tedder in melody and lyric, but the delivery and arrangement seem to effortlessly suit Lewis. A great concept, the song follows a couple wishing they could love each other better, and treat their relationship with more dignity. Tedder's vocal is clearly enhanced, but that doesn't really matter. A fantastic ending track, the song epitomises the album's feel. `Stone Hearts and Hands Grenades' is a hidden track, and is a fair addition. Although an unusual metaphor, the song isn't overly original in delivery. A so-so melody, the lyrics are good, but unsurprising. Lewis' vocal sets the song off however, and brings the listener round after the first minute and a half.

Undoubtedly, this album will cement Lewis within a new audience - the adult contemporary fans. Those that listen to contemporary pop radio every day, those that buy CD's, and those that attend music events every now and again. It will appeal to the everyday man and woman. What it will fail to do is maintain her global pop domination, which isn't a bad thing. The music is heads and shoulders above her debut, and a clever direction to head in, in order to stay relevant to the music industry as a whole. The material is solid - albeit a couple of down moments, and completely believable. Lewis seems to be defining her artistry well.

Of course there are some overall criticisms to be made. Lewis overuses her falsetto: yes, most of the songs require exploration of the narrator's range, but on every song? It becomes almost tiresome. At times, the tempo of the album becomes dreary - mid tempo is hard to keep interesting. Take out the fillers, and the tempo doesn't change drastically. A more versatile approach to adult contemporary needs to be taken with her next effort. Also, just as Lewis seems to be amidst an artistic flow, an odd ball track curves into the mix and disappoints. These odd balls all seem to be fairly standard pop/rock songs too - is this the work of the record company/label? A pressure to record certain amounts of what they class as standard `current' melodies? This needs to be confronted on her next effort. Hopefully, we'll hear a lot more from Lewis in the coming years, as she is already maturing musically, fantastically. A thoroughly recommended effort.

4 Stars.