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Product Description
Amazon.co.uk Review
If you’re the defeatist sort that doesn’t tend to believe in second (or indeed third) chances, you could do worse than to look to Aussie-pop femme-fatale Sia and for hard evidence Some People Have Real Problems, her third solo effort. Originally celebrated as one of the voices of Zero 7, and also with a solo hit of her own (the pre-Stefani-esque "Taken for Granted"), at the turn of the century, Sia’s subsequent career and two solo records failed to make an equal mark in spite of fetching flourishes, which seemed a plain waste of an assured talent. But she re-emerges here three years after her last record in sleek, aerodynamic fettle and a fine form in which to slot into a world where Amy Winehouse (see the smoky jazz of "Lentil" and beautiful soaring ballad "Soon We’ll Be Found"), Corinne Bailey Rae (the moreish modern soul of "Little Black Sandles" and "Day Too Soon"), Feist (the haunting and cinematic "I Go to Sleep") and Alison Goldfrapp (the slinky heat of "Playground") command instant mainstream attention. The feistiness of Pink and immediacy of Natasha Beddingfield also pervade her work, propping up songs that sound hard crafted and kitting her out with all the tools she should need for lasting impact. If the Natasha Bedingfield comparison doesn’t swing you, perhaps the involvement of alt-rock crown-prince Beck will, hovering gruffly in the shadows as he does on the perky, orchestral "Academia". Either way, Sia doesn’t have any real problems. --James Berry
If you’re the defeatist sort that doesn’t tend to believe in second (or indeed third) chances, you could do worse than to look to Aussie-pop femme-fatale Sia and for hard evidence Some People Have Real Problems, her third solo effort. Originally celebrated as one of the voices of Zero 7, and also with a solo hit of her own (the pre-Stefani-esque "Taken for Granted"), at the turn of the century, Sia’s subsequent career and two solo records failed to make an equal mark in spite of fetching flourishes, which seemed a plain waste of an assured talent. But she re-emerges here three years after her last record in sleek, aerodynamic fettle and a fine form in which to slot into a world where Amy Winehouse (see the smoky jazz of "Lentil" and beautiful soaring ballad "Soon We’ll Be Found"), Corinne Bailey Rae (the moreish modern soul of "Little Black Sandles" and "Day Too Soon"), Feist (the haunting and cinematic "I Go to Sleep") and Alison Goldfrapp (the slinky heat of "Playground") command instant mainstream attention. The feistiness of Pink and immediacy of Natasha Beddingfield also pervade her work, propping up songs that sound hard crafted and kitting her out with all the tools she should need for lasting impact. If the Natasha Bedingfield comparison doesn’t swing you, perhaps the involvement of alt-rock crown-prince Beck will, hovering gruffly in the shadows as he does on the perky, orchestral "Academia". Either way, Sia doesn’t have any real problems. --James Berry
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