Who Needs the Backstreet Boys?

Anyone who didn’t see this solo album coming years ago obviously wasn’t paying attention to the Backstreet Boys. Nick Carter inked a solo deal long before this effort and it was only a matter of time before it went into production, not so ironically that time was when the Backstreet Boys seemed to be concentrating more on getting married, having babies and slowly retiring the group. The “Backstreet Boys” changed from The Firm management to well- known manager Irving Azoff, while Nick, as a solo artist stayed true to The Firm. The “Backstreet Boys” claimed for a year or so that they were busy working on their next album, but when the truth started seeping through PR cracks, we realized this wasn’t quite the case. Four of the Backstreet Boys were working with Irving Azoff with very little, to no cooperation from the Jive label, who was too busy rushing Nick Carter through his solo album process to worry about yesterdays’ boy band. While promoting his album, Nick repeatedly claimed he was fully supported by his “brothers” in the group, but seriously Nick, get a clue. Irving is said to have been trying to figure out a way to release the album without Nick and force him out of the group, officially. This way the boys could release a “Backstreet Boys” album in time to beat the deadline and cash in on a bonus payment for doing so. It’s a story that’s been told by Nick’s mother, as well as others. Release a boy band album without the “cutie”, innocent, young girl appealing member? Hey, Nick, while you’re getting that clue, get one for Irv, too. So, Nick releases the appropriately titled “Now or Never”. And since the album release really was “pre ridiculous lawsuit announcement”of Nick joining with his group mates in suing their own label (also the label of his little brother Aaron) which will essentially be him claiming he believes their production of his solo effort was a mistake, blame the label for not having their priorities correct, and act like it was a bad idea to promote himself using the Backstreet Boy name, logo, and general signs of backing and support. I’ll save the rant about it and just say that Nick, who’s never been the brightest crayon in the box or even the whole Crayola manufactured line for that matter, needs to choose which bridges he can afford to burn more carefully.

With that said, I admit to wanting him to succeed with his solo effort. He’d always said his musical taste was more in lines of rock rather than pop and R&B, so it was no shock when he took this album in that direction. I just wish he’d taken it further, because the line that was drawn is so very clear on this album. It’s a line that on one side he’s got to keep his Backstreet Boy fans, stay the “cute” little boy and $ell $ell $ell that image and on the other side, there’s a young man dying to get so far away from that image that it screams out in his actions, lyrics, and vocals. The latter side of the line is much more interesting, but not as safe when counting on already established fans to move with you, who have already threatened they won’t and so the album turns into somewhat of a mess. Which seems as good a segue as any into the first released single, which happens to be the opening track...

Help Me Okay, aside from him embarrassing himself while performing this on stage by simply trying to “rock out”to this song as if he were Kid Rock doin’ Bawitaba or whatever it was called...”Help Me” is a good song. His voice will never be as smooth as Justin’s....his moves not as “slick” but this track is a clear and proper indication that he’s not even attempting the same path. He goes for a pop/rock sound, which his voice is better suited for than any other genre. When he’s in his range, his underdeveloped, raspy vocals lend greatly to the lyrics and background instruments. This is one of the few songs he didn’t have a hand in writing, but not exactly lyrical fluff either. (You love me for who I am/No angel, just an ordinary man/Help me figure out why I’m stuck in the middle/Tryin’ to understand why I can’t/Why’s it such a riddle)

My Confession Co-written by Nick and while not quite a lyrical masterpiece, the effort is there, as he confesses his “obsession” for someone. Again, his voice is set off by drums, bass, and keyboards. The biggest flaw with this song is that he sounds nasal to begin with and then for some reason they make him sound even more nasal through production.

I Stand For You Co-written by Nick, the lyrics to this song could easily be seen as his more rebellious, forget the Backstreet Boys attitude. (I'm gonna run forever/ say whatever/Take a chance in what I believe in/ I'm gonna have a tattoo, I'm gonna have an attitude) The mid-tempo guitar driven production adds to the defiance of his vocals and message, not to mention his vocals really can be pretty amazing at times.

Do I Have To Cry For You Nick has explained in interviews that he co-wrote this song inspired by his relationship with hometown ex-girlfriend Mandy Williford (aka: Willa Ford, who he dated off and on for a couple of years), which is probably what helps him to add the proper amount of emotion to the lyrics. (So tell me what it's for/If there's no winner in it?/ Nobody's keeping score/Let's start from the beginning) It’s by far, one of the best tracks on the album, with his voice and production blending perfectly. It was released as the second single in the US and it’s a shame that it didn’t get more attention/appreciation.

Girls In the USA Okay, this is where the problem starts. If his little brother Aaron were singing this song, I could almost say “cute” as I roll my eyes and very quickly turn the absolutely embarrassing thing off......quickly. Fast tempo, and “rock” driven, Nick lyrically lists states and something he likes about the girls from each state. (To my Carolina girls /Lemme rock you all /To my Jersey girls /Chillin at the mall) And of course on an entire “rock” song about the USA, his one cameo on the entire album is Mr. Vegas to add a reggae sound cause yeah, that makes sense.

I Got You Nick goes back to the production team of Swedish writers/producers Rami and Max Martin (Britney, Backstreet, Robyn....) And suddenly the “rock” sound disappears as Martin does the sound he’s more known for and yeah, I could hear any of the artists listed doing this song. Martin also lends his singing voice to the chorus and it greatly compliments the vocals of Nick to equal a nice blend. It’s lyrically about how no matter what happens in your life you have that someone to help you through it. (It's funny how life can take new meaning /You came and changed what I believe in) It actually is a beautiful mid- tempo song and refreshing break from the previous track and the next ....

Is it Saturday Yet? Again, this song needs to be on an Aaron Carter album, if any album at all. It’s childish and I have no clue why anyone thought some of these songs were a good idea, unless they were trying to make 11 year old girls everywhere happy. Seriously though, pick a demographic and appeal. He goes back to the “rock/pop” sound, but once again the lyrics are the biggest downfall on the list ( I was raised by the television /Jerry Springer was my dad /And it wouldn't matter /If Martha Stewart was my mother/And Aaron Carter was my brother /Cuz I'd still be bad ) wow, huh? Way to be a bad bad boy there Nicky. Skip!

Blow Your Mind The “rock band” sound disappears as Max and Rami take over to program it in a Backstreet “Larger than Life” kinda way. I actually love this song. Lyrically, it’s about falling for a girl who seems to not care he’s a star, but of course she does, but once she’s won him over, he’s hooked on the “easy”. The production set with Nick’s vocals is a perfect mix and it’s a song that should be released as a single, in my opinion. It’s fast paced and lyrically perfect to set the theme (I said baby why the new car? /She said I'm the girlfriend of a star /Just let me handle this /And I will blow your mind )

Miss America Another slow to mid tempo filler track. 3 good things to say about this track. (1) Nick’s vocals for the most part are great. (2)I like some of the lyrics (In the land of the free/make a prisoner of me ) (3) It’s more mature in lyrical content and production than “Girls in the USA” and “Is it Saturday Yet”. Other than that, I could pretty much do without it.

I Just Wanna Take You Home Max Martin again. He is appealing sometimes with his production but I’m glad he only did three songs on this album or else this “programmed” sound would be really irritating. It’s fast paced, Nick’s vocals are battling with the production and loses too many times throughout the song. ( Girl I don't know what to say/I feel so insecure/So I start off by sayin a cliche/Like I've seen you before)

Heart Without a Home (I’ll be Yours) One of my true favorites. It’s a slow song that showcases the maturity in Nick’s voice in ways that he’s unable to do throughout much of the album. The production goes back to a pop/rock sound and lyrically, it’s one of the stronger tracks. (Like a movie that you've seen /But you gotta watch just one more time /But that smile you're wearing /It's a beautiful disguise /It's just something you put on to hide the emptiness inside )

Who Needs the World The perfect song to end the album. It helps you to forget a few of the truly wrong turns he takes by including some of the other tracks. It’s a slow song, with simple production, as Nick vocally brings your attention to the lyrics. He successfully reaches a higher, but still soft vocal range in certain areas of the song and reminds you of everything you like about his voice. (I've all I need inside of this room/Who needs the world when I've got you)

Overall, Nick Carter will probably never reach the success level he did while with the Backstreet Boys, but it would be nice to see him go platinum, win a few solo awards, maybe even a grammy or two. But it won’t be for a while, if ever. Because first he has to make some better track selections. Filler is completely understandable, but filler is just not supposed to be THAT weak/laughable. He needs to pick a demographic and stick with it. Most importantly, and sorry to the fans still holding on, but when the ship known as “Backstreet Boys” is sinking and the rescuers at Jive offer you a life jacket, don’t spit on it and throw it back in the name of “brotherhood”, especially when those same “brothers” with the help of Captain Azoff have been busy designing a raft just for themselves.