Miley’s profile has grown in quite an unprecedented fashion since her 2008 ‘debut’ (as in, not Hannah Montana branded) release Breakout. Breakout was a mixed bag of an album; two parts the ‘Disney formula’ that has also been applied to the likes of Selena Gomez and Demi Lovato; tweeny angst ridden Avril Lavgine-lite pop. “OMG! Boys! Happy face! Sad face!” etc. And one part campy appeal (a cover of “Girls Just Wanna Have Fun”, anyone?)
While Breakout felt squarely aimed at Miley’s established market, breakout single (haha) “See You Again” brought Miley to the attention of an older demographic. Silly and tweenish lyrically, by the time the song hit British shores it had received a remix courtesy of Rock Mafia that turned the guitar driven number into somewhat of a gay club anthem. More so, it proved that Miley had something that most of her contemporaries could not provide; a voice and a presence on tracks that is infectiously endearing. Perhaps it is being the daughter of a country star that gives her voice a slight country twang, or her seeming obsession with ‘rock’ music that causes her to shout and growl on occasion, but Miley, much like a Britney Spears, brings a personality to her tracks which makes them stand high above those of others.
2009’s Time Of Our Lives EP did the business in keeping Miley in the radio listening public’s mind and experimented stylistically, but it is Can’t Be Tamed that aims at propelling Miley into the consciousness of those who can legally buy alcohol. And it does so far more competently than any other Disney star can claim to have.
I will get this out of the way now; Can’t Be Tamed is far from a flawless album. It’s smeared with the fingerprints of Disney and there are numerous attempts to remind the listener of Miley’s ‘country’ routes. But this doesn’t stop if from being a pretty solid pop album that more than establishes Miley as a ‘name’ to pay attention to.
In many respects Miley’s recent performance at London’s G-A-Y nightclub should have been a warning for some of what was to come. Because Can’t Be Tamed is pretty gay friendly, with tranced up dance numbers aimed squarely at gay club dancefloors across the world. The campest of these is “Robot”, a track on which Miley ‘rebels’ against the ‘system’ that created her. “Stop telling me I’m part of your big machine; I’m breaking free” etc. It’d be eye-rollingly ridiculous from the multi-millionaire 17 year old if the track didn’t pump so unashamedly. Lyrically it’s rebellion for tweens, but musically it’s poppers at dawn.
Speaking of which, one of the most interesting tracks - “Two More Lonely People” - is the place where Miley’s new found gay-sensibility meets her country routes. It’s basically a tragic country song (strumming guitars and all) with added beats. And it really works. “Permanent December” seems to have borrowed some of Kylie Minogue’s synths while Miley raps (raps!) about boys over the top. It’s definitely pop and absolutely tongue-in-cheek. This one is from the Ke$ha book of pop.
But, my favourite has to be the modern disco number “Who Owns My Heart”. It’s not a million miles away from the heavier end of Britney’s self-titled third album, but with added trance effects, which is certainly no bad thing.
Sadly, the other half of this album falls far flatter. If “Who Owns My Heart” reflects the brilliant side of Britney, “Every Rose Has It’s Thorn” is the album’s “Not Yet A Girl, Not Quite A Singer”. The ballads are for the most part dull and show little in terms of emotional maturity. Miley is undoubtedly a competent singer, but listening to her drone on through dross like “Forgiveness and Love” is a little too much to ask. “Stay” is a little better, with a little more punch, but lets’ not pretend these songs are anything more than generic pop album filler.
Undoubtedly there is a temptation to fill an album like Can’t Be Tamed with these ‘deep and meaningfuls’. They will resonate well with the Hannah Montana crowd and give Miley an opportunity to put her serious face on, but I don’t think anyone over the age of 15 is going to be consuming these tracks with any kind of enthusiasm. If anything, they break up the run of amazing dance-centric numbers and wear out the ‘skip’ button on your music player of choice.
To conincide with this ‘coming-of-age’ album, Miley has decided to ‘sex up’ her image. From pole dancing controversies (she’s only 17! The Godless child!) to big hair and even bigger heels, Miley’s doing her best grown-up impression. But to an extent, much like this album, that’s all it is; an impression. Because you can cake on the make-up and attempt to smoulder at the camera all you want, if it’s not coming naturally, it’ll look unconvincing.
And there is something unconvincing about Can’t Be Tamed. While Miley has undoubtedly aged, the album comes at a time when she’s also promoting the last series of Hannah Montana and getting slated for her immature presence in her first ‘grown up’ film roles. This album reflects that schizophrenia between woman and child that Miley is battling with. None of the songs go as far as emulating Madonna’s Erotica album and (rightly-so) remain ‘child-friendly’, but stylistically they are not far enough removed from who Miley was to properly define her as an artist in her own right. The best song on the album - the stompy title track - is catchy and fun but remains within the safety zone of being playable on Disney’s radio stations.
It’s undeniable that Miley has a talent. Whether that is for delivering pop songs or sparking moral outrage is another question entirely. But what is certain is that, while Can’t Be Tamed may not be a classic to rival Britney’s debut, it does present a woman who is undoubtedly a mega-popstar in development. The album is a fun listen, and, if you cut out the filler, represents the best of any modern ‘Disneyfied’ album you’ll find.
My expectations for the future of Miley Cyrus are set pretty high.