by Mary B. Daraz "casey6942" CT United States Reviewed on December 7th, 2004
Gwen Stefani has proven herself as a versatile musician. She's fronted one of the most influential, effervescent new wave punk bands since Blondie; guest starred on some of the biggest crossover hits of the past 5 years (the massive "Let Me Blow Ya Mind" with Eve is an obvious one), starred in a big-budget movie, and created her own fashion line. Now her side project (please don't call it a solo departure) has proven that Debbie Harry and Madonna have met their match.
Love. Angel. Music. Baby. commences with the violent whiplash of "What You Waiting For?", where Stefani details her conflicted feelings about trying something new. The push/pull is evident in the lyrics and the urgency of the pumping musical score-it's dripping with electrical blips, smooth synth-pop, and metallic guitar riffs. The clock counting down Stefani's 15 minutes has just stopped. Where "What You Waiting For" was back and forth, "Hollaback Girl," her collaboration with the Neptunes, is all forth. Stefani shouts over a pumping marching band beat about a high school brawl: "That's right, dude, meet me at the bleachers / No principals, no student teachers." Stefani's weird artistic nuances are no drug trip-they're a coolly executed statement of eclecticism. She dips into the limitless potential of the 80's synth-pop machine with the glossy "Cool," an ode to her breakup with No Doubt bassist Tony Kanal. But the album truly picks up steam with the delightfully bizarre "Bubble Pop Electric," a hormonally charged high-school tome dedicated to sex in the backseat at the drive in. Dance beats and pop influences collide and sparks fly-and never has "I'm gonna give you all my love in the backseat" come across as not coy, corny, or crass; but Stefani injects the line with innocence and winking teenage anticipation. The alternative/new wave stylings of No Doubt make an appearance in "Crash," which somewhat unsurprisingly is produced by bandmate Kanal. Stefani rap-chirps over frenetic drum machines and synthesized orchestra hits, culminating in an irresistibly catty hook. Things slow down on the next Kanal-produced track, the string-laden "Serious," which is the infinitely less self-absorbed cousin of "Material Girl" coupled with blasts of percussion and seductive vocals. But Gwen never truly hits her peak until "Danger Zone," a poignantly sung throwback to the heavily produced late-70s/early 80s new wave era. The deeply personal lyrics ("Are your secrets where you left them? / `Cause now your ghosts are mine as well / I think it's time I met them / and I think it's time you tell") could be an open letter to husband Gavin Rossdale regarding his love child. Although we may never know, the thundering sound of "Danger Zone" stands out as one of Gwen's most inspired lyrical and vocal performances.
Despite Gwen's excitable eclecticism and her California-bred cattiness, L.A.M.B does occasionally falter-the bloated R&B of "Luxurious" is a misstep for Kanal's production, and the fun but frivolous "Rich Girl" (which features Eve) sounds like a leftover from the sunny dance-pop of "Rock Steady." Although Gwen and Andre 3000 had excellent chemistry on "Bubble Pop Electric," their take at interracial relationships on "Long Way To Go" is simply too off-center, too weird, and too self-righteous to carry its message. These failed performances, however, fail to tarnish. Gwen's an aggressive frontwoman and a sizzling dance diva. She's a brilliant songwriter and savvy musician. Though many write Miss Stefani off as a talentless blonde bombshell, she's taking large strides to prove them wrong.
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