Anastacia
Not That Kind

A phenomenon.

A great voice.

A beautiful album.

In 2000, Italian music networks now have to rely on the old hits of local artists to broadcast good music because finding high-quality pieces among the latest releases is challenging. And in the United States, things aren't much different. Sure, on the global pop scene, you'll find albums by Jennifer Lopez and the third album by the Spice Girls, BUT we are still talking about artists who have been established for several years. Why "BUT"? Because unfortunately, at the same time, there's a trend (or maybe it's always been this way) of "launching" new faces and voices into the music market; simply because new things generate more buzz than old ones. In this mad rush towards who knows what, "artistic meteors" (if we want to call them artistic) are born and die, spanning various genres and naturally, having little originality and quality, are destined for a short life. Amid a blend of ignoble rappers and less-than-presentable hip-hop from overseas lands emerges a great vocal performer.

Her debut album is this "Not That Kind." Already in the title, Anastacia seems to want to stand out from the crowd. Her music is deeply rooted in American traditions, as is evident from the various influences that appear in the album. She is a white woman with a black woman's voice. Some might maliciously say it's a fake and ridiculous imitation. To them, a twofold answer is given. Firstly, it's the result that matters. Listening to the album, the result seems more than achieved. Secondly, Anastacia grew up listening to the music of black singers, and we know what happens to an artist capable of capturing the soul and nuances from music. But Anastacia is something more. The very fact that she is not black leads her to a way of singing that blends with a more "white" style of American pop. Her tracks are a mix of ballads and "black grooves", of music with funky influences and rock flavors. The first track of Anastacia's first album is the one that gives the name to the work. It's probably the best that the blonde has given us. It’s very "driven," it would make even the walls move with its funky-inclined style. The guitar outbursts heard in the background are charming. I believe that 95% of listeners have never noticed them. I myself only accidentally noticed these powerful crunch thirty-seconds (2:27 and 2:34) while driving one day. It’s a nice treat for the guitar-playing listener, and it's certainly no coincidence that the producer decided to feature something which in pop (and not only) appears daring.

"I’m Outta Love" is the lead single. Also very rhythmic, it’s introduced by a soul-jazz keyboard and a guitar that seem to come from a dusty vinyl. When the groove starts, the piece enters into an unstoppable rush interrupted only when the instruments decide to mute to give space to the drum rhythm alone, and then energetically come back after a few bars. The video is very well-designed and you can tell. Full of colors and light games, it’s set in a venue where Anastacia sings her piece in splendid form (capisce a mme). Even for those who, like me, do not know English well, the message is clear. The love story from which the protagonist has emerged defeated was a way to make her understand that at this point, it's impossible for anyone to stop her from enjoying life. In the third track, we get to know the first ballad. "Cowboys and Kisses." Anastacia's lyrics are similar to each other. They have a brand, a style all their own. Enough about words though, let’s talk about music. The track in question is very incisive and illustrates a beautiful characteristic of the singer-songwriter: her grit that manages to strike in slow songs as much as in fast ones. Thanks also to the splendid work of the instrumentalists, the songs with a low b.p.m. metronome never sound boring or repetitive and are as interesting as the rhythmic ones. The arrangements are masterfully done. "Who's Gonna Stop The Rain" is a good example of this. It’s a good example to notice the beauty of the vocalizations, the precision in the notes, the variety of timbres and dynamics of a voice that more than a debut album seems to have reached the summary of a greatest hits. We are at the fifth piece and the dance resumes. "Love Is Alive" has the freshness of a beach track. But perhaps it would be fair to specify that all of Anastacia’s tracks have this, as they are full of joy and energy.

"I Ask of You" is the classic American ballad for women. A song that could very well make one think of a Whitney or a Mariah. Clearly, Anastacia doesn't pale in comparison to her mythical colleagues. "Wishing Well" is another track much more "white" than "black" and presents one of the characteristics that make this difference also in many other pieces: the acoustic guitar strumming. They remind us that the influence of black music in Anastacia's music has to reconcile with strong influences of more European than African origins. "Made for Lovin' You" was the fourth single (the third was "Cowboys and Kisses"). The title suggests a ballad, but instead, it’s a more lively piece, a mix between rock atmospheres and 70s disco. Who knows the atmospheres of "Pilgrim," Eric Clapton's album? "Black Roses" recalls them a lot with its semi-electronic mid-tempo and guitars very similar in style and sounds to those of "Slowhand." Another mention: the following and charming "Yo Trippin'" feels like a track from the first two albums of the Spice Girls. These references are not meant to be critical notes, but rather to highlight the variety of the music on this fantastic album. The track in question also has a very catchy and captivating chorus. Instead, we find a ballad in "Just One More Chance", characterized by incisive rhythmic and vocal breaks. "Not That Kind" closes with another moderately paced track which however differs quite a bit from the others, especially in the approach to Anastacia’s voice. The style adapts well to a closing track: a chorus with ad libitum choirs on which Anastacia engages in improvised phrases.

An Anastacia who has given us an album that never drops in quality. A fresh voice, aggressive, gritty, sensual, which despite being full-bodied is finely able to fit into any tight nook in the landscape of the notes of her music.