I would have worn my open toes to celebrate, but it’s 45 degrees outside.

GIRL POWER! Is that anything like TURTLE POWER?Katharine McPhee performed “Over It” on Jay Leno last night, and…eeek. It wasn’t terrible, but not even her hardcore fans are championing it as a great performance. I watched it, and I couldn’t help but notice how incredibly uncomfortable Katharine looked. On Idol, she really began to cultivate a particular image in the last six or so weeks on the show — diva belter, big glory notes, dramatic hand and body movements. That’s Kat’s forte performance and style-wise, and I’d like to see her play into that big Broadway, torchy side of her. It’s also where her voice is strongest. But she seemed to know that it would be inappropriate during this song. So while the hand movements and the broad smile came out at a few intervals, they were almost immediately pushed back in as Katharine remembered what she was singing and reverted to standing shyly behind the microphone, shoulders hunched. The most drama and passion she allowed herself to inject into the number was to rip off Beyonce’s patented “pretty girl angst” choreography — touch hand to head, make pained facial expression, run fingers through hair, make a fist and Shake It Defiantly. It didn’t work. Oh well. Here’s to next time.

From The Boston Globe:

[L]ike Kelly Clarkson before her, McPhee’s debut doesn’t do justice to what she likely has to offer. Out today, this unbalanced but promising self-titled debut follows the established “Idol” formula almost to the letter. (Mercifully, the throwaway number from the show’s finale is not included.)…The first single, “Over It,” is a soul-spiced, mid – tempo kiss-off of the sort that’s been especially popular of late — see Beyoncé’s “Irreplaceable,” JoJo’s “Too Little Too Late” (by the same writers) and Clarkson’s “Since U Been Gone. ” It’s a good style for McPhee. Yet her generic vocal makes it sound as if it could be a demo for any one of the above. An obligatory pair of big, blowsy Mariah Carey-style piano anthems should play to the core “Idol” audience , but they do nothing to illuminate who the 22-year-old California native is beyond a pretty girl with a pretty voice. A few ill-advised flirtations with the type of sister-friend soul associated with Mary J. Blige — impeccably produced by Hills — only manage to make McPhee seem squarer than she actually is, and a lite-reggae number is best not spoken of again. But for almost every ridiculous song like “Open Toes” — a slick dance track that’s supposed to be in the sassy Christina Aguilera mold but, by being about shoes, is just silly — there is a gem like “Better Off Alone.” This ruminative blues sounds relaxed and emotionally honest, and plays into strengths McPhee displayed on the show.

From The Daily Texan Online (and the answer is “because Taylor had passion and was more interesting:”)

After “Love Story,” we get to “Home,” a soft, semi-ballad that recalls Christina Aguilera’s cornball hits. From there you get to “Dangerous,” a quick up-tempo jam you could easily have pulled from a Rihanna album. But later on she belts out amazing tracks that bring back memories of her unforgettable performance of “Somewhere Over the Rainbow.” Her voice shows amazing strength and growth that really sets her apart from the numerous contestants that have come and gone, failing to make even a dent in the industry. Looking back on the album, you can’t help but be impressed. The development of her voice from an untrained, at often times, strained sound to the mature, pure resonance on the album only leaves one question in your mind, “How did she not win the whole thing?”

A track-by-track review from PhillyBurbs.com, where they seem to think the only way to listen to this record is to completely blot out the lyrics:

Katharine McPhee says her self-titled album “really reflects me, a 22-year-old girl who knows what it’s like to fall in love and to have her heart broken, and also a girl who likes to have fun and enjoy life!” If the sum total of Katharine McPhee’s life experience is in fact represented on this CD, then she’s got a LOT of living to do. The truth of the matter is the album’s lyrics read as if they were swiped from the diary of an immature 14 year-old writing about puppy love…[the lyrics to “Over It”]: “You never were a friend of mine, hurt at first a little bit, and now I’m so over, I’m so over it.”
Translation: I lost my virginity to some dude I didn’t even know. But like, whatever! [The lyrics to “Dangerous”] “I didn’t see the crash that burnt the bridge. I didn’t see the missile that sank my loveship down. Oh, I felt the hit, it was as hard as a brick. It made me shift, and left me damaged.” Translation: Your enormous “missile” sunk my “battleship!” Seamen overboard!”

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What the kids are sayin’



"I hate them all. The judges, TPTB, the blatant manipulation, the songs, the contestants, everything. I'm a die-hard Cook fan, but for the love of god, at least try to look like you're enjoying yourself up there! Please? Syesha was awesome but she ruined it by being completely shameless and disgusting. Yes, being on American Idol is exactly like the civil rights movement, except for the part where you're fighting to make the world a better place."



"All I can say after the disgusting display tonight of favoritism towards the mediocrity that is David A. - good luck trying to market and make money off of that kid, American Idol. (Not to mention good luck dealing with his father.) All the teeny boppers may buy up his American Idol coronation single, but they will quickly forget about him before the album comes out. And I shudder to think of a David A. album - song after song of unrelenting sameness and heavy breathing. Why they are pimping him for the win is beyond me."



"This show was simply a hot buttered mess tonight. And Jason "needs to be arrested for what he did to I Shot the Sheriff. But I hope he stays. He amuses me. "

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