When Shakira dropped "Fijaci??® ?ral, Vol. 1" last June, it wasn't the long awaited follow-up to 2001's smash album "Laundry Service" that many American Shakira fans were expecting. Not that "Fijaci??® ?ral, Vol. 1" wasn't an ambitious and grandiose record (it was), but the non-English lyrics that graced the album may have been lost on the U.S. CD-buying public (although "Laundry Service" did have several tracks with Spanish lyrics). Consequently, Shakira didn't rack up the sales numbers that she may have expected. Rectifying this dilemma, she has now released the album's sequel, English-language "Oral Fixation, Vol. 2."
It's hard not to be mesmerized by Shakira as a performer. Her belly dancing and hip gyrations are cobra-like and exotic and her vocals evocative. After years of international acclaim, she stormed through to U.S. success in 2001. Her tangy singles (and videos) "Whenever, Wherever" and "Objection (Tango)" and a headlining tour (at the hockey arena level) showed her to be one of the most vigorous performers around. She has also proved herself to be a risk taker. While she could have easily followed the formula of "Laundry Service" - which would have guaranteed more mainstream chart success - she instead employs a myriad of styles and instrumental arrangements. As both "Oral Fixation" releases prove, she is not coy about experimenting.
The album opener "How Do You Do" features Shakira flanked by a chorus with lyrics entwined in religious overtones that make you wonder if Shakira has been spinning some old Charlotte Church CDs in her spare time.
Shakira chases away any fears of placidness as she gets down and dirty on "Don't Bother" (the CD's first single), turning catty and sarcastic over another female who rivals her for the attention of her "significant other."
Elsewhere, Shakira proves that she has not lost a bit of her sassiness and ability to share her raw feelings. She throws out some subtle anti-war statements in the distinctive "Timor" (a loose reference to embattled nation East Timor). On the ferocious cut "Animal City," she refers to planet Earth as a "cannibal world" in a somewhat cynically laced view of life.
Her collaboration with Carlos Santana on "Illegal" offers some interesting, yet unpredicted, results. Those expecting the Santana from "Smooth," with its burning, forceful solos, may be surprised. With its slow tempo, "Illegal" seems restrained, while atmospheric backing licks and solos from Santana emphasize a mournful tale of rejection.
Crooning about a failed relationship (in other words... he dumped her) Shakira sorrowfully speaks of unkind sentiments concerning an ex-beau and is ripe with accusations of insensitivity. She opines, "You don't even know the meaning of the words 'I'm sorry,'" while intertwining her pain with "Jagged Little Pill"-like statements ("You said you would love me until you died / and as far as I know you're still alive"). "Illegal" certainly makes for one of the more haunting moments on "Oral Fixation, Vol. 2."
A notoriously hands-on artist, the record lists Shakira as a producer. But she hardly acted alone; the fingerprints of production guru Rick Rubin (hot off working with Neil Diamond on his much ballyhooed "12 Songs") are all over "Oral Fixation, Vol. 2," and he certainly fuels the powerful tone and sound of the record. His mere presence on the album adds to the credibility of the project.
While "Oral Fixation, Vol. 2" may not be what many were expecting of Shakira, especially not those who still remember her as the hip-shaking temptress of the convenience store clerk in her Pepsi commercial from a couple years back. It is a solid piece of work and one of the more intelligent and ambitious efforts we have seen in the past year.
