Yahoo! Music Album Review

Released on 11/07/05
Label: Sony

Despite the daily barrage of attempts by the tabloids to portray her as a dipsomaniac, volatile whore, the good people of Britain still like Charlotte Church. We know, if our own teenage years were documented by paparazzi, what a far more torrid story they'd tell.

We also remember that first phone call to "This Morning" as Richard, Judy and Denise listened tearfully to the untrained but angelic Welsh voice singing down the wire. Then we watched her success with pride. She banked the classical millions, all without betraying her roots. She aced her A-levels whilst singing for presidents, kings and popes and when she didn't want to do that anymore she got a couple of unsuitable boyfriends and got bladdered. She'd earned it.

"Tissues And Issues" is a risk. To favour "Crazy Chick" over "Ave Maria" could have made her a laughing stock if pop had turned out not to be her calling. But with a first single that's one of the best of the year, she's off to a good start. The album is purposefully a pop smorgasbord and not dissimilar to the kind of record that former Spices and former "Neighbours" actresses try: something rocky, something ballady, something worldy… But what raises "Tissues And Issues" above those CDs normally destined for the £6.99 sticker is the voice.

No longer of an angel (smoking ban enforced in heaven) Charlotte now possesses a rich pop tone, which never over-emotes. Even though she could, there's no melismatic acrobatics; just strength and style and character. "Moodswings" could've been sung by anyone from Melanie C to The Corrs in that it has nothing to distinguish it, other than Charlotte sings the hell out of it. With "Fool No More", Alicia Keys would be justified in asking for her song back but there's no denying the soul in the performance.

It's lyrically surprising too. The confessional song has become a standard, particularly from those who've just quit a boyband - desperate to tell us who the "real" them is, but on "Confessional Song", Charlotte turns the genre on its head with wit and self-awareness. "Gonna stay home tonight/So I don't get hungover" is about as deep as she digs into her psyche (she also tells us she's bought a dog and is considering hypnotherapy!) She's wise enough not to pretend there's any real angst or heartache to be rung out of her just yet and she avoids the dreaded poetry-to-music pitfall.

No one's going to claim this is a classic album. It often feels too eager to prove itself. There's little cohesion as it lurches from the Prince-stealing funkiness of "Call My Name" to the Andrew Lloyd Webber-esque "Casualty Of Love" then the sumptuously orchestral "Only God". But in its teenage identity crisis it proves conclusively that Charlotte Church can do just about anything she puts her mind to. The real test is what she does next. Cheers!

    by Tom Townsend