Diamond Needle

Most men on the planet would certainly like these dolls to, um, dominate them - but will we still be wishing our girlfriends were fun like them after a listen to their sophomore attempt?


Pussycat Dolls - Doll Domination [2008]
At some sixty-two minutes long in standard form, or a further twenty if you opt for the deluxe edition, Doll Domination needs to be a strong record - eighty minutes of sex talk will not do. Thankfully we get a nice mix of themes (under the obligitary umbrella of love, of course), but kicking proceedings off is 'When I Grow Up', very much the dirty sex-fest many have come to find typical of PCD. Producer Darkchild does the honours and gives the girls one of their best singles to date. Electro synths boost the chorus and rocket along at furious pace, whilst the cheeky lyrical attempts at words of wisdom raise a smile and create a huge hook. A good start, then.

'Bottle Pop' begins nicely enough with a brief rhyme from Snoop Dogg, collaberator on past smash single Buttons, but you'd be forgiven for thinking this number was distinctly second-rate - until you get half way in when a further compliment of synthesisers add a real buzz. The song builds and builds and the chorus, initially repetitive, becomes distinctly addictive. This is good as any song featuring such inane lyrics as 'with my bottle pop, shake me' could possibly be. 'Whatcha Think About That' features a stale rap from an off-colour Missy Elliot with references to Katy Perry's 'I Kissed A Girl', but it's neither fresh nor clever; in fact it smacks of desperation. The song would be an improvement minus Elliot, and it's fairly good, but fairly good is not what the group we have come to love are all about - they're about bloody brilliant. Skip over this and return to said brilliance, for 'I Hate This Part' is PCD balladry at its finest. Beginning with a tinkling piano intro before Nicole belts out untypically restrained sentiments regarding driving through snow, the song is super-sweet and tinged with sadness. It's 'Stickwitu' for 2008, but much improved, and it's surely destined to provide Nicole and her posse with a further global smash.

'Takin' Over The World' is a sheer tragedy, overflowing with poor lyrics about a night in a club and suffering a truly dated beat. You'll likely remember it, but for the fact that it's one of the worst songs you'll be subjected to all year, not for its non-existant melody. 'Out Of This Club' is arguably no less generic but is certainly a vast improvement; the song defines sweet with its twinkly midtempo beat and soft, appealling vocal. Even an unnecessarily sordid rap from Polow Da Don boasting about faking intoxication to get a girl into bed can hardly ruin the song's sugary appeal. 'Whose Gonna Love You', an outtake from Nicole's solo sessions, is a near-epic affair sporting a combination of sad strings and subtle synths on which Nicole kisses off a lover with the promise that he'll never find another her. The quality is unsurprising given the song's pedigree; the aforementioned Da Don is on production duties, with a co-write from lyrical genius Kara DioGuardi.

'Happily Never After', another Nicole solo, is a Ne-Yo production and pretty much an 'Irreplacable' re-write, and whilst this lacks the huge hook of that hit, it does sport lyrics which are empowering without sounding patronising, never an easy feat. 'Magic' is a dark (joyless, it could be said) banger which feels like a retreat of the likes of Beep or Buttons, although ironically it lacks the magic of said hits. Sticking with Timbaland productions but moving from a dud to a gem, 'Halo' is the highlight of the record. It's a genuinely beautiful song with an epic introduction and truly flawless production throughout. It's the sort of late-night break-up anthem which would sound good playing with the rain pattering against the window and the fire on, and indeed it does warm the heart. Not wanting to get us too sentimental though, 'In Person', another Timbaland banger, follows. In sharp contrast to 'Halo' it's entirely meaningless and painfully shouty, though the threats contained in the lyrics are amusing and it's a given that we wouldn't want to be the man who scorned Nicole!

'Elevator' is a joyful Darkchild number whose hook relies on an elevator metaphor; 'We go up, we go down, touch the sky, hit the ground'. Notably it's one of the record's few songs allowing the second-most prominent singer within the group, Melody, to showcase her vocal skills, and the contrast between she and Nicole's delivery, especially in the back-and-forth middle 8, is a treat. 'Hush Hush' is a typically huge ballad which in theory should be unremarkable but in fact gets under your skin with it's lustful, longing strings and curiously regretful chorus. A late highlight follows; 'Love The Way You Love Me' is a recreation of the very best 80s pop, complete with uplifting synths and a memorable, soothing vocal. Again, the contribution from the endlessly talented DioGuardi is evident. The final Timbaland creation, 'Whatchamacallit', is a fun, silly uptempo which sees Scherzinger adopt a tone of cheeky faux-urgency; if you can't figure out the meaning behind the likes of 'I got mine on Sunset Strip from that hotspot, whatchamacallit', then worry not, for here the lyrics proudly take a back seat.

It seems Nicole is quite the fan of soaring balladry. Closer 'I'm Done' is a further example of this and is possibly the best of the big ballads evidenced here, aided by romantic lyrics about finding herself unable to prevent being swept off her feet by a lover. It's almost generic in theme and wouldn't be worth a second look in the hands of most others, but Scherzinger's vocal is so very enchanting that it's hard to think bad of the melody beneath the acrobatics.

If you've plumped for the Deluxe Edition, you'll enjoy the better package, for five of the best songs from the album sessions are to be found here, in the form of a solo from each Doll. Jessica's 'If I Was A Man' tackles the newly-popularised subject of switching gender roles, but by not taking itself too seriously and employing an infectious 80s synth-pop beat, it's much too delicious to ignore. Melody's solo is a soft downtempo; on 'Space' she concludes she needn't bow to her man's demands and lets him know that the space he requested has come at a price. It's a lovely theme and it's encouragement of independance is to be admired. Kimberley's cover of Jane Child's 1990 US #2 hit 'Don't Wanna Fall In Love' is a guilty bubblegum-pop treasure, making the most of her perhaps limited vocal range. Ashley shines on 'Played', a sweet slow jam which allows her to show off a surprisingly strong vocal and which comes with a memorable hook containing metaphors aplenty; it seems they're the current 'in' thing on the pop scene. Nicole's solo, another reject from her failed solo project, tackles the theme of self-love; similar to Christina Aguilera's 'Beautiful' in theme if not execution, it's another dreamy affair with a lovely sentiment. Group effort 'Perhaps Perhaps Perhaps' offers nothing new in terms of interpretation, but instead wisely stays true to the classic original, whilst a fresh remix of Nicole's solo single 'Baby Love' is a more-than welcome closer with it's glorious vocal and big, friendly hook; why this wasn't a bigger hit will likely remain a mystery.

If you can approach this record with a willingness to put aside the fact that for an apparent girl group, a shockingly high proportion of vocals are given to just one singer, then the chances are you'll be able to enjoy it hugely. It's bursting with hooks and boasts a sound which harks back to the pop of the 80s in a fond fashion. Doll Domination builds artistically on the group's debut PCD; whilst that album made their name and sported some brilliant club bangers, this should be appreciated for working it's hooks in a more subtle manner. If there is any justice in this fickle business, then Doll Domination will go down as a brilliant and varied record paving the way for the Pussycat Dolls to enjoy a continued, successful career.