Bittersweet World

( 11 )

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Has there ever been another pop star quite as shameless as Ashlee Simpson? Probably so, but nobody has ever quite so cravenly followed fashion's shifting tides as Ashlee, who has never seemed the slightest bit embarrassed to make herself over when styles changed. All this desperate trend-chasing has been done in public, as it damn well should be in the 21st century, so we've seen her change from the spunky younger sister of a superstar to the sad goth clown of her sophomore effort to the Gwen Stefani wannabe of her third album, Bittersweet World. Ashlee might look like a shadow of her former self on the album cover -- the years and cosmetic surgery have made her...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Has there ever been another pop star quite as shameless as Ashlee Simpson? Probably so, but nobody has ever quite so cravenly followed fashion's shifting tides as Ashlee, who has never seemed the slightest bit embarrassed to make herself over when styles changed. All this desperate trend-chasing has been done in public, as it damn well should be in the 21st century, so we've seen her change from the spunky younger sister of a superstar to the sad goth clown of her sophomore effort to the Gwen Stefani wannabe of her third album, Bittersweet World. Ashlee might look like a shadow of her former self on the album cover -- the years and cosmetic surgery have made her virtually unrecognizable from the awkward teen on the cover of I Am Me -- but she still sounds the same, still boasting that same thin, girlish voice that wouldn't have gotten much attention if she weren't Jessica Simpson's younger sister. Of course, the ironic thing about Ashlee's career is that she not only had bigger hits than Jessica, she made better records than her sister, too, all with a virtually nonexistent voice and a personality as aggressively shallow as Avril Lavigne. Like Avril, Ashlee has a distinct arc to her three-act career, bouncing back from a dour and dumb second album with a return to the fizzy fun of her first unlike Avril, Simpson seems like she would at least wait for you to leave the room before she started saying mean things about you. Where Avril beat a retreat to the bratty punk-pop that brought her fame, Ashlee has pulled a red hoodie over her head, amped up the dance beats, revved up the '80s retro fetish, and created something that feels of the 2008 moment, as it should coming from the fiancée of Fall Out Boy's Pete Wentz. This embrace of MTV hipsterism -- never to be confused with underground movements, this includes cameos from a guy from Plain White T's -- helps mirror the growth of her initial fans, who have grown from high school through college to immature young adults, needing this absurd new millennial go-go music for their endless parties, and while that arc is as manufactured as anything else surrounding the Simpson empire, there's none of the sad, creepy abandon of Britney Spears that makes Blackout just no fun to listen to, no matter how good it sounds. Bittersweet World is all bright neon colors and bubblegum melodies, full of naggingly insistent hooks and insipid poses, none sillier than Ashlee boasting she's a "Rule Breaker" who loves to fight over a track that sounds like diluted M.I.A. When Bittersweet World is operating at this high-energy level -- copping from bad old new wave singles "Outta My Head [Ay Ya Ya]" and Prince the delirious "Boys" and Gwen pretty much everything else, but especially on the feigned social consciousness of the title track, "What I've Become," and the "Hella Good" rewrite "Hot Stuff" -- this is addictive pure pop trash that's all the more irresistible because it's delivered by such a purely trashy pop star. When things slow down -- as they do on the utterly forgettable closer "Never Dream Alone" and the quite awful "Little Miss Obsessive," where Ashlee explores the endless possibilities of the word "over" in the chorus -- it's a bit of a slog, but those moments are fortunately few and far between here because Ashlee is aggressively shallow. She's always been this way, of course, but Bittersweet World is the first time that she has made a record that lives up to her happily empty persona, something that's truly fun junk.
New York Times - Jon Pareles
“Outta My Head (Ay Ya Ya)” and “Ragdoll,” her collaborations with the Brooklyn electro up-and-comer Santogold, are perky, syncopated staccato complaints. “No Time for Tears” segues spooky Eurythmics verses into a pop-punk chorus.
Entertainment Weekly - Leah Greenblatt
Bittersweet brims with polished — and similarly Gwen-esque — hooks (the loping, exotic ''Murder,'' the synth-driven ''Boys'') and pretty melodies (melancholy ballad ''No Time for Tears,'' well-wrought breakup anthem ''Little Miss Obsessive'').

Bittersweet brims with polished — and similarly Gwen-esque — hooks (the loping, exotic ''Murder,'' the synth-driven ''Boys'') and pretty melodies (melancholy ballad ''No Time for Tears,'' well-wrought breakup anthem ''Little Miss Obsessive'').
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Product Details

  • Release Date: 4/22/2008
  • Label: Geffen Records
  • UPC: 602517501386
  • Catalog Number: 001023102
  • Sales rank: 226,890

Tracks

Disc 1
  1. 1 Outta My Head (Ay Ya Ya) (3:37)
  2. 2 Boys (3:32)
  3. 3 Rule Breaker (3:20)
  4. 4 No Time for Tears (3:37)
  5. 5 Little Miss Obsessive (3:42)
  6. 6 Ragdoll (3:34)
  7. 7 Bittersweet World (4:10)
  8. 8 What I've Become (3:51)
  9. 9 Hot Stuff (3:14)
  10. 10 Murder (4:02)
  11. 11 Never Dream Alone (3:19)
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Album Credits

Performance Credits
Ashlee Simpson Primary Artist, Background Vocals
Jamie Muhoberac Keyboards
Chad Hugo Drums, Keyboards
Abe Laboriel Jr. Drums
Ray Brady Guitar
Mateo Laboriel Background Vocals
Jim Beanz Background Vocals
King Logan Drums
Technical Credits
Stevie Blacke String Arrangements
Chris Gehringer Mastering
Ted Jensen Mastering
Jack Joseph Puig Producer
Tim Roberts Engineer
Jerome "J-Roc" Harmon Composer
Ron Taylor Digital Editing
Timbaland Producer
Chris Godbey Engineer
Chad Hugo Composer, Programming, Producer
Tal Herzberg Engineer
Santi White Composer
Dean Nelson Engineer
Jun Ishizeki Engineer
Ray Brady Guitar Producer
Daniel Betancourt Engineer
Ashlee Simpson Composer, Producer, Executive Producer
Mateo Laboriel Programming
Jim Beanz Composer, Vocal Producer
King Logan Composer, Programming, Producer
Joe Simpson Executive Producer
Aris Archontis Engineer
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Customer Reviews

Average Rating 4
( 11 )
Rating Distribution

5 Star

(6)

4 Star

(2)

3 Star

(2)

2 Star

(0)

1 Star

(1)

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Sort by: Showing all of 11 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Stop making music

    I can certainly understand the desire for catchy pop music. Everyone needs something that they can sing along with or dance to, something that makes up for lack of depth with memorable hooks delivered by talent with a strong personality. But Ashlee Simpson, with her ever-changing hair color, surgically-altered nose and forgettable voice can't deliver on this task, no matter how hard she tries. Ever move in her career reeks of desperation, shallowness and nepotism, from her MTV reality show ("Sissy has a show, Daddy, I want one too!") to her fabulous screw-up on SNL (a more mature performer would have attempted to salvage the performance instead of dancing a sad jig and walking away) to her supposed comeback CD full of the same vanilla pop junk (ironically titled "I Am Me", even though she clearly is desperate to latch onto whatever identity is currently fashionable for each release). This CD contains more of the same diluted variations of previous pop performers and styles, all adding up to a record with semi-catchy moments but nothing that's fresh or even fun. Get your toe-tapping hooks from someone who at least has presence, if not talent it's clear that Ashlee Simpson, no matter how slick the production on her records are, has zero talent and should just stop making music.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 3, 2011

    Great album!

    I wasn't too impressed with the other albums made by ashlee simpson, I would say this album would have to be the best one she has made, every song is good on here, her music is fun to dance to, its not like before when she use to sing like a screaming hissy or a drunk robot.
    This album she made has catchy songs to it, its considered pop too, I'm glad ashlee stopped the punk-rock crap, her voice suits better with pop, her pop/rock she considered in her other albums was not punk/rock at all.
    This album is worth getting, Ashlee has good talent in this album!

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  • Posted October 1, 2010

    I Also Recommend:

    Well I Can Believe it !

    Look this cd is really good and i really enjoyed how the cd was. The songs on it are pretty kewl. I Mean this really doesnt sound like her old sound not as edgy,rock,reblish more of an understanding. This cd is engertic and very hip- retro. The songs are the type of the songs you are shopping at a store and at first your like ahhh. i dont like this song. As further as the song goes the more you end up liking it. At the end you ask where can i get the cd or is this song avilable on itunes.You should buy this cd i really like murder, and Bittersweet-world

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    Bittersweet World

    I heard this playing in a store I was in the other day. Didn't recognize the artist who was pumping out the serious jam over the speakers, so I asked because I knew I had to have the CD. Imagine my shock when I discovered this rerto-alternative banshee was none other than Ashlee Simpson's new CD Bittersweet World. Really, this is good stuff!!! I swore I would never buy one of her CD's, but I did, and I am HAPPY! Listen after listen, EVERY song on here amazes! You will not get to fast foward past a single song on this collection. I wish this was her first album... she would be hailed as a legend in the making!

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    Bittersweet World

    How can someone with so little musical credibibility make the radio friendly CD of the year so far? Janet, Mariah and Madonna have all released critically acclaimed CD's this year... NONE are as eclectic and consistent as Bittersweet World. Excellent guitar driven pop along with synth driven retro tunes, this is Ashlee Simpson's first really good work. Truly unbelievable. I didn't know she had it in her.

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  • Anonymous

    Posted October 1, 2010

    Bittersweet World

    I am no big fan of Ashlee Simpson's previous efforts. Autobiography, her debut, was a generally promising step into the spotlight with solid guitar driven punk pop tunes. I Am Me, her follow-up to both her first album and her Saturday Night Live debacle, contained two almost good songs (the rest made my ears bleed) and did nothing to restore her credibility as a singer or artist. On Bittersweet World, however, Ashlee has found a truly signiture sound to fit her raspy vocal and her giant personality perfectly. It doesn't matter if you loved or hated her prior works... this set is a totally new gig for her. With the help of hitmaker Timbaland as well as Chad Hugo (half of the hit production duo the Neptunes) Ashlee has made the pop album of the year. I can't belileve it, but EVERY song on here is well above average pop fare. She has actually maybe created a new sub-genre...ALTERNA-POP. Won't go into which songs are best because I cannot decide!!! Treat yourself to this album!

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  • Anonymous

    Posted August 12, 2009

    No text was provided for this review.

  • Anonymous

    Posted December 13, 2009

    No text was provided for this review.

  • Anonymous

    Posted October 18, 2008

    No text was provided for this review.

  • Anonymous

    Posted January 11, 2009

    No text was provided for this review.

  • Anonymous

    Posted February 22, 2009

    No text was provided for this review.

Sort by: Showing all of 11 Customer Reviews