After their self-titled debut album went platinum, Danity Kane seemed to have endless potential. For Welcome to the Dollhouse, it sought to transition itself from stateside girl band to an internationally recognized band, choosing urban dance songs over ballads. With thanklessly produced tracks, including what seem to be Danja's Britney Spears leftovers, this will not happen anytime soon.
Ironically, aside from "Damaged," the disc doesn't really come to life until the 12th track, "Poetry" - a ballad with writing and production credits shared by Diddy himself - comes on. While the lyrics are subpar, this is the first instance when the girls' vocals are allowed to shine instead of being undermined by a glitzy but lackluster production. Vocally, the only other song on the album that is strong is a self-deprecating pseudo-ballad called "Is Anybody Listening." Although lacking emotional depth, the executions of Aubrey O'Day and Dawn Richard shine in an exquisite manner, as they are written to highlight their rich, low registers.
Aside from these two songs, the only thing that girls find themselves singing about is sex, earning themselves a reputation as the horniest five women in the music industry. Their sexual bluntness does not work, however, as they are given trite lyrics to sing - an inartistic manner in which sex is forcefully used to sell records. Because the girls find themselves unable to sing them with urgency, they render their horniness stoic.
The girls should hire better writers, as the refrains that they sing are weak and counterproductive to the musicality of their songs. Moreover, the lyrics featured on the album are far from "poetry." In "2 Of You," Aubrey coos, "You make me hotter than Jaimaca … Maybe it's 'cause you're Blasian." These words are not just ridiculous, they're racist.
The low points on this album are everything rapped - Missy Elliot included. In "Ecstasy," Rick Ross notes that he's "fresher than a stick of deo." His rapping, however, is so rancid it can be smelled upon listening. O'Day's and Shannon Bex's attempts at rapping in "2 Of You" are poor.
It is of no surprise why "Damaged" was selected as the group's lead single: It is the only good song on the album. It is an exquisite dance song with a high-concept that works - it mirrors a broken heart by using a blaring electro-riff and staccato vocals. If it were not for "Damaged," the album would not receive the plus behind its letter grade. D+
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