Doll Domination [Deluxe Edition]

Performer: The Pussycat Dolls
Artist: Snoop Dogg; Missy Elliott; Polow Da Don; R. Kelly; Jessica Sutta; Melody Thornton; Kimberly Wyatt; Ashley Roberts; Nicole Scherzinger
Engineer: Chris Godbey; Mike Tocci; Paul Foley; Eric Scholotzer; Jeff Meeks; Miles Walker; Tony Terrebonne; Tito Vasquez; Abel Garibaldi; Steve Baughman; Ian Mereness; Julian Vasquez; Daniel Laporte; Tal Herzberg; Peter Stengaard; Chris Godbey; Chris Jackson; Mike Tocci; Keith Gretlein; 'Angry' Mike Eleopoulos; Mike Donaldson; Greg DePante; Fareed Salamah; Matt Wheeler; Paul Foley; Miles Walker; Johnathan Merrit; Tony Terrebonne; Roberto Vazquez; Rodney Jerkins; Steve Baughman; Daniel Laporte; Tal Herzberg
Producer: Stefanie Ridel; Jonas Jeberg; Cutfather; David Frank; Jamie, Carol, And James Jones; S. Dot; Jack Kugell; Kara Dioguardi; R. Kelly; Robbie Nevil; Ron Fair; Timbaland; Tal Herzberg; Peter Stengaard; Jason Pennock; Ne-Yo; Polow Da Don; Jonas Jeberg; Chase N. Cashe; Chauncey "Hit-Boy" Hollis; Cutfather; Robin Antin; DJ Mormile; Jimmy Iovine; Kara Dioguardi; R. Kelly; Ron Fair; Timbaland; Sean Garrett; Jerome Harmon
Distributor: Universal Distribution

Notes: The Pussycat Dolls: Nicole Scherzinger, Melody Thornton (vocals, background vocals); Jessica Sutta, Ashley Roberts, Kimberly Wyatt (background vocals). Personnel: Candice Nelson (vocals, background vocals); Polow da Don (vocals); Patrick Hayes, Donnie Lyle (guitar, guitars); Daniel Groover, John Goux (guitar); Dan Warner (guitars); Robert Taylor "R.T.", Robert Taylor (acoustic guitar); Bart Buckso (electric guitar); Lissy Rosemond (banjo); Melvin Jones (trumpet); Eric Live Florence (tuba); Peter Stengaard (piano); Raymond Oglesby (keyboards, drum programming); Kennard Garrett, Jason Perry (keyboards); Glenn Walker Camp, Gary Novak, Graham Ward (drums); Ron Fair (wind chime); Fernando Garibay, Jonas Jeberg, Eric Schlotzer, Jeff Meeks, Josef Larossi, Jamie, Carol, And James Jones, Jack Kugell, Andreas "Quiz" Romdhane , Sean Garrett, Ian Mereness, Jason Pennock (programming). Audio Mixers: Chris Godbey; Jaycen Joshua; Kevin "KD" Davis; Dave Pensado; Andrew Wuepper; Spike Stent; Jack Joseph Puig; Peter Mokran; R. Kelly; Rodney Jerkins; Tony Maserati. Recording information: 2nd Floor Studios, Orlando, FL; Chalice Studio B, Los Angeles, CA; Chalice Studios, Los Angeles, CA; Cutfather Studio, Copenhagen, Denmark; D.M.L. Recording Studios, East Orange, NJ; Henson Studios, Los Angeles, CA; Irvine Spot, Irvine, CA; Quiz & Larossi Studios, Stockholm, Sweden; Record Plant, Hollywood, CA; Record Plant, Los Angeles, CA; The Boiler Room Studio, Santa Monica, CA; The Carrington House, Atlanta, GA; The Chocolate Factory, Chicago, IL; The Hit Factory, Miami, FL; The Ice Box, Burbank, CA; ZAC Studios, Atlanta, GA. Editor: Ron Taylor . Photographer: Matthew Rolston. Arrangers: R. Kelly; Ron Fair; Nicole Scherzinger. Three years after the Pussycat Dolls unveiled their hit debut album, PCD, the former burlesque troupe returned with another round of sassy pop called DOLL DOMINATION. Although fans had been anticipating the much-hyped (and repeatedly delayed) solo outing by lead singer Nicole Scherzinger, DOMINATION fills in nicely, with the vocalist leading her statuesque sorority on a set of sensual, dance-oriented tracks. In addition to the techno-tinged single "When I Grow Up," which gives little girls everywhere the hope that they too can be a Pussycat Doll someday, the record includes the percussive "Whatcha Think About That," a mid-tempo tune that features Missy Elliott. The Pussycat Dolls' smash-hit album DOLL DOMINATION has been repackaged to include the English-language version of the Oscar-nominated song "Jai Ho," as well a few more tracks. Fans of the sultry singing group will not want to miss the extras here. There's a perfectly good reason why the first single from Doll Domination, the Pussycat Dolls' second album, sports the punch line "When I Grow Up/I Want to Be Famous": despite a million-selling debut, the Pussycats aren't famous yet, a fact borne out by the disastrous non-launch of head Doll Nicole Scherzinger's scrapped solo debut Her Name Is Nicole. Heralded by several sexy magazine covers, the record was set for 2007 but disappeared after four singles failed to turn into hits. Maybe they weren't great songs, maybe the public didn't like them, but it's just as likely that even fans may not have known who she was, as her name was buried in the credits to PCD's debut and despite all that skin she flashed on all those magazines, nobody really could tie that girl to this group. Every single thing about Doll Domination suggests that the powers that be at Interscope and the PCD organization decided that PCD was an insufficient launch pad for solo stardom, so they made the second album into a showcase for Nicole and the other four Dolls, none of whom you could possibly name or pick out in a Maxim lineup. On Doll Domination's cover, each Pussycat straddles her own motorcycle bedecked with the initial of her first name, while on the album each gets to sing lead on at least one track and on the double-disc deluxe version -- which clocks in at over 85 minutes, four minutes longer than Pink Floyd's The Wall -- each Pussycat gets a track credited to herself. So much effort is spent because so much effort is needed: without a scorecard it is impossible to tell who is singing lead in the Pussycat Dolls. That just happened to be an unintentional joke on PCD -- no wonder it sounded like the work of one vocalist, as it was pretty much all Nicole -- where it also emphasized that the brand name was more important than the individuals, but here on an album designed to give all five Pussycats personalities, the parade of pretty, sculpted, generic R&B voices is maddening. If the album was designed as proud, faceless product -- like, oh, the first Pussycat Dolls album -- this interchangeability wouldn't matter, but when the whole idea for the album is turning the group into superstars, it's a bit of a problem. This doesn't mean that Doll Domination doesn't work as pure proud product, at least on occasion: the ever-reliable Kara DioGuardi helps give the shimmering '80s gloss of "Who's Gonna Love You" some shape and Ne-Yo's "Happily Never After" is a good waiting room ballad. But digging out this handful of songs from the 16-track proper album -- inflated to as much as 24 tracks with the bonus disc added in -- is flat-out exhausting, necessitating trawling through too many dull beats, breathy bleats, a phoned-in Snoop Dogg cameo and Missy Elliot name-dropping Katy Perry. Missy's shout-out to Katy can't help but illustrate how the Pussycats happily hand over the crown of strip-club pop to Perry with Doll Domination. It's a mystery for the ages: a group that wouldn't exist if it wasn't for a burlesque revue now runs away from the bump-n-grind, singing about empowerment, heartbreak, love, fame and wealth, but never about sex. And that's the ultimate irony about Doll Domination: the group that's a men's magazine photo spread come to life is now backing away from sex -- and it's a lot better to hear pinups sing a song of striptease than a song of love. ~ Stephen Thomas Erlewine There's a perfectly good reason why the first single from Doll Domination, the Pussycat Dolls' second album, sports the punch line "When I Grow Up/I Want to Be Famous": despite a million-selling debut, the Pussycats aren't famous yet, a fact borne out by the disastrous non-launch of head Doll Nicole Scherzinger's scrapped solo debut Her Name Is Nicole. Heralded by several sexy magazine covers, the record was set for 2007 but disappeared after four singles failed to turn into hits. Maybe they weren't great songs, maybe the public didn't like them, but it's just as likely that even fans may not have known who she was, as her name was buried in the credits to PCD's debut and despite all that skin she flashed on all those magazines, nobody really could tie that girl to this group. Every single thing about Doll Domination suggests that the powers that be at Interscope and the PCD organization decided that PCD was an insufficient launch pad for solo stardom, so they made the second album into a showcase for Nicole and the other four Dolls, none of whom you could possibly name or pick out in a Maxim lineup. On Doll Domination's cover, each Pussycat straddles her own motorcycle bedecked with the initial of her first name, while on the album each gets to sing lead on at least one track and on the double-disc deluxe version -- which clocks in at over 85 minutes, four minutes longer than Pink Floyd's The Wall -- each Pussycat gets a track credited to herself. Despite the parade of pretty, sculpted, generic R&B voices, there are some good tracks: the ever-reliable Kara DioGuardi helps give the shimmering '80s gloss of "Who's Gonna Love You" some shape and Ne-Yo's "Happily Never After" is a good ballad, and there's a Snoop Dogg cameo and Missy Elliot name-dropping Katy Perry. ~ Stephen Thomas Erlewine There's a perfectly good reason why the first single from Doll Domination, the Pussycat Dolls' second album, sports the punch line "When I Grow Up/I Want to Be Famous": despite a million-selling debut, the Pussycats aren't famous yet, a fact borne out by the disastrous non-launch of head Doll Nicole Scherzinger's scrapped solo debut Her Name Is Nicole. Heralded by several sexy magazine covers, the record was set for 2007 but disappeared after four singles failed to turn into hits. Maybe they weren't great songs, maybe the public didn't like them, but it's just as likely that even fans may not have known who she was, as her name was buried in the credits to PCD's debut, and despite all that skin she flashed on all those magazines, nobody really could tie that girl to this group. Every single thing about Doll Domination suggests that the powers that be at Interscope and the PCD organization decided that PCD was an insufficient launch pad for solo stardom, so they made the second album into a showcase for Nicole and the other four Dolls, none of whom you could possibly name or pick out in a Maxim lineup. On Doll Domination's cover, each Pussycat straddles her own motorcycle bedecked with the initial of her first name, while on the album each gets to sing lead on at least one track and on the double-disc deluxe version -- which clocks in at over 85 minutes, four minutes longer than Pink Floyd's The Wall -- each Pussycat gets a track credited to herself. So much effort is spent because so much effort is needed: without a scorecard it is impossible to tell who is singing lead in the Pussycat Dolls. That just happened to be an unintentional joke on PCD -- no wonder it sounded like the work of one vocalist, as it was pretty much all Nicole -- where it also emphasized that the brand name was more important than the individuals, but here on an album designed to give all five Pussycats personalities, the parade of pretty, sculpted, generic R&B voices is maddening. If the album was designed as proud, faceless product -- like, oh, the first Pussycat Dolls album -- this interchangeability wouldn't matter, but when the whole idea for the album is turning the group into superstars, it's a bit of a problem. This doesn't mean that Doll Domination doesn't work as pure proud product, at least on occasion: the ever-reliable Kara DioGuardi helps give the shimmering '80s gloss of "Who's Gonna Love You" some shape and Ne-Yo's "Happily Never After" is a good waiting room ballad. But digging out this handful of songs from the 16-track proper album -- inflated to as much as 24 tracks with the bonus disc added in -- is flat-out exhausting, necessitating trawling through too many dull beats, breathy bleats, a phoned-in Snoop Dogg cameo and Missy Elliot name-dropping Katy Perry. Missy's shout-out to Katy can't help but illustrate how the Pussycats happily hand over the crown of strip-club pop to Perry with Doll Domination. It's a mystery for the ages: a group that wouldn't exist if it wasn't for a burlesque revue now runs away from the bump-n-grind, singing about empowerment, heartbreak, love, fame and wealth, but never about sex. And that's the ultimate irony about Doll Domination: the group that's a men's magazine photospread come to life is now backing away from sex -- and it's a lot better to hear pinups sing a song of striptease than a song of love. [A Deluxe Edition was also released.] ~ Stephen Thomas Erlewine There's a perfectly good reason why the first single from Doll Domination, the Pussycat Dolls' second album, sports the punch line "When I Grow Up/I Want to Be Famous": despite a million-selling debut, the Pussycats aren't famous yet, a fact borne out by the disastrous non-launch of head Doll Nicole Scherzinger's scrapped solo debut Her Name Is Nicole. Heralded by several sexy magazine covers, the record was set for 2007 but disappeared after four singles failed to turn into hits. Maybe they weren't great songs, maybe the public didn't like them, but it's just as likely that even fans may not have known who she was, as her name was buried in the credits to PCD's debut and despite all that skin she flashed on all those magazines, nobody really could tie that girl to this group. Every single thing about Doll Domination suggests that the powers that be at Interscope and the PCD organization decided that PCD was an insufficient launch pad for solo stardom, so they made the second album into a showcase for Nicole and the other four Dolls, none of whom you could possibly name or pick out in a Maxim lineup. On Doll Domination's cover, each Pussycat straddles her own motorcycle bedecked with the initial of her first name, while on the album each gets to sing lead on at least one track and on the double-disc deluxe version -- which clocks in at over 85 minutes, four minutes longer than Pink Floyd's The Wall -- each Pussycat gets a track credited to herself. Despite the parade of pretty, sculpted, generic R&B voices, there are some good tracks: the ever-reliable Kara DioGuardi helps give the shimmering '80s gloss of "Who's Gonna Love You" some shape and Ne-Yo's "Happily Never After" is a good ballad, and there's a Snoop Dogg cameo and Missy Elliot name-dropping Katy Perry. [A Deluxe Edition was also released.] ~ Stephen Thomas Erlewine

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