She may have played a teenaged girl mistaken for a pop star in The Lizzie McGuire Movie, but after releasing a Christmas album in 2002, and crooning two songs on the movie's soundtrack, Hilary Duff looks like she means business. The only trouble is, she doesn't sound like it. Although dubbing her first album Metamorphosis, the disc is anything but. Her singing is as coy and kittenish as her on-screen persona and she mugs her way through most of the 13 songs with charm and aplomb, but little natural singing talent. But to her credit, the actress has managed to cover a multitude of vocal sins by hiring a team of crack producers, who double her voice whenever possible, giving many of the tracks the rather anthemic feel of a cheerleading squad. The best songs on the disc are the three masterminded by the Matrix, the same production team that oversaw Avril Lavigne's hit disc and they give the lissome actress's singing some attitude and grit, like on the infectious and spectacularly bratty "So Yesterday," and the cleverly conceived "Math," complete with heavy metal guitar riffs. But Duff is not inhabiting that saucy jailbait territory staked by Britney Spears. At the ripe old age sixteen, she's much more Barbies than bustiers.

She may have played a teenaged girl mistaken for a pop star in The Lizzie McGuire Movie, but after releasing a Christmas album in 2002, and crooning two songs on the movie's soundtrack, Hilary Duff looks like she means business. The only trouble is, she doesn't sound like it. Although dubbing her first album Metamorphosis, the disc is anything but. Her singing is as coy and kittenish as her on-screen persona and she mugs her way through most of the 13 songs with charm and aplomb, but little natural singing talent. But to her credit, the actress has managed to cover a multitude of vocal sins by hiring a team of crack producers, who double her voice whenever possible, giving many of the tracks the rather anthemic feel of a cheerleading squad. The best songs on the disc are the three masterminded by the Matrix, the same production team that oversaw Avril Lavigne's hit disc and they give the lissome actress's singing some attitude and grit, like on the infectious and spectacularly bratty "So Yesterday," and the cleverly conceived "Math," complete with heavy metal guitar riffs. But Duff is not inhabiting that saucy jailbait territory staked by Britney Spears. At the ripe old age sixteen, she's much more Barbies than bustiers.

1. So Yesterday 10/10
2. Come Clean 10/10
3. Workin' It Out 9/10
4. Little Voice 9/10
5. Where Did I Go Right? 7/10
6. Anywhere but Here 10/10
7. The Math 9/10
8. Love Just Is 7/10
9. Sweet Sixteen 9/10
10. Party Up 7/10
11. Metamorphosis 7/10
12. Inner Strength 10/10
13. Why Not10/10

i love this album ^^

Back in the day when Radio Disney used to be a respectable organization (my have times changed), bubblegum pop ruled the airwaves and the kids ate it up. Sure, the station was still feeding off the pop mania of the late 90s early 00s, but hey, it made money. And Disney sure knows how to pick its talent, since almost every artist on that station is either totally obscure and homeless and/or on drugs. Then there was Hilary Duff... Ahh, Hilary. She ruled the #1 spot every weekend on the Radio Disney countdown, she had catchy music, and to tween boys everywhere, she looked better than sliced bread. Then there was this wonder of an album which produced hit after hit. It might have been the first album I considered buying. Fast-forward quite a few years and I'm quite older, more mature, and my tastes in music don't even compare to the Radio Disney days. So how does the album hold up?

Clearly there was some top radio-friendly talent on here, with such songwriting and producing legends such as "The Matrix" and new American Idol judge, Kara DioGuardi, all noted for writing hits for Avril Lavigne and Celine Dion among others. Disney pulled out all the stops here, and it pays off. Songs like the highlight "Why Not," "So Yesterday," "The Math," and "Come Clean" are all innocently catchy, and since you'd never be caught dead listening to this, it's also a great guilty pleasure.

Of course, you're bound to have some clunkers like the dumb "Sweet Sixteen," and even though the songs may not be the most original, or most vocally proficient, they're radio-friendly to the core, and doing what it does, it does well. Not that it's respectable in any manner, it is produced for tweens, and I think it's better than the majority of what Miley Cyrus' crew is able to turn out. You surely won't find any horribly pathetic and painful covers of Cyndi Lauper here.

Of course, if I was the same age I was back then, now, then I'd probably be gawking over Miley Cyrus, and laughing at her stupid show, resulting in far fewer brain cells in my brain. But back in the day, this was what was hot, in more way than one. It may not have been the best thing in the world to listen to for the musical brain cells, but it jump-started the bubblegum pop revolution that's climaxing with Miley Cyrus and the Jonas Brothers. This also sold more, with 4 million copies, as opposed to 3 million Miley put out there with her debut.

First, a bit of my background.

Classically-trained musician. 22 years on classical piano, 13 years on rock guitar. Have played solo recitals with press coverage to a packed house. Accepted to Juilliard, The Eastman School of Music, and Berklee College of Music. Owner of a recording studio. Have played in all kinds of music ensembles, from rock to jazz to fusion to grunge. Genres I listen to include everything from teen pop to classical to death metal to country to punk rock to southern rock, with everything in between.

That said, this album is a shining example of well-produced pop. Miss Duff's voice is what it needs to be in order to fit the music. Pairing a sultry or complex voice with pop tunes like those on this record would steal from their simple, innocent charm. This is a musical beach vacation, not an intense conversation with an old friend. I'd hate to call it a guilty pleasure, because it really is a well executed example of its genre.

"Why Not" is definitely the catchiest track. It will get stuck in your head and have you dancing.

"The Math" is very enjoyable as well. The lyrics are clever and the premise is fun.

The rest of the album is thoroughly enjoyable as well, and can hold my attention over many, many plays.

I highly recommend this.