Big­gest pop record may be year’s best


The Daily Telegraph (Sydney) - - Hit - CAMERON ADAMS

RE­MEM­BER when Madonna used to work with the best song­writ­ers, not the coolest?

Wel­come to Pink’s sixth al­bum. She can write with any­one from any genre and turn the re­sult into a great, per­son­al­ity-drenched pop song. For­mu­laic but fierce first sin­gle Blow

Me (One Last Kiss) was a pink her­ring. This is her most di­verse, most cre­ative al­bum.

New sin­gle Try is jacked-up ‘80s FM rock; True Love (with Lily Allen on vo­cals) is bouncy ska-pop with clas­sic Pink lyrics (‘‘You’re an a--hole, but I love you’’); Are We All We Are (writ­ten with Lana Del Rey pro­ducer Emile Haynie) is a mys­tic sound­scape with boom­ing ‘70s rock at­ti­tude. The ti­tle track is a swingin’ ‘60s surf romp a la Cher’s The Beat Goes On.

Just Give Me a Rea­son is in­cred­i­ble. A duet with fun. singer Nate Reuss (un­mis­tak­ably pro­duced by Kanye West/fun. man Jeff Bhasker), it’s ‘70s El­ton with hip-hop beats.

The lan­guage-warn­ing sticker is earned time and again on Max Martin’s Slut Like You or the self-ex­plana­tory turbo pop of Walk Of Shame.

The beauty of Pink is that within min­utes of skank talk she’s in campfire mode, chan­nelling the Bea­tles and Janis Jo­plin on Beam Me Up. You will not find Katy Perry do­ing this.

And for those whose favourite Pink mo­ments are bal­lads like Lonely Girl or Glit­ter In the Air, head di­rectly to the end — The Great Es­cape.

Dan Wil­son (he co-wrote Some­one Like You) turns Pink’s take on a self­med­i­cated so­ci­ety into pos­si­bly her most beau­ti­ful song.

One day she’ll do a whole al­bum of bruised bal­lads — be­cause she can. Un­til then, here’s the best of both Pink worlds again — heart and hu­mour — and a swag of ra­dio-hog­ging hits.

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