Question: Whose performance did Scott Shetler parallel "More grounded" to?
About the article "Stronger (What Doesn't Kill You)", section "Critical response".

Candidate passages:
Scott Shetler of "Popcrush.com" said: "Osment released her first album less than a year ago, and the 19-year-old’s singing career is still growing.
Unfortunately, ‘Hush’ probably won’t be the song to provide her breakthrough hit, as the synth-pop production is rather plain.
The unimpressive musical accompaniment leaves the focus on the performers’ vocals, a mistake in the case of Osment, whose thin voice feels so light it could float away, even when it’s double-tracked on the chorus.
The inclusion of Ramsay is definitely a good move, as his verses and harmonies help liven up the track."
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"Song on Lyrics.com" gave the song a more positive review saying: "Hush just goes to show us that Emily Osment is pretty serious about singing and she’s got the vocals to prove it."
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"Motivation" is a R&B slow jam song written by Richard Butler (Rico Love), Jim Jonsin, Dwayne Carter and Danny Morris.
The racy lyrics center around Rowland asking her man to use his hands all over her body, and are accompanied by a "synth-saturated beat" produced by Jonsin.
In terms of instruments, "Motivation" uses sparse keyboard notes, programmed beats and pulsing synths in the chorus.
Wayne adds a rap verse complementing Rowland's seductive suggestions, using the kitchen and a car as metaphors for sex.
According to Scott Shetler from AOL Music, Rowland uses the lyrics to promise "to be her lover's motivation."
Rowland called the record a mixture between dance and mash-up.
When asked by MTV what Rowland thought of the song, she said It has that personality and characteristic to it that I don't think anybody can deny.
That's why when Wayne dropped that insane verse on there ...
I was like, 'You really brought that up even more.'
He went into the studio and just did it.
I don't think it takes much for Wayne to think.
He just does it.
He's so admirable."
Critics gave "Free" positive reviews.
About.com said "This is clearly a Haley Reinhart record, and her fans will instantly take it to heart."
and gave it a rating of 4.5 out of 5.USA Today's Brian Mansfield was impressed and the song was picked to be one of the songs in the Playlist in "USA Today".
Scott Shetler from PopCrush.com wrote "The track is built around the elegant vocals of Reinhart, who sounds more mature than her twenty-one years Let’s hope so, because ‘Free’ is a song that’s worthy of people’s attention."
The song received positive responses from a number of critics.
David Fricke of "Rolling Stone" assigned the track four out of five stars, deeming it "just a bright, strident vocal and crisply strummed guitar.
But when Armstrong’s bandmates fall in around him, Green Day sound the way you originally loved ’em, and refreshed: heavier and hardened from their time in the trenches but back in the garage, ready for rapture".
Scott Shetler of PopCrush also rated the song four out of five stars and compared it to the song "Jesus of Suburbia" from the album "American Idiot", calling it "a much shorter and slightly more accessible version" of that song.
He also added, "That’s good news for Green Day fans and for those who miss rock music on Top 40 radio".
However, the song did not receive an entirely positive response from "NME", who stated, "That crunchy guitar riff, that meandering melody, that by-the-numbers solo – it all comes off rather ‘meh’, rather safe, and rather middle-ground to these ears". 
Andy Gill of "The Independent" and Ryan Dombell from Pitchfork Media both noted that the song embodies all the elements of a big power ballad, with the former stating that it is "Rihanna's best vocal performance" and the latter concurring, labeling the song as a I Don't Want to Miss a Thing' type power ballad genetically engineered to soundtrack a bi-coastal Kate Hudson rom-com."
Daniel Brockman of "Boston Phoenix" writer perceived the song as an "innocuous soft jam."
"Slant" Magazine's Sal Cinquemani called "California King Bed" a "slushy acoustic ballad whose clever metaphor is all but suffocated beneath the song's cheesy production choices" Andy Gill of "The Independent", gave a positive review for the song saying that it contained Rihanna's best vocal performance to date.
However, Robert Copsey of Digital Spy criticized her vocals, stating that "She belts out in a range well beyond her natural vocal ability.
"Scott Shetler of Popcrush commented that it was refreshing to see Rihanna release a down-tempo ballad, instead of a continuous flow of up-tempo dance songs, saying "Though ‘California King Bed’ follows a routine pop ballad arrangement, the song is a nice change of pace for the Barbadian hitmaker.
As much as we love Rihanna’s dance club hits, it’s refreshing to hear a song built around her impressive voice."
Stacey Anderson of "Spin" magazine explained the lyrical meaning behind the song, saying, California King Bed' is a wrenching ballad about the waking death of a relationship, the stage of limbo before the final crash; it's so well-delivered, in fact, that it's hard to hear."
Robert Copsey of Digital Spy gave the song four out of five stars, saying "The fourth single proper from Loud may pull in the reins as far as the hectic dance beats and sado-masochistic lyrics go, but it's no less beefy and extravagant.
Lilting acoustic guitars metamorphose into '80s rawk ones as she sings about the kind of separate-togetherness felt moments before a break-up.
She belts out in a range well beyond her natural vocal ability."
Thomas Conner of "Chicago Sun-Times" concluded that "The acoustic strums of 'California King Bed' build to a cinematic, Diane Warren-sized breakup chorus.
""Entertainment Weekly"s Kyle Anderson gave a mixed review of the song saying: "she doesn't have the chops to be a balladeer, which made the torch-song quality of 'California King Bed' land with a thud."
Similarly, Henry Goldblatt of the same publication graded the song with a B+ and gave a critical review of the title saying that it was borrowed from Pottery Barn.
However, Goldblatt praised the irresistible heartbreak in the song and added that Rihanna's voice demonstrates more range and power than her older material.
Andy Kellman of Allmusic and Emily Mackay of "NME" were more critical of the song in their review, with the former calling the song an "overwrought rock weeper" and the latter saying it is a "howler of a ballad, with shlocky acoustic intro, trite piano and a faux-Slash solo."