The Sweet Escape
There's nothing like a Gwen Stefani disc to rip you from your pop comfort zone and, in the pleasantest way possible, knock you around a bit. OnThe Sweet Escape,the blows arrive roughly every four minutes: a yodel ("Wind It Up") skitters off ceremoniously before the title track, featuring Akon, catches you off guard with its infectious yelps of "Woo-hoo, YEE-hoo!," and the pouty rap of "Orange County Girl" has barely petered out before we're vectored somewhere back toward the '80s with the indie rock-ish "Early Winter." That the sound of these songs doesn't follow a formula--that they pounce wherever they please, without regard for genres or decades--is no big whoop; this is Gwen Stefani, after all, and her up-for-anything, play-along fans probably wouldn't have it any other way. More surprising is the extent to which Stefani inserts what seems to be her genuine self into the music: "4 in the Morning," a Madonna-reminiscent midtempo groover, drops the wide-eyed Betty Boop pose and basks in a rarely plumbed depth of feeling ("I give you everything that I am / I'm handing over everything that I've got / 'cause I wanna have a really true love," she sings with something like sincerity). A single track later, she's owning up to motherhood in the sexiest, most unapologetic way possible: "I know you've been waiting," she pants, "but I've been off making babies / And like a chef making donuts and pastries / It's time to make you sweat." Lyrics don't get much cleverer than the ones to "Breakin' Up," a kiss-off disguised as a dropped cell phone call, and sounds don't get much swizzier than the ones on "Now That You Got It." Which is to say that Gwen's got game--as much as onLove.Angel.Music.Baby, if not more--and that anytime she's prepared to hollaback, the world will do well to listen.--Tammy La Gorce