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Of all the third-season contestants, Barrino trumped all her competitors in terms of sheer dramatics and histrionics, and that made her more memorable than equally talented singers such as Latoya London. And that reveals Fantasia's biggest weakness, which is part of the inherent flaw of American Idol: it rewards contestants who put on a show of being a great singer instead of actually being a great singer. Of course, the show-biz trappings haven't been completely abandoned - Fantasia's showstopping rendition of Gershwin's "Summertime" has been revived, and it's been given an overwrought treatment that's slicker and more mannered than either of her performances of it on the show. In their place are Missy Elliott, Jermaine Dupri, and Rodney Jerkins, hip-hop hitmakers who give a good indication that this album is striving to seem fresh and hip, something that no other American Idol album has even attempted. Gone is Matthew Wilder, who contributed to Kelly's debut gone are Neil Sedaka and Aldo Nova, who featured heavily on Clay's album. Free Yourself is looser and hipper than any previous AmIdol album. Under Davis' direction, Kelly Clarkson, Justin Guarini, Ruben Studdard, and Clay Aiken all made records tailored for a specific audience, which is the reason they all had great success (well, with one notable exception), so it should come as no surprise that Davis has steered Barrino straight to the streets to make an album that thrives on urban R&B inflections and style. Fantasia was the winner of the third American Idol competition in 2004, and while Clive Davis has shepherded all of the previous AmIdol winners and runner-ups, it's possible that Barrino had spent so little time in the music biz that she didn't grasp the depths of either Davis' legacy or his savvy, the latter of which was clearly on display on each AmIdol record. This indicates both Barrino's relative naïveté and the nature of Free Yourself itself.
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"Love you Clive Davis, thanks for being so gangsta!" So says Fantasia Barrino - now simply billed as "Fantasia" since divas are, by law, not allowed to have more than one name - in the liner notes for her 2004 debut album, Free Yourself.
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That said, Fantasia does its job: it may not be perfect, but it fully breaks Barrino free of her American Idol persona, giving her a sound and style that she can build a career upon.Purchase and download this album in a wide variety of formats depending on your needs.
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This is enough to make Fantasia better as an album and statement of purpose than Free Yourself, but no matter how good tracks like "Uneligible" sound - and with its fuzz-toned instrumental breaks and skeletal beats, the track does sound pretty great - it's hard not to wish that there were hooks as memorable as the production. There are exceptions - the previously mentioned "Hood Boy" and "Baby Makin' Hips," of course, but also a handful of others, such as the slow-burning "Two Weeks Notice," co-written by Missy Elliott - but this is a record that rides on its sound, whether it's coming from Fantasia or from the producers, who always present her at her best. That leaves the only problem of the record: the songs aren't all that great. So, the sound is right on Fantasia, as is Barrino's performance: she delivers on the promise she displayed on the show, sounding like a full-throttle powerhouse on the faster songs and smoldering on the slower ones.
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Even when things slow down for the ballads Fantasia never sounds schlocky the songs sound made for DJs and clubs, which is why the album is at its best when it sticks close to that updated '70s soul feel, as on "Baby Makin' Hips" which doesn't hit as hard as "Hood Boy" but it's equally alluring in its cool reserve. It's inspired in concept and delivery, as Barrino puts her all into it and it works: with this one track, she sheds her AmIdol past and remakes herself into a vibrant, vital diva. Like Destiny's Child in Soldier, Fantasia is celebrating thugs, and with the day-glo Supremes sample skipping and stuttering in circles, "Hood Boy" sounds not unlike an updated version of Ike & Tina, as Fantasia desperately pledges her devotion to strong men. Fantasia is a hard R&B album through and through, a distinction made clear by the album-opening "Hood Boy," a dynamite single built on a blaring Supremes sample and featuring a rap from Big Boi that sets the tone for the rest of the record. Since it adheres to just one style of music, Fantasia is a more consistent album than her debut it has a sense of purpose and it takes greater risks in the production, two things which make it a bolder, better album than Free Yourself.