So I’m hearing it’s not the best song on her album…
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[6.53]
Anthony Easton: The single that Kelly Clarkson should have recorded.
[7]
Martin Skidmore: Is it a terrible indictment of rock that many of the most exciting examples of the genre are made by teen female Disney stars?
[8]
Dan MacRae: I can’t type anything over my brain screaming “hooray!”. Once my brain figures out that Demi/Miley/Kelly might be responsible for a Pat Benatar revival, it will make for quite the harsh come down.
[9]
Keane Tzong: A tired, mawkish sentiment, poorly expressed and sung, accompanied by an instrumental whose express purpose seems to be to ensure that the song remains as neutered and safe as possible. The most positive thing I could think to say about this is that it’s certainly signature Demi Lovato. I look forward to reading the inane praise this will no doubt receive from the rest of the Jukebox, though.
[1]
Martin Kavka: Anthems to unhealthy codependence and senseless forms of acting out are dangerous things, and I fear that Disney-Radio-fed kids will infer from this that throwing tantrums is mature behavior. But there’s no denying that, aurally and visually, a gaggle of Busted/McFly/JonasBros can’t hold a candle to Lovato’s singular charisma.
[6]
Alfred Soto: She handles the pleasure-in-pain stuff like the pro she is, and she even tosses in a couple of unexpected flourishes: the audible breaths between verses, for example. Not great stuff, but I don’t change it when it’s on the radio.
[6]
David Raposa: Ehh — would’ve given this perfectly OK post-“Complicated” Radio Disney product the benefit of the doubt were it not for the guitarist wanting to sow his Berklee College of Music oats in the coda with some unnecessary wheedley-whee. It’d also be nice if someone could produce a tweeny girl rock/pop record and NOT catch the singer’s every gasp and gulp.
[5]
Dave Moore: I appreciate Demi’s workmanlike qualities — she’s one of the brainier of Disney’s current roster, but clearly a “professional,” with all of the baggage and occasional distance that the word brings. But this one hews a little too close to its formula, a “Since U Been Gone” rip (identical climactic bridge!) with a few bar band touches. As always, Demi sells it convincingly, but it doesn’t have any of the standard Paramore bluster of “La La Land” or unexpected quiet passion of “Don’t Forget” or the Robin Thicke smooveness of the best song she’s done this year, “Behind Enemy Lines.” An oddly safe lead single for someone who’s put out more strong material in one year than many of her contemporaries can manage in several.
[6]
Anthony Miccio: Rocks harder and hookier than most Disney fodder, but the repeated cries of “Here We Go Again” only serve to underline Levato’s relative facelessness in pop-rock. With her kind of corporate firepower, hard’n’hooky is the least we should expect.
[7]
Erika Villani: It’s a solid bit of post-breakup pop, a blaring and straightforward story of an off-again/on-again relationship, with a chorus catchy enough to get stuck in your head after a few listens: this could easily be the new Miley Cyrus single, or the the new Jonas Brothers single, instead of the new Demi Lovato single. But her album is packed with songs that can’t be confused for anything other than Demi — full of playfully cutting kiss-offs, personal details (“the necklace in your car that wasn’t mine”), and enough conviction for ten Hannah Montanas — and I’m taking points off this song simply because it isn’t those songs.
[5]
Alex Ostroff: Demi Lovato was swiftly written off in my mind as another Miley-come-lately; I was wrong. “Here We Go Again” grabbed me by the ears and forced a reevaluation. Reminiscent of the stellar middle third of Autobiography, Demi cops Ashlee’s growl and her push-and-pull romances. She adds judgmental friends, a soaring chorus in place of Ashlee’s more understated hooks, and a double dose of sass. “Got Dynamite” rocks harder, “Everytime You Lie” is smarter, and “Catch Me” is deeper, but this was made for hairbrush singing and bathroom mirrors, the true measure of pop.
[9]
Alex Macpherson: Her second album is hooky, smart, thoroughly enjoyable and frequently mindblowing; its sneakily addictive lead single (still only about the fifth best song on the album!) is an exuberant ride on the rollercoaster of emotional codependence, in which Lovato makes returning to an unhealthy relationship sound positively triumphant. She’s addicted to the thrill. And now, so are we.
[9]
Chuck Eddy: Proof Katy Perry is not as evil a shemo-pop role model as some people probably think. Though I still prefer when Demi steals Led Zeppelin riffs.
[7]
Additional Scores
Chris Boeckmann: [9]
Michaelangelo Matos: [4]