Barnes & Noble
Much like Reese Witherspoon's lead character in the charming film Legally Blonde, the soundtrack is sassy and packed with enough girl power to make the Spice Girls blush. Rubbing shoulders with Hoku's frothy anthem of optimism ("Perfect Day"), Lisa Loeb's twangy power-pop ("We Could Still Belong Together"), and Samantha Mumba's slow-jam declaration of independence ("Don't Need You To") is an exciting passel of newcomers. Among the notable new jacks are garage rockers Lo-Ball ("Can't Get Me Down"), Latin-pop chanteuse Valeria ("Ooh La La"), and Mariah Carey sound-alike Joanna Pacitti ("Watch Me Shine"). Also not to be missed are Backstreet Boys protégée Krystal's bubbly reading of Al Green's "Love Is a Beautiful Thing," Mya tearing up James Brown's "Sex Machine," and the funky Black Eyed Peas/Terry Driver collaboration "Magic." Packed with plenty of hooks and harmonies, Legally Blonde gives listeners a license to have fun. Dave Gil de Rubio
All Music Guide
This various artists compilation, tied in to the college comedy Legally Blonde and billed as its soundtrack album (the film's score, composed by Rolfe Kent, is not included), is a compendium of contemporary pop styles, all presented by distaff performers who range from semi-names (Lisa Loeb, Mya, Samantha Mumba) to a set of pop-star wannabes. Most of the songs carry a message of female empowerment, starting with Hoku's bright pop/rock entry "Perfect Day." Joanna Pacitti's "Watch Me Shine" has a rhythmic urban style, Valeria's "Ooh la La" is the Latin pop song, and Lo-Ball's "Can't Get Me Down" is a punk rock selection. The songs that are most substantial are the ringers: Black Eyed Peas Featuring Terry Dexter's "Magic" "contains replayed elements from" the Police hit "Every Little Thing She Does Is Magic"; Mya's "Sex Machine" "contains samples of" James Brown's "Get Up (I Feel Like Being a Sex Machine)"; and Mumba's "Don't Need You To (Tell Me I'm Pretty)" is the obligatory Diane Warren ballad that no movie soundtrack can be without. The idea, of course, is that at least one of these tracks will score with some constituency or other and help cross-promote the movie. In fact, "Perfect Day" did just that, but the album is still a mediocre collection of second-rate pop material. William Ruhlmann