Twisted Angel

1	Life Goes On 3:33
2	Wound Up 4:15
3	The Safest Place 3:52
4	Trouble With Goodbye 3:22
5	Damn 3:29
6	Suddenly 3:58
7	Tic Toc 3:40
8	Sign of Life 4:28
9	Review My Kisses 5:31
10	No Way Out 3:55
11	Love Is an Army 4:01
12	You Made Me Find Myself 3:39
13	Twisted Angel 3:21

Barnes & Noble

This angel's come a long way. Since 13-year-old LeAnn Rimes wowed audiences with her Patsy Cline-like "Blue" back in '96, she's evolved from a country music prodigy, micro-managed by her dad, to an emancipated pop star who's charting her own creative course. And her latest, Twisted Angel, finds Rimes moving farther from her country music roots with a set of songs closer in spirit to junior divas Britney and Christina than to Patsy and Reba. For her journey into popdom, Rimes joined forces with a trio of renowned producer/songwriters, including hit doctor Desmond Child (Cher, Ricky Martin). The results range from the upbeat, Jessica Simpson-flavored lead single, "Life Goes On," and the funky R&B workout "Trouble with Goodbye" to soaring, slow-burning ballads such as "You Made Me Find Myself," which recalls queen diva Celine Dion. Elsewhere, the sassy Texan flexes her impressive range on the title track's saucy, swampy blues, the ethereal "Review My Kisses," and the seductive, techno-driven "Tic Toc," which is sure to raise the eyebrows of her more conservative fans. No longer Daddy's little angel, LeAnn Rimes is her own woman on Twisted Angel, which marks her progression from country princess to mature pop chanteuse. Dave Gil de Rubio

All Music Guide

Freed from her lawsuits, separated from the managerial control of her father, and now an adult, LeAnn Rimes redefines herself as a mainstream pop vocalist with Twisted Angel. If the title and the tarted-up sultry photographs didn't offer a clue that Rimes is no longer a country vocalist, the very first cut immediately offers proof that she's positioning herself somewhere between grown-up dance-pop and youthful adult contemporary. This is music for the hip middle of the road, then, which isn't a bad career move at all, since there's a void there with the absence of Whitney Houston, the breakdown of Mariah Carey, and Christina Aguilera's bizarre insistence to strip instead of sing. Rimes certainly has the voice for the crossover she desires, and the production is commercial, glossy, and ready for the radio, often appealingly so. Stephen Thomas Erlewine