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Jen Foster, Everybody's Girl (American Garage)
Jen Foster's pretty fine with pithy lines but -- yet another singer-songwriter trait -- she includes too many of them. When the songs rock enough ("Used Black Cars"), or when the tropes signify enough ("Water in Your Hands", for instance, where she is both falling and not going to stay), she pulls it off, even with flourish. But when neither happens, the seamlessness of the production and the poetic descriptions of lingering over quiet, private moments combine in a vicious cycle to make what seems suspiciously like AOR. Heretical as this sounds, maybe if Foster stopped lingering over those quiet, private moments and just decided to entertain a lot of people by speaking directly to them through big, pop sounds and emotions, she'd be better. That is, she might be better if she "sold out".