Get David Duchovny on the horn now and let him know that some dude named Sasha Alexander has stolen most of his looks. Oh yeah, Alexander is smooooth and so is his US debut Dedicated to . . .. Perhaps a little too smooth. This is the kind of soft rock with cushy electronic beats that all the ladies love and the guys just don’t understand (or something like that). You see, Sasha has had Top 10 hits a-plenty over in Europe but has yet to conquer America. Something tells me his bland version of soft-core soul will fit in well with the VH1 crowd.
Actually, you may have heard some of Sasha’s work as he has had songs featured on such TV shows as Beverly Hills 90210 and Dawson’s Creek. So it’s hardly ironic that such a photogenic person like Alexander makes music that’s as faceless as the kind he’s opted to hand over here. The music itself is of the high-fashion sense. It’s definitely suited for the small screen with all of its dramatic mush-mouthed lyrics and sweeping arrangements.
Synth strings, loping electronic scratchy beats and Alexander’s breathy delivery are all part of the formula that dares not take any chances or break free from its corny restraints. It’s bad enough that songs like “We Can Leave The World” invoke images of General Hospital and All My Children. If that sounds like your cup of tea, then perhaps such lines as “As you run your fingers through my hair / Your lips come close to mine / The tension becomes more than I can bear / Then you wrap your arms around me / And I feel your every move / This feeling now could lead us anywhere” (from “If You Believe”) will convince you that Alexander is the next Robert Frost. It’s doubly painful that we have to see Sasha mugging at the cameras in what I am sure he believes to be a very “sensual” way in the CD booklet while his songs abuse us.
Probably the most sensible thing that Alexander recorded here was the cover of “Something Stupid”. If anything, that title could very well sum up the whole album at once. All it takes is about 20 seconds of every song to get the feeling that there’s nothing very edgy in Sasha’s world. He tries to play the blue eyed soul artist in “Let Me Have You Girl”, trying his best to sound like Peter Cox from Go West and failing completely. Besides, Go West wouldn’t have riddled their tunes with such cheesy Miles Davis-ish trumpet bleating as the kind found here. From there, you can take your pick from other similarly vapid songs like “Let Me Be the One”, “Love Is All Around”, and “Chemical Reaction”.
I get the feeling that adolescent females who are still clutching on to their Justin Timberlake posters will find something inherently “sexy” about Sasha Alexander, but I doubt many others will. You see, albums like Dedicated to . . . are always born to fail simply because they were created with a lot of money and studio time and a decent photographer who can bring out the best in the token weekly fresh face who’s out trying to become a rock star. Well, there’s no rock on this album and there’s precious little of anything else other than tossed-off boudoir lyrics and slow beats. You know you’re in trouble when the person you’re listening to has to thank such luminaries as Adidas and Boss in the liner notes. See, I told you this has nothing to do with the music. So why did Sasha Alexander make an album? I suppose for the same reasons Don Johnson did way back when. At least no one has to tell Sasha to shave.