One Direction FOUR

One Direction has done the almost impossible for a boy band: The English-Irish quintet has held the fickle attentions of teenage girls the world over for three years — the equivalent of 30 in tween years — and the band’s new album, “Four,” isn’t likely to diminish the group’s stronghold.

On “Four,” One Direction — Niall Horan, Zayn Malik, Liam Payne, Harry Styles, Louis Tomlinson — continues to produce perfectly polished pop tunes with the edges buffed for maximum shine. And shine they do: it’s hard to deny the anodyne appeal of strummer “Ready To Run,” the up-tempo Buddy Holly-sway of “Girl Almighty,” the Ed Sheeran-penned sweetly nostalgic “18,” or new single, “Night Changes,” which may or may not be about losing one’s innocence. It’s hard to tell since the band’s lyrics wisely never veer from PG.

Produced primarily by Julian Bunetta and John Ryan, musically “Four” often harks back to the ’80s, a decade before any of the band members were born, with open, echo-y drums that wouldn’t sound out of place on a Martika record. Acoustic guitars and synthesizers comfortably collide throughout.

One Direction’s primary appeal is its members’ vulnerability. When they aren’t riding in on their white steeds to rescue the girl, they are willing victims of love, seemingly powerless over femme fatales on songs like peppy “No Control” and “Stockholm Syndrome.” In a capricious world, they promise undying fealty and they will never knowingly hurt you, or if they do, they are relentlessly apologetic, such as on “Where Do Broken Hearts Go.” They are as mythical and non-threatening as unicorns, and that’s why teenage girls find them so fetching.

One Direction’s last album, “Midnight Memories,” was the world’s best-selling album of 2013. “Four” will likely give Taylor Swift’s “1989” a run for its money for the 2014 title.

Melinda Newman


Trisha Yearwood returns with her first new recordings in seven years with “Prizefighter,” which combines 10 of her best-known hits (“XXX’s and OOO’s,” “She’s In Love With The Boy”) with six new songs.

The title tune pairs Yearwood with acolyte Kelly Clarkson, and the two overcome the song’s empowerment clichés through the earth-shaking force of their voices. But the album includes better songs: “I Remember You” is a tender ballad addressing a lost love, set to quietly orchestrated strings. It allows Yearwood to reveal her talent for conveying emotion through a combination of strength and restraint.

Similarly, the cheeky “Your Husband’s Cheatin’ On Us” — written by Matraca Berg, Marshall Chapman and novelist/playwright Jill McCorkle — brings out Yearwood’s bluesy side, as heard on previous gems such as “Wrong Side Of Memphis” (another Berg co-write featured on “Prizefighter.”)

Yearwood’s re-entry into the country music sweepstakes hasn’t received as much attention as that of her husband, Garth Brooks. But “Prizefighter” not only reminds listeners Yearwood’s past triumphs, it also proves that her remarkable voice deserves a place among the current generation of country hit-makers.

Michael McCall