DavidArchuleta-Crush

At only 17, David Archuleta did what only six others have been able to accomplish - finish as runner-up on ‘American Idol.’ The culmination of his work since ‘Idol’ is embodied in his self-titled album, which follows Kristy Lee Cook’s ‘Why Wait’ as the second album to be released by a finalist from Season 7.

‘David Archuleta’ kicks off with “Crush,” the stylized mid-tempo single that reached #2 on the Billboard Hot 100 chart. “Crush” sets the mood for the rest of the album, letting listeners know that they are in for a teen pop treat.

Next up is “Touch My Hand,” the album’s second single, which continues where “Crush” left off. The track features an angelic chorus that gives the listener a feeling of soaring miles in the air, not to mention the fact that it has a pretty catchy hook. Proof that there’s only enough room for one song on the album with the word “hand” in the title, “My Hands” falls a bit flat lyrically but is still able to maintain itself musically, though.

Another mid-tempo that shows off Archuleta’s vocals is “Barriers,” which has a throwback-meets-2008 sound despite suffering from an annoying echo in the chorus. But the most annoying track is without a doubt “A Little Too Not Over You,” which features Akon-like “eh eh”s and “oh oh”s. The R&B-tinged track would be much better without these ad-libs because Archuleta’s vocals are in top form on the song.

“Running,” on the other hand, combines a clap track with ‘90s pop aspects and a piano melody. The track is extremely dated and does not belong on this album. Another song that should have been kept off the album is “Don’t Let Go,” which is nothing but straight-up teen pop slosh. “Your Eyes Don’t Lie” is not necessarily as bad, but this Wallflowers-light track does not belong with the rest of those on the album, and the whistle loops are downright juvenile.

Archuleta strikes up the radio-friendly factor with “Desperate” features New York underground influences and heavy guitar riffs that really give the song a serious atmosphere. The synths, although seemingly out of place, actually really do a lot to enhance the track.

On the ballad front, Archuleta offers up “You Can,” which lacks elements that many classic power ballads have but the track invokes a style in the form of Colbie Caillat, which is unbelievably well suited for him. But his strongest track is unquestionably the ballad “To Be With You,” which includes stringed accompaniment and the most tender vocal performance Archuleta has done up until this point.

Archuleta caps off his debut with “Angels,” one of his most critically-acclaimed performances on ‘Idol.’ Although it does not have the same effect here as it did eight months ago, it still serves a purpose of transitioning his career from ‘Idol’ to now.

Even though this is not the highest quality debut album for a runner-up (that title belongs to Clay Aiken’s ‘Measure of a Man’), David Archuleta surely holds his own and will see a long and fruitful career ahead of him.

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