Released on August 25, 1999, Christina Aguilera is a mistitled album. It’s a solid set of Top 40 pop songs, and even its deep cuts remain quite listenable, but these dozen tracks tell us precious little about the girl on the cover.
“Must I pretend that I'm someone else for all time?” Aguilera sings on track six, “Reflection,” a song she first recorded for the soundtrack to Disney’s Mulan. It’s the tune that got her signed to RCA, and in a funny way, it sums up this album. She wouldn’t have to wait forever, but it would take this Staten Island-born daughter of Ecuadoran and Irish American parents another couple of years to find her voice.
She cut a Spanish-language LP (Mi Reflejo) and a holiday collection (My Kind of Christmas) before dropping her proper sophomore set, Stripped, an album nearly as shocking as this one is plain. Here, we get mere flashes of that more adventurous and controversial artist she’d become.
Read on to get our track-by-track take on this, the world’s introduction to a supremely talented pop chameleon whose fearlessness is a blessing, a curse, and a constant topic of conversation.
Christina Aguilera Welcomes Baby Girl
“Somebody’s Somebody”: Of the album’s two Diane Warren compositions, this one holds up best. The drums snap, the bass pops, and the down-home gospel organ in the bridge fits nicely with the comforting, if bland, lyrics. This is a tune about finding safety and permanence in another’s arms, and in light of subsequent recordings, it’s a reminder that Aguilera can do sweet as well as sexy.
“When You Put Your Hands On Me”: Aguilera celebrates the alchemy of sex on this slinky R&B standout, telling her man, “I just know / when you put your hands on me / I feel sexy / and my body turns to gold.” The song was co-written by none other than Robin “Blurred Lines” Thicke, and while it’s far tamer than his signature tune, he and cowriter James Gaas slip in one rather salacious line some listeners may have missed: “I haven't used a particular noun very much / then we touched.” Whatever the word is, pre-“Dirrty” can’t bring herself to sing it.
“Blessed”: Just because Aguilera can sing the hell out of ballads like this, it doesn’t mean she should. “Blessed” is the most egregious example of Christina’s handlers misjudging her abilities and saddling her with subpar material. It’s by far the most skippable track. A speed bump on the way to…
“Love Will Find a Way”: Christina’s back in Mariah mode, this time doing a kind of “Dreamlover” update. After “Blessed,” this feels like a banger -- something a teenager would actually want to sing along with. She’s especially playful on the “I want you / I need you / You know that I believe you” bit, and just when you think she’s going to end on a flirty high note, she sticks around for one last ballad.
“Obvious”: This is like Christina’s “I’m Not a Girl, Not Yet a Woman,” but unlike that 2002 Britney ballad, it doesn’t have the benefit of Dido and Max Martin’s touch. “Can you hear it in my voice?” Aguilera asks in the opening line, wondering whether her confusion -- about life, love, etc. -- is apparent to everyone. Maybe, but so is her potential. The years ahead would bring assless chaps, Marlene Dietrich hairstyles, over-the-top circus-themed concerts, a movie with Cher, and a stint on reality TV. Since this record, Christina’s career moves have been many things, but “Obvious” is not one.