Unwritten
| Natasha Bedingfield
Unwritten
Unwritten is the debut studio album by English singer and songwriter Natasha Bedingfield. It was released in the United Kingdom on 6 September 2004 through Phonogenic Records and in the United States on 2 August 2005 through Epic Records. An R&B-influenced pop album, Unwrittenwas produced by a number of producers, including Danielle Brisebois, Guy Chambers, Peter Wade Keusch, Steve Kipner, Patrick Leonard and Greg Wells. -Wikipedia
Critic Reviews
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All Music
In September 2004 Natasha Bedingfield debuted smashingly in the United Kingdom. Her first record, Unwritten, went to number one almost immediately and the glowing response established her as an instant pop star.
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Common Sense Media
Her debut album, UNWRITTEN, is filled with appealing, hook-filled pop tunes. Produced with loving care and performed with enough talent and passion to pull it off, the songs themselves don't have all that much to say, but they say it very well.
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Pop Matters
Possessing an impressively versatile voice that sounds equal parts Pink and Kelly Clarkson, Bedingfield keeps things relatively controlled throughout the album, never resorting to such histrionics as melodramatic over-singing, a gimmick too many of her American counterparts rely upon, and the more she keeps things simple, the more beguiling the music sounds.
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Rolling Stone
A year after Natasha Bedingfield broke through in her native England, the title track from her debut album, Unwritten, became her first Top 10 hit in the United States, with an inspiring gospel-choir refrain about the wide-open potential of the future. Bedingfield co-wrote "Unwritten" with Danielle Brisebois, who'd already contributed another song to the commencement canon as a member of the New Radicals, the band behind "You Get What You Give."
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The Guardian
The jewel in this crown is opening track and current single 'These Words', a love song about writing a love song. It's a tried and tested format (and you can tell everybody - particularly Elton John), but there's an unusually complex wordplay and structural spark to it, in which Natasha 'read some Byron, Shelley and Keats,/Recited it over a hip hop beat', that really sets the whole thing alight.
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Random Access
So when a pop record as strong as "Unwritten" by Natasha Bedingfield comes along, I begin to re-evaluate my stance on the value of popular music. 'Maybe it's not all bad.' But then, I come to the simple realization that pop is a truly divided genre; that is, there's decent heartfelt artists in this field, and then there's...the others. Thankfully, Ms. Bedingfield falls into the former category.
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