In 2010, it wasn't surprising to see a celebrity like Blake McGrath foray into the world of pop music: the fame-hungry choreographer and dancer was no stranger to the public eye, and was recognized throughout the United States and Canada because of his image, personality, and dark charisma, which, according to industry standards, might be enough to qualify you as a recording artist. In June 2010, under Universal Music Canada, McGrath released a single, "The Night," a thumping, Auto-Tuned-to-death glam dance record that would be the perfect Adam Lambert recording, if Adam Lambert lacked the chops of a rock generation. "The Night" was launched simultaneously with a well-choreographed and produced video, which ultimately helped make the song an underground hit. However because of this a full-length album dropped about six months later. This is where the problems begin: McGrath's follow-up music, from the album Time to Move, is nowhere near as strong as the lead single, and, without being coupled with a music video, truly demonstrates one thing: that he is not a vocalist by any measures. Unless he's saturated beneath synthesizers, beats, clicks, and a shield of Auto-Tune, McGrath comes off as the product of what would happen if you put anyone into a studio in 2010. That's not to say the entire album is a flop: "Penthouse," featuring Canadian rapper Trish, boasts a killer base and hook ideal for cruising at night, and "Runway" oozes that kind of delicious smarm that McGrath has built a career out of. In fact, because of the predisposed knowledge the audience had about McGrath's sensual charm and smoldering image, a few more of these songs are enjoyable among a playlist or mash-up. However, listening to this entire album in one sitting could give you a real headache, and turn you off of Blake McGrath more than it would turn you on.
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AllMusic Review by Matthew Chisling