Prism Music A versatile music app for Plex & Apple Music. Plex Connect your free Plex account to stream your music from anywhere in the world. Apple Music Access music on your device or in your iCloud Music Library. Filters Refine your library by adding one or more filters. Teenage Dream did its job. With its five number one singles, the 2010 album turned Katy Perry into a genuine superstar, the kind of musician whose image rivaled her music in popularity, the kind who could topline her own 3-D theatrical documentary, the kind whose name became shorthand for a sugar-pop sensibility. This meant there was only one thing left for her to do on its 2013 sequel, Prism.

With its five number one singles, the 2010 album turned into a genuine superstar, the kind of musician whose image rivaled her music in popularity, the kind who could topline her own 3-D theatrical documentary, the kind whose name became shorthand for a sugar-pop sensibility. This meant there was only one thing left for her to do on its 2013 sequel,: to make a graceful pivot from teen dream to serious, mature artist. Hits these marks precisely yet isn't stuffy, not with its feints at trap-rap, but even with the preponderance of nightclub glitz, there isn't a shadow of a doubt that has toned down her cheesecake burlesque, opting for a hazy, dreamy, sun-kissed hippie Californian ideal that quietly replaces the happily vulgar pinup of her earliest years. All the lingering nastiness of - the smiling Mean Girl backstabbing of 'Ur So Gay,' for instance - and the pneumatic Playboy fantasy of are unceremoniously abandoned in favor of 's candy construct of a chipper, cheerful grown-up prom princess, the popular girl who has left all her sneering dismissals in the past. Remains a terminal flirt but she channels her energies into long-term relationships - the sexiest song, 'Birthday,' is a glorious retro-disco explosion delivered to a steady boyfriend, while elsewhere she testifies toward unconditional love - and the overall effect transforms into a relatively measured, savvy adult contemporary album, one that's aware of the latest fashions but is designed to fit into 's retirement plan.

Ultimately, this makes a tighter, cleaner record than its predecessors - there are no extremes here, nothing that pushes the boundaries of either good taste or tackiness; even when she cheers on excess on 'This Is How We Do' she's not a participant but rather a ringmaster, encouraging her fans to spend money they don't have just so they can have a good time. Pat metheny last train home. Ultimately, this sense of reserve reveals just how canny really is: she's determined to give her career a dramatic narrative arc, eager to leave behind the bawdy recklessness of her early years in favor of something that's age appropriate.

That's why the lead single from was 'Roar,' an homage to so transparent that the singer/songwriter may deserve co-credit: the inspirational adult contemporary single signaled how no longer views herself as a fluffy confection but rather a showbiz staple who'll be here for years and years, and fully lives up to that carefully constructed ideal.

Prism's debut release automatically struck a chord with Canadians, netting a number 23 hit in that country with 'Spaceship Superstar,' thanks to the bright, animated keyboard playing of John Hall. Produced by Bruce Fairbairn, 1978's Prism introduced the band's staunch, Journey-like arena rock sound, guided by vocalist Ron Tabak. The album sold relatively well in Canada, but went rather unnoticed throughout the U.S. or the rest of the world. Aside from the opening cut, 'Open Soul Surgery' harbored a strong up-and-down rhythm, with Lindsay Mitchell's guitar emitting some favorable riffs. 'It's Over' is a gorgeous, semi-sweet ballad, while 'Take Me to the Kaptin' is in the same league as 'Spaceship Superstar' as a distinguishable but synth-aided rocker. After the first four tracks, the album begins to wear a little thin, suffering from a routine, radio-rock feel and commonplace songwriting. 'Freewill,' 'Julie,' and 'Amelia' end up sounding quite redundant, and it's evident that Prism puts all of their energy and vigor into the first half of the album. Tabak's singing is worthy of hearing, giving the album's filler a wee bit of promise, and is enough of an indication that Prism wasn't just another makeshift project, especially with Bruce Fairbairn as the band's producer.