This is basically Bieber trying to pass himself off as an R&B singer, which is incredibly unconvincing and embarrassing and just makes the wrecked remains of his voice all the more unlistenable. The lyrics are absolutely terrible, both on Bieber’s sung portions and Nicki Minaj’s rap verse, which is arguably the worst work she’s ever done as a rapper. I never thought I’d say this, but this might actually challenge “Eeenie Meenie” for the title of Bieber’s worst single.
Archives for December 2012
Mumford and Sons don’t get as much respect as other bands in their field that were established earlier, like the Decemberists, the Mountain Goats, or Iron and Wine, but they are a truly legitimate Indie Folk outfit, not some Pop-friendly crossover act like the Lumineers, and they brought the greatly missed sound of Classic Folk back to mainstream radio. Their thrilling instrumentation is reminiscent of the sound captured on Bruce Springsteen’s We Shall Overcome album, and their lush vocal harmonies and strong, thoughtful lyrics complete the winning combination. This song doesn’t have the biting self-loathing of their other signature song, “Little Lion Man”, but it does have some of the most eloquent poetic lyrics in all of modern music, Indie or otherwise.
At last, we have a country musician who can write a ballad that actually sounds romantic. With its moving melody and perfectly chosen lyrics, this song makes it clear that Hayes is the brightest new discovery in the country music world since Chris Young.
The titular “5-1-5-0” means ‘involuntary psychiatric hold’. Yes, this guy is singing about real-life mental institutions as a metaphor for his love for his girlfriend. He also rhymed that phrase with ‘somebody call the po-po’. Do I really have to tell you what I think of this song?
This is yet another attempt at serious and ambitious subject matter from a country musician, and ranks with “Don’t You Wanna Stay” and “The Truth” as one of Aldean’s best singles. If this trend became more consistent, I could see it revitalizing the whole country genre, so while that probably won’t happen for a while, I’m certainly not complaining.
This fine, deeply felt country ballad was co-written by Lambert’s husband Blake Shelton, and given that it’s based on Shelton’s own experience (after his older brother died in a car accident), it appears that the authorship listed is not just a courtesy credit and that he really did have a hand in writing it. So as much as I like this song, I have to ask why, if Shelton is capable of writing like this, he gives the good material to his wife and only sings his trademark dull formula songs himself?
Usher’s streak of brilliant single around this time would essentially end with his next hit, the uninteresting booty-jam “Scream”, but it went out with a bang on this gorgeous and moving ballad with its heartfelt lyrics and unimaginably beautiful falsetto vocals from Usher, who has never sounded better.
This is basically the female version of an Akon song, with its cheap shock-value title and brainless lyrics, and surprisingly, it’s just as misogynistic as Akon’s own songs. That said, even Akon’s nasal whine was preferable to Neon Hitch’s off-key screeching.