This isn’t the worst pop-country song of its type I’ve heard, but it’s still just another generic pop-country party song. As for the remix, Nelly is kind of prone to these kinds of weird crossover efforts, but this is a strange choice even for him. I get that he had a hit the last time he did something like this (the Tim McGraw collaboration “Over and Over”), but I don’t think the world really needed a hip-hop remix of this second-rate, vapid country song. I didn’t particularly like this song to begin with, but it certainly worked better in its original form than in this badly homogenized remix.
Archives for May 2013
This song was apparently an overlooked early single by the pair that resurfaced after the success of “Thrift Shop”. Remember when I observed that as charming as “Thrift Shop” was, it was a slight disappointment that the biggest Underground Rap crossover hit didn’t feature the seriousness and ambition the genre is known for? Well, this magnificent thunderclap of triumph completely makes up for that fact. “Thrift Shop” was already a highly enjoyable and impressive song, but “Can’t Hold Us” blows it out of the water. In fact, I think you could make a case that this is the best rap song of the decade so far. It says something that Macklemore is already the biggest rapper in the world just on the strength of his first album, and given that his predecessor in that role was Lil Wayne, I couldn’t be happier about it.
Next to Cee Lo Green’s “Fuck You”, this is probably the best of the Smeezingtons’ compositions to not actually be performed by Bruno Mars. It’s a thrilling, incredibly stirring inspirational anthem full of beautifully chosen imagery, and while the changes made to later editions of the song were misguided at the best, the original version still ranks as one of the finest songs of the year.
Daft Punk were the original popularizers of the House Music genre, but after the disappointing Human After All and their interesting but relatively esoteric score for Tron: Legacy, they needed a comeback, and with this song, they got just that. Whether in spite of or because of the unexpected genre shift from House to retro-Disco, this is some of the band’s finest work, a superb dance track that features outstanding guitar work from the legendary Nile Rodgers. This was the second retro-disco hit of the year to feature Pharrell Williams as guest artist and songwriter, the first being Robin Thicke’s “Blurred Lines”. This song has better instrumentation and better lyrics than “Blurred Lines”, but is not quite as infectiously catchy, which might explain why it only got to Number Two on the charts, but also why people in general got much less sick of it.