This song has been compared to the output of Timberlake’s former boy-band affiliation NSync, which sounds like a bad thing on its face, but it doesn’t feature any of the really reprehensible qualities of Timberlake’s former band, like the wretched overuse of electric piano or the pathetically posturing attempt at R&B cred by whitebread choir boys. I suppose you could call this song Timberlake’s ultimate redemption as a musician, proving that he can draw on his past influences and _still_ not suffer from any of the flaws that made his work with NSync so horrible.
Archives for March 2014
Chris Brown is saying degrading things about women again…what a surprise. This song takes the usual ‘I can take your girlfriend’ song model, and turns it around, condemning the women for being willing in the first place (‘These hoes ain’t loyal’ goes the refrain). This might have been an interesting idea in the hands of a more intelligent and thoughtful songwriter, but for these morons it merely comes off as a hypocritical attempt to have their cake and eat it too.
There have been a lot of examples of what I’ve dubbed HSS (Harlem Shake Syndrome)…that is, stupid novelty songs making the charts purely because of viral videos…but this may be the worst one to date. This is like an unintentional version of Frank Zappa’s “Valley Girl”, with an indescribably inane female monologue rambling endlessly over an utterly formulaic dance track.
This unconventionally structured two-part R&B piece revels in its open sexuality, yet achieves the rare, Stripped-era-Christina-
This song’s release as the album’s lead single was cancelled due to its extremely explicit lyrics, but as songs about oral sex go, this is certainly a Hell of a lot better than “Whistle” or “Birthday Cake”, mostly because the music itself is good enough to justify it. Here, Beyonce dabbles in the recent retro-R&B trend for the first time since “Love On Top”. The production was a collaboration between two of the most gifted producers of our time, Pharrell Williams and Timbaland, and its quality is comparable to Pharrell’s work on “Blurred Lines”, “Get Lucky”, and “Happy”.
Sam Smith is not only the most commercially successful of the Indie R&B acts to date, he has also essentially become the public face of the rise of the more complex and esoteric subgenres of House Music on the British Charts. On this song, he combines both, with a gorgeously lyrical Indie R&B ballad featuring a beat that is far more sophisticated and interesting than is typical for songs of this type in the U.S..
One of three Whitney Houston hits to rechart in the wake of her death, this was one of her most moving and substantial hits, written by a songwriter suffering from a terminal illness who poured all of her struggle and emotion into one of the most powerful pop songs of the era.
Jesse McCartney was basically the proto-Justin Bieber, and he’s only marginally less ridiculous trying to sing about sex than his successor. As for the song, it bears an uncanny resemblance to Jason Derulo’s recent hit “Talk Dirty”, right down to saying he doesn’t speak the girl’s language but doesn’t need to in order to appreciate her ‘booty’. The fact that Derulo is recycling song templates by has-been artists from four years ago somehow makes “Talk Dirty” even more depressing.