Given that the songwriter behind this group has mostly been known for penning Chris Brown and Justin Bieber songs, this song is surprisingly tolerable. It’s just a piece of fluff, and the Reggae sound they’re going for isn’t exactly authentic, but it’s certainly catchy, and the attempt at Reggae does at least add some flavor to what would otherwise be a pretty generic pop tune.
Archives for May 2014
Ultra-sophisticated Deep House Music has become a recent craze on the British charts, but this is the first of those songs to make it across the pond. It probably did so thanks to featured vocalist Sam Smith’ recent explosion of popularity in the U.S., and he contributes his usual striking and haunting vocals to this fascinating piece of exotic dance-pop.
I thought nothing could be stupider than “Talk Dirty”, but Jason Derulo has actually managed to one-up his previous worst single. This song is one of those ultra-blunt booty-jams that have always represented the worst of rap and Contemporary R&B (think “Rump Shaker”, “Ms. New Booty”, “My Humps”, “Dance (Ass)”, et al.). On top of that, at least “Talk Dirty” was catchy; this song, with its incredibly irritating whistling accompaniment, doesn’t even sound like something you could dance to, which pretty much kills its only conceivable reason to exist.
This is yet another folk/dance-pop blend from Avicii, and it’s as interesting as his last two. He seems to be cultivating this as a signature style at this point, and it certainly sets him apart from his EDM super-producer peers.
This is the most stereotypical ‘Bro-Country’ single I’ve heard yet, with some of the most clichéd lyrics of all time, and by this point, this stale rehashing of a genre that was completely uninteresting in the first place is getting to be almost unbearable.
This is less catchy and accessible than the stuff on the Black Keys’ last two albums, and Danger Mouse’s production, good as it is, is a little overbearing. The result is a fine song, with a swirling, psychedelic, almost hypnotic feel, but it doesn’t seem to speak the band’s Blues-Rock, guitar-heavy strengths.
Written by a coven of big-name pop-song ghostwriters, this single by British pseudo-rock group Rixton sounds exactly like post-sellout Maroon 5, right down to the lead singer, who is quite obviously doing an Adam Levine impression. And given that I didn’t have any use for the _real_ Maroon 5 after they started sounding like this, I’m obviously not going to give the time of day to some cheap imitation.
This song is quite a bit better than most of the posthumous Michael Jackson releases, probably because it was made from an unfinished demo of a song that actually got released during Jackson’s life, albeit on a Johnny Mathis album and not under Jackson’s own name. That said, this kind of virtual duet with a dead singer is notoriously hard to pull off, and the fact that the song itself is decent isn’t enough to make it convincing here.
Verdict: Better than most of the posthumous Jackson songs, but still not very good.