A failed attempt to return to Brown’s romantic roots on songs like “Forever”, this song not only suffers from Brown’s inability to write a tune, but putting Brown’s voice side-by-side with Usher’s just highlights his weaknesses as a singer, and Rick Ross’ rap verse is nothing but an embarrassing string of corny professional sports references.
Archives for September 2014
This pretty much sounds like an early-career Kesha song, with a dull, sludgy party-anthem tune, generally terrible lyrics, and an embarrassing spoken-word bridge near the end. Perry isn’t exactly known for her quality standards, but frankly, after performing a classic of this genre like “Last Friday Night”, she has no excuse for doing this kind of song this badly.
Here we have another Indie Rock crossover hit that just sounds a little too conventional for the genre. It’s another big, sweeping electropop anthem with little real creativity, and when you combine that with terrible lyrics and a weak lead singer, you have the least interesting Indie crossover items yet.
This is a song denouncing mediocrity…by one of rap music’s most notorious sellout cases, a once-serious artist who has been reduced to re-hashing the standard-issue booty-jam formula, featuring a beat by DJ Mustard, arguably the most boring producer currently working in the genre, with a guest verse by Iggy Azalea, the rapper behind the least interesting hit song of the year, “Fancy”. One actually starts to wonder if they did this on purpose.
This is an ultra-dark subversion of a Kesha-esque drug anthem, much like Sia’s “Chandelier”, especially in its combination of ultra-catchy pop melody with disturbingly unconventional and subversive subject matter for a pop song. Whether you prefer this to “Chandelier” seems to depend on whether you consider the latter song’s cacophonous messiness to be a bug or a feature. This song is certainly much easier to listen to than “Chandelier”, but its slick pop polish also means it doesn’t have anywhere near the shattering dramatic impact of that song. It’s a fine song in its own right, but I’d argue that “Chandelier” did a better job of subverting the _tone_ of the irresponsible party anthems it’s deconstructing, and is just a more effective realization of the idea both songs were going for.
This is a Pharrell Williams composition, so obviously the music is terrific, but it also features a ‘surprise’ cameo from Miley Cyrus. This makes it inferior to the other recent Pharrell compositions (“Get Lucky”, “Blurred Lines”, “Happy”, “Sing”) that do _not_ have Miley Cyrus on them, but at the same time, it’s easily the best track Cyrus has ever appeared on, so that counts for something, I suppose.
Co-written by Sia, and showing a striking resemblance to the material on her 1000 Forms Of Fear album, this is the finest release from Beyonce’s self-titled album to date, a brutally honest and intensely pained look at low self-esteem and the exploitation of the female body image. Interesting note: this song was actually offered to Katy Perry, but she turned it down, which may be the stupidest of all her stupid moves in the last few years.