“Steal My Girl” was a fine song as Journey pastiches go, but it wasn’t quite as imposing as the first two singles from the band’s last album, so some were worrying that the shallow boy-band’s attempt to grow into a credible retro-Classic Rock act weren’t going to work after all. This song put any such fears to rest. It’s a gorgeous, contemplative, wistful ballad, reminiscent of “Story of My Life” but actually featuring much better lyrics, and is easily the best single the band has released to date. As I said, the band has won an unanticipated level of respectability by paying tribute to Classic Rock, but this is the only song of theirs I know of that could be genuinely mistaken for the real thing.
Archives for January 2015
I was hopeful that after she got away from Will.i.am, Fergie would finally start making some decent music, but between the laundry-list lyrics that just keep reciting the names of famous cities and the typically dull DJ Mustard beat, I have to say I’m extremely disappointed.
Now we know what was missing from the 20,000 previous rap songs about cocaine: baby-talk! Seriously, this is the stupidest novelty rap hit from a soon-to-be-forgotten B-lister we’ve had in months, and may I remind you that category includes “No Type”, “Tuesday”, “Hot Nigga”, and “Lifestyle”.
“Fancy”, as annoying as it got after the ninetieth time you heard it, was merely an utterly mediocre song, and while “Black Widow” was actually quite terrible, Azalea’s rap verses were its strongest component. But it is with this song that she truly comes to deserve the hatred that has been levied at her, with stupid lyrics, an annoying chorus, and her fake accent and ridiculous posturing more offensive than they’ve ever been.
This is another ‘respect for women’ song about a stripper, but this one is actually fairly sincere-sounding (apart from Juicy J’s disgusting rap verse, which doesn’t match the rest of the song at all). Granted, it’s written in a macho, ‘thug’ vocabulary that doesn’t exactly match the subject matter, but at its core the sentiment itself is rather sensitive and progressive. More importantly, it has a lovely melody that serves as a sublime vehicle for Usher’s legendary voice, and like most of Usher’s weaker singles, its flaws don’t really seem to matter as much when the greatest male voice of modern pop is singing it.
Verdict: Not completely successful, but pretty and well-sung enough to get at least a partial pass.
This song combines the high-powered vocals of a Calvin Harris single with the deliciously funky beats favored by British underground House into a kind of Holy Grail of House Music. _This_ is why Duke Dumont is so lauded within the Dance Music scene.
2014 was unquestionably something of a disappointing year for the pop charts, but it was clear early on that 2015 would be a much better one, and this unlikely smash, which sounds much more like like Van Morrison processed through an Indie Folk filter than anything we’d normally associate with Mainstream Pop or even the usual Indie crossover fare, is one of the most prominent reasons why. This brooding, melancholy, and searingly intense Folk-Soul piece with its thought-provoking mix of sexual and religious imagery might be the best Indie Rock crossover item since the Shins released “New Slang” over a decade ago.
This is catchier and less obnoxious than the average bro-country song, but the lyrics are still incredibly stupid, and the song has the same vapid quality the genre in known for.