Out of context, this song sounds like a rejected cut from High School Musical, and even in the context of the movie, it’s best enjoyed on repeat viewings, because it’s basically one big ball of foreshadowing wrapped up in as innocent-seeming a package as possible. But properly understood in the context of the film’s plot, it’s actually quite chilling, all the more so because of its relentlessly innocuous, even sugary tone.
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.
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.
Written in conjunction with a TV documentary series devoted to the history of American Rock music, this song sees the Foo Fighters mixing their trademark high-class post-Grunge with some fitting retro-rock influences, resulting in a refreshing variation on their usual sound while still maintaining the quality standard they’re known for.
This is a pretty solid dance track in the Calvin Harris-David Guetta model, with Inaya Day’s vocals giving it more of an R&B flavor than is customary for the genre.
Gareth Malone was responsible for one of the only really good Charity singles of the current decade, “Wherever You Are”, but this is basically just another overblown celebrity chorus, no different than any other “We Are the World”-type star showcase. I don’t blame Malone…for a choir director to integrate a bunch of random celebrities of varying degrees of vocal talent into a cohesive choir couldn’t have been easy, and frankly I don’t think anyone else could have done any better, but it was a bad idea from the start, artistically if not commercially.
Little Big Town have first-rate instrumentation even on their weaker songs, which puts them ahead of most of their pop-country peers. But it’s frustrating that a band capable of writing searing ballads like “Your Side of the Bed” waste their time on what basically amounts to a bro-country party song with better guitar work.
This is definitely the least interesting of the singles from The Heist. Macklemore’s wordplay is still strong, and Hollis provides a distinctive and interesting sound on the chorus, but a song bragging about your car is so much less interesting than the subject matter on “Same Love”, or “Can’t Hold Us”, or even “Thrift Shop”. It isn’t bad by any means, but Macklemore is capable of better.