Posts Tagged ‘Billy Currington’

Hot 100 Roundup—7/2/11

Monday, August 1st, 2011

Bad Meets Evil featuring Bruno Mars—”Lighters”
#16
Aside from the profit motive, I can’t think of a single reason for this record to exist. Mars repeats himself, only this time demanding acclaim for doing so; Eminem reminds haters for the umpteenth time that their hatred only makes him stronger; and Royce Da 5’9″ complains about T-Pain not letting Royce have a verse on one of his records. Based on this, T-Pain was right.

Javier Colon—”Angel”, #64
Vicci Martinez—”Jolene”, #76
Casey Weston—”Black Horse and the Cherry Tree”, #90
Xenia—”Price Tag”, #99

Shania Twain—”Today Is Your Day”
#66
After all these years Twain pins her come-back on a Sara Bareilles imitation, only without the sarcasm and cynicism that makes Bareilles interesting. Just to prove she’s still country she throws in some token banjo on the second verse and then buries it in the mix. She seems to believe that she’s still a star and can pick up where she left off without much effort, the same mistake Usher made a few years ago. Whether she has the talent or the energy to realign her career the way he did is another question.

Pitbull featuring Marc Anthony—Rain Over Me”
#75
Not good. Not terrible, but not good. Not a surprise, either. When your career is based on club-bangers, any album more then three singles deep is considered a masterpiece, if not a miracle. Pitbull has already made his quota.

Gym Class Heroes featuring Adam Levine—”Stereo Hearts”
#85
Travie McCoy is a major irritant, and here he brings Levine, who is only a minor irritant, down to his level. Levine takes himself too seriously, and McCoy doesn’t take himself seriously at all, but they’re both egotists who think they’re geniuses and who lack the ability to see how average their talents really are. McCoy is more irritating because he can’t shut up, but Levine makes the major mistake here of trying to be funny (at least I think that’s what he’s doing), which only demonstrates what a stick he really is. Weirdest moment: the middle eight that rips off Vampire Weekend. This is either a joke that doesn’t work or an attempt to establish seriousness in a way that makes no sense at all. Either way, it’s cringeworthy.

Joe Jonas—”See No More”
#92
Jonas plays his dance-pop the same way he and his brothers play their rock and roll, with a misplaced, earnest intensity that turns everything he/they do into numbing bombast. Pop actually eases the pressure on Jonas a bit, but the song is mediocre, and Jonas has no idea how to make anything better of it. He has now failed at rock and roll, acting, and pop. Isn’t it time to quit?

Afrojack featuring Eva Simons—”Take Over Control”
#96
Reviewed in Bubbling Under, 5/14/11

Billy Currington—”Love Done Gone”
#98
Currington has a decent voice, but you’d need to listen to this garish, Barry-Manilow-goes-country monstrosity more than once to realize it. I did, but I’m a professional. I doubt most people could get through it even once.

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Hot 100 Roundup—12/5/10

Thursday, December 9th, 2010

Enrique Iglesius featuring Ludacris & DJ Frank E—”Tonight (I’m Fucking You)”
#18
Thanks to Cee-Lo Green, “fuck” appears to be the word of the moment, and Iglesius has as much right to it as any, I suppose. But with his soft, sensitive, sometimes wispy loverman voice, he doesn’t sound all that convincing, and Ludacris is just cashing a check. DJ Frank E, however, engages in some serious fucking with the listeners’ ears. Those random-seeming synthesizer swoops and giggles are the sole reason to pay any real attention to this record. They start to sound calculated after a while, but they liven things up nonetheless.

Glee Cast
“Mary You”, #32
“Just the Way You Are”, #40

Kanye West
“Dark Fantasy” (featuring Teyana Taylor, Nicki Minaj & Bon Iver), #60
“All Of the Lights”, #92
I’m still making up my mind about “My Beautiful Dark Twisted Fantasy”. There are great things on it, and West has created an interesting amalgam of his earlier style and the stuff he experimented with on his last two albums. There’s no doubt the result is challenging (which is why I still haven’t made up my mind), but I’m not sure it’s as great as people make it out to be. For one thing, it seems to relate the same basic idea over and over again, and then drag out the tracks in ways that don’t always expand the idea so much as minutely modify it. And sometimes it sounds as clunky as the title. I love the chorus on “Dark Fantasy” and how the choir is both beautiful and ragged at the same time, and “All Of the Lights” is so perfect in its structure and lyrical detail that I feel like a jerk for complaining of its obscure message. But for some reason these songs, and the album as a whole, aren’t coming together for me. Maybe they’re not intended to, but that doesn’t mean it’s a success, either.

Diddy – Dirty Money featuring Skylar Grey—”Coming Home
#61
I know it would be more expensive, but if you’re going to cut a track that’s a straight stylistic rip-off of T.I. and Kanye West, shouldn’t you invite them to contribute a verse or two?

Christina Aguilera—”Show Me How You Burlesque”
#70
For me, the intro to this record epitomizes everything that’s wrong with Aguilera. She not only oversings, but overthinks her oversinging. What’s worse, the lyrics have no music or poetry to them, they’re lifeless hunks of words designed solely for Aguilera to belt. The rest is a little better, but not much. Whatever this is, though, it isn’t burlesque. Burlesque is all about the tease; this is the equivalent of some two-bit hot mama thrusting her cleavage into your face and shouting “Does that turn you on, baby?!”

Keri Hilson—”Pretty Girl Rock”
#72
Reviewed in Bubbling Under, 11/28/10

David Guetta featuring Rihanna—”Who’s That Chick?”
#73
Bearable for Guetta, mid-level for Rihanna. I do like it’s classic disco vibe: it could be the theme song for some cheesy early-eighties romantic comedy. Though now that I think about it, that’s not much of a compliment, is it?

Nicki Minaj featuring Rihanna—”Fly”
#76
Did I compare Minaj to Cyndi Lauper? Maybe I meant Journey.

Bruno Mars—”Marry You”
#91
It’s irresistible records like this that make you think Mars’s career might amount to something after all. Not only is the music catchy and good-humored, but for the first time since “Nothin’ On You” the lyrics are a perfect match. That’s possibly because he’s not trying to say anything too romantic or serious, which only convinces you that he loves the girl even more. This is so good I don’t even mind that it only made the charts because it was featured on Glee. OK, I do mind, but what the hell.

Ke$ha—”Crazy Beautiful Life”
#93
More homilies and affirmations for drunk party girls. How much you wanna bet the next album includes a ballad?

Billy Currington—”Let Me Down Easy”
#97
Reviewed in Bubbling Under, 11/28/10

Sick Puppies—”Maybe”
#100
Reviewed in Bubbling Under, 11/21/10

Bubbling Under:

Nicki Minaj featuring Drake—”Moment 4 Life”
#101
Minaj is a talent, but all the evidence points to her having already betrayed it. I haven’t heard Pink Friday yet, but as I understand it half the album is made up of this kind of dreck (which Minaj would rhyme with Drake if she had any sense). Even if it was a better record, though, the simple fact is that this and “Fly” are only making the charts because of the names of the guests. What a depressing business.

Christina Aguilera—”Express”
#102
The mix of brass and electronic fuzz might be interesting if they were actually mixed instead of being consigned to different sections. But that wouldn’t make it a decent song, or prevent Aguilera from shouting to the rooftops.

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Hot 100 Roundup—11/28/10

Friday, December 3rd, 2010

Glee Cast
“Forget You” (featuring Gwyneth Paltrow), #11
“Singing In the Rain/Umbrella” (featuring Gwyneth Paltrow), #18

Dr. Dre featuring Snoop Dogg and Akon—“Kush”
#49
When a guy spends over a decade making a record about how wonderful dope is, it’s impossible to miss the ironic disconnect. Which isn’t to suggest that Dre is unaware of that irony himself: this is bouncy, funny, and celebratory in all the right ways. As always, Snoop gets off the best lines (“tight as the pants on will.i.am”). Dre has tricks of his own, though, including one of the slyest musical jokes I’ve ever heard, where the piano figure at the end starts coming apart as if it were being played by a stoner searching the keys for notes he could swear he knew just a minute ago.

Rihanna—“S&M”
#53
Having said in interviews that she’s tired of people paying attention only to the dark side of her music, Rihanna opens her new album with a chorus that includes the borrowed joke “Stick and stones may break my bones/But chains and whips excite me”. Mind you, S&M isn’t as dark or taboo as it used to be (though shouldn’t she at least have given us her safe word?), but considering Rihanna’s very public past in regard to sexual relationships, it seems an odd choice at best, a blatant cashing in at worst. This isn’t a bad record, but I find myself hesitant to learn anything else about Rihanna’s sex life, real or imagined. At the same time I keep flashing on Amy Rigby’s song “Year of the Fling”, about a woman who suddenly finds herself enmeshed in the BDSM scene: “At the peak of her binge/A twinge of fear came to unnerve her/But she mastered that/And it served to pervert her further”. What Rihanna went through was horrible and no doubt traumatic, but did surviving it really make her any stronger?

Nelly and Keri Hilson—“Liv Tonight”
#75
I don’t know if it’s this record in particular, or just their overwhelming presence on the charts these days, but I’m beginning to feel as tired of kick drums as I am of electric guitars, if only because they trap artists in a remorseless groove when they might be better off with more rhythmic freedom. That’s certainly true of Hilson, though I have my doubts about Nelly.

Michael Jackson & Akon—“Hold My Hand”
#84
I can understand why people wondered about the vocals on Jackson’s posthumous recordings: he does sound different, though it’s largely because he’s singing in a lower key—his voice was aging, and except for brief exclamations he couldn’t hit those high notes the way he used to. The phrasing, however, is undeniably Jackson, even if it is just an echo of his glory days. What’s more disappointing is his general lack of presence; most likely he hadn’t finished this when he died, but there’s still too much Akon and not enough MJ. What’s more fascinating, and a little creepy, is the homoerotic subtext that runs though the song. I mean, who are these guys singing to? Some unidentified woman? The world in general? Each other? The record is credited as a duet, after all. Who knows? That’s MJ for you—even posthumously, he’s the weirdest guy in the room.

Train—“Marry Me”
#95
Reviewed in Bubbling Under, 11/21/10

Ke$ha—“Blow”
#97
The problem with Ke$ha’s records isn’t that they’re loud and dumb, it’s that she isn’t prepared to go all the way with the concept. When she says that she and her friends are young and bored, it’s a distancing effect that she probably thinks gives the song some sort of satirical meaning and depth. All it does, though, is cement her image as a privileged “artiste” who’s slumming all the way to the bank.

Flo Rida—“Turn Around (5,4,3,2,1)”
#98
Despite the evidence of his previous records, Flo Rida does not live and die by the hook; he lives and dies by propulsive forward motion, so much so that this time he seems to have lost the hook somewhere back on the track. Maybe he should ask Bruno Mars for another one; he’s bound to have a few lying around.

Bubbling Under:

Keri Hilson—“Pretty Girl Rock”
#102
Hilson is an interesting case. Her guest spots can seem anonymous (as in “Liv Tonight”), but her own records are defiantly idiosyncratic, always coming out of somewhere that seems familiar but with a twist that makes them difficult to trace. This one appears to borrow ideas from relatively obscure female artists like Santigold, Lil Jackie, and VV Brown, and at times almost sounds like a tribute record. At the same time it never sounds like anyone but Hilson. At least it would if I could be sure of exactly what Hilson sounds like. I’m still not sure she’s a major talent, but she’s certainly an intriguing one.

Billy Currington—“Let Me Down Easy”
#103
Currington doesn’t have an original bone in his body or thought in his head, but that doesn’t mean he can’t sound classier or more sophisticated than his country-heartthrob competition. He seems like a genuinely nice, laid-back sort of guy. In other words, he’s an old-school country careerist, and if sometimes he’s a little boring, well, that just comes with the territory.

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New this week—6/13/10

Wednesday, June 23rd, 2010

Drake featuring Lil Wayne—”Miss Me”
#15
It’s hard to determine whether Drake is the real thing or not—or anything at all, for that matter. His inability to shake his influences and come forth as himself is a major problem—first time I listened to this I thought his rap was Wayne’s. His self-consciousness has it’s charms (though not when it’s converted into beats), but it could quickly turn into a detriment if he isn’t careful. Sounding unsure of what you’re getting yourself into isn’t exactly the best concept to build a career around. Neither is the pronouncement that “life isn’t a rehearsal” when you sound like you’re still doing warm-ups.

Taio Cruz
“Dynamite”, #26
“Dirty Picture” (featuring Ke$ha), #96
Just to ask the obvious question, shouldn’t a song called “Dynamite” sound explosive? This sure doesn’t. On the other hand, “Dirty Picture” does sound dirty. It also sounds unclean, though that may just be a matter of personal taste.

T.I.
“Got Your Back” (featuring Keri Hilson), #38
“Yeah Ya Know (Takers)”, #44
“Got Your Back” is surprisingly warm and affectionate, suggesting real love, something that T.I. has never managed, or for that matter ever really tried, before. He also seems to be breaking out of his tendency to overpack his arrangements (if there’s such a thing as baroque rap, T.I. makes it)—compared to his last few singles shows admirable restraint, it’s few lose threads tied up quite nicely by Keri Hilson. I just wish someone could have done the same for “Yah Ya Know”.

Nicki Minaj—”Your Love”
#51
With her day-glo wigs and cosplay fashion style, it’s no surprise that Minaj’s idea of romanticism comes out sounding like Sailor Moon in the hood. It’s an interesting idea, but it doesn’t quite gel, and it gets confusing. One minute she’s talking about the guy’s stacks and the next she’s dreaming about samurai and geishas who speak Thai somewhere up in the sky, and then she tops it all by turning into Supergirl. She may be on to something, but this is both too obvious and too obscure to get over.

Glee Cast
“Good Vibrations”, #69
“Another One Bites the Dust”, #79
“Tell Me Something Good”, #87
“Loser”, #93
“It’s a Man’s Man’s Man’s World”, #95
Two more white rap songs from the crew (three if you count “Loser”), and the joke, which worked on “Ice Ice Baby”, has paled considerably. The less said about “Tell Me Something Good” and “It’s a Man’s Man’s Man’s World” the better.

3Oh!3—”Deja Vu”
#75
This makes two songs from these guys I actually kind of like, but whether that means they’ve improved or my tastes have collapsed under the constant barrage of electro synths I can’t say. It’s worth noting, though, that this is the first of their songs to suggest that the party party world they inhabit is starting to bore them a little. Is that maturity or exhaustion? Who knows?

Billy Currington—”Pretty Good At Drinking Beer”
#83
Currington’s last single was an overwrought string of country cliches. This is cliche bound as well, but it’s also clever, and not overwrought at all. As an argument for being a lard-ass, it’s even charming.

Little Big Town—”Little White Church”
#94
They’ve learned enough from Miranda Lambert to be tough and honest, and enough from Sugarland to be cheerful and spunky even while laying down the law. Too bad they haven’t learned enough from either to write more than a passable lyric, though putting “not gonna have your baby” in the list of things she won’t do until he marries her is still a jolt.

VV Brown—”Shark In the Water”
#97
I’ve already expressed my admiration for Brown, who appeals to me not only for her upbeat sound but for the range of her musical references and influences. Here she steals from both Paul McCartney and Lou Reed, while making explicit the thread of near hysterical paranoia that runs through many of her songs. It’s also nice to see that, unlike most of her UK peers, she’s managed her US chart debut without depending on an American rapper to give her a commercial leg up. Here’s hoping she gets the attention she deserves.

Neon Trees—”Animal”
#100
What decade is this again?

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New this week—12/6/09

Sunday, December 6th, 2009

Lady GaGa
“Telephone” (featuring Beyonce), #30
“Speechless”, #94
Despite it’s honest origins—GaGa says it was inspired by her father’s initial refusal to seek medical treatment for a heart condition—or maybe because of them, “Speechless” is a terrible song. If she was going to pay homage to Elton John, couldn’t she have picked a better album than Blues Moves as a model? “Telephone”, however, is something else, an inspired comic character sketch that’s not only catchy as hell but a lot smarter and deeper than it first appears. Beyonce doesn’t add much—she sounds petulant rather than fed-up, which doesn’t quite fit the song—but she doesn’t hurt, either. And I have to admit I’m impressed by GaGa’s willingness to play the fool—though she does overstep a few times: that Grand Central Station line may be a little too dumb.

Young Money featuring Lloyd—”Bedrock”
#36
I like the chorus and Lloyd’s Mr. Flinstone line, and it’s nice to hear a crew with a female rapper, but that’s about it. Even Lil Wayne sounds less than inspired. It goes on forever, too—what was it The Beastie Boys said about too many rappers?

Susan Boyle
“I Dreamed A Dream”, #62
“Wild Horses”, #98
The story of Susan Boyle holds such fascination that it’s hard not to wonder if the million people who have bought her album so far actually care what it sounds like. Her voice is interesting if only because, for a woman in her forties, it’s surprisingly girlish. Physically she sounds strong and mature, but her phrasing is often that of an adolescent—she’d be perfect for a guest spot on Glee. Her song choices seem eccentric at first, as well—“Wild Horses”, “Daydream Believer”, Madonna, Patti Griffin’s “Up To the Mountain” (which I’m willing to bet she first heard when Kelly Clarkson performed it on American Idol two years ago; her phrasing echoes Clarkson’s almost exactly)—but she reduces the tempo on most of the songs so much that the melodies all but disappear; they all sound like they came from an Andrew Lloyd Weber musical. I’m as touched by Boyle’s story as anyone, but she either doesn’t know, doesn’t care, or doesn’t really understand what most of these songs are about (especially “Wild Horses”, which is incomprehensible vocally—she slurs the lyrics even more than Jagger—and emotionally). The paradox is that if she understood what she was singing about, her story wouldn’t exist. Her well-documented emotional inexperience is at the root of her fairy tale, which would be impossible without it, but it doesn’t make for compelling music.

Beyonce faturing Lady GaGa—”Videophone”
#65
The spaghetti-western intro is a bit much, but for the most part this is Beyonce doing what Beyonce does best: luring young men to their doom. As a Siren no one can touch her, not even Lady Gaga, who shows up somewhere in the middle and contributes nothing but a touch of off-color kinkiness. If Beyonce ever put a whole album of this kind of stuff together, half the country’s male population would explode by the end of the fourth track. I’m surprised she hasn’t tried it.

Glee Cast
“True Colors”, #66
“Imagine”, #67
Awful as usual—to be honest I couldn’t get through a single listening of either one. What may be even worse for the show is that these song choices suggest the writers have already run out of ideas—and they haven’t even finished the first season yet.

Chris Brown—”Crawl”
#68
Brown’s first stage of his career rehabilitation, “I Can Transform Ya”, has stalled on the charts (it’s selling well enough but it’s dying on radio), so here he shifts gears with an attempt at an uplifting power ballad. Clever in it’s way, but nothing you haven’t heard before. Despite it’s universalist tone, however, it seems to be directed not towards the downtrodden of the earth but towards a certain former partner in a collapsed relationship: “We can crawl back to love”, he assures her. I understand his motivation, but you have to wonder just how long Brown’s audience will be willing to watch him squirm. Another single as lame as this and we’ll have our answer.

Timbaland featuring Nelly Furtado & SoShy—”Morning After Dark”
#76
This is a well-crafted piece of nonsense that doesn’t take off the way it should. It sounds like they had a lot of fun making it, but there’s too much going on and the track gets weighed down by trickery. I sure would like to know what “When the cats come out the bats come out to play” means, though.

Birdman featuring Drake & Lil Wayne—”4 My Town (Play Ball)”
#90
I don’t understand why Birdman isn’t a bigger star. He has Lil Wayne’s full support, and his records, though not revolutionary in any way, are inventive and and clever enough to get your full attention, at least as long as the song is playing. They do tend to fade from memory quickly when they’re over, though. This is his best since “Always Strapped”, but at this point I’m not sure that’s going to make much difference, even with Lil Wayne and Drake providing decent guest spots.

Francesca Battistelli—”It’s Your Life”
#95
More helpful homilies layered in pop cliches from a contemporary Christian singer. Not sure what kind of Christian she is, though: on her website she quotes E.M. Forster, who was not only a self-declared humanist, but gay. He also wasn’t Jesus, who isn’t quoted anywhere on the site. She does disrespect Forster somewhat by misspelling his name, but I don’t think that will cut her any slack with the fundamentalist crowd.

Trace Adkins—”All I Ask For Anymore”
#99
Extra-strength country sentimentality with added vocal syrup. I’m sure Adkins is sincere in his way, but the Sunday-school-like chorus is shameless, and when he lowers the baritone boom at the end all I can do is laugh.

Billy Currington—”That’s How Country Boys Roll”
#100
Did you know that country boys like pickup trucks, fishing, chewing tobacco, George Jones, and their mama? Me neither. Thanks for letting us know, Billy. You can go back to the holla now.

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New This Week

Saturday, May 9th, 2009

My intention from now on is to provide short reviews of every record to hit the Hot 100. Most of these will only be a sentence or two. Some, as you can see, will be longer. It all depends on whether I can think of much to say about records I’ve only heard two or three times. Luckily, this week is a pretty good crop. I only count three clunkers among a whole batch of good to near great records, including a couple of potential top tens. Makes it easy to start this whole process off. Here’s hoping next week doesn’t kill it.

Katy Perry–”Waking Up In Vegas”
#65
Nowhere near as titillating as “I Kissed a Girl”, or as catchy as “Hot ‘n’ Cold”, but nowhere near as awful as “Thinking of You”, either. This is a little clunky, and reaches for effects Perry doesn’t know how to pull off yet, but it isn’t horrible, and it offers the same idiosyncratic lyrical quirks that made even “Thinking of You” an interesting listen. I know a lot of people were hoping that Perry would be a one shot, and I thought the same myself at first, but now I think she’s in it for the long haul. I wouldn’t base that judgment on this record alone, but remember she also co-wrote Kelly Clarkson’s “I Do Not Hook Up”, the best song to hit the Hot 100 so far this year.

Fall Out Boy–”America’s Suitehearts”
#78
Yes, Patrick Stump can sing, and, yes, occasionally Pete Wentz gets off a good lyric, but that’s it. The rest is self-important bombast and overkill. Come to think of it, so are Stump’s singing and Wentz’s lyrics most of the time.

Gorilla Zoe–”Echo”
#82
Strange to say, what this most reminds me of, aside from Timbaland’s “Apologize” of course, is the British high-gloss pop-band Prefab Sprout. Those airy synths, the half-spoken, half-sung lyrics, the slight burr in the voice. Paddy McAloon would have made that chorus soar, though, instead of the little sing-songy thing we get here. Still, a good record, and one that demonstrates that Zoe has far more range than I would have guessed from his previous singles.

Maxwell–”Pretty Wings”
#89
More Al Green than even the latest Al Green, this is so subtly crafted and so unassuming even in its massive artistic intentions that what you think of it may depend on how much you’ve missed Maxwell rather than the song itself. It may also depend on how much you’ve missed classic soul horn charts. I say welcome back to both.

Billy Currington–”People Are Crazy”
#90
I like the title hook, but this take on the legend of Howard Hughes and Melvin Dummar is too lacking in relevant detail to get over (though leaving a six-pack on the grave is a nice touch). I suggest renting a copy of Melvin and Howard instead.

Hurricane Chris–”Halle Berry (She’s Fine)”
#91
The only real joke here is how often Chris repeats Berry’s name. The rest is crude celeb fantasies that reduce Berry to just another stripper, which makes me think the only thing they’ve seen Berry in is The Last Boy Scout. But it’s still pretty funny.

Chrisette Michele–”Epiphany”
#92
This is subtle enough to slide right past you at first, but give it a few tries and it grows on you quick. Ne-Yo provides the hook (a great one) and, I’m willing to bet, a lot of advice on how it should be sung. Michele sounds cool and in control, and never oversings or pushes the emotions. Nowhere near as adventurous as Ne-Yo’s own records, but then, the songs Smokey Robinson wrote for others were never as adventurous as the one’s he recorded himself. Ne-Yo isn’t in Smokey territory yet, but he’s getting closer all the time. I have a feeling he’s just hitting his groove.

Toby Keith–”Lost You Anyway”
#97
It wouldn’t make any difference how good I was to her, Toby laments, she’d have left me anyway. That’s ’cause she knows you’re lying, Toby, it’s ’cause she knows you’re lying.

Charlie Wilson–”There Goes My Baby”
#98
I had no idea the prettiest girls hung out at Macy’s, but Charlie Wilson says so, and he was in The Gap Band, and they knew where all the pretty girls were, so it must be true. Oh, and ladies, if you need your hair done, he has a cousin. I’m not sure if this is intended as parody, but Wilson sure sounds like he’s having fun.

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