Posts Tagged ‘Easton Corbin’

Hot 100 Roundup—3/26/11

Friday, March 25th, 2011

Glee Cast
“Landslide”, #23
“Do You Wanna Touch Me (Oh Yeah)”, #57
“Animal”, #62
“Kiss”, #83


Eli Young Band—”Crazy Girl”
#59
I like the sound of this, especially the steel guitars, which go for timbre and intensity rather than the usual sentimental effects, but it isn’t much of a song, and Young isn’t much of a singer. There are times when this reminds me of a male Taylor Swift, oddly enough, but that’s more a matter of melodic construction rather than theme or approach. I’ll be interested in whatever they do next, but I don’t hold out much hope.

Wiz Khalifa—”The Race”
#66
The background here is astounding, with a late 80s/early 90s synth-pop influence like nothiing I’ve heard on a rap record before, and the groove it establishes goes a lot further in justifying this record’s length than anything Khalifa has to say. Though the music suggests emotional depth, the lyrics are pretty much the same as any other rapper you’ll hear. Maybe he’s just mellowinig out a little.

Lupe Fiasco featuring MDMA—”Beautiful Lasers (2 Ways)”
#70
Fiasco has something to say, his anger, intensity, and intelligence shine through, and I’m glad, after all his wrangling with Atlantic Records, that he finally got his album out. Unfortunately, none of that changes the fact that record is both overwrought and derivitave. If he’s going to employ vocal effects, he should find ones that don’t make him sound so much like Kanye West, and the metal guitar solo at the end is just dumb. Which doesn’t mean I won’t give the album a good, hard listen.

Seether—”Country Song”
#74
Since these guys apparently think lyrical vagueness is a sign of intelligence, I can’t quite pin down what this record is about. The title and the country sound are, I assume, ironic, and there are lyrical hints that suggest this is intended as an attack on tea partiers and such. To identify such things with country music as a whole, however, is stupid in all sorts of ways (just ask lifelong democrat Toby Keith), and the fact that the country influences end up making Seether sound smarter than they really are may be the biggest irony of all.

Snoop Dogg featuring T-Pain—”Boom”
#76
Back to bragging about his dope and his women, just like he was born to do. He doesn’t do it with quite the flair he used to, though, and T-Pain, who seems to have lost his talent for hooks, doesn’t help at all.

Eric Church—”Homeboy”
#86
So much for the easygoing dope smoker. Easing back with a joint on a Friday night is one thing, but actual teenage rebellion? Church isn’t putting up with any of that. He isn’t above the crassest emotional manipulation, either, as he assures his little brother that their parents are on their deathbed because their hair is turning grey (why, they may be almost fifty!). The mainstream country audience will no doubt be reassured by this self-superior rant, even if the drums are too loud.

Kenny Chesney—”Live A Little”
#94
Reviewed in Bubbling Under, 10/10/10

Keith Urban—”Without You”
#95
Reviewed in Bubbling Under, 3/19/11

Jennifer Hudson—”Where You At”
#96
Reviewed in Bubbling Under, 2/21/11

Easton Corbin—”I Can’t Love you Back”
#97
Reviewed in Bubbling Under, 3/12/11

Avril Lavigne—”Wish You Were Here”
#99
If Lavigne has to make ballads, this is probabaly the way she should do it. At least it’s better than that soundtrack crap she was putting out a couple of years ago. Not that much better, though.

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Bubbling Under—3/12/11

Friday, March 11th, 2011

The Band Perry—”You Lie”
#101
There are a lot of things that aren’t quite right about this band. Their music is too soft, for one; not once does it match the intelligence and sharpness of the lyrics. Though sometimes those lyrics stumble, too: it’s rare to hear a song where the first verse is so weak and the second verse so strong, but this is one and then some. “That’s not my perfume/I bet she had a curfew” is one of the most viscious lines you’ll ever hear in a country song. The middle eight is way above average, as well. All the same, something about this record doesn’t quite connect, and all I can say about them right now is that they have a lot of promise.

Travis Porter—”Bring It Back”
#104
Three teenagers rapping about the thing they love most to think about: Sex. “Run and hit that pussy like a crash dummy”, though not exactly romantic or respectful, is a great line, and they drop a few more good ones over the rest of the track. It’s the track itself that gets this over, though: sexy and silly at the same time, playing games with the sort of effects that Lex Luger, say, takes way too seriously. It also helps that they haven’t yet confused their lust with power.

Easton Corbin—”I Can’t Love You Back”
#106
And you never will if you keep singing songs as dull as this one.

R. Kelly—”Love Letter”
#107
A great chorus, and I love the disco turn it takes at the end. But it goes on too long, and though it feels less like a genre exercise than “When A Woman Loves”, it’s still too reverant toward the past to win me over.

Miguel—”Sure Thing”
#109
A good old fashioned list song, obviously inspired by The Temptation’s “The Way You Do the Things You Do”. Only thing missing is a chorus to grab you after the list has gotten your attention. The electronically lowered voice doesn’t do the trick. It isn’t melodic, and it doesn’t lead anywhere; it’s only a gimmick. Maybe Miguel should have a chat with R. Kelly.

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New this week—7/25/10

Tuesday, July 27th, 2010

Usher featuring Pitbull—”DJ Got Us Falling In Love”
#19
When I saw this I figured that Usher would be overshadowed by Pitbull—and he is, barely—but I didn’t suspect they’d both be left in the dust by producer Max Martin, who owns this record, for better or worse. It’s not great, but it’s a lot more fun than anything else Usher has released lately, and it’s certainly a step up from “OMG”. Pitbull sounds a little lost, though, as if he’d suddenly found himself transported from Miami to a Swedish disco and was trying to bluff his way out.

Darius Rucker—”Come Back Song”
#67
Easygoing country is in fashion now, and Rucker is it’s king. This is so easygoing, in fact, that you don’t believe a word of it—if he really wanted his woman back he’d come up with a better apology than “My bad.” He loses me, though, on the very first line: “I woke up again this morning…” Yeah, I hate when that happens, too.

New Boys featuring Iyaz—”Break My Bank”
#71
They still possess a certain amount of charm, but their jerkin’ days are over. For one thing, no matter how young the artists are, jerkers don’t make little kids stuff, which is apparently all that Iyaz is capable of. What a disappointment.

Auburn featuring Iyaz—”La La La”
#74
More kindergarten hip-hop, this time from producer J.R. Rotem, who essentially invented the genre with Sean Kingston and Iyaz. Catchy and irritating in equal measure; a whirlpool of inanity and overproduction designed to suck you into the void.

Chiddy Bang—”Opposite of Adults”
#90
Despite their dis of Asher Roth, these guys work close to the same territory. Their beats are denser and more “authentic”, their rhymes more clever, but their snotty twenty-something persona is right out of Roth’s playbook. When you compare yourself to a Will Ferrell character, you’re tagging yourself in a way that’s going to be damn hard to shake off. I remember when rappers used to make fun of posh snobs, not play them.

Hannah Montana—”Ordinary Girl”
#91
Terrible record, but I find it interesting that Miley Cyrus’s alter ego says straight out what Cyrus can never manage to say herself without tons of costume and make-up. The only thing they get wrong is the humility. I don’t think Cyrus thinks of herself as an ordinary girl at all.

Monica—”Love All Over Me”
#94
Maybe it’s just my own dirty mind, but the obvious double entendre of the title line and Monica’s intense sincerity in the rendering of it make me laugh every time I hear this song. Good thing for her it’s a ballad, or every rapper in the country would be freestyling all over her as well.

Easton Corbin—”Roll With It”
#98
Corbin has his charms, but this is a very ordinary George Strait rip-off minus Strait’s sense of moderation and taste. Though it does confirm my growing belief that the real test of country authenticity is whether or not you were conceived in the back of a pickup truck.

Rob Thomas—”Mockingbird”
#100
“We can’t move on/We can’t stay here”. Is he talking about the 80s?

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New this week—1/17/10

Saturday, January 16th, 2010

Ke$ha
“Blah Blah Blah” (featuring 3Oh!3), #7
“Your Love Is My Drug”, #27
“Take It Off”, #85
It’s hard not to think of Ke$ha as Reality-TV-Pop, with a musical persona not far removed from the ladies on Jersey Shore. That’s at least better, in some ways, than thinking of her as a female version of 3Oh!3, or a full time Fergie-in-party-mode. The music is suitably garish and blaring, the vocal phrasing party-girl flat, and the character that of a woman who thinks she’s a goddess because she can take five straight shots and still stand up. She explores this a little more deeply and humorously on some of the album cuts—especially “Party At a Rich Dude’s House” (she throws up in the closet) and “Dinosaur”, which is about creepy older men hitting her up—but these three cuts (plus “Tik Tok”) provide everything you really need to know. If you really want to know, that is.

Lady Antebellum—”Love This Pain”
#93
There’s nothing wrong with wearing your influences on your sleeve, especially in country music, but when those influences slip from Fleetwood Mac to Bon Jovi, it’s probably not a good idea to emphasize them by releasing the results as a single.

Timbaland featuring Drake—”Say Something”
#94
Listen to the background and you’ll notice that, as a producer, Timbaland is still capable of making interesting music. As a rapper, though, he has nothing to say, and Drake doesn’t have much more. And the music isn’t all that interesting.

Easton Corbin—”A Little More Country Than That”
#100
I love the conceit of this, where Corbin rattles off a few country and small town cliches, and then pronounces himself even more country in a tone both good humored and dismissive. He then digs behind the cliches and defines country as a form of honor and emotional honesty. It’s a neat trick, and Corbin wisely plays it as low key as possible. Though the song doesn’t build in the way it possibly should, it’s a neat llittle package.

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