Posts Tagged ‘Jeremih’

Hot 100 Roundup—9/10/11

Sunday, September 25th, 2011

Pistol Annies—”Hell On Heels”
#55
Reviewed in Bubbling Under, 7/23/11

Martina McBride—”I’m Gonna Love You Through It”
#77
Taking Brad Paisley at his word, McBride serves up a country song about cancer, and doesn’t hesitate to say the C word right up front. She also doesn’t hesitate to layer the record with as much string-laden sentiment as it can hold, and then pours on some more. After her last two singles, and especially “Teenage Daughters”, I thought McBride was going to make something new and interesting out of her career, but it must be harder to break out of that Nashville mold than I thought.

David Guetta featuring Jennifer Hudson—”Night Of Your Life”
#81
It’s bad enough that Guetta is a mediocre DJ, but Hudson is an absolutely hopeless disco singer. You can argue about whether Guetta should be allowed to make records, but there’s no doubt that Hudson shouldn’t be allowed to sing stuff like this.

Steve Holy—”Love Don’t Run”
#90
Reviewed in Bubbling Under, 7/2/11

Florence + The Machine—”What the Water Gave Me”
#91
Let me guess: A totally self-absorbed belief in your own pretensions? The Pocket Guide to Romantic Suicide Imagery? A free pass to the nearest Renaissance Faire?

Ronnie Dunn—”Cost of Livin’”
#96
Reviewed in Bubbling Under, 8/13/11

Wale featuring Jerimeh & Rick Ross—”That Way”
#98
Reviewed in Bubbling Under, 8/27/11

Game—”Martians Vs Goblins”
#100
I assume that this scraped it’s way onto the charts because people wanted to hear Game making rude suggestions about Bruno Mars along with many others. I can’t think of any other reason to listen to it. My only question is whether Lil Wayne actually contributed to this track or Game used a sample. If the latter, that may be the biggest insult on the record.

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Bubbling Under—8/27/11

Thursday, September 22nd, 2011

Wale featuring Jeremih & Rick Ross—”That Way”
#109
I still think Wale has promise, but this isn’t going to get him anywhere. Jeremih provides a decent hook, and Ross provides his usual presence (and his usual lack of anything interesting to say), but Wale seems lost on his own record. You don’t remember a word he’s said once it’s over.

Ace Hood featuring Chris Brown—”Body 2 Body”
#110
A mid-level seduction track from two mid-level guys. There is one weird line, though, from Ace Hood: “Are those your real eyes?/Can tell you’re partially Asian”. Is that meant to be a compliment of some kind? Interesting ideas about seduction these guys have.

Jamie-Grace featuring tobyMac—”Hold Me”
#113
A British version of Colbie Caillat, which means a little Natasha Bedingfield and Lily Allen gets mixed in as well. Cute, if you can stand it.

Benny Benassi featuring Gary Go—”Cinema”
#119
As modern as pop techno gets, but so limp that what it most reminds me of is the wimpy bubblegum pop of the early seventies like Christie’s “Yellow River” or Edison Lighthouse’s “Love Grows (Where My Rosemary Goes)” or Wadsworth Mansion’s “Sweet Mary”. All of which had better hooks. Better singing, too.

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Hot 100 Roundup—11/21/10

Saturday, November 27th, 2010

Glee Cast
“Teenage Dream”, #8
“Start Me Up/Living On a Prayer”, #31
“Stop! In the Name of Love/Free Your Mind”, #38
“One Love (People Get Ready)”, #41

The Black Eyed Peas—“The Time (Dirty Bit)”
#12
Since I didn’t listen to radio much in the late ’80s, the use of one of the more irritating hits of that period doesn’t bother me as much as it does some others (besides, will.i.am, with far less of a voice, still sings it better than Bill Medley did), but there’s no doubt that this record represents the group running in place, if not retreating a bit. This is nearly as good as anything on The E.N.D., but it doesn’t break any new ground (unless you consider letting Fergie play diva over minimalist dance grooves a step forward). The E.N.D., whatever you think about the music, was undoubtedly one of the more daring albums of the last few years in terms of a band remaking it’s sound and image, so it shouldn’t be a surprise if the Peas spin their wheels a bit this time out.

Kid Cudi
“Marijuana”, #54
“Scott Mescudi Vs. the World”, #92
These are good records—moody, reflective, self-absorbed but intelligent and with little evidence of self-pity. They’re only on the chart, though, because of 1) the tile; and 2) the presence of Cee-Lo Green. In other words, curiosity. Whether or not the audience is paying attention to what these songs, with their honest consideration of substance dependence, actually mean, is open to question. But Cudi deserves respect for putting the message out there.

Lupe Fiasco—“The Show Goes On”
#57
I like the sound of this, but it doesn’t really go anywhere. And I liked the sound a lot more when T.I. did it five years ago.

Jeremih featuring 50 Cent—“Down On Me”
#67
I like the music: a catchy pop mix of dancehall, dubstep, and hip-hop. But 50 Cent’s presence is a waste in more ways than one—even when he isn’t mumbling he utters nothing but cliches. Jeremih himself starts off shaky, but evens out once he gets to the hook. An interesting change of pace, but an uncertain one.

Lady Antebellum—“Hello World”
#70
When they sing about love, Lady Antebellum play it subdued and classy; they’re not great, but it’s a welcome change from the usual over-arranged country blather. Here, though, they’re delivering a message to the world, and they pull out all the stops and pump all the pedals at once. To compound their sins, their obvious inspiration is R.E.M.’s “Everybody Hurts”, both the song and the video, an exemplar of emotional intensity and restraint they warp and curdle for the purposes of their own soft-headed sentimentality before the end of the first verse. If this is how country music is going to move into the ‘90s, I prefer they stay where they are.

Jason Derulo—“What If”
#76
A power ballad written and produced by J.R. Rotem. Think about that for a minute.

Ke$ha—“Cannibal”
#77
Tastelessness can be a virtue in pop music, but only if you’re funny, or if you’re being tasteless about subjects people are (secretly) attracted to. This isn’t funny, and the cannibal demographic is, as I understand it, somewhat limited. It’s like a big budget version of a zombie movie–the effects are more expensive but somehow less impressive, and all the insane amateurism has been taken out and replaced with studio gloss, resulting in something that’s not only gross but boring.

Twista featuring Chris Brown—“Make A Movie”
#94
Fresh from his bunker, where it’s always 2003, Twista does his best to revive his video-porn fantasies, just like the good old days. Someone should take him aside and explain the difference between being retro and being in a rut.

Bubbling Under:

Sick Puppies—“Maybe”
#101
“Maybe I’m a dreamer/Maybe I’m misunderstood…” What else do you expect from a band that rose to fame via the “Free Hugs” movement? Yuck.

Train—“Marry Me”
#104
Having softened up the AC demographic with two kinda cute, uptempo ditties, Train goes in for the sentimental kill. Chances are, this will be in the AC top ten for the next year. I’ve only listened to it once and I’m already sick of it.

Don Omar & Lucenzo—“Danza Kurduro”
#105
Since I can’t understand the words (and even with a translation would probably miss subtleties that only native speakers would pick up), I’m not a good judge of this record. The music, though, sounds ordinary—the arrangement too busy, the production too harsh. Until I know better, I think I’ll stick with Pitbull.

Eric Benet—“Sometimes I Cry”
#106
This retro-soul number has it’s attributes: it’s not a bad song, and the arrangement has a nice, mid-’90s Prince feel to it. But Benet’s falsetto gets old fast, and when he strains it near the end that’s all you hear: no emotion, just strain.

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Hot 100 Roundup—10/10/10

Wednesday, October 13th, 2010

Glee Cast
“Toxic”, #16
“The Only Exception”, #26
“I’m A Slave 4 U”, #52
“Stronger”, #53
“Baby One More Time”, #54
“Me Against the Music”, #56

Lil Wayne
“Gonorrhea” (featuring Drake), #17
“What’s Wrong With Them” (featuring Nicki Minaj), #42
“I Am Not a Human Being”, #65
“Bill Gates”, #75
“Hold Up” (featuring T Streets), #102
“That Ain’t Me (featuring Jay Sean), #105
A half-dozen throwaways from a great artist who, before he went to jail, had stretched himself way too thin in terms of both performances and ideas. Admittedly, the rock and roll is better than Rebirth, but what kind of recommendation is that?

Pitbull featuring T-Pain—”Hey Baby (Drop It To the Floor)”
#51
What puts Pitbull over for me is the dry, confident, good-humored quality of his vocals. This is why it’s odd to see him partnering up with T-Pain, who, in comparison, sounds determined to hide himself behind his effects, almost as if he were afraid to have his real voice heard. The fact that T-Pain’s last two singles bombed and he’s been missing from the charts for most of the year only adds to the sense of desperation. T-Pain’s presence also means that Pitbull has to fill the track with more noise than usual, as opposed to the minimal club bangers of the past, where his own voice stood out. This is one of those misbegotten match-ups where the result emphasizes the weakness of both artists. They’re better off on their own.

Nicki Minaj—”Right Thru Me”
#74
It’s interesting that Minaj, who comes on so tough on other people’s records, seems such a romantic softy on her own. This has slightly harder edges than “Your Love”, but those are only there to cover up how unimaginative the rest of this sentimental goo is. More and more she reminds me of Cyndi Lauper: an eccentric and possibly major talent who turns out to be a blandly ordinary sentimentalist at heart. I hope I’m wrong, but this record points in that direction.

My Chemical Romance—”Na Na Na (Na Na Na Na Na Na Na Na Na)”
#77
There’s a lot to love about this record: MCR’s wit, intensity, and sense of craft combine so perfectly that they even get away with the pretentious spoken bit in the middle. But the middle is where they’re stuck. Smarter than Green Day, not quite as smart as Jack White, and funnier than either, they’ve sworn allegiance to a style that can be fun and forceful but that’s culturally meaningless at best, nostalgic and sentimental (in a loud, revolutionary way) at worst. There’s a reason the country market has finally embraced rock and roll; it isn’t a threat to anybody anymore.

Bruno Mars—”Grenade”
#81
Mars is a talented guy, but this is a lousy record—near hysterical at times, too cool at others, and packed wall-to-wall with meaningless, fluffy noise. It’s pop only in the sense of pandering to the most basic audience desires while leaving room for nothing but Mars’s ego, which gets bigger with every record. He’s a master of the tried and true, but I’m beginning to doubt if he’s anything more than that.

Marsha Ambrosius—”Hope She Cheats On You (With a Basketball Player”)
#88
Great title, but unfortunately Ambrosius knows it, and repeats it endlessly on the fade, until the bitterness gets stifled by a lack of imagination and her desire to show off her pipes. She doesn’t sound mad, she sounds smug. This is the sort of thing Alicia Keys would come up with if she thought she had a sense of humor.

Bubbling Under:

Shakira featuring Dizzee Rascal—”Loca”
#101
A lesson in the diminishing returns of dance albums. This is OK, but it’s nowhere near as good as “She Wolf”, and too much of it sounds like Shakira is just going through the motions. That goes for Dizzee Rascal, too. (Note: Billboard actually lists the Spanish language version of this song on the chart, but as the English version is outselling it by an order of ten on iTunes, I’m assuming that was a mistake.)

Jeremih featuring Ludacris—”I Like”
#104
Though the ballad w/rap genre has had its moments, it’s overstayed its welcome, and I really wish it would go away. This is a good, more sophisticated follow-up to “Birthday Sex” until Ludacris adds his two cents. He’s like a rude parent barging in on a couple of teenagers making out on the couch and delivering some thinly veiled lewd suggestions before he leaves. He means well, but it kills the mood completely. Jeremih’s already had a top ten record; does he really need that much help via name recognition to get another one?

Kenny Chesney—”Live a Little”
#106
Chesney apparently spent his year off from touring listening to The Who’s “Won’t Get Fooled Again” and trying to think of a way to incorporate that sound into a country song. He couldn’t do it, so he just tacks his version onto the intro and outro of an ordinary country-rocker and pretends he’s doing something new and exciting. He’s not fooling me, though.

Edward Maya & Vika Jiguilina—”Stereo Love”
#107
A lush euro-disco chanson, complete with accordion. A pleasant trifle, at least until the repetitiveness of it starts to weight it down. You keep expecting that accordion melody to go somewhere when all it does is repeat. As a disco novelty, though, I like it a lot more than “We No Speak Americano”

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New this week

Sunday, August 2nd, 2009

Mary J Blige featuring Drake—”The One”
#63
As good as it was to know that Blige had found marital happiness, her odes to her man and their relationship didn’t sell very well, so here she toughens up, brings in a ringer, and delivers a rip off of “A Milli” that, if nowhere as good as the original, is still a lot better than Beyonce’s. Drake, whose part seems to have been stuck in as an afterthought, adds nothing but sales power.

Michael Franti & Spearhead—”Say Hey (I Love You)”
#82
Despite the lyrical references to dancehall and production by reggae legends Sly and Robbie, this sounds more New Orleans than Jamaica to me, not that that ‘s a bad thing. It also sounds more Jack Johnson than Franti, which is. There’s something frustratingly automatic about this record in it’s sunny brightness, something a little too perfect, as if everybody were being careful to only color within the lines.

Demi Lovato—”Catch Me”
#89
Lovato’s vocal affectations—the short sharp breaths at the end of phrases, the cracking teen falsetto that at times makes her sound like a 12-year-old—can be so irritating that it’s easy to forget how well they fit the song’s subject: romantic confusion and barely tempered longing. Needless to say, that irritant also acts as a hook, and Lovato oozes innocent charm even as she’s overtaken by lust (though she would never call it that).  She’s no Taylor Swift, but she’s not quite your run of the mill Disney pop princess, either. Of course, that might just be a part of the Mouse’s marketing plan.

Beastie Boys featuring Nas—”Too Many Rappers”
#93
“Grandpa been rapping since ’83.” They’ve lost a few steps over the years, of course, and the clever rhymes and disses don’t flow as freely as they used to, but the beats still thunder, and they’re still smarter and wiser than most. But aging rappers are no less of a conundrum than aging rock stars, and I’m not sure they should waste their time dissing the Black Eyed Peas, no matter how cleverly they manage it. Once they start yelling at kids to get off their lawn, it’s over.

Zac Brown Band—”Toes”
#95
This is the first Jimmy Buffet rip-off (or homage I guess you could call it) I’ve heard that captures Buffet’s laid-back smarts at their best, catchy tunes, silly rhymes, and all. Unfortunately, the silliest rhyme (“care-o” and “dinero”) draws on a feeling of good ol’ boy privilege in a foreign land that comes across as just short of racism.  Perhaps I’m being too sensitive, but this sense of rural superiority (rural meaning good old American values, of course, whatever they are), even, or especially, when drunk or stoned, is one of the things that’s most irritating about current country music, and this song, despite all its charms, strikes me as stepping over the line.

Jeremih—”Imma Star (Everywhere We Are)”
#96
I’m still not sold on “Birthday Sex” except as camp, but building a cut as artful as this one based on nothing but variations on the hook from Kanye West’s “Flashing Lights” demonstrates real talent on the make. His phrasing and timing are near-perfect, and there are lyrical moments that suggest he may have more brains than “Birthday Sex” let on. But on only his second single he’s already rapping about how famous he is. Not a good sign.

Beyonce—“Sweet Dreams”
#97
Not bad, but underneath the drums and the low warbling synth is one hell of a corny song. Whenever I hear the male backup singers going “Ho!” in the background I have visions of a dream sequence from some big Hollywood musical from the fifties, full of garish Technicolor and energetic dancers seen only in silhouette, a no-expenses-spared mixture of conspicuous class and pure hokum. That’s entertainment, I guess.

Mat Kearney—“Closer To Love”
#100
I usually try to avoid the “Artist 1 + Artist 2 = Artist 3” formulation when I’m reviewing records, but “Closer To Love” is so lacking in any distinguishing characteristics of its own that it’s unavoidable. So, The Fray + Leona Lewis = Mat Kearney. Sometimes pop really is just formula.

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