Posts Tagged ‘Mariah Carey’

Hot 100 Roundup—11/19/11

Monday, November 21st, 2011

Mac Miller—”Party On Fifth Ave.”
#64
I like the music, but Miller is a competent rapper at best, and his verses are full of filler. Even musically, though, this is stiffer than a party song should be.

Glee Cast—”Last Friday Night”
#72

Wale featuring Meek Mill & Rick Ross—”Ambition”
#81
It’s been a long time since I’ve heard a rap song that was this serious, or went into any detail about the rappers pre-success life on the streets. The verses here are so heartfelt that even Ross sounds like he’s telling the truth, especially when he talks about his mom praying while she waits for the results. Still, Wale wins the honesty stakes when he admits he never worked the streets himself. That may be one of the bravest things I’ve heard a rapper say in a long time.

Justin Bieber
“All I Want for Christmas is You (SuperFestive!)” (with Mariah Carey), #86
“Drummer Boy” (featuring Busta Rhymes), #99
With Carey and Rhymes on these tracks you expect some craziness, but the insanity is all Bieber’s, and good for him. Forgetting for a moment that neither of these are very good, you have to applaud Beiber for trying. He could easily have cranked out an album of hoary seasonal chestnuts and let his tween fans eat it up. Instead, every track from his Christmas album that’s made the charts has been in a widely different style from the one before it. The Phil Spectorish arrangement on “All I Want for Christmas” is mixed too far below the vocals, and Bieber can’t really rap (or, rather, he doesn’t have a voice that’s suited for it), but I appreciate the effort.

Breathe Carolina—”Blackout”
#92
You can only dance so long in the face of recession and social fragmentation, and it’s beginning to look as if the party’s over. Even Taio Cruz has a hangover, and these guys, determined as they are, are on the brink of collapse. Their defiance is almost tragic: not only do they swear, in what may be the hook of the year, that they won’t blackout, but they’re only getting started and, most ominously, “This won’t stop until I say so.” If they don’t collapse of dehydration I figure they’re heading for an OD or alcohol poisoning, and they want to take you with them. One of the scariest, most depressing party records I’ve ever heard. I wonder if that’s intentional.

Miranda Lambert—”Over You”
#93
I’m still making up my mind about 4 the Record—the songwriting is weaker than on Lambert’s first three albums, though in many ways the music is stronger—but I have no doubt as to the two worst songs, both of which involve Lambert’s husband, Blake Shelton. This is the one they wrote together, and though I bet the basic idea and melody were his, I also bet the best line, “How dare you?” to a lover who has died, is Lambert’s. Whatever the case, this is slow and tedious, and though Lambert does her best to wring the simplistic sentimentality out of it, she doesn’t succeed. Whoever wrote the line “Mid-February/Shouldn’t be so scary” (sure hope it wasn’t Lambert) should be sent to remedial songwriters school immediately.

Kenny Chesney—”Reality”
#97
Funny, the only reality I want to escape is the one that allows Chesney to keep making bad rock records and calling them country. Did Sammy Hagar ghostwrite this for him while they were hanging at Cabo with Jimmy Buffett?

Skrillex—”First of the Year (Equinox)”
#100
OK, shoot me if you want, but I love this. Too soft in the soft parts, too loud in the loud ones, with unmusical screams and lots of grinding and distortion, this is dubstep as pop metal, and it’s just about perfect. In some ways, Skrillex plays it safe: he never steps off the beat, and he keeps something resembling a melody drifting through the entire track (though it does get kicked in the ass and jerked out of place a few times). For all the noise he never drifts far from the pop basics, which, as far as I’m concerned, is exactly how it should be.

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Hot 100 Roundup—12/26/10

Wednesday, December 29th, 2010

Lil Wayne Featuring Cory Gunz—”6 Foot 7 Foot”
#9
The background provided by Bangladesh is so stupid—and not in a good way—that it almost ruins the record for me. Wayne himself saves it. His gnomic notes to himself—you can almost see him obsessively scrawling them out in his cell—are so full of twists and turns and puns, words and phrases pulled inside out and examined to reveal newer if not always deeper meanings, that even if he isn’t saying much he seems to say it all. Writing down his raps has tightened and intensified his language, revealing more about his character than any of his free-form, off-the-cuff displays, brilliant as they were, ever did. Turns out he’s something of a grammarian, though that should have been obvious a long time ago.

Taio Cruz featuring Travie McCoy—”Higher”
#80
Reviewed in Bubbling Under, 12/19/10

Nicki Minaj featuring Drake—”Moment 4 Life”
#82
Reviewed in Bubbling Under, 12/5/10

P!nk—”Fuckin’ Perfect”
#86
“Fuck” being the word of the moment (word of the year, really), P!nk, with her usual commercial intuitiveness, tosses it into the title of a song in which the word itself doesn’t appear. I wish it did; it might liven up this otherwise bathetic self-empowerment ballad.

Jerrod Niemann—”What Do You Want”
#90
Reviewed in Bubbling Under, 12/12/10

Thompson Square—”Are You Gonna Kiss Me Or Not”
#92
Sugarland as Bon Jovi, just what we’ve been waiting for.

R. Kelly—”When A Woman Loves”
#93
I loved the video for this when it came out a few months ago, but I guess this is just another example of a mediocre record being lifted by it’s accompanying visuals (this is why I don’t watch Glee; I don’t want its horrible music tainted by theatrical quality). What looks loving and soulful in the video turns out to be stiff and lifeless when heard on its own. Kelly isn’t that great a singer, and his soul inflections sound calculated and more often verge toward homage, and even parody, rather than actual emotion. His “Thank you” at the end, which works in the video, sounds like a dumb, knowing wink on the record, as if the whole thing was nothing but a stylistic game.

Fabolous—”You Be Killin’ ‘Em”
#94
Though this eventually turns into one of the most sexist pop songs I’ve heard in some time (“She looks like the best money I ever spent” Fabolous says of his latest acquisition), what really sums it up for me comes in the first 30 seconds. After a brief intro establishes the electric piano riff that drives the song, Fabolous steps up to the mike, and by way of introduction, says “Niiiice”. The first thought that came into my head: “Isn’t it a little late in the day for a Vanilla Ice parody?” Second thought: “This isn’t a parody.”

The Script—”For the First Time”
#97
At first I was willing to give them points for writing about something truly meaningful: the stress economic hard times places on relationships. A lot of songs have been written about that, though (I’m sure there are a couple of hundred songwriters in Nashville working on it right now), and The Script’s tin ear for detail and sentimental musicality guarantees that this is nothing but a sop to those who feel they need a good sorrowful wallow every once in a while to get by. Every human emotion has its exploiter; self-pity, meet The Script.

Mariah Carey—”Oh Santa!”
#100
Reviewed in Bubbling Under, 12/19/10

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Hot 100 Roundup 12/19/10

Sunday, December 26th, 2010

T.I. featuring Eminem—”That’s All She Wrote”
#18
No matter how much he brags, the events of the last couple of years have worn the sharp edges off of T.I. Even when he’s trying to be threatening he sounds ruminative, as if he’s thinking out the safest way to kick your ass. He’s gained maturity, maybe even some wisdom, but he isn’t sure what to do with it. Eminem meanwhile, clean and sober but with a voice that makes him sound permanently pissed, throws maturity out the window. His rap is seriously insane—no, you can’t have any of his fritos; yes, A&W hot dogs are the best—and all of it is apparently addressed to Sarah Palin. While T.I. is back in jail, pondering, Eminem is a free man getting his roar back.

Glee Cast
“Baby, It’s Cold Outside”, #57
“Welcome Christmas”, #59

Adele—”Rolling In the Deep”
#68
Adele has a voice, but she takes too much pleasure in showing it off, and doesn’t understand that to really show it off she needs strong songs. This is not a strong song; it’s barely a song at all.

Chris Brown—”No Bullshit”
#89
Reviewed in Bubbling Under, 12/12/10

Dev & The Cataracs—”Bass Down Low”
#94
As if to prove my theory of last week regarding Far*East Movement’s dependence on their guests, here come Dev & The Cataracs with a record that’s essentially a remake of “Like a G6″. Dev is a real find, Ke$ha with added hip-hop cool (if she’s drunk you’d never know it), Fergie without pretensions to diva-hood. The music is Black Eyed Peas without the minimalist/intellectual gloss, more street and more club at the same time. Who knows how many of these they have in them, so grab it while you can.

Jamie Foxx—”Fall For Your Type”
#95
Reviewed in Bubbling Under, 12/12/10

Bubbling Under:

Taio Cruz—”Higher”
There are far worse things than mindless dance music, and in this particular genre I’m starting to like Cruz more than Flo Rida, whose gift for hooks is starting to fade. Cruz’s gift for hooks is just warming up, and I’m impressed by his voice: he hits notes that would be in the falsetto range for anyone else with no apparent strain (and though it may just be the suggestiveness of the title, there are times when this really does remind me of Jackie Wilson). The arrangement is busy, but even that makes a certain sense: the pressurized feeling of dancehall transferred to hip-hop influenced disco. As music for listening, it’s too simple, but for dancing it’s perfect.

Mariah Carey—”Oh Santa!”
Overstuffed with Christmas cheer as it may be, this is so silly and charming and energetic that it can be forgiven the overkill. Carey is trying too hard, but somehow it all works: cheerleader chants, soul choruses, lyrics that are both artless and endearing (“I know you’re really busy with your elves right now”), it’s got everything. Best of all, when Carey lets loose with her whacked-out theremin impersonation, she plays it for a joke. It’s the final touch of icing on a cake already covered with sugar balls, glitter, and tinsel. Merry Christmas.

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New this week—2/28/10

Wednesday, March 3rd, 2010

Christopher Wilde
“Hero”, #57
“StarStruck” #77
“Something About the Sunshine” (with Anna Margaret), #81
Christopher Wilde, in case you’re not a connoiseur of the Disney Channel, is the name of the fictional teen heart-throb in Disney’s latest made-for-TV tweener extravaganza, StarStruck. The actor who does the singing here is Sterling Knight, who the folks at Disney are no doubt hoping will become a real heart-throb. As Disney soundtracks go, these three songs are above average, less cutesy than the Hannah Montana or High School Musical numbers, without all the cloying lyrical uplift. They’re also more mature. “StarStruck” includes a line about girls who want to take Christopher out on a date and make him holler, which in the Disney universe is as close as you can get to an NC-17 rating. Disney is obviously beginning to realize that the audience for its teen fantasies is older than it was when High School Musical debuted four years ago. Those tweeners are into their mid- to late-teens now, and they want a little romance, and even a suggestion of sex, with their song and dance. But even though these are more adult than the standard Disney fare, they’re also not up to the best of the non-soundtrack material that Disney artists like Miley Cyrus, Selena Gomez, and Aly & AJ have put out the last couple of years. “Starstruck” moves along nicely, but it has nothing new to say about fame (Lady GaGa would seem to have a lock on that theme at the moment), and though I like the bouncy/stretchy sound effects on “Something About the Sunshine”, it’s obvious they’re there to hide its other weaknesses. So I’ll give Disney an A for effort and for upping their game, but only a B for the results.

k.d. lang—”Hallelujah (Vancouver Winter 2010 Version)”
#61
A few weeks ago I was complaining about Justin Timberlake’s attempt to recontextualize this song after the earthquake in Haiti. But this, performed by Lang at the opening ceremonies of the Winter Olympics (and what a celebratory piece of work it is!) is even worse. Verse by verse, Lang drains every ounce of meaning out of the song, and then bathes the final chorus in one of the most banal string arrangements I’ve ever heard. Even at the peak of her popularity I thought Lang was overrated, but I never thought she’d get as bad this.

DJ Khaled featuring T-Pain, Ludacris, Snoop Dogg & Rick Ross—”All I Do Is Win”
#64
The frustrating thing about DJ Khaled (aside from his fuzzy, overloaded, melodramatic beats) is that he’s a one-idea man. That doesn’t need to be a detriment—a lot of DJs have made great records with less than an idea—but Khaled’s depends entirely on the guests he finagles into rapping on his productions. The result is an often irritating variation in quality, not just from record to record, but within each record itself. In this case, he gets a mediocre but passable hook from T-Pain, a slightly above-average rap from Ludacris, and an unintelligible, below-average rap from Rick Ross. Then, just as you’re getting ready for the wind-down of another tepid Khaled production, Snoop Dogg steps up to the mike, and in four lines blows a hole in the middle of the record. I’m not familiar enough with Snoop’s stuff to know whether he’s used these lines before—all I know is they’re better than anything else I’ve heard Snoop come up with, and just about any other rapper I can think of, as well. It’s not just a matter of the shock of Snoop’s laid-back style compared to the others’, either, because every time I listen to this record that verse seems even more powerful, more portentous, more menacing. The only thing I can compare it to is Lil Wayne’s rap on Khaled’s “We’re Takin’ Over” a couple of years ago. Exactly why Khaled’s productions should be so inspirational to these guys I have no idea. Maybe there’s more to those beats than I’m picking up on.

Usher—”There Goes My Baby”
#71
The best thing Usher has done in years (he appears to have been listening to a lot of Ne-Yo and Maxwell), but still far short of whatever mark he’s aiming for. Whoever or whatever made him decide to cut short the middle-eight, which would have brought the song to a higher level, should be booted out of his entourage, or his head, as quickly as possible.

3Oh!3 featuring Neon Hitch—”Follow Me Down”
#89
You knew once they stopped being offensive they’d be boring, right?

Mariah Carey featuring Nicki Minaj—”Up Out My Face”
#100
Over the last few years Carey has been making the best music of her career (not a great leap, I know)—just in time for her audience to dry up and everyone under the age of 25 to start ignoring her. Judging by this record, which is only slightly above average but which she obviously had a great time making, and by reports of her recent concert appearances, she doesn’t really care. Good for her. That’s the sort of attitude that could make her even better.

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New This Week

Tuesday, September 29th, 2009

Drake featuring Kanye West, Lil Wayne & Eminem—”Forever”
#8
The beat is rote, the raps display a high amount of craft but little inspiration, and the air of self-congratulation is so thick it’s a wonder anyone else can breathe when these guys are in the room, but that’s not what makes this record so offensive. What’s makes this record so offensive is Drake, who lies through his teeth every damn minute of it. Exactly when did a guy who was a regular cast member on a successful TV series from the time he was fifteen shovel shit at the mall? When he was signing autographs on promotional tours? Or was that an episode of DeGrassi High he somehow confused with real life the way Ronald Reagan used to argue government policy by reminiscing about movies he’d been in? And when Drake says “nothing was done for me” what exactly does he mean? He’s got Lil Wayne for a mentor, he’s got a father who’s a well-respected session drummer, and his uncle is Larry Graham, formerly of Sly and the Family Stone and Graham Central Station, one of the most influential bass players in the history of funk and R&B. None of them lent him a hand or showed him a few chops or opened the occasional door or offered a few words of advice? Ever? I realize it’s accepted in the rap world to emphasize and exaggerate your hard knock past, but inventing one out of whole cloth strikes me as going way too far.

Drake featuring Lil Wayne & Young Jeezy—”I’m Going In”
#40
Drake has nothing to say, Lil Wayne sounds uninspired and repeats himself, and Young Jeezy says “motherfucker” a lot. This is a statement of purpose?

Leona Lewis—”Happy”
#50
Weird lyrics; they seem defensive, as if they were trying to justify the metaphorical excesses of her first hit, “Bleeding Love”. Maybe somebody suggested to Ryan Tedder he’d gone a little too far last time. Whatever the case, this is, thankfully, less self-abusive than “Bleeding” (or at least less graphic), and the chorus, surprisingly enough, almost lives up to the title. If Lewis wasn’t trying so hard to be the new Mariah Carey this might even be tolerable.

Kid Cudi featuring MGMT & Ratatat—”Pursuit of Happiness (Nightmare)”
#59
It opens with Cudi (or at least his “lonely stoner” persona) rolling a joint, ends with a booze and dope fueled hangover, and in between ruminates, without relying too heavily on banalities, on a stoner lifestyle that sounds half fun and games and half self-medicated chronic depression. In other words, an interesting record, but also a trifle boring. The sound effects provided by Ratatat and MGMT are far less interesting than the borrowed dubstep of “Day ‘n’ Nite”; if this is the kind of music the guy listens to on a regular basis, it’s no wonder he doesn’t want to get out of bed

LMFAO—”La La La”
#61
Their borrowed lover man moves and borrowed techno are far less entertaining than their borrowed offensiveness (see “I’m In Miami Bitch”). Which wasn’t all that entertaining to begin with.

Mariah Carey—”I Want To Know What Love Is”
#66
In a way I feel sorry for Carey. After mounting her comeback and making the best music of her career over her last two albums (which wouldn’t be saying much, I know, execpt that there was truly excellent material on both records), she finds the ground shifting under her feet once again. The modern R&B she mastered so effortlessly had peaked with Usher over a year before her comeback album, and her older, massively successful style has been usurped by the likes of Leona Lewis, who gushes over-the-top sentimentality in a way Carey wouldn’t think to do now. And so, after a few flop singles and a couple of hits that were nowhere near the overwhelming sellers she’s used to, Carey goes back to the safety position of the power ballad (and a hoary old 80′s classic power ballad at that—”classic” in this case meaning a Foreigner song that everyone has heard to death already), unleashes her pipes at the upper limit of her range (though only near the end and deep in the mix, thank God), and generally pulls out all the commercial stops, and still the best she can get for a debut is number 66. The shame of it is that until this takes off for the Church of Our Lady Mariah of the Golden Larynx it shows more maturity and subtlety and soulfullness than any ballad she’s ever recorded. It’s not a great song, but for awhile she almost makes something great out of it—until, that is, she feels the need to ignore the song completely and massage her audience with her voice.

The Black Eyed Peas—”Meet Me Halfway”
#75
Like it or not, Fergie’s feigned soulfulness is a kind of home truth for a lot of fans out there, and I for one think that the Peas’ resistance to polishing up their singing is an attribute, certainly commercially if not always artistically. They appear to have no aesthetic principals at all, yet also come across as both friendly and likeable. This could be nothing but commercial calculation, but since they were pretty much like that even when they weren’t selling any records (and since “My Humps”, which is obviously the pattern for a lot of the new album, took them as much by surprise as anyone), I doubt it. They may well have fallen on this formula by accident, but who can fault them for running with it? Like it or not, they’re producing something that’s truly new, and they’ve convinced an army of fans to go along with them.

Bon Jovi—”We Weren’t Born To Follow”
#90
No, you were born to endlessy repeat yourself. And you’re good at it.

The All-American Rejects—”I Wanna”
#95
There’s actually a fairly nifty, if totally unoriginal, song under all the ego flashing, and under the influence of the remasters I detect a similarity in structure, melody and rhythm to the Rubber Soul era Beatles. But the Beatles usually knew how to keep their egos from getting in the way of their music (at least most of the time), something I doubt these guys will ever learn. To them, flaunting their ego is the music.

Carrie Underwood—”Cowboy Casanova”
#96
Always hip to the latest fab trends, Underwood harkens to the success of Katy Perry, mines some bubble-glam rhythms from the seventies, and even dresses up in a glittery drum-majorette jacket for the cover (or icon, or whatever you call it these days). It’s nice to see Nashville paying attention to a different part of the seventies, even if they still remain lost in that decade. The lyrics are generic, and this doesn’t hit as hard as “Before He Cheats”, but I suspect good clean fun like this is the best we can ever expect from Underwood.

Alice In Chains—”Check My Brain”
#99
I have one question: did they distort those guitars the old-fashioned way, by playing with the tape reels, or did they auto-tune them? Also, is it just my imagination, or is this song actually about how nice it is to live in California? I’m probably missing some ironic or cynical lyrical clue, but I can’t bring myself to listen closely enough to find out. Those guitars give me too much of a headache.

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New this week

Saturday, July 18th, 2009

Hannah Montana
“He Could Be the One” #10
“I Wanna Know You” (featuring David Archuleta) #74
“Ice Cream Freeze (Let’s Chill)” #87
Miley Cyrus, either as Hannah Montana or as herself, is the living definition of bubblegum: pretty and pink and shiny on the outside, nothing but air on the inside. The difference this time out is that at least one of these songs is bubblegum of a very high quality. “He Could Be the One” is instantly catchy, though it’s appeal fades just as fast, and “Ice Cream Freeze” is a needless remake of “Hoedown Throwdown”, coming less than two months after it’s predecessor left the charts. “I Wanna Know You”, however, is simply a great pop song (I recommend the solo version over this one; Archuleta’s voice doesn’t blend well with Cyrus’s, and his American Idol-style overkill almost ruins the song). Compared to most Disney pop it’s surprisingly subdued, without the tinny, forced brightness of so many of their records, and Cyrus never once plays it cute. Besides, how many pop records feature a tuba?

Mariah Carey–”Obsessed”
#11
With The-Dream and Tricky Stewart handling the production, this is a good record, though derivative of a lot of what they’ve done before. I like the way Carey uses her voice these days (she saves the churchy stuff for the end), and her relaxed, kiss my ass attitude. But there’s still something slightly stiff and inhuman about her, a feeling that’s emphasized by her belief that being a corporation is better than being a mom and pop and that holding a press conference is better than having a conversation. She thinks big, and there’s an unbridgeable distance between her and the real world that infects every note she sings.

Paramore–”Ignorance”
#67
Less catchy than “Misery Business” or “That’s What You Get”, less dumb pop-metal than “Decode”, this comes close to striking the balance I hope they’re looking for. Sometimes the music is too automatic, but Hayley Williams’ matter-of-fact, take no bullshit lyrics get better all the time. If only their riffs were as sharp and to the point.

Lupe Fiasco featuring Matthew Santos–”Shining Down”
#93
All of Fiasco’s stuff is a little off kilter–which is part of his appeal–but this one is especially weird. Not so much for Fiasco’s rap, though it does take self-admiration a little further than most, but for Santos, who can’t seem to decide which ego-driven rock singer he wants to imitate most: Bono? Chris Martin? Axl? Michael Hutchence? And while he’s making up his mind, I’m still waiting for that guitar arpeggio to turn into “Hotel California”.

Justin Bieber–”One Time”
#95
An Usher-approved 13 year-old white Canadian, Bieber got his start doing Chris Brown covers on YouTube. But except for the occasional patch of teenage warble his voice is so technically worked over here that you’d never guess his age. Not bad, but when he talks to his shorty you do wonder just how old she might be.

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New this week

Monday, July 6th, 2009

Jay-Z–”D.O.A. (Death of Autotune)”
#24
This is terrible. Not so much for the music as for the insipidness of Jay-Z wasting his talents to attack something as meaningless and ephemeral as a software plugin. He’s isn’t going to convince anybody how tough he is punching bags of feathers.

Demi Lovato–”Here We Go Again”
#51
Lovato’s last couple of singles (“Don’t Forget” and “La La Land”, both written with the Jonas Brothers) had an idiosyncratic quality to them that, flawed as they were, lifted them above the usual Disney fare. This is the usual Disney fare: light, pleasant, totally forgettable.

Green Day–”21 Guns”
#55
Slow, ponderous, packed with musical and lyrical cliches, decorated with the wimpiest drum sound you’ve ever heard–when they reach their social consciousness phase, this is exactly what the Jonas Brothers will sound like.

Eric Church–”Love Your Love the Most”
#90
A country list song. Better than some, if only because Church, in order to avoid charges of blasphemy, leaves out Sunday meetings and Jesus.

Keyshia Cole featuring Monica–”Trust”
#93
Mary J Blige meets Mariah Carey, lightweight division. I wonder which Montovani record they lifted that horrible string arrangement from?

Shinedown–”Sound of Madness”
#95
This makes more sense than “Second Chance” (not that it would take much), but just like that record, it’s basically “Chicken Soup for the Headbangers Soul”. They say they wrote the “book of pain”, but it sounds more like a self-empowerment, daily affirmations calendar for tough guys.

Jack Ingram–”Barefoot and Crazy”
#98
A lot of this is cliche (what country song isn’t?), but it has a strong, steady groove that’s rare in country music (sounds like a real band, though I suppose they’re the usual session pros), and Ingram picks all the right cliches. And that line about kissing at the bottom of the swimming hole doesn’t sound like a cliche at all.

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