Posts Tagged ‘Shiny Toy Guns’

The year so far

Thursday, July 22nd, 2010

According to almost everyone, 2010 has been a great year in just about every genre: alternative, country, hip-hop, techno—great records have been popping up everywhere, from both new and old artists, with a full schedule of promising releases to come.

But if that’s true, and for the most part I think it is, not much of that greatness has been showing up on the pop chart, or if it has it’s come and gone so fast it’s barely been noticed. At least four of my favorite records this year, “Super High”, “Love King”, “I’m Single”, and “Reverse Cowgirl”, disappeared from the chart after a week or two. Others, such as Jay-Z’s “On To the Next One” struggled to climb into the top 30, and then dropped quickly once they reached their peak.

Mind you, if what you’re looking for is party music, you can’t do much better than most of the records that made the top ten this year. Straight ahead rhythms uncomplicated by any sense of hesitancy or messy emotion have dominated the market, with only top drawer sellers like Rihanna and Eminem daring anything that requires much thought on the part of the audience. I like a lot of the records that have made the top ten so far this year, but I can think of only one or two that will have any long lasting effect. Party music is designed to be ephemeral, so that’s hardly a criticism, just a recognition of the way things are, and are likely to remain for some time.

Most of what I consider the best of the year so far comes from a little further down the charts, though of course that’s no guarantee of durability. Even I was surprised, though, that my number one would turn out to be the darkest record to make the charts this year, a record so full of bad feeling that it dropped off the charts after a single week and has been ignored by just about everybody. Who’d have thought I could feel alone in praising a Lil Wayne single?

As for the worst, it should be pointed out that this list does not include any of the Glee Cast singles, which are not only terrible but should never have been released in the first place. If I had included them, they would have occupied all ten places and then some. At one point, I considered making “Ice Ice Baby” both the worst and best single of the year, but that was just cynicism. I feel better now, honest.

The Best So Far (in approximate order of preference)

1. Lil Wayne – I’m Single
2. The-Dream – Love King
3. Cali Swag District – Teach Me How To Dougie
4. The Black Eyed Peas – Rock That Body
5. Rick Ross featuring Ne-Yo – Super High
6. Selena Gomez and the Scene – Naturally
7. Jay-Z featuring Swizz Beats – On To the Next One
8. Miranda Lambert – The House That Built Me
9. Jay-Z featuring Alicia Keys – Empire State of Mind
10. T-Pain – Reverse Cowgirl

The Worst (in alphabetical order)

1. Alpha Rev – New Morning
2. Artists for Haiti – We Are the World 25
3. Justin Bieber featuring Jaden Smith – Never Say Never
4. Dirty Heads featuring Rome of Subllime with Rome – Lay Me Down
5. David Guetta featuring Fergie and LMFAO – Gettin’ Over You
6. Avril Lavigne – Alice
7. Muse – Neutron Star Collision (Love Is Forever)
8. Christina Perri – Jar of Hearts
9. Mike Posner – Cooler Than Me
10. Shiny Toy Guns – Major Tom

New this week–2/14/10

Tuesday, February 16th, 2010

P!nk—”Glitter In the Air”
#18

Even aside from the impressive aerial ballet on the Grammies, this song has a lot of things going for it, all of which P!nk somehow manages to subvert well before it’s over. It’s frustrating to see an artist of such obvious intelligence and craftsmanship constantly fall back on cliche in order to get through her songs, but that’s what she does, time and time again. Whenever she gets close to a real emotion she stops and whips out some tried and true piece of schtick. It’s almost as if she’s afraid. Either that or she’s not as smart as she seems.

Lil Wayne
“Knockout” (featuring Nicki Minaj), #44
“Fuck Today” (featuring Gudda), #76
“American Star” (featuring Shanell AKA SNL), #91

On first listen these seem a big step up from the Lil-Wayne-goes-metal tracks that have appeared off and on over the last year. The sound is brighter, the tempos have more snap to them, the songs even seem to be about something besides the usual rap bragging. But they wear thin fast, and though I’m fascinated by the sense of racial frustration that permeates them (especially “Fuck Today”, which is a far better version of the same idea than “Drop the World”), the simple fact is that these records don’t work. He may love it, but metal doesn’t do Wayne any favors: it slows him down and constrains his natural gifts, and leaves you wondering exactly what he’s trying to get at. I’m not even sure that Wayne knows. Does he think that metal will allow him to delve into a deeper and more profound form of rage than rap (since when?), or is he just bored? Someone should remind him that twenty years ago Ice-T pulled the same trick just as his own interest in rap was fading. After that his music career was pretty much over (and the Body Count album was a lot better than this). What a perfect time to go to jail.

Dave Matthews Band—”You and Me”
#57

For all his much vaunted skill and musical sophistication, it’s amazing how easily Matthews falls into cliche—hitting a high note on the word “fly” is about as old-fashioned and hackneyed as you can get—and all the rhythmic trickery in the world won’t cover up the fact that this song has virtually no melody; it’s just a collection of riffs strung together. I can understand why musos like him—I just don’t see why anyone else would care.

Kevin Rudolf featuring Birdman, Jay Sean, and Lil Wayne—”I Made It (Cash Money Heroes)”
#59

I find it hard to believe that anyone from New Orleans (I mean Lil Wayne, not Rudolf, who’s from New York), could ever find this sort of plodding, lugubrious mush appealing, but obviously that’s a regional stereotype I’ll need to reconsider. The chorus isn’t terrible, but it isn’t exactly fresh, either, and the raps are meaningless. Why would anyone, from anywhere, think it’s a good idea to play hair metal slowly?

Mary J. Blige and Andrea Bocelli—”Bridge Over Troubled Water”
#75

I missed Blige and Bocelli on the Grammy Awards, but I read somewhere that Blige appeared intimidated by Bocelli’s voice, to which I can only say “Huh?” Even forgetting for the moment that Bocelli can’t sing (not in English anyway, and I’m not sure about his Italian, either), Blige walks all over him. Not that that’s a good thing, since she walks all over the song, as well, but “Bridge Over Troubled Water” has a long and glorious history of being oversung, and I’d be the last to deny Blige her shot at it. I just wish she’d done it on her own—she might have taken it even more deeply into church.

Gucci Mane—”Lemonade”
#93

This is the most interesting Gucci Mane track I’ve heard, and easily the most eccentric. I haven’t been able to parse out enough of the lyrics to decide whether he’s saying anything worth hearing, but the music, especially the chorus (are those children singing or women’s voices electronically raised a couple of pitches?) holds my attention well enough even without being sure about what’s going on.

Shiny Toy Guns—”Major Tom”
#97

This record, which sounds like a bunch of semi-talented suburban middle-schoolers playing in a three car garage with two of the doors open to annoy the neighbors, provides further proof that with enough exposure in TV commercials—especially during the Grammy Awards—anybody can scrape into the bottom reaches of the Hot 100 for a week. That we already knew. What I want to know is how anybody could have dared to complain about Taylor Swift’s vocals with this blaring out of their TV every ten minutes?