Tag Archives: Pop

Top 13 Songs of 2012

As the year ends, I’ll be making countdowns of my favorite things of this past year. The first list is for songs. The rules for this list are simple: 13 songs by 13 different artists that I’ve enjoyed the most over this past year. The song doesn’t necessarily have to be a 2012 year but it needs to have gotten to its maximal reach during this past year. The songs also cannot be album tracks that never became singles – yet.

Without further ado, we begin.

13 – Home – Phillip Phillips 

An guitar driving a feel good simple lyric – and yet the overall result is effective enough for Home to be one of 2012′s best songs.

[Listen here]

12 – Little Talks – Of Monsters and Men

A newcomer band with a niche sound that makes them stand out from the first note that gets played. Little Talks is one of the highlights off their album My Head Is an Animal.

[Listen here]

11 – Madness – Muse

Many people didn’t like Muse’s newest offering. I have to disagree. It may not be a typical Muse song but Madness is really, really good. At least to me.

[Listen here]

10 – Drunk On You – Luke Bryan

Some of its lyrics may be cheesy but Drunk On You’s hook line is gold: “I’m a little drunk on you and high on summertime.”

[Listen here]

9 – Pontoon – Little Big Town

This summer anthem has a quirky melody to it that takes some time to get used to. But once it sticks, it’s mmm, motorboatin’.

[Listen here]

8 – The A Team – Ed Sheeran

This well-written song about a crackhead is bound to hit a nerve somewhere.

[Listen here]

7 – Merry Go ‘Round - Kacey Musgraves

An extremely well-written song about life in a small town where God, family and country always have to come first, limiting your prospects and what you can be. “If you ain’t got two kids by 21, you’re probably gonna die alone. At least that’s what tradition told you.”

[Listen here]

6 – I Drive Your Truck – Lee Brice

A country song about a truck? How original. Guess again.

[Listen here]

5 – Charlie Brown – Coldplay

The third single off Mylo Xyloto is a song that makes me happy whenever I listen to it. It’s not necessarily a feel-good song, it just has this feel to it that puts it high up my top songs list.

[Listen here]

4 – Never Let Me Go – Florence + The Machine

2012 has been a good year for Florence + The Machine. They’ve had big hits with Calvin Harris remixes. But this ballad remains one of the highlights off Ceremonials and a definite highlight of 2012.

[Listen here]

3 – I Knew You Were Trouble. – Taylor Swift

This dubstep-influenced song is all over the place. In a good way. It might prove polarizing at first but you will soon find it stuck in your head, refusing to let go. Trouble, trouble, trouble.

[Listen here]

2 – Springsteen – Eric Church

A mellow song of a young love set to a backdrop of The Boss’ most famous tunes. What more can you ask for?

[Listen here]

1 – Blown Away – Carrie Underwood

I’m sure none of you expected otherwise. This song about a daughter’s vengeance is dark and mesmerizing. One of the year’s best written-songs and most multi-layered productions that give the song depth beyond the words and sound, not to mention the spot-on vocal delivery.

[Listen here]

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Red (Album Review) – Taylor Swift

Taylor Swift’s fourth studio album, is her most eclectic offering so far. As she puts it, it is made up of 16 songs that contain emotions in shades of fiery red. Nothing is beige about them. And that’s why she named her album Red. I wish I could say the same about the contents.

The two opening tracks “State of Grace” and “Red” are at odds musically and serve as a template for the album. The former is a U2 and Coldplay-inspired alternative track while the latter is a mix between country and pop, with reverb on the chorus: “r-r-r-red.”

She is her most sultry on “Treacherous,” where she whispers “And I’d do anything you say if you say it with your hands.”

“I Knew You Were Trouble.” is a bonafide pop track, down to the dubstep beat dropping, before introducing the best song on the album.

“All Too Well,” co-written with Liz Rose, is Taylor Swift in her element: writing a great country strong with brilliant lyrics. It is where she excels without it sounding unlike her to deliver such a thing. She reminisces about a love she lost, about the magic that’s not there anymore and about being there, remembering every moment of it all too well.

“22” is definitely one of the most disappointing songs on the album. Instead of being an introspective song, à la Fearless’ Fifteen, it is a track for a girls’ night out to dance like you’re 22. It is definitely a missed opportunity about a coming of age reflection that would have sounded very in place after “All Too Well.” Sure, she is 22 – I am 22 too – but the song could have easily been called “12″ and it wouldn’t have made any difference. Similarly, “Stay Stay Stay” is another song that shouldn’t have been on the album. It is an odd attempt at incorporating way too many country elements in a song with very poor lyrics. If Taylor Swift had written forty songs for the album and chose sixteen, I have to wonder: couldn’t she have found something much better than this to include it on the album?

“I Almost Do” is another of the album’s highlights – a very Colbie Caillat sounding song where Taylor wants to tell him “that it takes everything in me not to call you. And I wishes I could run to you. And every time I don’t, I almost do.”

“We Are Never Ever Getting Back Together,” the catchy lead single is already a huge hit on pop radio and despite the step back thematically compared to the song before it, it serves its purpose well: provide a song that would be a success on the airwaves in order to stay forever in the face of the man who berated Swift with his “indie records that’s so much cooler than [hers]“.

“The Last Time,” a duet with Snow Patrol frontman Gary Lightbody features a dark and haunting melody. ”Holy Ground,” produced by Jeff Bhasker who has done songs for Fun. and Alicia Keys, is another new sound for Swift with a very fast driving drumbeat and guitar.

On “Sad Beautiful Tragic,” Swift exposes her songwriting chops yet again as she paints a setting where the protagonist is waiting for a train that’s taking her away from the sad beautiful tragic relationship she was in. ”The Lucky One” is about dealing with fame, while ”Everything Has Changed,” a duet with British artist Ed Sheeran, is a guitar, acoustic-driven ballad where both artists throw notes off of each other as they sing about the changes due to a growing love.

“Starlight” pays homage to the Kennedy’s by telling a love story set in 1945 but with a very current musical backdrop. “Begin Again” is the song’s second single on country radio after We Are Never Ever Getting Back Together failed to gain traction and became Swift’s first single on the format to miss the top 10 entirely. It serves as a great conclusion to the album where Swift, despite all the hardships that love has thrown at her, is always eager to begin again. “But on a Wednesday, in a cafe, I watched it begin again.”

As you listen to Red, you can’t help but feel that, with the exception of a few songs, it is a definite missed opportunity for Swift at evolving in the right direction musically. The music she does best is not the pop “22” or “I Knew You Were Trouble.” but the ballads and the country stories which she writes so eloquently. Her songwriting on her country songs is what you might call “the impossible easy.” She makes her songs sound very approachable and simple but no one can write them the way she does. And that is her forte – not a song on a bridge where she fakes a phonecall with a girlfriend.

You also cannot but wonder while listening to Red if Swift seeks out the men she writes about solely for the purpose of coming up with album material. On the horrid track “22,” she sings: “You look like trouble. I gotta have you.” And it’s precisely what has fueled most of the songs on this album – her seeking out danger in men that she knows will break her. But does she do that on purpose or has she not learned yet from the previous three albums she offered that she has to have her guard up more often?

I guess when the formula works, why change it? Swift is the storyteller of so many teenagers who can relate to what she does and her record-selling singles off of Red so far prove so. But as she grows up, shouldn’t her music also grow with her? That is the main question posed with Red, an album that shows a regression thematically compared to Speak Now on many of its tracks, albeit it going more into more mature realms with others (Treacherous, All Too Well, I Almost Do). While Red boasts a handful of strong tracks, it is not the coherent album that her previous offerings were. It’s not a collection of all standout tracks that are the creme of the creme of what Swift came up with during the album cycle.

However, what can be said about Swift is that she is in her own element – a genre where she alone thrives. Taylor Swift fans who happen to like country music won’t have a problem with this album. Country fans who happen to listen to Swift may have a problem taking in the dubstep, the reverb, the alternative. Is she risking alienating some fans with this? Perhaps so. But she is trying something new. And I hope her experimentation is limited to this album only because what she needs to know is that her best is when she goes back to basics, sits down with a pen and a paper and writes down her thoughts into beautiful prose that put down her memories forever out there, as is evident by this album’s best songs: the gut-wrenching country ballads that could tug at the heartstrings of the most insensitive people out there. But she seems too busy chasing success nowadays with shaming guys who may have done very little wrong. She may be compromising her artistic integrity with some songs. But one thing is sure: we will never ever – like ever – hear their side of the story.

On the track “22,” Swift mumbles in the background: “Who’s that Taylor Swift anyway?.” That’s precisely the question many will be asking after Red.

B. Out October 22nd.

Download: All Too Well, I Always Do, Red, Begin Again.   

 

We Are Never Ever Getting Back Together – Taylor Swift [Single Review]

Welcome back the mega-successful Taylor Swift and her catchy tunes and lyrics.

That Taylor Swift was also 18.

If you expect some more maturity with Taylor Swift’s newest offering, you are vastly mistaken. If you expect a darker tone, such as her Hunger Games offerings (Safe & Sound, Eyes Open), you are immensely mistaken as well.

If you expect some country too, then you’re way off the mark. If you’re expecting some deep lyrics, you’re in the wrong place. Taylor Swift’s new single is about yet another relationship gone sour and it’s custom-made for the leagues of teenagers who will swallow the song up with its catchy chorus and radio-friendly status.

Simply put, there’s no way the song won’t get stuck in people’s heads, à la Call Me Maybe.

Going straight to the point with an overly long title, there’s no room for second-guessing and analysis on the song. Taylor is telling one of the many, many guys she has dated that they are, well, never – ever – getting back together. I have to ask though – why would anyone date her if they know they’d end up in song? Or is it because they know they’ll be immortalized in song that they date her?

But I digress.

“We are never ever ever getting back together,” she sings on the chorus. As if the title wasn’t evident enough. To the backdrop of “Woo-oh-oh,” she sings “You go talk to your friends, talk to my friends, talk to me. But we are never ever ever ever getting back together.”

Yes, those “ever”s are very numerous.

At the song’s bridge, she goes into typical teenage girl phone talk: “Then he calls me up and he’s like ”I still love you,” and I’m like this is exhausting, we are never getting back together – like ever.”

No, I’m not making this up.

As I said, the song is insanely catchy – her catchiest offering so far in fact. As I type this and after hearing it only a couple of times, I have the melody stuck in my head. And that’s what Taylor Swift is really good at: making a very catchy hook that does what a hook is supposed to do: hook you.

However, what’s demanded of an artist like Taylor Swift is less “OMG, it’s like OMG” in her songs and more seriousness. What’s demanded of her is less teenager-ish attitude and more soon-to-be 23 year old who shouldn’t be going all gaga over someone on the phone.

Moreover, the least that can be expected from one of country music’s leading artists is to have a country element in the lead single. Some artists keep the twang if they decide to drop the country elements of the music. Others choose to tell a story even if the melody isn’t country. With “We Are Never Ever Getting Back Together,” Taylor does neither.

Even the fact that pop hit-maker Max Martin produced the song isn’t an excuse because he has dipped his toes in country music before. The result was Carrie Underwood’s Quitter. How will country radio react to this? It will eat up the song. The fans will rush to buy this – watch it break sales records. But I, for one, really hope this isn’t indicative of the material quality on Red, her fourth album which she will release on October 22nd. Because after songs such as Enchanted and Back To December, this is definitely a let-down. Even Love Story was more mature than this. Go figure.

5/10 – just for managing to get stuck in my head after one listen.

A Lebanese Parody on the State of the Music Industry: 7assesne Enne Rkheesa

The lyrics for this “song” have been circulating around for a while now. And now there’s a video to boot. For those who thought the lyrics were actually serious, fear not. They are but a parody on the over-sexualizing in the music industry today, be it American pop or Lebanese music.

Trust me, I wanted to dismiss this as a gimmick but they do have a point, somehow, somewhere.

For non-Lebanese readers, the title “7assesne enne rkhisa” translates to “Make Me Feel Cheap,” which is how the people who did this believe music nowadays represents women.

Check the video:

I’m sure it won’t put a dent in the trend of music today. But at least people are noticing that there are less and less songs you can listen to with another person on radio without feeling awkward about their content. Case in point: Rihanna’s latest album has more than numerous proclamations of “F*** me.” Even the reviewers of that album said they felt self-conscious listening to it. I did not bother reviewing it.

Guess I’ll return to my safe country music bubble now. Good Girl, anyone?

Nancy Afiouny: My Meow – Lebanon’s Lady Gaga/Britney Spears/Other Pop Trash Wannabe

It seems the concept of beauty queen wannabes, models, actresses, etc… wanting to become singers is still selling to some overly wealthy producer like hotcakes.

How about having a former beauty queen contestent, an actress and a model all together in one package? I’m sure the producer who paid for Nancy Afiouny’s foray into the singing world must have thought he hit a gold mine. And what’s more, this actress/beauty queen/model was willing to take it off in her music video in a region where the word conservative would be considered a gross understatement for its sociological description.

In all honesty, I have no problem in watching a video like this, as long as the music behind the video is actually decent enough. Who would mind something like this actually. Don’t start the whole feminist “women stereotyping, sexual image using, etc…” talk. If the women don’t want it, it doesn’t happen. But with horrible pronunciation, obvious Lady Gaga antiques and an atrocious song to top it all off, Nancy Afiouny is just horrid.

I’m not criticizing the overly suggestive music video. In fact, I think this uptight region needs more liberal arts to let it loose a little. After all, the Salafis and the Ikhwans are scoring major wins in Egypt’s recent elections. The Islamists have already won in Tunisia and Morocco. God knows they need to let loose a bit.

But when it comes to Lady Gaga, her music videos have always had – whether you like the song or not – something to back them up musically. Her music videos and music are definitely over the board but they work for her. Lady Gaga however doesn’t work as a costume for Nancy Afiouny – not even Britney Spears or any other pop star/trash for that matter.

Perhaps miss Afiouny is giving the world a gift for St. Barbra’s day this weekend. That kitty costume would sure get lots of horny Islamist men to go meow before they start shouting: “BLASPHEMY.”

As for my ears, they’re still bleeding. The stray cat outside is still meowing in pain.

Proceed at your own risk:

Brad Paisley & Carrie Underwood’s “Remind Me” To Be Released Outside Country Radio

It seems that the radio run of Remind Me, the #1 country smash, is not over by it reaching the penthouse of the country charts on the September 10th issue.

Arista, the label behind country music’s biggest stars Brad Paisley and Carrie Underwood, who delivered this stunning duet to the masses on Paisley’s latest album, This Is Country Music, is releasing the song to US radio outside the country genre.

On November 14th (one day after my birthday so I’ll take this is a belated gift), radios that play Hot Adult Contemporary and Adult Contemporary music (ie: music by artists like P!nk, Kelly Clarkson, Adele, Daughtry, Lady Antebellum, Maroon 5, etc…) are invited to add this song to their playlists, after being remixed to suit their sound.

Hot AC success for country songs is seen by many as a gateway for entry to pop radio, which is becoming more and more receptive to country songs without remixes, as shown by Taylor Swift’s “Back To December” and Lady Antebellum’s “Just A Kiss,” currently at #25.

In other news, Carrie Underwood and Brad Paisley co-hosted the CMA awards for their fourth consecutive time yesterday, opening hilariously with a sketch that played on Hank Williams Jr.’s slur of Obama being like Hitler and Kim Kardashian’s 72 day marriage.

Carrie and Brad also performed “Remind Me” to a standing ovation.

Rumour Has It (Single Review) – Adele

Adele - 21 - album cover

Contrary to popular belief (and hope), the next single off Adele’s album (and only album selling anything nowadays), 21, is not Set Fire To The Rain but Rumor Has It.

I can hear the disappointment resonating all the way to where I’m sitting as I write this. But do you really need to be? Simply, no.

Starting off with an infectious drum beat to the hum of “ohohohs,” Rumor Has It sets itself as a rhythmic smash from the get-go. “She, she ain’t real,” sings Adele in a raspy voice. “She ain’t gonna be able to love you like I will. She is a stranger. You and I have history or don’t you remember. Sure, she’s got it all. But baby is that really what you want?”

The first part of the first verse ends with Adele’s voice resonating with no music behind, leaving a subtle echo that will hook you. “Bless your soul, you got your heads in the clouds. You made a fool out of you and boy she’s bringing you down. She made your heart melt but you’re cold to the core. Now rumor has it she ain’t got your love anymore…”

And then she breaks into the repetitive yet highly infectious chorus: “rumor has it, rumor has it, rumor has it…” all to the echo of the word rumor.

The second verse starts with another phase in the “rumored” relationship. “She is half your age but I guess that’s the reason that you strayed. I heard you’ve been missing me. You’ve been telling people things you shouldn’t be, like when we creep out and she ain’t around. Haven’t you heard the rumors?”

The second verse then continues with its second part, which is structurally similar to that of the first chorus: “Bless your soul, you’ve got your head in the clouds. You’ve made a fool out of me and boy, you’re bringing me down. You made my heart melt, now I’m cold to the core. But rumor has it I’m the one you’re leaving her for.”

And then she goes into a second repetition of the chorus before going into the song’s bridge, accompanied with a change in pace and melody, proclaiming “people say crazy things. Just cause I said it, don’t mean that I meant it… Just cause you heard it.”
Then she breaks into one final repetition of the chorus before ending the song on a chilly note: “but rumor has it he’s the one I’m leaving you for.”

The thing about Rumour Has It is that it is, yet again, very different from almost anything else o radio currently and that is always something positive in my books when a song is done well. And in this case, it is most definitely done well. The buildup, the story arc Adele subtly presents… All of it works to deliver a song that is both catchy and insane.
It’s very hard not to get hooked by the repetition of the drums at the beginning and the gospel-effect of the background “ohohoh.”

Rumour Has It is a song that serves two purposes. Adele said of the song that it’s about all the useless talk people say without knowing the truth and how it ends up hurting relationships, be it mere friendships or a love relationship. In itself, the song presents you with three arcs, represent three facades of Adele. You have the scorned Adele, the played Adele and the player Adele. You have Adele falling to the rumors of her man going with another girl. Then she decides to take him back, revealing at the end that she was playing him. And the awesome thing? It could all be a simple unfounded rumor. After all, rumour has it…

Listen to Rumour Has It:

Stronger (Album Review) – Kelly Clarkson

I’ve been a Kelly Clarkson fan since her Breakaway days. It’s probably her success that introduced me to American Idol – and ultimately my favorite artist Carrie Underwood.

Stronger is Kelly Clarkson’s fifth studio album and the follow up to All I Ever Wanted, which she released in 2009. Two years later, she is on the music scene again: promos, singles on radios and the rest of the shenanigans. But things drastically changed since 2009. Radio is obviously not as receptive anymore even though –  granted – her debut single “Mr. Know It All” was drastically different than the pop jam “My Life Would Suck Without You,” which I prefer.

Does Stronger live up to the hype set up for it by Kelly’s fans, numerous leaks over the course of several months and Kelly herself who stated this is her “strongest” album yet? The answer is a succinct no.

Stronger starts with Mr. Know It All – a song about a guy who thought he knew everything there is to know about the girl but she’s telling him otherwise. As I said in my review of the song, it’s not necessarily a bad song. It’s not what I would have envisioned as a strong debut single and its performance on the charts and iTunes, compared to Kelly’s previous lead single, proves my point so far.

The second song on the album, and the announced second single, is “What Doesn’t Kill You (Stronger)“, the most obvious pop smash on the album. The Nietzsche-”inspired” single has Kelly belting out the chorus at full force: “what doesn’t kill you makes you stronger, stand a little taller, doesn’t mean I’m lonely when I’m alone!”

Stronger then delivers one of its better songs with “Dark Side,” a solemn song about a girl professing to the guy and asking him if he could love her even though she had a dark side: “Everybody’s got a dark side. Do you love me? Can you love mine?”

“Honestly” is another of the album’s better songs – and one of its highlight ballads. You can feel the anguish on the song as Kelly sings: “Would you face me, make me listen to the truth even it breaks me? You can judge me, love me. If you’re hating me, do it honestly.” It’s a song about regret, about a love lost and you can feel the emotions on it. The transition from delicate to intense vocals on “Honestly” is captivating.

“You Love Me” has a 80′s reminiscent beat going for it. It’s Kelly’s reply to a guy who thought she wasn’t good enough for him. “You didn’t let me down. You didn’t tear me apart. You just opened my eyes while breaking my heart. You didn’t do it for me; I’m not as dumb as you think, you just made me cry by claiming that you love me, you love me, you love me.”

“Einstein” is a song with an interesting concept and catchy beat. But ultimately, it comes out as a little silly. It’s basically a giant mathematical equation where Kelly is telling the guy that she “may not be Einstein but I know dumb + dumb = you.”

“Standing In Front of You” has an ethereal feel to it. It’s a ballad that is not as strong as “Honestly.” I found myself enjoying the melody and the tone of the verses much more than the chorus, which has a very subdued feel to it, making the song definitely skippable.

“I Forgive You” is another uptempo. However, unlike the catchy “What Doesn’t Kill You,” I cannot wrap my head around this and it’s not catchy enough for it to stick without me wanting it to. The lyrics are a mess as well. “I forgive you, I forgive me. Now when do I start to feel again? Cause the lights are on but I’m never home. But I’ll be back with a brand new attitude, cause I forgive you.”

The album then proceeds with a “Hello,” a song where the lyrics are quite dark but the melody is a happy uptempo. It’s a song about loneliness – even among people. “Hello, is anybody listening?” Kelly asks. “It’s everyone that’s calling me. Won’t somebody show me that I’m not alone?

On “The War Is Over,” Kelly is facing the guy who doesn’t deserve him telling him that the war between them is over. It’s the perfect song to tell anyone they don’t deserve you. “All I have to say is you don’t deserve me. I’m finally walking away cause you’ll only hurt me,” she sings. “And I won’t let you pull me in because I know you’re gonna win. The war is over, the war is over…”

“Let Me Down” is another highlight of the song for me. Sure, it’s a typical pop song. But it’s insanely catchy. It sticks halfway through your first listen of the chorus and stays there. “You’re only gonna let down. When it counts, you countdown,” Kelly fiercely sings. “You’re only gonna me turn me out. As I burn, you burn out. You’re only gonna make me feel so crazy but when I think we can be something, you go ahead and let me down.”

“You Can’t Win” is about a girl who can’t win when it comes to men, about how everything she does comes back to bite her. It’s a clever little song with an interesting drum-based beat behind it. The cleverest line? “If you’re straight, why aren’t you married yet? If you’re gay, why aren’t you waving a flag?”

The last song on the album’s standard version is another ballad titled “Breaking Your Own Heart” and it has the crystal clear Kelly vocals with her head voice moments that I love. The problem with this song as an album closer is that it goes nowhere and doesn’t serve as a really strong closer. I prefer the verses to the chorus. “Too many tears, too many falls,” she sings, “it’s easier here behind these walls. But you don’t have to walk in the shadows when life is so hard. Breaking your own heart, taking it too far down the lonely road…”

The Deluxe version of the album has four extra songs, one of which being Kelly’s country duet with Jason Aldean: “Don’t You Wanna Stay,” the best song out of bunch – and not really hers. In fact, the closing song on the deluxe version, “The Sun Will Rise” should have replaced “Breaking Your Own Heart” as the closing song on the regular edition of the album.

It could be that I think Kelly’s talent is too great for her to make such an album but I’m definitely disappointed by “Stronger.” The lyrics are more often than not cliched and the melodies too familiar. It could be that after the Adele invasion of US pop radio, I thought someone with Kelly’s vocal chops would make an album of the level of epicness that is in 21 – one that represents her life as it is. But alas, Stronger falls to the same issue with almost every other pop artist today: making an album that is catchy enough while staying artistically relevant. In Kelly’s case, the album has its shining moments here and there. But on the overall, it falls short from expectations, especially after having such high expectations from an artist that I cannot but respect especially after giving the world songs like the epic “Already Gone,” “Because of You,” etc…

While the marketing strategy has not been all over the place as it was with her previous two albums: she is actively promoting it, going on TV shows, countering the leaks with song uploads to YouTube, etc… I hope this album does well on the charts for Kelly because I truly want to see her succeed. Hopefully for her next album, she’ll have enough room to maneuver around the tight boundaries set by her label and make an album that truly represents her artistically – one that isn’t coloring by numbers to get a radio hit here or a cool video concept there. I also have hope that Texan Kelly Clarkson would fuse more country music in her upcoming albums because that is a genre where she can truly shine, as was obvious on her duet with Jason Aldean.

Should you buy Stronger when it comes out on October 24th? It’s not a bad album per se, but if you’re a casual Kelly Clarkson fan more into her “Already Gone“s than her “Since You Been Gone“s, you will find little solace on “Stronger.” For many, that’s not necessarily a bad thing. But when you see her cover songs like Carrie Underwood’s “I Know You Won’t” and make a great job at it, it’s tough to see such talent wasted on songs like many of the ones on “Stronger,” an album I’ve had for a few days now and don’t find myself interested in listening to in its entirety. Now many people will feel the same – and that is a bad thing.

Songs to download: What Doesn’t Kill You (Stronger), Dark Side, Let Me Down, Honestly.

Mr. Know It All (Single Review) – Kelly Clarkson

The original American Idol is back with the debut single off her upcoming fifth album: Stronger, in the form of a track titled: Mr. Know It All.

The hype for this song has been escalating for the past week or so – ever since Kelly Clarkson revealed she’d be premiering the song via her website on August 30th. Many radio programmers and DJs had heard the song and were giving it rave reviews. So naturally, anyone who has liked Kelly Clarkson’s music would be excited. And I am no exception.

And like everything with the music industry today, leaks are bound to happen – and Kelly Clarkson’s name has become synonymous with leaks. So Mr. Know It All is here.

The song starts with a subtle guitar rhythm that soon fuses with a beat that sticks throughout the whole song, reminiscing of Bruno Mars’ “Just The Way You Are” – you can literally sing the lyrics of that song to Mr. Know It All.

While the song is not angry musically-speaking; thematically and lyrically, it’s full of rage. “Mr. know it all, well you think you know it all. But you don’t know a thing at all. Ain’t it something y’all!”

Apart from the fact that the many shortened words in the lyrics make this sound like something you’d recite at a country rodeo, the lyrics in general are quite bland and cliche. Example? “Can’t nobody tell me how it’s gonna be. Nobody’s gonna make a fool out of me. Babe, you should know that I lead, not follow”

How many times have you heard that “lead not follow” line? thirteen million? Yes, add one more to that.

Mr. Know It All is a pretty straightforward song. It’s so straightforward, in fact, that the title says it all: Kelly Clarkson is telling one of her exes that they don’t know everything about her.

The sound is one that would find solace with songs on Kelly Clarkson’s debut album and it’s a sound that I’m not sure would do very well in today’s pop climate. After all, this is Kelly Clarkson’s comeback single and it needed to deliver. I’m not saying it had to be an electropop brainless song, but this isn’t the song you’d expect someone with her caliber to choose as the song they’ll use to reconnect with audiences.

Kelly Clarkson’s vocals are great on the track – and I mean did anyone expect anything less? While it’s not a powerhouse performance, her voice sounds quite raspy and strong in the delivery. But even that isn’t enough to elevate the song to hit-worthy status. After all, there’s just so much that the singer’s talent can bring.  Mr. Know It All is not a bad song per se. It’s just a song that should have been left on the album – and it’s a song that’s much less enthusiasm-enducing than other leaks that haunted miss Clarkson since July. “Let Me Down” would have been so much better as a lead single!

Mr. Know It All doesn’t really go anywhere. It’s just Kelly Clarkson singing how this guy doesn’t know a “thing about [her]” over and over again. And it gets to a point where you just want to shout: we get it, can you do something about it already? And the fact that after ten listens, no part of the song was stuck in my head isn’t really a good sign.

I’d personally pass on Mr. Know It All. Hopefully this isn’t a sign of what’s on Stronger. If it is, then the only thing I can say is poor Clarkson. As for now, let me go listen to “Already Gone.”

Listen to Mr. Know It All here.

 

 

Yoü and I (Single Review) – Lady Gaga


Yoü and I was just announced as the upcoming fourth single off Lady Gaga’s newest album “Born This Way.”

The song continues in the sound departure Lady Gaga has set for herself this era: more Edge of Glory than Judas, if you want – and that’s not necessarily a bad thing.

The soulful, piano-driven, 80′s rock-influenced ballad is about going back to see an old love and not wanting to let that love go. It starts: “It’s been a long time since I came around. It’s been a long time but I’m back in town and this time I’m not leaving without you.”

The lyrics leave nothing to the imagination. It is a highly personal song. Lady Gaga’s fans can easily name the person to whom this song is dedicated: her nebraska guy, who has a bar in New York. “Something, something about this place. Something about lonely nights, and my lipstick on your face. Something, something about my cool Nebraska guy.”

The song is the story of a relationship that started with a long chase: “Something, something about the chase
(Six whole years).” And ended with Lady Gaga not wanting to let him go but had to. Now, two years later, she’s back to her hometown and she’s not leaving without him, despite the relationship being tumultuous. However, she can’t get over the small gestures she loved: “On my birthday you sang me a heart of gold with a guitar humming and no clothes.”

Lady Gaga’s vocal performance on this song is one of her best. She injects the lyrics and melody with energy that takes the whole song to another level. The song could have easily been monotonous, but her nuances and injections here and there elevate it into a breathy and easy-to-listen to track.

The interesting thing about the choice of Yoü and I as a single is that, even though the album has other electropop songs that would become faster and surer hits on radio, Lady Gaga chose this “unconventional” song for pop radio. It could be that seeing the runaway success Adele is currently having, Lady Gaga has realized the electropop age is fading and is slowly trying to get listeners to get accustomed to her new intended sound. If that’s the case, I have hope her upcoming music releases would be even better and show true artistry, not just flashy gimmicks to grab attention.

Deviating away from trends is Lady Gaga’s niche. Yoü and I continues this trend and this time, it just works. The song is great. Whether radio embraces it and turns it into a big hit is another matter entirely. But it’s Lady Gaga so you know the hype will be big. And at the end of the day, a true artist knows they have a clear path to self-expression. I’m glad Lady Gaga is not worried about the risks that her path involves. But the fact of the matter is, Yoü and I wasn’t the only song off Born This Way to go top 10 on iTunes without being a single for no reason. There’s a lot of appeal behind it. Hopefully it will translate into a successful single that will continue in steering Lady Gaga in this direction.

Listen to Yoü and I: