#30: "Loyal" by Chris Brown feat. Lil Wayne and French Montana, Too Short, or Tyga
Two repeat artists. There are three versions of this song, each featuring a different rapper as the third artist. For the sake of clarity, this is purely a review of the version with French Montana. I don't really feel the need to listen to all three versions of the song to give my opinion of it, but you should at least know which one I'm looking at.
Music opens with a synth line that sounds like some kind of tribal flute. It's pretty unique, actually. Unfortunately, that synth line gets pretty repetitive, and the song sounds better when it is just bass and drums. Vocally, Lil Wayne has no personality in this song. Any of his flow abilities are impossible to appreciate when he autotunes as badly as he does. Chris Brown actually sounds decent on vocals, even if he doesn't really show anything beyond that of a decent R&B singer, while French Montana sounds pretty solid on his guest verse, showing flow and some much-needed personality.
This song is...well, it's talking about women, and how they aren't loyal, and play games.
You know, it would be a lot easier to take Chris Brown if his songs weren't all about either how awesome he is, or putting down women. To be fair to the song, the music line is a bit dull, but not too bad, and French Montana delivers on his guest verse quite well. However, Chris Brown himself isn't much more than "all right", and Lil Wayne delivers nothing to the song but a droning autotune. The lyrics are about as cringeworthy as "Love Me" by Lil Wayne last year, which should say something. I seriously think Chris Brown needs an intervention, before he does a Rihanna on someone else. When he makes songs like this, it's kind of hard to claim he's rehabilitated.
#29: "Maps" by Kara's Flowers
Repeat artist!
Well, that's actually not a bad musical line. It has a bit of an alternative rock sound, with the soft electric guitar line and drums. At least for the verses, it manages to sound like Maroon 5. The chorus is a bit too loud for Maroon 5, though. Vocally, this song has the same issue that many current Maroon 5 songs have: an over-reliance on Adam Levine's falsetto. If he had a strong falsetto, I could understand that, but I honestly think he sounds better on the lower pitched parts.
This song is basically about Adam Levine chasing after a woman, kind of. He was there for her bad times, so Adam wants her to be there when he needs her. However, she is nowhere to be found, so he is actively seeking her out for support.
This song...wasn't too bad, actually. The music was nice, and had plenty of moments that reminded me of the older Maroon 5 songs, and the lyrics are actually quite good. It's not really clear whether we are supposed to support the main character in his quest, or if he is just needy, but the song doesn't actively support him, either. Adam Levine's vocals could be stronger, but overall, I think that Maroon 5 have finally earned their name back. For now. It's not a great song, but at least it sounds like a Maroon 5 song. Mostly. Well, on the verses.
#28: "Latch" by Disclosure feat. Sam Smith
One repeat artist! As for Disclosure, they are an electronic music duo from Reigate, Surrey, England. Technically, they've been active since 2010, but 2012 was when they first had a big success with this song (at least, in the UK. It wasn't released in the US until 2014, and took 6 months to reach the top 10, but peaked at number 7), and they basically rode that momentum into 2013, when they released their debut album to big acclaim, including a Grammy nomination for Best Dance Album and a whopping 9.1 out of 10 rating from Pitchfork.
Well, the music is not too bad. It has a lower key intensity to it, but that synth riff in the verses is dang catchy. The chorus is a bit more standard, sounding almost like slowed-down dubstep synth, but even then, it doesn't sound bad. The vocals, provided by Sam Smith, show just how this song became his first big success. He shows a fair bit of tenderness in the verses, but for the chorus, shows off a quite impressive range, sounding quite strong on his falsetto, compared to his deeper vocals on the verses.
Lyrically, this song is a little...uncomfortable. It's kind of a love song, but rather than being sweet, it comes off a bit sinister, sounding more like someone obsessed with their object of interest than someone who is sweet and tender.
This song wins the "disturbing yet catchy" song sweepstakes this year, and I actually enjoyed it a fair bit. The music was nice and catchy, and Sam Smith was quite strong on vocals, especially for this being his first big hit. The lyrics contrast the feelings in Sam Smith's vocals, but match the music quite well, giving the song an overall feeling of a stalker obsessed with his target, but not aware of just how he is coming off. It's creepy, uncomfortable, and I love it.
#27: "Bang Bang" by Jessie J, Ariana Grande, and Nicki Minaj
Not one, but TWO repeat artists! As for Jessie J...well, I've heard her be described as the British version of Katy Perry. That is, I think, a very accurate description.
Man, this music is a lot of fun. It's simple, just fast drums, bass, and clapping, but it is so high energy, it pumps you up. Not the most complex, but it is a blast to listen to musically. Vocally, it can be difficult to tell Jessie J and Ariana Grande apart, but they both sound nice enough, just a bit generic. Well, Jessie J does show a bit more power in her voice, managing to hit the big notes quite well. Nicki Minaj stands out and, if you can get past her unique/annoying (depending on your point of view) voice, she shows off impressive speed and flow, without slurring or mumbling.
This song is about sex. I mean, "bang bang, into the room"? "Come on, baby, let me take you there?" It's not exactly subtle.
I can't really say this song is "good", because the lyrics are a bit of a letdown. They are insipid, cliche, and a little too cutesy. In addition, Ariana Grande does not add much to the song, and Jessie J only adds a bit more. That said, I did enjoy listening to the song. The music kept my interest, and got my blood flowing, and Nicki Minaj's guest verse was, in my opinion, one of her best efforts this year. There are things to like about this song, and it's fun to listen to, but ignoring the lyrics is kind of necessary.
#26: "Black Widow" by Iggy Azalea feat. Rita Ora
Repeat artist! As for Rita Ora, she is a British singer-songwriter. Her first big success came when her debut album debuted at number 1 in the UK, along with two number one singles, but this song is her only real success in the US, with the most successful of her singles in the US peaking at #62.
Music is a little bit on the repetitive side, at least for the intro. The main music is a little different, with a couple of different synth riffs switching off. It's still repetitive, but gives the song a bit of a unique identity. Vocally, it is pretty clear who the better artist here is. I'll give you a hint. It's not the rapper. Iggy Azalea just doesn't come off genuine at all. She does have some genuine rapping skill, but her overall persona comes off as a "poser", which detracts. Meanwhile, Rita Ora shows off a pretty nice voice, and nails the hook nearly perfectly.
This song is about a dysfunctional relationship. Or rather, a dysfunctional female's relationships. She finds a guy, has a relationship that is all good for her, and bad for him. The black widow of the title? Well, that's the main character.
This song could have been so much better. Rita Ora sounded great, the music wasn't too bad, and Iggy Azalea has some solid rapping skills. The problem is that Iggy Azalea tries too hard, selling herself as a badass and trying to fit in with the rapping scene, rather than be herself. As a result, she sounds fake, so you don't believe a word she's saying. Imagine if Eminem were to rap about being a badass gangsta. It wouldn't work. Not because he doesn't have the skill or the wordplay, but because he just isn't what he's claiming to be, and it would be obvious that he's putting on a fake mask to fit in. That's Iggy's problem. If she would just find what she is and stick to that, or at least find a way to exaggerate aspects of her personality, I think I would like her a lot more. As it is, this song just doesn't feel real. It's a shame.
That wasn't a horrible list, but it was mostly forgettable.
Previously: #35-31 [http://www.escapistmagazine.com/forums/read/326.868513-2014-Billboard-Top-100-35-31]
Next: #25-21 [http://www.escapistmagazine.com/forums/read/326.868877-2014-Billboard-Top-100-25-21]
Two repeat artists. There are three versions of this song, each featuring a different rapper as the third artist. For the sake of clarity, this is purely a review of the version with French Montana. I don't really feel the need to listen to all three versions of the song to give my opinion of it, but you should at least know which one I'm looking at.
Music opens with a synth line that sounds like some kind of tribal flute. It's pretty unique, actually. Unfortunately, that synth line gets pretty repetitive, and the song sounds better when it is just bass and drums. Vocally, Lil Wayne has no personality in this song. Any of his flow abilities are impossible to appreciate when he autotunes as badly as he does. Chris Brown actually sounds decent on vocals, even if he doesn't really show anything beyond that of a decent R&B singer, while French Montana sounds pretty solid on his guest verse, showing flow and some much-needed personality.
This song is...well, it's talking about women, and how they aren't loyal, and play games.
You know, it would be a lot easier to take Chris Brown if his songs weren't all about either how awesome he is, or putting down women. To be fair to the song, the music line is a bit dull, but not too bad, and French Montana delivers on his guest verse quite well. However, Chris Brown himself isn't much more than "all right", and Lil Wayne delivers nothing to the song but a droning autotune. The lyrics are about as cringeworthy as "Love Me" by Lil Wayne last year, which should say something. I seriously think Chris Brown needs an intervention, before he does a Rihanna on someone else. When he makes songs like this, it's kind of hard to claim he's rehabilitated.
#29: "Maps" by Kara's Flowers
Repeat artist!
Well, that's actually not a bad musical line. It has a bit of an alternative rock sound, with the soft electric guitar line and drums. At least for the verses, it manages to sound like Maroon 5. The chorus is a bit too loud for Maroon 5, though. Vocally, this song has the same issue that many current Maroon 5 songs have: an over-reliance on Adam Levine's falsetto. If he had a strong falsetto, I could understand that, but I honestly think he sounds better on the lower pitched parts.
This song is basically about Adam Levine chasing after a woman, kind of. He was there for her bad times, so Adam wants her to be there when he needs her. However, she is nowhere to be found, so he is actively seeking her out for support.
This song...wasn't too bad, actually. The music was nice, and had plenty of moments that reminded me of the older Maroon 5 songs, and the lyrics are actually quite good. It's not really clear whether we are supposed to support the main character in his quest, or if he is just needy, but the song doesn't actively support him, either. Adam Levine's vocals could be stronger, but overall, I think that Maroon 5 have finally earned their name back. For now. It's not a great song, but at least it sounds like a Maroon 5 song. Mostly. Well, on the verses.
#28: "Latch" by Disclosure feat. Sam Smith
One repeat artist! As for Disclosure, they are an electronic music duo from Reigate, Surrey, England. Technically, they've been active since 2010, but 2012 was when they first had a big success with this song (at least, in the UK. It wasn't released in the US until 2014, and took 6 months to reach the top 10, but peaked at number 7), and they basically rode that momentum into 2013, when they released their debut album to big acclaim, including a Grammy nomination for Best Dance Album and a whopping 9.1 out of 10 rating from Pitchfork.
Well, the music is not too bad. It has a lower key intensity to it, but that synth riff in the verses is dang catchy. The chorus is a bit more standard, sounding almost like slowed-down dubstep synth, but even then, it doesn't sound bad. The vocals, provided by Sam Smith, show just how this song became his first big success. He shows a fair bit of tenderness in the verses, but for the chorus, shows off a quite impressive range, sounding quite strong on his falsetto, compared to his deeper vocals on the verses.
Lyrically, this song is a little...uncomfortable. It's kind of a love song, but rather than being sweet, it comes off a bit sinister, sounding more like someone obsessed with their object of interest than someone who is sweet and tender.
This song wins the "disturbing yet catchy" song sweepstakes this year, and I actually enjoyed it a fair bit. The music was nice and catchy, and Sam Smith was quite strong on vocals, especially for this being his first big hit. The lyrics contrast the feelings in Sam Smith's vocals, but match the music quite well, giving the song an overall feeling of a stalker obsessed with his target, but not aware of just how he is coming off. It's creepy, uncomfortable, and I love it.
#27: "Bang Bang" by Jessie J, Ariana Grande, and Nicki Minaj
Not one, but TWO repeat artists! As for Jessie J...well, I've heard her be described as the British version of Katy Perry. That is, I think, a very accurate description.
Man, this music is a lot of fun. It's simple, just fast drums, bass, and clapping, but it is so high energy, it pumps you up. Not the most complex, but it is a blast to listen to musically. Vocally, it can be difficult to tell Jessie J and Ariana Grande apart, but they both sound nice enough, just a bit generic. Well, Jessie J does show a bit more power in her voice, managing to hit the big notes quite well. Nicki Minaj stands out and, if you can get past her unique/annoying (depending on your point of view) voice, she shows off impressive speed and flow, without slurring or mumbling.
This song is about sex. I mean, "bang bang, into the room"? "Come on, baby, let me take you there?" It's not exactly subtle.
I can't really say this song is "good", because the lyrics are a bit of a letdown. They are insipid, cliche, and a little too cutesy. In addition, Ariana Grande does not add much to the song, and Jessie J only adds a bit more. That said, I did enjoy listening to the song. The music kept my interest, and got my blood flowing, and Nicki Minaj's guest verse was, in my opinion, one of her best efforts this year. There are things to like about this song, and it's fun to listen to, but ignoring the lyrics is kind of necessary.
#26: "Black Widow" by Iggy Azalea feat. Rita Ora
Repeat artist! As for Rita Ora, she is a British singer-songwriter. Her first big success came when her debut album debuted at number 1 in the UK, along with two number one singles, but this song is her only real success in the US, with the most successful of her singles in the US peaking at #62.
Music is a little bit on the repetitive side, at least for the intro. The main music is a little different, with a couple of different synth riffs switching off. It's still repetitive, but gives the song a bit of a unique identity. Vocally, it is pretty clear who the better artist here is. I'll give you a hint. It's not the rapper. Iggy Azalea just doesn't come off genuine at all. She does have some genuine rapping skill, but her overall persona comes off as a "poser", which detracts. Meanwhile, Rita Ora shows off a pretty nice voice, and nails the hook nearly perfectly.
This song is about a dysfunctional relationship. Or rather, a dysfunctional female's relationships. She finds a guy, has a relationship that is all good for her, and bad for him. The black widow of the title? Well, that's the main character.
This song could have been so much better. Rita Ora sounded great, the music wasn't too bad, and Iggy Azalea has some solid rapping skills. The problem is that Iggy Azalea tries too hard, selling herself as a badass and trying to fit in with the rapping scene, rather than be herself. As a result, she sounds fake, so you don't believe a word she's saying. Imagine if Eminem were to rap about being a badass gangsta. It wouldn't work. Not because he doesn't have the skill or the wordplay, but because he just isn't what he's claiming to be, and it would be obvious that he's putting on a fake mask to fit in. That's Iggy's problem. If she would just find what she is and stick to that, or at least find a way to exaggerate aspects of her personality, I think I would like her a lot more. As it is, this song just doesn't feel real. It's a shame.
That wasn't a horrible list, but it was mostly forgettable.
Previously: #35-31 [http://www.escapistmagazine.com/forums/read/326.868513-2014-Billboard-Top-100-35-31]
Next: #25-21 [http://www.escapistmagazine.com/forums/read/326.868877-2014-Billboard-Top-100-25-21]
