15. Lady Gaga- Hair
Say what you want about Gaga, but there really doesn’t seem to be many others out there that work as hard as she does. Here we have a mainstream pop star that writes her own material, relentlessly tours, does insane amounts of philanthropy and advocacy, and consistently seems to have a hit in the Billboard top 10. Sure- she’s influenced by Madonna, but since when has an artist not been inspired by another? Gaga has captured the pop culture zeitgeist over the past few years and has created a dedicated fanbase that will be with her for the rest of her career. Her sophomore effort “Born This Way” isn’t perfect by any means. It’s just like her- over indulgent, theatrical, and egocentric- but it’s not necessarily a bad thing. “Hair”, an absolute standout track (and hopefully future single) contains borderline silly lyrics about her hair representing her personal freedom, but it’s incredibly catchy and perfectly fits the dance-pop mold that made Gaga Gaga.
14. Kanye West & Jay-Z- Otis
Thank God that the collaborative effort from Kanye and Jay didn’t end up like the ill-fated Jay and R. Kelly collaboration “Best of Both Worlds” about 10 years ago. Everything Kanye ever releases is met with critical adoration (justifiably so) and it doesn’t stop with the lead single from one of the most anticipated releases of the year- “Watch the Throne”. If we dissect the song “Otis” itself, it plays to Kanye’s strengths- but it seems like a very bold and assertive statement to release this as the lead single off the album. Radio supported the song somewhat, but when’s the last time you’ve heard a song on the radio with no chorus and very little bass? (Besides Adele of course) “Otis” mine as well have been billed as Kanye West featuring Jay-Z, as it feels more like “Diamonds from Sierra Leone” or “Can’t Tell Me Nothing”- a promotional single not intended to make huge waves, showcasing artistic integrity before the real money-making “Gold Digger” or “Stronger” is released. In this case, it’s “Ni**as in Paris”, which should hit the top 10 in a week or two.
13. Cut Copy- Take me Over
Aussie band Cut Copy has been one of my absolute favorites over the years, and while 2011’s “Zonoscope” didn’t quite measure up to their astounding 2008 effort, “In Ghost Colours”, it’s still a fucking solid album. My favorite song from the effort is “Take Me Over”, a carefree, mid-tempo, sugary pop record tweaked to perfection. Cut Copy takes the best elements of 80’s pop music and mixes that nostalgia with killer hooks, creating a sound that in 2011 seems ultimately timeless. Why does Rihanna have to be the face of 2011 pop music when we have bands like this?
12. Terius Nash (The-Dream)- Long Gone
I’ve probably spent more time listening to The-Dream than any other artist over the past few years. Yes, really. The guy who infamously wrote Rihanna’s “Umbrella” in 15 minutes has an ear for perfection in R&B production, and it results in endless replay value. Every track he’s ever produced sounds like it’s been meticulously thought over- every sound coming out of the speaker is there for a very important reason. “Long Gone” takes on a new subject- his breakup from former R&B B-lister Christina Milian. Nothing from “1977”, the free mixtape from which this song is spawned, (much to the dismay of his label) compares to the highlights from his first 3 albums, but it’s still held to a much higher caliber than any of his contemporaries.
11. PJ Harvey- The Words that Maketh Murder
Where do I start with PJ Harvey? I’m the ultimate fanboy. I bought her 2000 album “Stories From the City, Stories From the Sea” when I was 14, and not long thereafter- 1993’s “Rid of Me” became my quintessential high school angst album of choice. Almost 10 albums in, she makes it a point for every release to be completely different from the last. After 2007’s sparse, piano-based “White Chalk”, Harvey taught herself yet another instrument (harpsichord) and released the very politically charged “Let England Shake” in February. The album garnered outstanding critical reviews, and will be in most critics’ top 10 lists. The single from the album, the mid-tempo “The Words That Maketh Murder”, makes blatant political references and is an instant classic addition to the Harvey library. Almost 20 years in, Harvey has consistently gained the respect of critics and fans with her brilliance. For the sake of popular music, let’s hope it continues.
Saturday, December 3, 2011
Thursday, December 1, 2011
Top 25 Songs of 2011: 20-16
20. Miguel- Sure Thing
I’ll start off the countdown with a smash R&B #1 that didn’t ever connect with pop audiences. LA raised Miguel helped J. Cole gain his first top 40 appearance on the pop charts in 2010 with “All I Want Is You”, but the follow up single, “Sure Thing”, proved what the hype was about. Though the lyrics are somewhat generic with that PG-13 edge that delicately pushes the envelope, (“If you the blunt/ I’ll be the lighter baby/burn it up”) the mid-tempo production and clever incorporation of a “chopped and screwed” line as part of the chorus allowed it to become one of the standout R&B smashes of 2011. After almost a year on the charts, it still sits comfortably in the R&B/Hip Hop charts’ top 20, which is a testament to the song’s replay value.
19. Toro y Moi- Still Sound
The electronic and hip-hop genres have fascinated me like no other these past two years. I’m not sure if it’s because percussion is my ultimate fetish with pop music, or that they are the two genres that seem to be continually evolving. 2010 saw the emergence of the electronic subgenre “chillwave”- a laptop induced, sampling and loop based new genre that allowed the introduction of new bands like Washed Out, Twin Sister, and… Toro y Moi. As a genre that would have never existed (or been possible) before this current era of technology, “Still Sound” s retro vibe, swanky lounge elements and abstract lyrical content make it a particular standout. For me, Toro y Moi works like Air’s music does- perfect to fall into the background at a swanky cocktail party or to be carefully dissected listening on headphones.
18. Holy Ghost- Hold Your Breath
2011 was Holy Ghost’s breakout year , and tended to be my consensus pick when needing something upbeat, poppy, and melodic. Particularly, “Hold Your Breath” is the standout track that exposes their strengths and turns them up to 11. Holy Ghost certainly aren’t the most original band around- there’s a whole generation of Depeche Mode/Cure synth-pop bands out there currently. They just seem to do it more effectively than anyone else. I’m sure that we’ll be getting lots of bands with similar sounds over the next 10 years, but there’s something special about these guys.
17. Drake- Marvin’s Room
I really don’t believe there is a mainstream artist I’ve ever personally identified more with than Drake. If I were suddenly rich and famous, my thoughts and feelings would directly reflect what Drake introspectively achieves on his sophomore effort, “Take Care”. One of the clearest examples is “Marvin’s Room”- a rude yet completely sincere drunk dial to a former flame. There’s a sense of space and atmosphere in the beats that frequent Drake collaborator Noah “40” Shebib composes, and it’s comforting to know that one of the most forward thinking R&B releases of 2011 had some legitimate airplay on the radio this year.
16. Kreayshawn- Gucci Gucci
And now for my guilty pleasure release of 2011. I know this isn’t the most artistic of tracks, but like 20 other people this year, I couldn’t stop watching the damn video on YouTube. The sheer divisiveness of the white female rapper from Oakland lit up the blogosphere this summer, and the lucrative record deal to Columbia records positioned the song to become a huge hit. It didn’t catch on like I’m sure they hoped it would, peaking outside of the top 50 on the Billboard Hot 100. Still, I can’t think of a lyric I’ve enjoyed more this year than “Bitch you ain’t a Barbie/I see you work at Arby’s/#2 super size/Hurry up I’m starving”. Kreayshawn creates a debate for the authenticity of the genre as most white rappers do. Given that our generation has been fully immersed in hip hop since we were in diapers, this was bound to happen. Plus, future gay icon.
I’ll start off the countdown with a smash R&B #1 that didn’t ever connect with pop audiences. LA raised Miguel helped J. Cole gain his first top 40 appearance on the pop charts in 2010 with “All I Want Is You”, but the follow up single, “Sure Thing”, proved what the hype was about. Though the lyrics are somewhat generic with that PG-13 edge that delicately pushes the envelope, (“If you the blunt/ I’ll be the lighter baby/burn it up”) the mid-tempo production and clever incorporation of a “chopped and screwed” line as part of the chorus allowed it to become one of the standout R&B smashes of 2011. After almost a year on the charts, it still sits comfortably in the R&B/Hip Hop charts’ top 20, which is a testament to the song’s replay value.
19. Toro y Moi- Still Sound
The electronic and hip-hop genres have fascinated me like no other these past two years. I’m not sure if it’s because percussion is my ultimate fetish with pop music, or that they are the two genres that seem to be continually evolving. 2010 saw the emergence of the electronic subgenre “chillwave”- a laptop induced, sampling and loop based new genre that allowed the introduction of new bands like Washed Out, Twin Sister, and… Toro y Moi. As a genre that would have never existed (or been possible) before this current era of technology, “Still Sound” s retro vibe, swanky lounge elements and abstract lyrical content make it a particular standout. For me, Toro y Moi works like Air’s music does- perfect to fall into the background at a swanky cocktail party or to be carefully dissected listening on headphones.
18. Holy Ghost- Hold Your Breath
2011 was Holy Ghost’s breakout year , and tended to be my consensus pick when needing something upbeat, poppy, and melodic. Particularly, “Hold Your Breath” is the standout track that exposes their strengths and turns them up to 11. Holy Ghost certainly aren’t the most original band around- there’s a whole generation of Depeche Mode/Cure synth-pop bands out there currently. They just seem to do it more effectively than anyone else. I’m sure that we’ll be getting lots of bands with similar sounds over the next 10 years, but there’s something special about these guys.
17. Drake- Marvin’s Room
I really don’t believe there is a mainstream artist I’ve ever personally identified more with than Drake. If I were suddenly rich and famous, my thoughts and feelings would directly reflect what Drake introspectively achieves on his sophomore effort, “Take Care”. One of the clearest examples is “Marvin’s Room”- a rude yet completely sincere drunk dial to a former flame. There’s a sense of space and atmosphere in the beats that frequent Drake collaborator Noah “40” Shebib composes, and it’s comforting to know that one of the most forward thinking R&B releases of 2011 had some legitimate airplay on the radio this year.
16. Kreayshawn- Gucci Gucci
And now for my guilty pleasure release of 2011. I know this isn’t the most artistic of tracks, but like 20 other people this year, I couldn’t stop watching the damn video on YouTube. The sheer divisiveness of the white female rapper from Oakland lit up the blogosphere this summer, and the lucrative record deal to Columbia records positioned the song to become a huge hit. It didn’t catch on like I’m sure they hoped it would, peaking outside of the top 50 on the Billboard Hot 100. Still, I can’t think of a lyric I’ve enjoyed more this year than “Bitch you ain’t a Barbie/I see you work at Arby’s/#2 super size/Hurry up I’m starving”. Kreayshawn creates a debate for the authenticity of the genre as most white rappers do. Given that our generation has been fully immersed in hip hop since we were in diapers, this was bound to happen. Plus, future gay icon.
Top 25 Songs of 2011: 25-21
25. Bon Iver- Holocene
I know, I know… why is one of the biggest critical and commercial indie success stories of 2011 just barely getting a mention? It’s weird for me. Bon Iver’s debut effort, “For Emma, Forever Ago” touched people (including myself) in a way few albums do- the sheer intimacy, meticulously layered vocal harmonies and incredible backstory had me completely obsessed in 2008. For me, when I personally invest so much into an album- it doesn’t matter how good or bad the next album is- it just doesn’t feel as special. The National’s “High Violet” is probably every bit as good as “Boxer”, but the latter holds a special place in my heart that the former will never be able to touch. The same happened this year with Bon Iver and Fleet Foxes. I know it’s lazy to just pick the song that… oh, just got nominated for record and song of the year at the Grammys, (no big deal, really) but it looks as if Bon Iver will soon be a household name.
24. Penguin Prison- Don’t Fuck with My Money
An attention grabbing title I first heard on XM radio, I’m surprised the blogosphere and hipsterazzi hasn’t jumped on this group a bit more. It seems that 80’s throwback synth-pop in the indie world is dime a dozen these days, but there’s something special about this song. As I found out watching the music video, the song takes on a new meaning with referencing the Occupy Wall Street movement. Not sure if that was the original intent for the song or if it was an opportunistic move, but it does make perfect sense. They did fuck with our money after all.
23. J. Cole f/ Drake- In the Morning
I was almost convinced that J. Cole wasn’t going to happen. After endless industry hype, deafening mixtape buzz, and countless promotional singles, none of the singles seemed to gain any traction. It wasn’t until last month that Cole scored his first top 40 hit on his own with “Work Out”. “In the Morning” was supposed to be the hit to break him- a delicate, definitely Drake inspired rap ballad about, well, hitting it in the morning. The beat is irresistible after a few listens, great bars by Drake and J. Cole alike- what else is there to say? It truly shows testament to how Kanye West’s introspective soul-searching style of rap has influenced a new generation of lyricists that aren’t afraid to wear their hearts on their sleeve.
22. Wiz Khalifa- The Race
I dare you to find a better beat than this. An album track off of America’s favorite new stoner, “The Race” doesn’t exactly cover new territory for the newly famous rapper, but the song just works so well. It’s been a banner year for the “Black and Yellow” lyricist, but it genuinely puzzles me as to why this wasn’t released as a single while the painfully average “Roll Up” was. “The Race” is a relatively formulaic track that is buoyed to greatness via its beat alone. Someone give producer I.D. Labs a raise.
21. Girls- Saying I Love You
Timelessness in music is an ultimate virtue. Lo-fi indie band Girls released their first album (appropriately titled “Album”) to critical adoration in 2009, but their sound was a bit too… well, lo-fi and muddled for me to sincerely love the release despite effort. They cleaned up their sound on their sophomore effort, “Father, Son, Holy Ghost”, an album that gives 2011 the middle finger and devotes itself classic 60’s and 70’s rock music. “Saying I Love You” hasn’t received the most attention off the album from critics, but I could honestly see the track being sandwiched in on The Beatles’ folk-rock influenced “Rubber Soul”. In every form of media, if I hear something composed today that could have been released any time over the past 40 years, you’ve won me over.
I know, I know… why is one of the biggest critical and commercial indie success stories of 2011 just barely getting a mention? It’s weird for me. Bon Iver’s debut effort, “For Emma, Forever Ago” touched people (including myself) in a way few albums do- the sheer intimacy, meticulously layered vocal harmonies and incredible backstory had me completely obsessed in 2008. For me, when I personally invest so much into an album- it doesn’t matter how good or bad the next album is- it just doesn’t feel as special. The National’s “High Violet” is probably every bit as good as “Boxer”, but the latter holds a special place in my heart that the former will never be able to touch. The same happened this year with Bon Iver and Fleet Foxes. I know it’s lazy to just pick the song that… oh, just got nominated for record and song of the year at the Grammys, (no big deal, really) but it looks as if Bon Iver will soon be a household name.
24. Penguin Prison- Don’t Fuck with My Money
An attention grabbing title I first heard on XM radio, I’m surprised the blogosphere and hipsterazzi hasn’t jumped on this group a bit more. It seems that 80’s throwback synth-pop in the indie world is dime a dozen these days, but there’s something special about this song. As I found out watching the music video, the song takes on a new meaning with referencing the Occupy Wall Street movement. Not sure if that was the original intent for the song or if it was an opportunistic move, but it does make perfect sense. They did fuck with our money after all.
23. J. Cole f/ Drake- In the Morning
I was almost convinced that J. Cole wasn’t going to happen. After endless industry hype, deafening mixtape buzz, and countless promotional singles, none of the singles seemed to gain any traction. It wasn’t until last month that Cole scored his first top 40 hit on his own with “Work Out”. “In the Morning” was supposed to be the hit to break him- a delicate, definitely Drake inspired rap ballad about, well, hitting it in the morning. The beat is irresistible after a few listens, great bars by Drake and J. Cole alike- what else is there to say? It truly shows testament to how Kanye West’s introspective soul-searching style of rap has influenced a new generation of lyricists that aren’t afraid to wear their hearts on their sleeve.
22. Wiz Khalifa- The Race
I dare you to find a better beat than this. An album track off of America’s favorite new stoner, “The Race” doesn’t exactly cover new territory for the newly famous rapper, but the song just works so well. It’s been a banner year for the “Black and Yellow” lyricist, but it genuinely puzzles me as to why this wasn’t released as a single while the painfully average “Roll Up” was. “The Race” is a relatively formulaic track that is buoyed to greatness via its beat alone. Someone give producer I.D. Labs a raise.
21. Girls- Saying I Love You
Timelessness in music is an ultimate virtue. Lo-fi indie band Girls released their first album (appropriately titled “Album”) to critical adoration in 2009, but their sound was a bit too… well, lo-fi and muddled for me to sincerely love the release despite effort. They cleaned up their sound on their sophomore effort, “Father, Son, Holy Ghost”, an album that gives 2011 the middle finger and devotes itself classic 60’s and 70’s rock music. “Saying I Love You” hasn’t received the most attention off the album from critics, but I could honestly see the track being sandwiched in on The Beatles’ folk-rock influenced “Rubber Soul”. In every form of media, if I hear something composed today that could have been released any time over the past 40 years, you’ve won me over.
Sunday, November 6, 2011
Billboard Hot 100 Summary: Wins and Fails- 11/12/11
WINS:
#1 Rihanna f/ Calvin Harris- We Found Love
Rihanna has now collected her 11th #1, and it's taken her a short 6 years to do so. She's now tied Janet Jackson, and will match Madonna and Whitney Houston with her next #1. It's baffling to realize she's done all of this in a short 6 years, but she really has the perfect formula. I mean, she's completly inoffensive and her songs are pleasant listens, but really- it's difficult for me to take her seriously as an artist. Her label recruits the hottest producers, capitalizes on current trends, and creates easy consensus music. If we were to put the current state of pop music in a time capsule, Rihanna would be the best representative. The era of auto-tune and glossy hit factories have been kind to Ms. Fenty despite having absolutley no charisma or stage presence- a feat in any other era that would be unacceptable.
#10 Kelly Clarkson- Mr. Know it All
I've been following this song's chart ascent and descent very closely, as Clarkson's lead singles tend to set the stage for subsequent singles released. "Mr. Know it All" finally breaks the top 10 with a surge in digital sales from the album release, and is still growing rapidly at radio. If the song can jump one more spot, it will no longer be her weakest lead single, passing 2002's "Miss Independent"'s #9 peak. Digital sales buoyed the 2nd single from the album to #64 this week, and only time will tell how successful of a chart run she'll have from here.
#30 Big Sean- Dance (A$$)
The song with the most poignant chorus of the year benefits from the Nicki Minaj assisted remix this week, now passing "My Last" and "Marvin & Chardonnay" to become his biggest single thus far. I still can't figure out what people like about Big Sean- other than his good looks, his voice is completley indistinguishable, and his singles have been mediocre at best. The remix with Nicki Minaj (smart move) is taking off at iTunes, and the song will probably take another big jump next week. As "Dance (A$$)" is a catchy Bangladesh ripoff. (8 measures at a time alternating between bass and snare- e.g. "A Milli" by Lil Wayne, "Lemonade" by Gucci Mane) Nicki's verse runs laps around Sean's- though the song is the most interesting thing we've heard from Sean yet. The best part about the song? It's kind of fun to imitate the "ass ass ass ass ass ass" chorus.
#57 Beyonce f/ J. Cole or Andre 3000- Party
In what could be my absolute favorite single of 2011, with the strong support of R&B radio, "Party" looks like a solidified hit for queen B. Columbia is promoting the song "Countdown" to top 40 while pushing "Party" to R&B, which is a similar set-up with her last album, when "Ego" was promoted to R&B while "Halo" reached for top 40. Easily the strongest single from her "4" record, the song should have been released as the lead single, though label politics keep the ever rare and completely awesome Andre 3000 from music video treatment. OK fine, I'll stop gushing about how much I love this song now. Just watch the equally awesome music vid.
#87 Wale f/ Miguel- Lotus Flower Bomb
Wale is honestly the last artist I'd ever expect to be moving 150K in a week, but it happened last week. The DC rapper's first single was the Lady Gaga assisted "Chillin", (which no one ever really heard) amongst other subsequent attempts. The album that followed, "Attention Deficit", spent two weeks on the chart and ultimately flopped. However, fake-it-til-you-make-it Rick Ross had an ear for him, and signed him to his Maybach Music label, moving his image from left field hipster rapper to mainstream R&B hooks. The "washed up" label is no longer relevant, as it looks to be his 2nd bonafide R&B chart smash. The first single, "That Way", has been hovering around the top 5 of the R&B charts for over a month, and this single rockets to #14 on the R&B charts while still being a very new single. The momentum the song is showing predicts a future R&B #1.
FAILS:
#11 Dev- In the Dark
It's quite sad when a song ends its chart run peaking at #11. The song is still a huge hit single, (you can't listen to LA radio for 20 mintues without hearing it) but will never earn that bold distinction of hitting the top 10. "In the Dark" has been flirting with the top 10 for a month now, but it never quite gained the perfect combination of downloads and airplay to launch it into that stratosphere. While the song is at its current peak position of #11, the growth has stopped and will most likely tumble next week. While her sheer talent is debatable, Interscope has succeeded in launching a hit single from the post-Ke$ha sing-talk diva, and it's guarenteed we'll be hearing more from her in the future.
#78 Mindless Behavior f/ Diggy- Mrs. Right
Since the 1960's, boy bands have been one of the biggest tactics of major labels to sell records. Mindless Behavior is no exception, as the R&B genre's answer to the Justin Bieber craze comes to fruition. After opening for superstar acts like Janet Jackson and Justin Bieber, "Mrs. Right" became a moderate hit on the R&B charts landing in the top 10, but didn't exactly translate to pop success. While a catchy song, it's gonna take another gimick to make these guys a household name.
#96 Lloyd f/ Andre 3000- Dedication to my Ex (Miss That)
It is with great sadness that I start the funeral march for one of the best singles of the year. A quasi-sequel to Cee-Lo's "Fuck You", the naughty retro-vibe single first stalled at R&B peaking outside of the top 40, and has now failed to catch on at top 40 as well, peaking at #79. Lloyd left Murder Inc (the "it" label from 2001-2005) after 2009's flop album "Lessons in Love" for chart titans Interscope. The resulting album, "King of Hearts", was entirely produced by A-lister Polow Da Don, as I'm sure they felt they had a blockbuster on their hands. Instead, none of the singles have gained traction, and will keep Lloyd as R&B's go-to B-lister. I've honestly given more spins to "King of Hearts" than any other release this year, and will definitely find a spot on my year-end top 10 list.
#1 Rihanna f/ Calvin Harris- We Found Love
Rihanna has now collected her 11th #1, and it's taken her a short 6 years to do so. She's now tied Janet Jackson, and will match Madonna and Whitney Houston with her next #1. It's baffling to realize she's done all of this in a short 6 years, but she really has the perfect formula. I mean, she's completly inoffensive and her songs are pleasant listens, but really- it's difficult for me to take her seriously as an artist. Her label recruits the hottest producers, capitalizes on current trends, and creates easy consensus music. If we were to put the current state of pop music in a time capsule, Rihanna would be the best representative. The era of auto-tune and glossy hit factories have been kind to Ms. Fenty despite having absolutley no charisma or stage presence- a feat in any other era that would be unacceptable.
#10 Kelly Clarkson- Mr. Know it All
I've been following this song's chart ascent and descent very closely, as Clarkson's lead singles tend to set the stage for subsequent singles released. "Mr. Know it All" finally breaks the top 10 with a surge in digital sales from the album release, and is still growing rapidly at radio. If the song can jump one more spot, it will no longer be her weakest lead single, passing 2002's "Miss Independent"'s #9 peak. Digital sales buoyed the 2nd single from the album to #64 this week, and only time will tell how successful of a chart run she'll have from here.
#30 Big Sean- Dance (A$$)
The song with the most poignant chorus of the year benefits from the Nicki Minaj assisted remix this week, now passing "My Last" and "Marvin & Chardonnay" to become his biggest single thus far. I still can't figure out what people like about Big Sean- other than his good looks, his voice is completley indistinguishable, and his singles have been mediocre at best. The remix with Nicki Minaj (smart move) is taking off at iTunes, and the song will probably take another big jump next week. As "Dance (A$$)" is a catchy Bangladesh ripoff. (8 measures at a time alternating between bass and snare- e.g. "A Milli" by Lil Wayne, "Lemonade" by Gucci Mane) Nicki's verse runs laps around Sean's- though the song is the most interesting thing we've heard from Sean yet. The best part about the song? It's kind of fun to imitate the "ass ass ass ass ass ass" chorus.
#57 Beyonce f/ J. Cole or Andre 3000- Party
In what could be my absolute favorite single of 2011, with the strong support of R&B radio, "Party" looks like a solidified hit for queen B. Columbia is promoting the song "Countdown" to top 40 while pushing "Party" to R&B, which is a similar set-up with her last album, when "Ego" was promoted to R&B while "Halo" reached for top 40. Easily the strongest single from her "4" record, the song should have been released as the lead single, though label politics keep the ever rare and completely awesome Andre 3000 from music video treatment. OK fine, I'll stop gushing about how much I love this song now. Just watch the equally awesome music vid.
#87 Wale f/ Miguel- Lotus Flower Bomb
Wale is honestly the last artist I'd ever expect to be moving 150K in a week, but it happened last week. The DC rapper's first single was the Lady Gaga assisted "Chillin", (which no one ever really heard) amongst other subsequent attempts. The album that followed, "Attention Deficit", spent two weeks on the chart and ultimately flopped. However, fake-it-til-you-make-it Rick Ross had an ear for him, and signed him to his Maybach Music label, moving his image from left field hipster rapper to mainstream R&B hooks. The "washed up" label is no longer relevant, as it looks to be his 2nd bonafide R&B chart smash. The first single, "That Way", has been hovering around the top 5 of the R&B charts for over a month, and this single rockets to #14 on the R&B charts while still being a very new single. The momentum the song is showing predicts a future R&B #1.
FAILS:
#11 Dev- In the Dark
It's quite sad when a song ends its chart run peaking at #11. The song is still a huge hit single, (you can't listen to LA radio for 20 mintues without hearing it) but will never earn that bold distinction of hitting the top 10. "In the Dark" has been flirting with the top 10 for a month now, but it never quite gained the perfect combination of downloads and airplay to launch it into that stratosphere. While the song is at its current peak position of #11, the growth has stopped and will most likely tumble next week. While her sheer talent is debatable, Interscope has succeeded in launching a hit single from the post-Ke$ha sing-talk diva, and it's guarenteed we'll be hearing more from her in the future.
#78 Mindless Behavior f/ Diggy- Mrs. Right
Since the 1960's, boy bands have been one of the biggest tactics of major labels to sell records. Mindless Behavior is no exception, as the R&B genre's answer to the Justin Bieber craze comes to fruition. After opening for superstar acts like Janet Jackson and Justin Bieber, "Mrs. Right" became a moderate hit on the R&B charts landing in the top 10, but didn't exactly translate to pop success. While a catchy song, it's gonna take another gimick to make these guys a household name.
#96 Lloyd f/ Andre 3000- Dedication to my Ex (Miss That)
It is with great sadness that I start the funeral march for one of the best singles of the year. A quasi-sequel to Cee-Lo's "Fuck You", the naughty retro-vibe single first stalled at R&B peaking outside of the top 40, and has now failed to catch on at top 40 as well, peaking at #79. Lloyd left Murder Inc (the "it" label from 2001-2005) after 2009's flop album "Lessons in Love" for chart titans Interscope. The resulting album, "King of Hearts", was entirely produced by A-lister Polow Da Don, as I'm sure they felt they had a blockbuster on their hands. Instead, none of the singles have gained traction, and will keep Lloyd as R&B's go-to B-lister. I've honestly given more spins to "King of Hearts" than any other release this year, and will definitely find a spot on my year-end top 10 list.
Saturday, October 22, 2011
Billboard Hot 100 Summary: Wins and Fails- 10/29/2011
Sorry for the delay... I've been investing my time in other things- e.g. finding another job! We'll get right into it.
WINS:
#6 Rihanna f/ Calvin Harris- We Found Love
After a rather slow start compared to other lead singles from Rihanna, it looks like "We Found Love" just may have a shot at #1. The cut finally made #1 on iTunes and is continually a greatest gainer on the airplay charts. It hasn't even made top 10 at radio yet and keeps climbing. While the song sounds like it took about 15 minutes to make, I suppose the sheer simplicity of the song and vocal-less chorus serves the junk food palate of today's current trend.
#25 T-Pain f/ Lily Allen & Wiz Khalifa- 5 O'Clock
The charts haven't been kind to T-Pain over the past two years, aside from an occasional guest feature from DJ Khaled or Pitbull. After 5 (yes, count them- 5! Reverse Cowgirl, Rap Song, Take Yo Shirt Off, Best Love Song, Booty Wurk) failed initial startup singles from the autotuner's 4th album, "rEVOLVEr", it looks like he's finally caught some momentum with the "first single" from the album. It's a new interpolation of a minor overseas Lily Allen hit from 2 years ago, and I'm honestly a bit confused as to how this song is gaining so much more momentum than "Booty Wurk" ever did. It's obvious that T-Pain's heyday peaked in 2008, but it looks like radio doesn't want to forget about him just yet.
#42 Flo Rida- Good Feeling
It turns out that the last Flo Rida album tanked so badly that it completely went beneath my radar. Anchored by the mediocre "Club Can't Handle Me", the album "Only One Flo (Part 1)" peaked at a miserable #107 on the charts, buried beneath the onslaught of major label black Friday releases. Carrying on in the tradition of Flo being the least interesting thing about his hits, "Good Feeling" takes an uncredited sample from Swedish artist Avicii. Flo Rida simply does his uninteresting, monotone rap between the sample just to take up space. The song jumped more than 30 spots to this peak, so I'm sure this will be a huge hit during the lucrative shopping season. It looks as if part 2 to "Only One Flo" (so creative!) might peak within the top 100 of the album charts.
#69 Big Sean- Dance (A$$)
As we continue to feel the influence of Lil Wayne's "A Milli", anothe copycat beat has reached the hands of another copycat artist. The Bangladesh produced landmark beat of 8 bars of snare with 8 bars of bass has been copied relentlessly by Bangladesh himself amongst other artists, but the fact is- it's still one of the hottest concepts in hip hop. The minimalist, bass driven production is easily the most appealing Big Sean has put out (which isn't saying much at all) and the remix featuring Nicki Minaj is downright lovely. I feel that I don't really get Big Sean's appeal- his style, enunciation, and overall image feels extremely bland and too normal. The first two singles from his debut, "Finally Famous", are immediate skip-over tracks for me ("My All" with Chris Brown and "Marvin & Chardonnay" with Kanye & Roscoe Dash) and definitely didn't deserve the love they recieved on the R&B charts. We'll have to see how long Big Sean lasts without the big name associates.
FAILS:
#61 Afrojack f/ Eva Simons- Take Over Control
I always categorize this song with Alexandra Stan's "Mr. Saxobeat", as they are two club-ready songs that earned enormous success overseas last year trying to capitalize on US radio's current house fetish. While "Saxobeat" bullets to #21 this week, "Take Over Control" tumbles beneath the onslaught of country music singles in positions 50-59, dropping 16 spots to #60. Don't count out the whole euro-dance phase just yet, as there will be plenty more of these to come. It's a rare time when there are so many similarities in what works in the US and Europe.
#88 Sean Paul f/ Alexis Jordan- Got 2 Luv U
Like Flo Rida previously mentioned, Sean Paul is coming off of an all-out failure of an album from 2 years ago, as the lead single "So Fine" only made it to #50 on the charts. Looks like the follow up to his new album will go down in the books as an even less successful performer. It's a big risk coming from a flop with a new, untested artist (Alexis Jordan from "America's Got Talent" has experienced success in Europe but remains unknown in the US) and I admire the fact that he didn't just get Nicki Minaj or Bruno Mars for an A-list guest feature- but it looks like Atlantic's gamble isn't going to pay off with this song.
#98 Jennifer Lopez- Papi
While I'm sure the video for "Papi" is selling Dodge/Chrysler/Jeep a ton of Fiat 500's, it's not exactly electrifying the charts. Def Jam shouldn't have released "I'm Into You" as the 2nd single from the album, as it seems that all of the momentum from "On the Floor" was wasted on a single that would have been a success 3 years ago. I honestly thought that "Papi" would be a more of a success than a failure, but we must remember that JLo is currently more relevant than any time since 2003- and given her limited talent- it should be considered a success.
WINS:
#6 Rihanna f/ Calvin Harris- We Found Love
After a rather slow start compared to other lead singles from Rihanna, it looks like "We Found Love" just may have a shot at #1. The cut finally made #1 on iTunes and is continually a greatest gainer on the airplay charts. It hasn't even made top 10 at radio yet and keeps climbing. While the song sounds like it took about 15 minutes to make, I suppose the sheer simplicity of the song and vocal-less chorus serves the junk food palate of today's current trend.
#25 T-Pain f/ Lily Allen & Wiz Khalifa- 5 O'Clock
The charts haven't been kind to T-Pain over the past two years, aside from an occasional guest feature from DJ Khaled or Pitbull. After 5 (yes, count them- 5! Reverse Cowgirl, Rap Song, Take Yo Shirt Off, Best Love Song, Booty Wurk) failed initial startup singles from the autotuner's 4th album, "rEVOLVEr", it looks like he's finally caught some momentum with the "first single" from the album. It's a new interpolation of a minor overseas Lily Allen hit from 2 years ago, and I'm honestly a bit confused as to how this song is gaining so much more momentum than "Booty Wurk" ever did. It's obvious that T-Pain's heyday peaked in 2008, but it looks like radio doesn't want to forget about him just yet.
#42 Flo Rida- Good Feeling
It turns out that the last Flo Rida album tanked so badly that it completely went beneath my radar. Anchored by the mediocre "Club Can't Handle Me", the album "Only One Flo (Part 1)" peaked at a miserable #107 on the charts, buried beneath the onslaught of major label black Friday releases. Carrying on in the tradition of Flo being the least interesting thing about his hits, "Good Feeling" takes an uncredited sample from Swedish artist Avicii. Flo Rida simply does his uninteresting, monotone rap between the sample just to take up space. The song jumped more than 30 spots to this peak, so I'm sure this will be a huge hit during the lucrative shopping season. It looks as if part 2 to "Only One Flo" (so creative!) might peak within the top 100 of the album charts.
#69 Big Sean- Dance (A$$)
As we continue to feel the influence of Lil Wayne's "A Milli", anothe copycat beat has reached the hands of another copycat artist. The Bangladesh produced landmark beat of 8 bars of snare with 8 bars of bass has been copied relentlessly by Bangladesh himself amongst other artists, but the fact is- it's still one of the hottest concepts in hip hop. The minimalist, bass driven production is easily the most appealing Big Sean has put out (which isn't saying much at all) and the remix featuring Nicki Minaj is downright lovely. I feel that I don't really get Big Sean's appeal- his style, enunciation, and overall image feels extremely bland and too normal. The first two singles from his debut, "Finally Famous", are immediate skip-over tracks for me ("My All" with Chris Brown and "Marvin & Chardonnay" with Kanye & Roscoe Dash) and definitely didn't deserve the love they recieved on the R&B charts. We'll have to see how long Big Sean lasts without the big name associates.
FAILS:
#61 Afrojack f/ Eva Simons- Take Over Control
I always categorize this song with Alexandra Stan's "Mr. Saxobeat", as they are two club-ready songs that earned enormous success overseas last year trying to capitalize on US radio's current house fetish. While "Saxobeat" bullets to #21 this week, "Take Over Control" tumbles beneath the onslaught of country music singles in positions 50-59, dropping 16 spots to #60. Don't count out the whole euro-dance phase just yet, as there will be plenty more of these to come. It's a rare time when there are so many similarities in what works in the US and Europe.
#88 Sean Paul f/ Alexis Jordan- Got 2 Luv U
Like Flo Rida previously mentioned, Sean Paul is coming off of an all-out failure of an album from 2 years ago, as the lead single "So Fine" only made it to #50 on the charts. Looks like the follow up to his new album will go down in the books as an even less successful performer. It's a big risk coming from a flop with a new, untested artist (Alexis Jordan from "America's Got Talent" has experienced success in Europe but remains unknown in the US) and I admire the fact that he didn't just get Nicki Minaj or Bruno Mars for an A-list guest feature- but it looks like Atlantic's gamble isn't going to pay off with this song.
#98 Jennifer Lopez- Papi
While I'm sure the video for "Papi" is selling Dodge/Chrysler/Jeep a ton of Fiat 500's, it's not exactly electrifying the charts. Def Jam shouldn't have released "I'm Into You" as the 2nd single from the album, as it seems that all of the momentum from "On the Floor" was wasted on a single that would have been a success 3 years ago. I honestly thought that "Papi" would be a more of a success than a failure, but we must remember that JLo is currently more relevant than any time since 2003- and given her limited talent- it should be considered a success.
Sunday, October 9, 2011
Billboard Hot 100 Summary: Wins and Fails- 10/15/2011
WINS:
#7 B.O.B. f/ Lil Wayne- Strange Clouds
I'm slightly taken aback that B.O.B.'s new song could have that much of a stronger chart showing than Rihanna and Kelly Clarkson's new digital singles, but I guess we shouldn't underestimate the power of Weezy talking about weed. B.o.B. is one of those artists that is continually the least interesting part of his songs- his guest features (Bruno Mars, Hayley Williams, Rivers Cuomo) have continually outshined his bland, been-there-before verses, but apparently the public was hungry for a B.o.B. comeback. It's catchy enough and will gain some traction on rhythmic stations, but I do feel that #7 will be the song's peak. I see the song performing similarly to last year's "Right Above It" with Weezy and Drake, debuting strongly at #6, with significant gains in airplay over the next few months, though the tapering of the digital sales will keep the song hovering around the lower rungs of the top 20 for awhile.
#26 Alexandra Stan- Mr. Saxobeat
As I've already heard the song about 1,000 times on LA radio, it looks like it's gaining traction everywhere in America. Capitalizing on two new fads- european dj meets pop radio and the resurgence of the saxophone, (see "Edge of Glory", "T.G.I.F. (Last Friday Night)" and "In The Dark") the song that 2 years ago would have only been successful across the pond is now a legitimate force to be reckoned with. As there doesn't seem to be much of an identity behind Alexandra Stan, as the voice seems quite interchangeable, I expect her to be a one hit wonder.
#35 Jay-Z & Kanye West- Ni**as in Paris
I'm still waiting to see how a live DJ refers to the unadulterated title- it's already entertaining enough to see how they alter the last part of the song when the beat breaks. As true 100% hip-hop becomes more scarce at top 40, leave it to the kings of the genre to keep servicing quality hip-hop to the masses. It's their second top 40 from "Watch the Throne", as "Otis" barely missed the top 10 on the back of digital sales. Oh, much props to Jay-Z for finally exposing the term "cray" to the masses.
#62 T-Pain f/ Lily Allen & Wiz Khalifa- 5 O'Clock
T-Pain has had an awfully rough time trying to gain traction for his new album. This seems like the 100th single released- lets see... Take Your Shirt Off, Reverse Cowgirl, Rap Song, Best Love Song, and Booty Wurk. It looks like the troubles aren't over, as just a few days ago- Jive Records dissolved into its parent record label, RCA. So who knows if we'll ever get his forthcoming studio album (almost 2 years delayed) "rEVOLVEr", but really- are there that many hardcore T-Pain fans out there? The actual song "5 O'Clock" borrows from a Lily Allen single from the UK- and the end result really isn't bad at all- but as I thought "Booty Wurk" was a surefire smash- I'm not really sure what audience reaction to expect from T-Pain's singles anymore.
#81 Lloyd f/ Andre 3000- Dedication to my Ex (Miss That)
One of my favorite singles of the year, a quasi-sequel to Cee-lo's "Fuck You!", has finally made its debut on the Hot 100. It's been getting airplay in LA for a few months now, but it seems that it's struggling to gain traction at R&B radio as it seems to have stalled just outside of the top 40 on that chart for now. The radio edit takes away a bit of the song's novelty and edge, but it's still a great, classic sounding tune with an all too rare and underappreciated Andre 3000 guest spot.
FAILS:
#12 Lady Gaga- You & I
OK, so it's not really a "fail" per se- but we now know for a fact that "You & I" has reached its final peak at #6 on the charts. I had a few fabricated high hopes for this song- after all, the sound has massive appeal for middle America, and the general public seems to be starved for something other than the four-on-the-floor music Gaga ironically helped usher in. Don't get me wrong- the song had a successful chart run- but the song's chart performance lets us know that the song isn't exactly going to be a career defining song for her.
#48 Nickelback- When We Stand Together
Any new Nickelback chart debut is a fail for America. Especially with such a calculated, glossed over song, and such a lousy, pandering song title like this. I mean, these Canadians have been exploiting the wallets of the red states for a good while- why don't we go ahead and get a Rick Perry feature on here? Peaking with 2005's "All the Right Reasons", Nickelback has diminished with the coinciding depletion of top 40 rock music from the airwaves. At least they're one of the many casualties I'm thankful for.
#72 Iyaz f/ Travie McCoy- Pretty Girls
I wrote a few weeks back about this single being the one to anchor the all-important sophomore album, but it looks like this one's a no-go. After tumbling from 51-72 this week on the Hot 100, it looks as if initial audience reaction is tepid. Iyaz doesn't have a very distinguishable voice, and will need another gimmick or stronger guest feature to land a hit worthy of the sophomore album.
#7 B.O.B. f/ Lil Wayne- Strange Clouds
I'm slightly taken aback that B.O.B.'s new song could have that much of a stronger chart showing than Rihanna and Kelly Clarkson's new digital singles, but I guess we shouldn't underestimate the power of Weezy talking about weed. B.o.B. is one of those artists that is continually the least interesting part of his songs- his guest features (Bruno Mars, Hayley Williams, Rivers Cuomo) have continually outshined his bland, been-there-before verses, but apparently the public was hungry for a B.o.B. comeback. It's catchy enough and will gain some traction on rhythmic stations, but I do feel that #7 will be the song's peak. I see the song performing similarly to last year's "Right Above It" with Weezy and Drake, debuting strongly at #6, with significant gains in airplay over the next few months, though the tapering of the digital sales will keep the song hovering around the lower rungs of the top 20 for awhile.
#26 Alexandra Stan- Mr. Saxobeat
As I've already heard the song about 1,000 times on LA radio, it looks like it's gaining traction everywhere in America. Capitalizing on two new fads- european dj meets pop radio and the resurgence of the saxophone, (see "Edge of Glory", "T.G.I.F. (Last Friday Night)" and "In The Dark") the song that 2 years ago would have only been successful across the pond is now a legitimate force to be reckoned with. As there doesn't seem to be much of an identity behind Alexandra Stan, as the voice seems quite interchangeable, I expect her to be a one hit wonder.
#35 Jay-Z & Kanye West- Ni**as in Paris
I'm still waiting to see how a live DJ refers to the unadulterated title- it's already entertaining enough to see how they alter the last part of the song when the beat breaks. As true 100% hip-hop becomes more scarce at top 40, leave it to the kings of the genre to keep servicing quality hip-hop to the masses. It's their second top 40 from "Watch the Throne", as "Otis" barely missed the top 10 on the back of digital sales. Oh, much props to Jay-Z for finally exposing the term "cray" to the masses.
#62 T-Pain f/ Lily Allen & Wiz Khalifa- 5 O'Clock
T-Pain has had an awfully rough time trying to gain traction for his new album. This seems like the 100th single released- lets see... Take Your Shirt Off, Reverse Cowgirl, Rap Song, Best Love Song, and Booty Wurk. It looks like the troubles aren't over, as just a few days ago- Jive Records dissolved into its parent record label, RCA. So who knows if we'll ever get his forthcoming studio album (almost 2 years delayed) "rEVOLVEr", but really- are there that many hardcore T-Pain fans out there? The actual song "5 O'Clock" borrows from a Lily Allen single from the UK- and the end result really isn't bad at all- but as I thought "Booty Wurk" was a surefire smash- I'm not really sure what audience reaction to expect from T-Pain's singles anymore.
#81 Lloyd f/ Andre 3000- Dedication to my Ex (Miss That)
One of my favorite singles of the year, a quasi-sequel to Cee-lo's "Fuck You!", has finally made its debut on the Hot 100. It's been getting airplay in LA for a few months now, but it seems that it's struggling to gain traction at R&B radio as it seems to have stalled just outside of the top 40 on that chart for now. The radio edit takes away a bit of the song's novelty and edge, but it's still a great, classic sounding tune with an all too rare and underappreciated Andre 3000 guest spot.
FAILS:
#12 Lady Gaga- You & I
OK, so it's not really a "fail" per se- but we now know for a fact that "You & I" has reached its final peak at #6 on the charts. I had a few fabricated high hopes for this song- after all, the sound has massive appeal for middle America, and the general public seems to be starved for something other than the four-on-the-floor music Gaga ironically helped usher in. Don't get me wrong- the song had a successful chart run- but the song's chart performance lets us know that the song isn't exactly going to be a career defining song for her.
#48 Nickelback- When We Stand Together
Any new Nickelback chart debut is a fail for America. Especially with such a calculated, glossed over song, and such a lousy, pandering song title like this. I mean, these Canadians have been exploiting the wallets of the red states for a good while- why don't we go ahead and get a Rick Perry feature on here? Peaking with 2005's "All the Right Reasons", Nickelback has diminished with the coinciding depletion of top 40 rock music from the airwaves. At least they're one of the many casualties I'm thankful for.
#72 Iyaz f/ Travie McCoy- Pretty Girls
I wrote a few weeks back about this single being the one to anchor the all-important sophomore album, but it looks like this one's a no-go. After tumbling from 51-72 this week on the Hot 100, it looks as if initial audience reaction is tepid. Iyaz doesn't have a very distinguishable voice, and will need another gimmick or stronger guest feature to land a hit worthy of the sophomore album.
Saturday, October 1, 2011
Billboard Hot 100 Summary: Wins and Fails- 10/08/2011
It's been a relatively slow week this week, with most of the top 10 remaining stagnant. Let's get right into it:
WINS:
#2 Adele- Someone Like You
Yes, the song has already peaked and has spent the past few weeks at this very position. However, the piano-driven ballad soars 9-2 on the usually stagnant Radio Songs chart, while holding firmly at #1 currently on iTunes. Adele continues to break every single rule in the Pop Music 2011 instruction guide as it seems the song will continue into a lengthy chart run at #1 after this week. As the major labels and big players contin ue to unravel their big guns for the holiday shopping season, I don't expect the song to pass "Rolling in the Deep"'s 7-week stint. But again, you never know. As I found on another website, "Someone Like You" is the first ever piano and vocal only song to ever hit #1 in Rock & Roll history. 2011 is the year of Adele.
#10 LFMAO- Sexy and I Know It
It took this song 4 weeks to get into the top 10. A second single from an established duo's sophomore "album" goes top 10 in less than a month- even more notable in the fact that the song has been available for download since the album came out this summer. Even more notable and puzzling is the fact that the song has no redeeming quality, no memorable hook- not even a memorable BASSLINE! Seriously, I guess stupidly self-empowering chorus and the Lonely-Island esque "I Work Out!" line is enough to push the greek kids and coke abusers over the edge. I get that they are coming off the biggest song of the year with "Party Rock Anthem", but when we look back in 20 years-(like Starship, Milli Vanilli, and Jessica Simpson before them)- we will all question why the hell we were listening to this in the first place. OK, I'll stop hating. Congrats LMFAO. But your 15 minutes are ticking.
#42 New Boyz f/Chris Brown- Better With the Lights Off
The California teen hip-hop duo New Boyz scored their first hit by capitalizing on a popular west coast dance movement, "jerking", (I kid you not) with 2009's "You're a Jerk", similar to Cali Swag District's 2010 hit "Teach me How to Dougie". They were able to somehow continue their success with a B-R&B song with B-list R&B star Ray J, "Tie Me Down", at the very least erasing any one-hit wonder labels. Like their first single, their second album's singles have been a blatant attempt to exploit current pop trends. While, the first single, "Break my Bank" w/ Iyaz didn't catch on, the Cataracs-(Like a G6) produced-"Backseat", complete with a cameo from Dev, scraped the top 40 earlier this year. Now it looks as if the third single, with help from Chris Brown, will break the top 40. I don't see the song keeping the momentum into the top 20, as it's very Pop&B by numbers, but these guys have a pretty big urban teen folowing- so I'm not counting anything out.
FAILS:
#16 Rihanna f/Calvin Harris- We Found Love
It looks like it's a bit too much too soon, as people seem to be suffering from Rihanna fatigue. Let's take a look at where her past lead singles have vaulted to the week they became available:
A Girl Like Me- S.O.S.- #1
Good Girl Gone Bad- Umbrella- #1
Rated R- Russian Roulette- #9
Loud- Only Girl (In the World)- #3
Given, with the exception of last year's "Only Girl", the previous three had a few weeks to gain exposure at radio- I'll give you that. But also given the fact that a new Rihanna lead single is usually all but guarenteed a top 10 debut, this matches Kelly Clarkson's "Mr. Know it All" debut 3 weeks ago, which has since almost fallen out of the top 40. I don't expect that to happen with this song, as it's so blatantly club driven that the Europop producer of the song is listed on the feature. It's not a bad song- a typical fist-pumping club beat with a simple, repetitive chorus. Rihanna will still sell tons of records and continue to be one of the biggest forces in pop music- I just think that the song would have been a bit more successful if Def Jam hadn't rushed into this project. It's proven that people will buy and support the Rihanna brand no matter what time of year.
#33 Colplay- Paradise
I really don't mean to hate on Coldplay so much. Their first 2 albums were fantastic before they went the stadium rock route- but who can blame them? Either way, it's looking less and less evident that Coldplay will get any support from Top 40 radio for their forthcoming album, and is proving that "Viva La Vida" was the exception and not the rule. The release date for "Mylo Xyloto" nears in about 3 weeks, Capitol must be worried. As the first single, "Every Teardrop Is a Waterfall" was serviced to top 40 and didn't gain traction, I don't see any difference with "Paradise", as both songs share a similar aesthetic. It's a pleasant, introspective, typical Coldplay- and it could do quite well if the timing is right. But if I had to make a bet as to if this would ever get KIIS 102.7 exposure, I wouldn't take it.
WINS:
#2 Adele- Someone Like You
Yes, the song has already peaked and has spent the past few weeks at this very position. However, the piano-driven ballad soars 9-2 on the usually stagnant Radio Songs chart, while holding firmly at #1 currently on iTunes. Adele continues to break every single rule in the Pop Music 2011 instruction guide as it seems the song will continue into a lengthy chart run at #1 after this week. As the major labels and big players contin ue to unravel their big guns for the holiday shopping season, I don't expect the song to pass "Rolling in the Deep"'s 7-week stint. But again, you never know. As I found on another website, "Someone Like You" is the first ever piano and vocal only song to ever hit #1 in Rock & Roll history. 2011 is the year of Adele.
#10 LFMAO- Sexy and I Know It
It took this song 4 weeks to get into the top 10. A second single from an established duo's sophomore "album" goes top 10 in less than a month- even more notable in the fact that the song has been available for download since the album came out this summer. Even more notable and puzzling is the fact that the song has no redeeming quality, no memorable hook- not even a memorable BASSLINE! Seriously, I guess stupidly self-empowering chorus and the Lonely-Island esque "I Work Out!" line is enough to push the greek kids and coke abusers over the edge. I get that they are coming off the biggest song of the year with "Party Rock Anthem", but when we look back in 20 years-(like Starship, Milli Vanilli, and Jessica Simpson before them)- we will all question why the hell we were listening to this in the first place. OK, I'll stop hating. Congrats LMFAO. But your 15 minutes are ticking.
#42 New Boyz f/Chris Brown- Better With the Lights Off
The California teen hip-hop duo New Boyz scored their first hit by capitalizing on a popular west coast dance movement, "jerking", (I kid you not) with 2009's "You're a Jerk", similar to Cali Swag District's 2010 hit "Teach me How to Dougie". They were able to somehow continue their success with a B-R&B song with B-list R&B star Ray J, "Tie Me Down", at the very least erasing any one-hit wonder labels. Like their first single, their second album's singles have been a blatant attempt to exploit current pop trends. While, the first single, "Break my Bank" w/ Iyaz didn't catch on, the Cataracs-(Like a G6) produced-"Backseat", complete with a cameo from Dev, scraped the top 40 earlier this year. Now it looks as if the third single, with help from Chris Brown, will break the top 40. I don't see the song keeping the momentum into the top 20, as it's very Pop&B by numbers, but these guys have a pretty big urban teen folowing- so I'm not counting anything out.
FAILS:
#16 Rihanna f/Calvin Harris- We Found Love
It looks like it's a bit too much too soon, as people seem to be suffering from Rihanna fatigue. Let's take a look at where her past lead singles have vaulted to the week they became available:
A Girl Like Me- S.O.S.- #1
Good Girl Gone Bad- Umbrella- #1
Rated R- Russian Roulette- #9
Loud- Only Girl (In the World)- #3
Given, with the exception of last year's "Only Girl", the previous three had a few weeks to gain exposure at radio- I'll give you that. But also given the fact that a new Rihanna lead single is usually all but guarenteed a top 10 debut, this matches Kelly Clarkson's "Mr. Know it All" debut 3 weeks ago, which has since almost fallen out of the top 40. I don't expect that to happen with this song, as it's so blatantly club driven that the Europop producer of the song is listed on the feature. It's not a bad song- a typical fist-pumping club beat with a simple, repetitive chorus. Rihanna will still sell tons of records and continue to be one of the biggest forces in pop music- I just think that the song would have been a bit more successful if Def Jam hadn't rushed into this project. It's proven that people will buy and support the Rihanna brand no matter what time of year.
#33 Colplay- Paradise
I really don't mean to hate on Coldplay so much. Their first 2 albums were fantastic before they went the stadium rock route- but who can blame them? Either way, it's looking less and less evident that Coldplay will get any support from Top 40 radio for their forthcoming album, and is proving that "Viva La Vida" was the exception and not the rule. The release date for "Mylo Xyloto" nears in about 3 weeks, Capitol must be worried. As the first single, "Every Teardrop Is a Waterfall" was serviced to top 40 and didn't gain traction, I don't see any difference with "Paradise", as both songs share a similar aesthetic. It's a pleasant, introspective, typical Coldplay- and it could do quite well if the timing is right. But if I had to make a bet as to if this would ever get KIIS 102.7 exposure, I wouldn't take it.
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