Another Year In America October 22, 2009
The charts head into the retail season and still feel like nothing.
John Mayer "Who Says": Overstated understatement, balances the pain and release of getting fucked-up, reminds me of Paul Simon in having a deceptively easy rhythm that's actually quite forceful. I would have considered this profound when I was fourteen. Likable now, but not enough to stick. NO TICK.
Chris Brown f. Lil Wayne & Swizz Beatz "I Can Transform Ya": Swizz gets the bass to growl, Wayne locks into the beat then slides around it, the tension between him and the rhythm producing power no matter how silly and nonchalant he acts. Meanwhile, Chris sounds superfluous on his own track, and I must say Wayne's words at this point are in one ear and out the other, I'm so used to him. Mixed bag, but the rhythm and Wayne's contrary motion are enough. TICK.
Keith Urban "Only You Can Love Me This Way": Back to the sweet laid-back emptiness that Keith somehow made feel intense a couple of years ago but that only gets halfway there this time; the sweetness is bolstered by a not-so-sweet cello, but they need more song than they've got. NO TICK.
Ester Dean f. Chris Brown "Drop It Low": Basic no-bullshit groove with flecks of sugar and dollops of icing on top. For a minute and a half this is about perfect, just beats and prettiness. When Chris enters this gets dull, and I don't think I'm saying that just 'cause I've got it in for him. And then the track is back to what it was but with the sugar and icing starting to weigh matters down. Thought they had it, but it slipped away. BORDERLINE NONTICK.
Chamillionaire "Good Morning": Guy uses the "Free Falling" chord progression like he's John Mayer or someone, but it's reduced to blank bland sunshine. The lyrics pretend to sun while being slyly destructive: you see, he's showing the hatas love 'cause, of course, they've got reason to be jealous of him, him and his moneybags, and he'll just remind them of the reasons. Funny, I guess, and maybe the vapid prettiness of the music contributes to the lyrics' fool-and-feint routine; problem is that the music sounds just as empty no matter what the intention or potential irony. NO TICK.
John Mayer "Who Says": Overstated understatement, balances the pain and release of getting fucked-up, reminds me of Paul Simon in having a deceptively easy rhythm that's actually quite forceful. I would have considered this profound when I was fourteen. Likable now, but not enough to stick. NO TICK.
Chris Brown f. Lil Wayne & Swizz Beatz "I Can Transform Ya": Swizz gets the bass to growl, Wayne locks into the beat then slides around it, the tension between him and the rhythm producing power no matter how silly and nonchalant he acts. Meanwhile, Chris sounds superfluous on his own track, and I must say Wayne's words at this point are in one ear and out the other, I'm so used to him. Mixed bag, but the rhythm and Wayne's contrary motion are enough. TICK.
Keith Urban "Only You Can Love Me This Way": Back to the sweet laid-back emptiness that Keith somehow made feel intense a couple of years ago but that only gets halfway there this time; the sweetness is bolstered by a not-so-sweet cello, but they need more song than they've got. NO TICK.
Ester Dean f. Chris Brown "Drop It Low": Basic no-bullshit groove with flecks of sugar and dollops of icing on top. For a minute and a half this is about perfect, just beats and prettiness. When Chris enters this gets dull, and I don't think I'm saying that just 'cause I've got it in for him. And then the track is back to what it was but with the sugar and icing starting to weigh matters down. Thought they had it, but it slipped away. BORDERLINE NONTICK.
Chamillionaire "Good Morning": Guy uses the "Free Falling" chord progression like he's John Mayer or someone, but it's reduced to blank bland sunshine. The lyrics pretend to sun while being slyly destructive: you see, he's showing the hatas love 'cause, of course, they've got reason to be jealous of him, him and his moneybags, and he'll just remind them of the reasons. Funny, I guess, and maybe the vapid prettiness of the music contributes to the lyrics' fool-and-feint routine; problem is that the music sounds just as empty no matter what the intention or potential irony. NO TICK.