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Demi Lovato: Sorry Not Sorry

7/12/2017

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​Single Review.
 
Teasing an upcoming single with snippets, cryptic social media posts and pseudo scavenger hunts used to be a sporadic thing in popular music. It was usually reserved for "comebacks," returns from hiatuses, or shifts in musical style. Now, it's a standard promotional tool for all new material, no matter how ordinary or ineffectual. The tactic has become a catfish of sorts. Even when the snippets sound appetizing, the main course ends up tasting bland or just plain awful. So, when Demi Lovato started to rib her new single "Sorry Not Sorry" on Instagram, I didn't get too invested. The few electronic notes I heard had a little bump to it. I concluded, "At least one part of this song will have some flavor." The seconds-long warped vocal warned "Payback is a bad b***h, baby, I'm the baddest." I rolled my eyes and thought, "Demetria is still in this childish, bravado mode," and left it at that.
 
In a rare moment, the teasers correctly represented the final product. "Sorry Not Sorry" is a zesty and contagious electro-R&B/hip-hop brew, produced by Warren "Oak" Felder (according to Tidal credits). Felder's resume includes extensive work with Nicki Minaj, Alessia Cara, Kehlani and Elle Varner. Lovato got her start and excelled in pop-rock, but the vocal stylings that serve as evidence of her upbringing with soul music make you crave and delight in her R&B deviations. The shrillness of her voice is still something for the ears to contend with, however. Lovato co-wrote the song with Felder, Zaire Koalo, Trevor Brown and Sean Douglas. Koalo and Brown collaborated with Felder on Kehlani's  debut LP, SweetSexySavage. "Sorry Not Sorry's" premise of making your enemies sick with how well you've recovered from their inflictions is what girl-pop is made of. While the lyrics are well-formed for the most part, the superfluous expletives in the pre-chorus follow the trend of being overly conversational and casual. I said to a friend, "Songwriters are lazy with lyrics these days. They read like text messages." The previously quoted "payback" line is trailed with "You're f**king with a savage." This leads me to Lovato's "Ford tough" kick.
 
If you've kept up with Lovato's career, you're aware she's known for her unfiltered, and sometimes impulsive, reactions (especially on social media). She proudly touts her brand of frankness as some type of weapon against dishonesty and "fakeness." This demonstrates that, despite being nearly 25 years old and overcoming obstacles that would age anyone, she still lacks the maturity and wisdom to understand that honesty and brashness aren't synonymous. While commenting on her 2015 album Confident, she said: "There's nobody in the pop industry that says 'Don't f**k with me...I'll kick your ass'...that's the thing; I'm totally that." When artists face adversity and barrages of naysayers, it's comprehensible that they'd want to assert themselves. The tough guy/tough girl shtick quickly gets old and becomes off-putting, though. Christina Aguilera was 13 years in the game, still talking about her haters on Lotus. Anyhow, lyrical and boasting annoyances notwithstanding, "Sorry Not Sorry" is a bop. I'll be purchasing the "clean" version. You can hear the song below. 


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My Top 10 Favorite Things About Nicki Minaj & Beyoncé's "Feeling Myself" Video

5/31/2015

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PictureL-R: Beyonce` & Nicki Minaj are "Feeling" themselves
Since Nicki Minaj's video for "Feeling Myself" premiered on TIDAL on May 18th, I've watched it probably...I don't have a figure--numerous times, I've watched it numerous times, haha. Maybe I've replayed it because it's fresh Beyoncé crack (she's on the song, in case you live under a rock and didn't know that). Maybe I have because it's fresh Pink Print crack (Minaj's most recent album; again, in case you live under a rock and didn't know that); she did a lot of promotion around the initial release and then kind of left things for dead. Either way, the video gave me so much life that I could make this list and had a really nice dream about Onika (Minaj's given name; I'm being considerate of those who live under rocks) that was sadly cut short by consciousness. So, in no particular order, here are my top 10 favorite things about the "Feeling Myself" video:

1. It Wasn't What You'd Expect
Giving the "Feeling Myself" title, the song's sexual references and it's harder-than-softer style, one might have expected a dark and tough video with plenty of skin and scenes to be blurred or edited out. In a pleasantly surprising twist, Minaj and King Bey went for bright, colorful, fun, silly, and hilarious BFF-ery that we mortals can merely fantasize about. If only we could look that cool being that corny. I loved the candid and unrehearsed feel; though it would've been nice to have a little more going on in some shots besides them playing in their hair and caressing their curves.

2. "It's Dope, Nicki!"
At the beginning of the video, we get set footage of them doing the song's opening lines outside of the Coachella road sign. What cracks me up is that the director yells "It's dope, Nicki!" even though she's just cutely posing while Beyoncé is the one working the camera. I'm sure it was a status update, but it was still a funny irony.

3. Is That Bubblicious Gum??!
I can't get over how freakin' cute OBeyKa's (I could call them NickOncé, but that's too obvious) candy exchange was. It was like a scene straight off the playground. Nicki hungrily chomps into a sweet treat that Beyoncé's eyes glimmer with hope is either Bubblicious gum or Now and Later candy. In child-like tones, Nicki confirms it's the latter and asks Bey if she wants some, to which she instantly replies "Yeah." Adorbs. I need a gif.


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Britney Spears: Work B****

9/18/2013

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Single Review.

Okay, so I totally didn’t plan on doing a review for “Work B****,” the debut single from Britney Spears’ upcoming 8th album because I was on a mini-vacation, but after hearing it, I must. I’m livid. 2011’s “Femme Fatale” is the only Spears album I don’t like. Why? It wasn’t what I call “Britney definitive.” The album was a collection of over-produced, effect-driven techno tracks that anyone could’ve recorded. It was just a standard of what was hot right then, and that’s where “Work” finds Spears again. The single is woefully generic; there isn’t much difference between “Work” and a random vogue track performed by no-names that’s played in a gay club. Spears is the type of artist one goes to if they want to know what the latest trend is, however, she usually can do that and still set herself apart. Frankly, given her pop-culture status, I think Spears should be setting the trend and ushering in a new wave, not riding on an old one that’s been crashing since 2008. Will.I.Am is the producer on “Work,” as he will be for all the tracks on the new album and I think that’s a huge mistake. He’s just going to keep giving her the same, redundant stuff. I liked the rumored idea that she’d be working with producers from her most critically-acclaimed album, “Blackout,” much better. Now that, was some edgy pop. You can listen to "Work" here. 

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Does Katy Perry & Lady Gaga's "Roar" Deserve "Applause"?

8/12/2013

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Single Reviews.

Lady Gaga: Applause
The pop world has been holding their breath in anticipation of Lady Gaga’s 1st single from the set-for-fall album “ARTPOP;” the wait is over (I don’t get why people were sweating bullets so hard; it’s only been 2 years since her last album, geez). Many are excited that “Applause” has the audio and theme feel of Gaga’s debut “The Fame,” but I’m personally not enthusiastic about this. “The Fame” had hardly any musical integrity and was lyrically mindless and superficial. Aside from seeming commentary on her critics and appreciation for her fans, “Applause” is like so. For this song to be the 1st taste of an album that’s supposed to be ground-breaking and symbolic, it certainly falls short. “Applause” is catchy, but it’s far from definitive and requiring a standing ovation. Listen to "Applause" here.

Katy Perry: Roar
“Roar” didn’t do much for me either. Although the lyrics are more inspiring with an “I’m no longer going to be a push-over” message, melodically, it’s very standard pop. So standard, that anyone, from a newbie to a veteran, could’ve recorded the song and it wouldn’t have made a difference. It’s surprising that such a generic song, stitched with plenty of overused platitudes (ex. “eye of the tiger,” “you’re gonna hear me roar”) was chosen not only as a 1st single, but for Perry, whose kind of formed her own unique sound and is recognized for her infectious and hard-hitting tunes. Disappointing day in pop for me. Hear "Roar" now.

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Michelle Williams: If We Had Your Eyes

6/25/2013

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Single Review.
Just finishing up her Broadway run in “Fela!,” Michelle Williams has returned to music and her gospel roots with the new single, “If We Had Your Eyes.” With the dramatic and catchy production touch of Harmony Samuels, who is quickly becoming one of the most wanted producers in R&B, “Eyes” is not your mama’s gospel. Hip and reflective, Williams describes how she thinks we would operate differently if we saw and comprehended things like God does. Her hypothesis is that we would have more compassion and patience and would fully understand the intentions, actions and hearts of others. She’s probably right. Vocally, Williams’ offering is an acquired taste; some may find it too youthful or shrill, while others may hear it as distinctive and comfortably soft. Nonetheless, I was drawn in by the music and strong lyrics. “Eyes” is worth taking a listen to. You can do so here.

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Miley Cyrus: We Can't Stop

6/3/2013

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Single Review.

Miley, Miley, Miley. It’s been about 3 years since we’ve heard from Miley Cyrus musically. At the height of “Hannah Montana” instant mega-fame, she took a well-deserved break that was probably the best for her personally and her career, because she would resurface a little older (she’ll be 21 in November) and could skip the awkward transitions that come with going from tween dream to young adult. As reports came that Cyrus was back in the studio, some eager and curious energy built as she was rumored to be working with many urban & R&B acts, like Mary J. Blige. Who knew what was coming, but it was sure to be interesting; indeed it is. “We Can’t Stop” hit the radio and internet today. The song itself has a nice flow and isn’t too overbearing on effects like most current pop tracks; it’s the lyrics that make “Stop” dismissible. The subject of often unnecessary criticism, Cyrus has been all about pushing social acceptance. “Stop” continues on that path with pro-LGBT lyrics like “It's our party, we can love who we want, we can kiss who we want….Forget the haters, 'cause somebody loves 'ya',” but such matter gets distracted from with the promotion of drug use (“We like to party, dancing with Molly…trying to get a line in the bathroom”) and girls bringing sexual attention to themselves (“To my homegirls here with the big butts, shaking it like we're at the strip club, remember only God can judge you”). The song’s purpose is counteractive to itself. Guess Miley is going to be catching more heat; this time it’s warranted. I don’t think I have to explain why glamorizing drug use and self-exploitation is a negative thing. Try again Miles.

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Kelly Rowland: Dirty Laundry

5/15/2013

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PictureCover for upcoming album
Single Review.
Due to the subject matter of Kelly Rowland’s “Dirty Laundry” (in which she collaborated with The Dream), this review is going to be quite different from my usual; it’s more so going to address the content versus the music. The song being true to its title, Rowland reveals the sad and dark truth that she was victim of domestic abuse “almost 10 years ago (the time marker given in the song; former fiance` Roy Williams denied via Twitter that it is he she’s singing about).” She also discusses her career frustrations while Destiny’s Child group-mate, Beyonce`, thrived in the spotlight. It’s difficult enough to openly confront such pain without being in the public eye, so I commend Kelly for her bravery and I hope it inspires others to support a cause, speak out and/or leave their abusers. Vividly detailing specific altercations, conversations and the lengths she went to, trying to conceal her troubles, the track gives insight into the experience and mindset of the physically and verbally abused and can serve as an empathetic, educational tool. “Dirty Laundry” even points out the typical tactics of batterers, like social isolation and exacerbating things one is sensitive about: “He pulled me outside and said ‘Don’t nobody love you but me; not your mama, not your daddy and especially not Bey.’ He turned me against my sister; I missed you.” Musically speaking, the hard-hitting, but winding beat under Rowland’s emotional vocal delivery (sounds like a mix of anger and being on the verge of tears) makes for a very entrancing, memorable tune. I hope that the completed album, entitled “Talk a Good Game (scheduled for a June 18th release),” follows this introspective path as opposed to the tawdriness of prior singles, “Ice” and “Kisses Down Low.” Beyonce` discussed her broken relationship with her father and past miscarriage in her “Life is But a Dream” HBO documentary, Kelly’s sharing her abuse story and Michelle went public with her long-term struggles with depression. Guess reaching your 30’s is about shaking the pain and shame. Sounds good to me. Hear "Dirty Laundry" here.

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Single Reviews: Mariah Carey & Tamar Braxton

5/6/2013

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Tamar Braxton: The One
Sigh. Oh, Tamar. Those of us who love Tamar’s voice were elated to see her single “Love & War” do so well because it gave hope that a great (and well-performing) album might be ahead. As hype over “War” started to cool, fans anxiously waited for a proceeding single, namely “Hot Sugar,” the bouncy, sexy track we heard on Braxton’s reality WEtv series “Tamar & Vince.” No such luck. A 2nd single came, but it wasn’t “Sugar.” What we received was “The One;” a song that sounds like it came straight from the Keyshia Cole factory. “War’s” similarities to the Cole track “Trust & Believe” were tolerated because the resemblance seem to only lie within the composition (boo on producer DJ Camper for recycling), but everything on “One,” from the sampling of Notorious B.I.G.’s “Juicy,” to the vocal delivery, are taken directly from Cole. This is beyond aggravating to hear, as Braxton should have her own sound and her voice is far more developed and sophisticated than Cole’s. Whoever is handling the production & creative direction of Braxton’s forthcoming album needs to either re-evaluate or be fired. Listen to “The One” here.
Mariah Carey: Beautiful ft. Miguel
If you don’t know already, music icon and “American Idol” judge, Mariah Carey, is in the studio working on her follow-up to 2009’s “Memoirs of an Imperfect Angel.” “Triumphant,” her 1st attempt at releasing new music, proved to be less than so with a lukewarm response from fans and critics alike. Unlike “Triumphant,” the new “Beautiful,” featuring the ever-sexy vocals of R&B’s Miguel, lives up to its title. Musically have a breezy, classic, old-school feel (I suspect it may be a sample), the track has a very golden warmth that makes it perfect for a summer playlist. Lyrically, it’s a different situation. Some might appreciate the whimsical, teenage-love likeness of it all, but coming from Mariah Carey (especially since it’s been 4 years) and a singer-songwriter like Miguel, you want to hear some lyrical profundity. The song fails to tell even the simplest of a story. My other issue with the single is that Miguel has the 1st verse. This was the problem with “Triumphant;” the featured rappers almost overpowered Carey and it was her own song. That aside, “Beautiful” is a promising tune and I look forward to seeing how Carey’s new project unfolds. Listen here.
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Chris Brown: Fine China

4/3/2013

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"Fine China" video still
Single and Video Review.
Obviously channeling an artist that came before you can either be viewed as an awesome homage with a fresh twist that shows what you’re capable of or as something that should’ve never happened. For Chris Brown, cultivating Michael Jackson musically, vocally and choreographically is the only thing that makes sense and it’s what we’ve been waiting for. In terms of dance, the MJ influence has always been present, but not as much as it is now musically and ‘tis tasty. His 1st single from the approaching 2013 album “X,” “Fine China,” sounds like it’s fresh off the MJ production line, being a sleek groove that’s somewhat theatrical and a merger between live instrumentation and the mechanical. The lyrics are decent, although I think there’s a better analogy for a woman’s matchlessness than fine china. The video, which you can view below, follows a Romeo & Juliet story we’ve seen before, but I still found myself glued to the computer screen wondering what was going to happen and enjoying the choreography. What are your thoughts? Is it like “Fine China?”

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John Legend: Who Do We Think We Are

3/29/2013

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Single Review.
After the very chill, but enjoyable “Once Again” and the last, disappointing “Evolver” that evolved to a place many didn’t care for John Legend to go to, the R&B crooner gives us something promising with his new single “Who Do We Think We Are,” featuring Rick Ross. Why every song needs a rap verse these days, I will never understand, but I digress. Ross’ verse is actually fairly complimentary to the song. Musically, “Think” is smooth and soulful with a contemporary touch; reminiscent of the production on Legend’s beloved debut “Get Lifted.” Lyrically, I would’ve loved the song more if its focus was on how he and his lover flaunt their love and joy as opposed to their wealth. It all comes off shallow. Nonetheless, I can see a music video treatment in my head already and find the song inviting. Will it be a huge hit? Maybe not, but who knows? “Who Do We Think We Are” is the 1st cut from the upcoming album, “Love in the Future.” You can listen to the song here.

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