Date: Sept 27, 2008
Weeks: 1
Pink is one of those singers that crept up on me. When she first came along, she seemed to be a fairly generic R&B singer and I dismissed her as not being terribly interesting. "Get The Party Started" seemed vaguely catchy but vapid. I liked "Don't Let Me Get Me" a little, but it seemed to be atypical of her work to that point. It wasn't until I heard this song in the Rock Band video game that
I discovered Pink had been making rock music with judicious traces of both Punk and R&B, and that her songs were catchy and fun.
The music is this song is excellent. It's a tightly performed, tightly produced rock song with a big wall of sound, and every part contributes to the whole in an excellent way. The lead guitar riff is excellent and attention-grabbing, and quits during the chorus so that it doesn't get annoying. The drum line is driving and is an absolute blast to clap along to. The chorus uses a synthesizer bass that I enjoy. I sometimes complain about synthesizers in the 80s, but by the late 90s and 2000s pop musicians had figured out how to use the particular timbre of synthesizers to their advantage. There's a higher-pitched, warbling snyth sound in the chorus that risks being superfluous, but it contributes to the intentional chaos of the overall sound
That chaos really seems to be the intent, because the lyrics are all about the anger of getting over an ended relationship. She's declaring that she's going to be fine for all kinds of reasons. "I don't need you." "I'm having more fun." And now she can see that the relationship wasn't that great anyway. "You weren't there. You never were." As many whiny, weepy, denial-based breakup songs as I've reviewed, I'm glad to find one that is the perfect song for the moment you realize that you're actually glad to be out of that relationship.
The vocals in the chorus are the part of the song that is probably the most fun. Rather than singing, Pink practically shouts. I bet this song is an absolute blast to see performed live, with the audience participating in a shout-along at the top of their lungs. In a clever touch, Pink gets to show off her actual vocal abilities by doing her own backup singing in the last chorus. In those backup flourishes, she actually opens up and sings in a way that feels raw and exposed and a bit painful. And I think it's that pain in her voice that gives me the interpretation that despite her brave front, she is a bit hurt by the breakup. I had that idea after listening to the song the first time and when I went back to review the lyrics I couldn't find any support for it. But then I realized it's not in the lyrics, it's in the vocals. Even though she's sure she's better off now, she's still a little hurt over it. And that depth is communicated in the performance rather than the music or the lyrics. And that's an excellent performance that can communicate that.
My verdict: Like it. It was just plain fun the first time I listened to it, and revealed hidden emotional depths after several listens. This song is everything pop music should aspire to be.
Showing posts with label 2008. Show all posts
Showing posts with label 2008. Show all posts
Friday, August 26, 2011
Saturday, April 16, 2011
Song #955: "Love In This Club" by Usher featuring Young Jeezy
Date: Mar 15, 2008
Weeks: 3
Usher seems to write a lot of songs about finding love on the floor of a dance club. In addition to "OMG" (#985), he has a song called "DJ Got Us Fallin' In Love." I guess there's a niche for songs like that. People go to dance clubs on dates and want a sexy song to amplify the mood, I suppose.
Even though the chorus is "I wanna make love in this club," Usher manages to keep it mostly metaphorical. Unlike Nelly, he doesn't literally want to get naked and have sex in the middle of the dance floor; he's practicing the art of seduction. At least until the point when he literally says he wants to get naked and have sex in the middle of the dance floor. "Let's both get undressed right here ... Imma give it to you nonstop and I don't care who's watchin'." Sigh. Can I choose to interpret that metaphorically, too? Like he's overcome with sexual energy and wants to have sex on the dance floor, but that doesn't necessarily mean that he will? No, I guess not. It was worth a try.
Even if I successfully persuaded myself that Usher's lyrics were metaphorical, Young Jeezy's rap lyrics would shatter my delusion. "On the couch, on the table, on the bar, or on the floor. You can meet me in the bathroom." It's like a dirty Dr. Seuss book. Young Jeezy demolishes any metaphor that Usher may be attempting to construct.
Usher has a great voice that adds to the sexy atmosphere he's trying to generate. That all works well enough until Young Jeezy comes along and ruins it with his grating and obnoxious voice. Young Jeezy does that thing that I really dislike in rap where he sounds like he's panting for breath after every line. Young Jeezy's voice also contrasts with the otherwise kind of delicate and sexy music and really breaks the mood.
The music is pretty good and is the most successfully sexy part of the song. The dominating synth sound consists of a fairly classic pop music chord progression. The bass beat is good and nicely varied throughout, which helps the song never feel stale. I also really like the bridge, with a descending piano leading into a complete breakdown in everything but the bass beat. I haven't actually heard this song in a dance club, but I've always liked those moments when a dance song gets quiet like that before kind of exploding back into its full energy. That's certainly a good moment in this song.
My verdict: Don't like it. This is a really close one. The music almost forgives all. But I have reservations about the lyrics and Young Jeezy's rap section is really obnoxious.
Weeks: 3
Usher seems to write a lot of songs about finding love on the floor of a dance club. In addition to "OMG" (#985), he has a song called "DJ Got Us Fallin' In Love." I guess there's a niche for songs like that. People go to dance clubs on dates and want a sexy song to amplify the mood, I suppose.
Even though the chorus is "I wanna make love in this club," Usher manages to keep it mostly metaphorical. Unlike Nelly, he doesn't literally want to get naked and have sex in the middle of the dance floor; he's practicing the art of seduction. At least until the point when he literally says he wants to get naked and have sex in the middle of the dance floor. "Let's both get undressed right here ... Imma give it to you nonstop and I don't care who's watchin'." Sigh. Can I choose to interpret that metaphorically, too? Like he's overcome with sexual energy and wants to have sex on the dance floor, but that doesn't necessarily mean that he will? No, I guess not. It was worth a try.
Even if I successfully persuaded myself that Usher's lyrics were metaphorical, Young Jeezy's rap lyrics would shatter my delusion. "On the couch, on the table, on the bar, or on the floor. You can meet me in the bathroom." It's like a dirty Dr. Seuss book. Young Jeezy demolishes any metaphor that Usher may be attempting to construct.
Usher has a great voice that adds to the sexy atmosphere he's trying to generate. That all works well enough until Young Jeezy comes along and ruins it with his grating and obnoxious voice. Young Jeezy does that thing that I really dislike in rap where he sounds like he's panting for breath after every line. Young Jeezy's voice also contrasts with the otherwise kind of delicate and sexy music and really breaks the mood.
The music is pretty good and is the most successfully sexy part of the song. The dominating synth sound consists of a fairly classic pop music chord progression. The bass beat is good and nicely varied throughout, which helps the song never feel stale. I also really like the bridge, with a descending piano leading into a complete breakdown in everything but the bass beat. I haven't actually heard this song in a dance club, but I've always liked those moments when a dance song gets quiet like that before kind of exploding back into its full energy. That's certainly a good moment in this song.
My verdict: Don't like it. This is a really close one. The music almost forgives all. But I have reservations about the lyrics and Young Jeezy's rap section is really obnoxious.
Wednesday, March 16, 2011
Song #961: "I Kissed a Girl" by Katy Perry
Date: July 5, 2008
Weeks: 7
The first time I heard about this song, I assumed it was a cover of Jill Sobule's 90s song of the same name. It's a unique title. I really like Jill Sobule's song. It's a song about the serious issue of exploring sexuality disguised beneath light and fluffy music and vocals. I was curious what had been done with it.
Instead, Katy Perry's song is very different, and quite the opposite. Light and fluffy lyrics describe a scene intended mainly to titillate while the music gets to the serious business of creating thumping bass to dance to.
Not that the song totally lacks serious consideration of the topic, with lyrics like "It felt so wrong, it felt so right" and "my head gets so confused." But that consideration is undermined by lyrics like "I kissed a girl just to try it" and "don't mean I'm in love tonight" and "you're my experimental game."
At risk of harping too much on the comparison between the two songs, I think the difference can be best realized by looking at the different lyrics about the two women's boyfriends. Sobule sings that her boyfriend proposed and says "I'm not giving him an answer yet, I think I can do better." She's not certain about this guy, and by the chorus, it's apparent she's decided she doesn't need him. Perry sings, "I hope my boyfriend don't mind it." She's made up her mind by the chorus that she's sticking with her boyfriend. And then she continues to spend two minutes singing about kissing the girl, just for the sake of getting attention.
I've heard Katy Perry criticized across the Internet for not having much vocal ability. That's clear in this song as you can hear her voice straining in some parts. And I assume Auto-Tune was used to improve her performance. The song deserves credit for using Auto-Tune as intended to correct pitch problems, rather than to create a performance with a fake sound.
I have to say, though, that although she may not be a conventionally talented singer, Perry's vocals fit the song. It's not necessary to sing well to make entertaining pop songs, as long as you can find the right piece of music to match.
And I really enjoy the music. The synthesized thumping bass, synth-guitar, and drum lines are varied and always stay fun. The vocals match the music, particularly when she sings "It felt so wrong, it felt so right, don't mean I'm in love tonight." In that moment, all the sound layers are clicking and they fit together to make a great pop music moment.
My verdict: Like it. This was a tough call because I really wanted to hate it for the lyrics. But the catchy song got stuck in my head and ruined that. Also, it got the annoying lyrics stuck in my head. Anyone know a good mashup or foreign-language translation I can listen to instead?
Weeks: 7
The first time I heard about this song, I assumed it was a cover of Jill Sobule's 90s song of the same name. It's a unique title. I really like Jill Sobule's song. It's a song about the serious issue of exploring sexuality disguised beneath light and fluffy music and vocals. I was curious what had been done with it.
Instead, Katy Perry's song is very different, and quite the opposite. Light and fluffy lyrics describe a scene intended mainly to titillate while the music gets to the serious business of creating thumping bass to dance to.
Not that the song totally lacks serious consideration of the topic, with lyrics like "It felt so wrong, it felt so right" and "my head gets so confused." But that consideration is undermined by lyrics like "I kissed a girl just to try it" and "don't mean I'm in love tonight" and "you're my experimental game."
At risk of harping too much on the comparison between the two songs, I think the difference can be best realized by looking at the different lyrics about the two women's boyfriends. Sobule sings that her boyfriend proposed and says "I'm not giving him an answer yet, I think I can do better." She's not certain about this guy, and by the chorus, it's apparent she's decided she doesn't need him. Perry sings, "I hope my boyfriend don't mind it." She's made up her mind by the chorus that she's sticking with her boyfriend. And then she continues to spend two minutes singing about kissing the girl, just for the sake of getting attention.
I've heard Katy Perry criticized across the Internet for not having much vocal ability. That's clear in this song as you can hear her voice straining in some parts. And I assume Auto-Tune was used to improve her performance. The song deserves credit for using Auto-Tune as intended to correct pitch problems, rather than to create a performance with a fake sound.
I have to say, though, that although she may not be a conventionally talented singer, Perry's vocals fit the song. It's not necessary to sing well to make entertaining pop songs, as long as you can find the right piece of music to match.
And I really enjoy the music. The synthesized thumping bass, synth-guitar, and drum lines are varied and always stay fun. The vocals match the music, particularly when she sings "It felt so wrong, it felt so right, don't mean I'm in love tonight." In that moment, all the sound layers are clicking and they fit together to make a great pop music moment.
My verdict: Like it. This was a tough call because I really wanted to hate it for the lyrics. But the catchy song got stuck in my head and ruined that. Also, it got the annoying lyrics stuck in my head. Anyone know a good mashup or foreign-language translation I can listen to instead?
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