MUSIC REVIEW GUIDE

IMMA BE- Black Eyed Peas

2010-02-20T07:12:00.000-08:00

From the Album: The E.N.D.
Released Date: December 15, 2009
Genre: Electrohop
Length: 4:16 (Album Version)
3:52 (Radio Edit)
Label: Interscope
Writer(s): T. Brenneck, M. Deller, D. Foder, K. Harris, Allen Pineda, J. Tankel, William Adams, Stacy Ferguson, Jaime Gomez
Producer: will.i.am

REVIEW GUIDE:

Just when that rubbery beat and boasting lyrics seem to outweigh their welcome, the Black Eyed Peas shift musical gears into a jazzy vibe that was well worth the wait. The opening of "Imma Be" seems jokey and gimmicky. It's the Black Eyed Peas style often jumped on by their critics. However, the closing section would silence most and demonstrate will.i.am and company are to be taken seriously.

The first time through you will be forgiven if the opening of "Imma Be" brings back bad memories of the Black Eyed Peas' notorious "My Humps" or Fergie's solo "London Bridge." However, when the closing jazzy section kicks in, you are likely to have a broad smile break across your face and realize once again why many of us treasure the breath of fresh air Black Eyed Peas bring to the pop landscape.

"Imma Be" is the fourth single from the album The E.N.D., and it's another instant top 10. The Black Eyed Peas have quickly moved from being a quirky, but radio-friendly pop-hip hop collective to being arguably the current dominant act in the US pop world. The futuristic vibe combined with samples and classic pop and hip hop hooks has proved irresistible to their fans.

Lyrically, there is no gold to be mined from "Imma Be," but once again, as usual in a Black Eyed Peas song, that is not the point. If the song gets your body moving, and you find yourself helplessly chanting "Imma be, imma be," it will be a job well done. Don't miss the epic 10 minute video which combines "Imma Be" with the group's next single "Rock That Body."

ALICE- Avril Lavigne

2010-02-13T06:40:00.000-08:00

From the Album: Almost Alice
Released Date: January 27, 2010
Format: CD, Digital Download
Recorded: 2009
Genre: Alternative rock
Length: 5:01 (album version)
3:34 (radio edit)
Label: Buena Vista
Writer(s): Avril Lavigne
Producer: Butch Walker

REVIEW GUIDE:

After a brief surreal introduction, "Alice" slides into pounding piano, percussion, and Avril Lavigne's voice expressing the confusion of Alice falling through that rabbit hole. Soon, however, confusion gives way to a rousing survival instinct. The world may have turned bizarre, but Avril as Alice insists, "I'll get by. I'll survive!"

To some it may be a bit on the shouty side, but producer Butch Walker wisely leaves in the rough edges of Avril Lavigne's vocal performance. This gives a sense of reality to the confusion encountered by Alice when she landed in Wonderland. The pounding piano and percussion also can be seen as an echo of Alice's own pounding heartbeat as she explores her new world.

Lyrically, with words of "trippin' out," Avril Lavigne brings Alice directly into a contemporary context. This will allow young fans to see more clearly the metaphorical application of Alice In Wonderland to contemporary issues and dilemmas. "Alice" works both as an emotional, dramatic evocation of struggles with confusing times in life, and setting the scene for the movie making listeners eager to see the story that generates this heart-pounding, raw statement of the survival instinct.

UNDER PRESSURE (ICE ICE BABY)- Jedward feat. Vanilla Ice

2010-02-11T07:55:00.000-08:00

Released: January 31, 2010 (download)
February 15, 2010 (CD)
Format: CD, Digital Download
Genre: Pop, Hip Hop
Label: Sony Music Entertainment
Written: Queen, David Bowie, and Vanilla Ice

REVIEW GUIDE:

This is the perfect opportunity to set aside any high concept, high art musical issues and realize that some of the very best pop music is simply Fun, with a capital "F." From the moment this pair took the stage at X Factor auditions, famed boy band manager Louis Walsh knew this pair of Irish twins had potential. Despite the fact Simon Cowell was moved to refer to them as "vile creatures," John and Edward Grimes, aka Jedward, have a major hit on their hands and the world looking like their oyster.

There will be those who dismiss this remake and mashup of the David Bowie and Queen classic "Under Pressure" with Vanilla Ice's notorious "Ice Ice Baby" as pop drivel. However, they will never understand the simple pleasures of some of the very best pop music. For the rest of us, listen to the first several bars and feel a huge smile break across your face. This is pure entertainment, and, even if this is the only major hit Jedward manage, the joy they spread in performances on X Factor and through release of this single will leave us forever in their debt.

Aside from the fun of hearing 90s one hit wonder Vanilla Ice pulled out of mothballs to join the twins John and Edward, the mix here is quite good. There is a jittery, high-strung, noisy sound that urges everyone to get on their feet. Taking a step back it is quite fascinating to hear the seamless move from the still powerful lyrics of "Under Pressure" to the mindless fun words of "Ice Ice Baby" and realize even that much thought is probably too much to truly appreciate this record.

Are Jedward here to stay or is this their peak moment on the world's stage? It is impossible to tell at this point, and I'm not sure it matters. There are nearly four minutes of ecstatic fun here, and this really is all you need as a pop fan to put a big smile on your face.

BABY- Justin Bieber feat. Ludacris

2010-02-11T06:31:00.000-08:00

From the Album: My World 2.0
Released: January 18, 2010
Format: Digital download
Genre: Synthpop, R&B, hip-hop
Length: 3:36
Label: Island, RBMG
Writer(s): Justin Bieber, Christopher "Tricky" Stewart, Terius "The-Dream" Nash, Christopher Bridges, Christina Milian
Producer: Tricky Stewart, The-Dream, Christina Milian

REVIEW GUIDE:

The whole thing may be a bit saccharine for some listeners, but there is good reason why Justin Bieber is stirring up a frenzy among tweens and their parents. Pop music doesn't get any better for 12 year olds. This is the best vehicle yet for Justin Bieber's sweet soulful voice, and its chart achievements should ultimately reflect that fact.

On "Baby," Justin Bieber sings as well as a young Michael Jacksona, the lyrics are pitched perfectly in reference to young love, and Ludacris demonstrates raps in a pop hit can be charming and safe for young children to hear. Add in tasteful strings, and this a pop confection that is first rate.

Significant credit here needs to go to the team of Tricky Stewart and The-Dream who connect here with Christina Milian to write and produce a single that is light but still substantial enough to keep you humming the tune all week. Stewart and The-Dream also worked on Justin Bieber's breakthrough single "One Time," but there is a confident, mature, and effortless sound here that goes well beyond that single.

With the team's stellar record of hits for others, "Baby" must be considered to have a chance to become Justin Bieber's first #1 pop smash. "Baby" is a model for what pre-teen pop can be. It will instantly excite many young fans, and then it is likely to make parents smile when they hear it, too, and understand why Justin Bieber makes an outstanding musical role model for their children.

TODAY WAS A FAIRYTALE- Taylor Swift

2010-02-11T06:23:00.000-08:00

From the Album: Valentine's Day Original Motion Picture Soundtrack
Released Date: January 19, 2010
Format: Digital download
Recorded: 2009
Genre: Country pop
Length: 4:01
Label: Big Machine
Writer(s): Taylor Swift

REVIEW GUIDE:

On the heels of winning an album of the year Grammy for "Fearless," Taylor Swift has scored another hit in "Today Was a Fairytale," a new song written for the film "Valentine's Day." The lyrics are driven more by sweeping emotion than by the kind of specific, youth-focused imagery found in Swift's recent singles "Fifteen" and "You Belong With Me." "Can you feel this magic in the air? It must've been the way you kissed me," Swift sings dreamily on the chorus. "Fell in love when I saw you standing there, it must've been the way/Today was a fairytale." Likewise, her vocals display a growing maturity that could entice her few remaining doubters. As Swift keeps growing as a songwriter and artist, songs like "Fairytale" will help her reach an even broader audience.

BLAH BLAH BLAH- Ke$ha feat. 3OH!3

2010-02-11T02:24:00.000-08:00

From the Album: Animal
Released: February 19, 2010
Format: CD single
Recorded: Lotzah Matzah Studios, New York City, New York
Genre: Electropop, dance-pop
Length: 2:52
Label: RCA
Writer(s): Kesha Sebert, Benjamin Levin, Neon Hitch, Sean Foreman
Producer: Benny Blanco

REVIEW GUIDE:

Artistic pretension is not really a part of Kesha's musical world. Crusading against drama in search of the perfect party pleasures is her world in song. You can criticize the point of view and the wisdom of presenting it as valid entertainment, but it is much more difficult to criticize Kesha's effectiveness in getting her point across and making it so catchy you do not easily forget it. Admittedly there is something exhilarating about a female solo singer who can now say, "Just show me where your dick's at."

Musically Kesha's work is a roiling kitchen sink of synths that revels in sloppy edges and irresistible choruses. The same was true of her massive debut "Tik Tok." Some credit clearly goes to 21 year old upcoming producer Benny Blanco. This is a young sound anchored in many musical textures that first emerged in the 80's.

The comparisons continue to float around with Lady Gaga at this point in 2009. It is not hard to imagine "Blah Blah Blah" being a second consecutive chart topper or at least top 5 hit for Kesha. As with Lady Gaga, these first songs do not strike the listener as particularly artful, but the honesty and artistic control is a breath of fresh air on the radio. If you can handle the point of view, "Blah Blah Blah" is a worthy major pop hit and one of the best party songs of the moment around.

TIK TOK- Ke$ha

2010-02-11T02:13:00.000-08:00

From the Album: Animal
Released Date: August 7, 2009
Format: CD single, Digital Download
Recorded: Conway Recording Studios, Los Angeles, California
Genre: Dance-pop, Electropop
Length: 3:20
Label: RCA
Writer(s): Kesha Sebert, Lukasz Gottwald, Benjamin Levin
Producer: Dr. Luke, Benny Blanco

REVIEW GUIDE:

After lending her vocals to Flo Rida's "Right Round," Ke$ha offers her own fun and frivolous ode to a wild night out. "TiK ToK" finds the 22-year-old singing teasingly about excess pleasures, from drinking ("Ain't got a care in the world but I got plenty of beer") to men ("We kick 'em to the curb unless they look like Mick Jagger"). In case that weren't enough, Ke$ha also alludes to brushing her teeth with a bottle of Jack Daniel's and name-drops Diddy, who provides a quick cameo for good measure. The song is a love letter to DJs everywhere, with hand claps that build to a crescendo of pure, infectious dance-pop. Ke$ha's debut album is due in late 2009, and with this first solo effort, the singer reveals a knack for getting the party started.-Kelsey Paine

BLACK BOX- Stan Walker

2010-02-11T02:02:00.000-08:00

From The Album: Introducing... Stan Walker
Released Date: November 22, 2009
Format: CD single, Digital download
Recorded: 2009
Genre: Pop, R&B
Length: 3:27
Label:Sony BMG Australia
Writer(s): Lucas Secon, Wayne Hector, Jonas Jeberg, Cutfather

REVIEW GUIDE:

In case you weren't aware, Stan Walker is the winner of 2009's Australian Idol, and judging by the dismal ratings of this year's Idol, there are more than a few who'll have no idea who he is.

Walker's first attempt at chart success is a ballad — about love. There are no surprises there. Every Idol winner debuts with a ballad — about love. However, using a plane's black box as a metaphor for the truth behind the end of a great love affair is a definite first.

If it wasn't for the cd cover plastered with Walker's name, you could be forgiven for thinking this was Idol's season-one winner Guy Sebastian and not season-seven winner Stan Walker.

The honeyed up vocals slipping and sliding over a generic R'n'B beat suggest the voting audience decided one Sebastian just wasn't enough. While the tune is guaranteed a number-one position on the charts, what isn't certain is a long-term career for Walker. Let the waiting game begin.

USE SOMEBODY- Kings of Leon

2009-12-10T07:14:00.000-08:00

From the Album: Only by the Night
Released Date: December 8, 2008
Format: Digital download, 7", CD
Recorded: 2008
Genre: Alternative rock
Length: 3:50
Label: RCA, Sony
Writer(s): Kings of Leon
Producer: Angelo Petraglia, Jacquire King
Certification: 2x Platinum (ARIA)
Platinum (RIAA), (BPI), (RIANZ)

REVIEW GUIDE:

So big, hip and popular are Kings of Leon at the moment that this latest single was even crooned by the tranny on a recent episode of Late Night Hollyoaks. Just as surprisingly, Kris Fisher/Gerard McCarthy actually managed to pull off his acoustic, Celtic-tinged rendition of 'Use Somebody'.

Anyway, it's not hard to see why this song appealed to the 'Oaks screenwriters. With its Springsteen-style "oooah-woooah"s, gathering storm of guitars and lusty, longing vocals from Caleb Followill, it's nearly as infectious as 'Sex On Fire'. Truth be told, there isn't very much going on beneath the stadium rock bluster, but Kings of Leon are doing the stadium rock bluster so well at the moment that few are likely to care.

I WILL NOT BOW- Breaking Benjamin

2009-12-09T07:34:00.000-08:00

From the Album: Dear Agony
Released: August 11, 2009 (Radio), August 31, 2009
Genre: Post-grunge, Alternative metal, Hard rock
Length: 3:36
Label: Hollywood Records
Writer(s): Benjamin Burnley Jasen Rauch

REVIEW GUIDE:

While Breaking Benjamin’s 4th studio album “Dear Agony” is still over a month away from release, the band had set the first single “I Will Not Bow” from “Dear Agony” free late Tuesday night. The release was prompted after the track was leaked to a Chicago radio station on Tuesday, the band felt it was necessary to release it to their MySpace page.

The track began streaming at 8pm Eastern Time on Breaking Benjamin’s MySpace website and has received nearly 73,000 plays since it’s release Tuesday night. Shortly afterward, the song began appearing on YouTube, the popular video sharing website from various users of the service. After listening to “I Will Not Bow” for the first time, I took a minute to digest it and immediately played it again, from the very first listen it felt very strong. The band sticks to it’s roots with “I Will Not Bow” and take their unique sound to the next level.

“I Will Not Bow” should see similar positions on the US Mainstream Rock charts as “So Cold” and “Breath” when they were released in 2004 and 2007 respectively. With the release of the film “Surrogates” coming to theaters a couple of days after “Dear Agony” hits the street, that should help boost requests for “I Will Not Bow” as it is a feature track on the films soundtrack. Overall, “I Will Not Bow” is a great song, and I look forward to hearing it on my local rock station next week, I know I will text, call or email my request to have it played. “I Will Not Bow” should be one of the most popular songs from the bands upcoming album, but if it’s any indication as to what the rest of the album sounds like, we may just be in for surprise.

Benjamin Burnley’s vocals are really great, he maintains his previous sound from past Breaking Benjamin albums and that’s alright with me.

DO I- Luke Bryan

2009-12-09T07:17:00.000-08:00

From the Album: Doin' My Thing
Released Date: 2009
Format: CD single
Recorded: 2009
Genre: Country
Length: 3:57
Label: Capitol Nashville
Writer(s): Luke Bryan, Dave Haywood, Charles Kelley
Producer: Jeff Stevens

REVIEW GUIDE:

If saying “I do” is the ultimate romantic gesture, then asking “Do I?” is its inverse—a romantic ultimatum. This new single from Luke Bryan’s upcoming sophomore album, Doin’ My Thing, concerns the gradual loss of passion in a relationship, culminating in a worried chorus that asks some pretty tough questions: “Do I turn you on at all when I kiss you, baby,” Bryan sings. “Do I have your love? Am I still enough?”

There’s nothing sordid or glamorous about those questions, which the Georgia native co-wrote with Lady Antebellum’s Charles Kelley and Dave Haywood. Rather, the scenario is all the more affecting for its mundanity. Every couple gets to this point in their relationship. Some work through it. Others don’t. “Do I” implies no hint of a happily ever after, and that ambiguity gives the lyrics extra impact.

Bryan’s performance implies very little, however. He’s a capable singer of upbeat songs like “All My Friends Say” and even on a nostalgic anthem such as “We Rode in Trucks,” which showcases a confident voice with a strange tone that occasionally threatens to morph into an ungainly honk. That vocal quality makes his more rock-oriented material sound excitable and catchy, especially on his iTunes-only EP Spring Break With All My Friends.

On “Do I,” he nails the melody technically, but never quite conveys much desperation or despair. There’s no worry in his voice, nor does it sound like he’s trying to keep a stoic front. Instead, he sounds slightly removed from the predicament he’s describing, which seems just beyond his dramatic range.

Musically, “Do I” trades in some of the more traditional country elements that distinguished his debut for a fairly bland rock-ballad arrangement. But Hillary Scott’s backing vocals stand out for their soulfulness–so much so that the Lady Antebelum singer should consider recording a cover–and an elegant fiddle sails through the verses creating an appropriately melancholy mood. These are the highlights of an otherwise half-hearted performance of a broken-hearted song.

DO YOU REMEMBER- Jay Sean feat. Sean Paul and Lil Wayne

2009-12-09T06:49:00.000-08:00

From the Album: All or Nothing
Released Date: November 3, 2009
Format: Digital download, CD single
Recorded: September 2009
Genre: Pop, R&B, Electropop
Length: 3:31 (Original version)
Label: Cash Money / Universal Republic
Writer(s): Jay Sean, Sean Paul, J-Remy, Bobby Bass, Jared Cotter, Frankie Storm, & J Perkins
Producer: J-Remy & Bobby Bass

REVIEW GUIDE:

With the lead single off his forthcoming U.S. debut album, Lil Wayne collabo Down, Jay Sean made an impact that won’t be soon forgotten – last week, the record hit number one on Billboard‘s Hot 100. Now, the Jayded/Cash Money/Universal Republic hitmaker is looking to build off that track’s tremendous momentum and make sure he stays at the forefront of the national consciousness with follow-up selection Do You Remember? On the newly-released single, Sean is joined by the ever-hyped Lil’ Jon and dancehall phenom Sean Paul as he attempts to repair a rocky relationship, hoping to rekindle that old spark by reminding his girl of all the great memories they’ve made together. Like Down, this jam has undeniable club/radio appeal – thanks in large part to J Remy & BobbyBass’ upbeat, string-led instrumental, which sounds… a lot like their boardwork on Down. DYR? may not be a drastic departure from its predecessor, but Sean’s recipe for number-one success yields an equally appetizing result the second time around. Fans can find more ear-pleasing R&B/club cuts on All or Nothing, set to hit stores everywhere Nov. 24.

MEET ME HALFWAY- Black Eyed Peas

2009-12-09T06:42:00.000-08:00

From the Album: The E.N.D.
Released Date: June 2, 2009 (Promo), September 22, 2009 (US)
October 2, 2009 (Australia), November 2, 2009 (UK)[3][4]
Recorded: 2008 – 2009
Genre: Nu-disco
Length: 4:44 (Album Version), 3:45 (Radio Edit)
Label: Interscope
Writer(s): Black Eyed Peas, Keith Harris, Jean Baptiste, Sylvia Gordon
Producer: Keith Harris, will.i.am

REVIEW GUIDE:

So what do you do to follow up two enormous hit singles that amount to the longest string of consecutive weeks at the top of the pop singles chart for any recording act? If you are the Black Eyed Peas you release another effortlessly melodic song that would sound equally outstanding on the radio or listening at home. It takes little stretch of the imagination to see "Meet Me Halfway" climbing the charts as well and possibly even being the group's third consecutive #1.

A key to the success of the Black Eyed Peas' dual chart-topping smash hits "Boom Boom Pow" and "I Gotta Feeling" is their ability to combine elements of past hit music with futuristic sounds in a way that makes the music timeless. "Meet Me Halfway" accomplishes the same feat once again. The beat here is classic disco, Fergie says she borrowed her vocal style from 80's memories, and yet the song incorporates a digital sheen and vocal effects that place "Meet Me Halfway" both in the moment and occupying a musical space that feels timeless.

Fergie has the clear lead vocal here. She will never blow someone away with a bombastic voice or an otherworldly vocal range. However, she has an almost tearful edge to her voice that makes nearly any of her performances sound soaked with emotion. "Meet Me Halfway" is no exception. With the focus clearly on Fergie, this could in some ways be seen as a solo effort. However, the style of the song fits better in the context of the Black Eyed Peas album The E.N.D. instead of Fergie's The Dutchess.

While imagining that "Meet Me Halfway" will spend another dozen weeks at the top of the pop singles chart for Black Eyed Peas seems beyond expectations, it really does not seem a stretch to imagine this song in the upper reaches of charts if not even at #1 for a period of time. The Black Eyed Peas are a band that have captured the zeitgeist of 2009 perfectly. These songs fit the pop environment of today, and they will sound just as good years from now as nostalgia pieces. "Meet Me Halfway" effortlessly continues the successful run of the Black Eyed Peas. You will be singing along with Fergie in no time.

RUSSIAN ROULETTE- Rihanna

2009-12-09T06:29:00.000-08:00

From the Album: Rated R
Released Date: October 20, 2009
Format: Airplay, Digital Download, CD single
Recorded: 2009
Genre: Pop
Length: 3:48
Label: Def Jam
Writer(s): Shaffer Smith, Robyn Fenty
Producer: Chuck Harmony

REVIEW GUIDE:

"Russian Roulette" will never be the crowd-pleaser that Rihanna's mega-hit "Umbrella" is. However, it is a work of gorgeous melancholy and dread. Frequent collaborator Ne-Yo helps take Rihanna into uncompromisingly adult territory in the wake of the domestic violence in her relationship with Chris Brown. "Russian Roulette" is dark, but there is beauty here as well. This is one of the more memorable of Rihanna's growing list of major pop hits.

The music world impatiently awaited Rihanna's artistic response to the tragic events that ended her romantic relationship with Chris Brown. What has appeared is one of the darkest singles released in recent memory by a major pop artist. The record begins with slightly strangled guitar, a heartbeat bass line, and a gasp. It moves just slightly quicker than a dirge and ends in a gunshot. The words create an extended metaphor of a difficult relationship as a game of Russian roulette. The end can come at any moment. What that end would look like is left to the imagination of the listener.

For those who have complained in the past that Rihanna's vocals were lacking in emotional engagement, "Russian Roulette" should put their concerns to rest. The dread and fear are so palpable that the song is painful at some points to hear. The lyrics give no indication of the specifics behind what the protagonist may be experiencing, but it is clear that it is wrenching and threatening.

This type of record should be no major surprise for those who have paid much close attention to Rihanna's evolution as an artist. Life and death metaphor emerged in her music clear back with the declaration of not wanting to be a "murderer" on "Unfaithful." Rihanna's recent "Disturbia" delved into a dark world of mental disturbance and was co-written by Chris Brown. With "Russian Roulette," she guides us even further into a murky, dangerous world and leaves us with an ambiguous end.

The gloomy atmosphere of "Russian Roulette" has not dented Rihanna's commercial fortunes thus far. In its third week on the Billboard Hot 100 it surged a stunning 66 notches to enter the top 10. It has been a fixture in the top 10 of sales on the iTunes site since release. Rihanna shows she has a strong enough audience base to take us all into a corner of the pop music world that perhaps needs a bit of illumination and a shock ending to keep us from getting too comfortable with the everyday pop world.

IF YOU ONLY KNEW- Shinedown

2009-12-09T06:24:00.000-08:00

From the Album: The Sound of Madness
Released: September, 2009
Format: CD single, Digital download
Genre: Post-grunge
Length: 3:46
Label: Atlantic
Writer(s): Brent Smith, Dave Bassett
Producer: Rob Cavallo

REVIEW GUIDE:

Shinedown's lead vocalist Brent Smith penned 'If You Only Knew' about his wife when he discovered fatherhood was on the horizon.

Writing about such a personal topic explains the reflective lyrics and the real passion heard in Smith's powerful vocals on their new single - a love ballad of a kind and one of the most epic-sounding three minutes to arrive from the Floridian quartet.

The immediate guitars and colossal drums are ideal for a stadium setting, yet the gleaming production of the studio version sounds just as majestic on the iPod.

Another powerful rock-gem, Shinedown prove their recent run of top-notch singles weren't flukes.

TEMPORARY HOME- Carrie Underwood

2009-12-09T06:09:00.000-08:00

From the Album: Play On
Released Date: October 20, 2009 (download), December 14, 2009 (CD single)
Format: CD single, digital download
Genre: Country
Length: 4:28 (album version)
Label: Arista Nashville
Writer(s): Carrie Underwood, Zac Maloy, Luke Laird
Producer: Mark Bright

REVIEW GUIDE:

The second single off of Carrie Underwood’s phenomenal 3rd album, Play On, is this stirring number titled “Temporary Home.” The song tells the story of 3 individuals, a foster-child, a single mom in a halfway house, and an old man on his death bed, who are experiencing hardship but realize that their current situation is only temporary, and that they will soon be on to something much, much better. Aside from the beautiful arrangement and vocals, the lyrics are exceptionally touching. In the final verse, Carrie sings “He looks up and says/I can see God’s face,” a lyric that’s so real it will surely shake some of the winter ice off of the hearts of many. The song is traditional country in sound, but Carrie takes a lot of chances with this one in that, while it’s similar in topic to the Paisley/Parton collaboration “When I Get Where I’m Going,” the lyrics are straight forward and very powerful.

Now on Carnival Ride I wasn’t sure how much of a hand Carrie had on her co-writes, but from interviews it seems that Carrie developed the concept, title and scenes for the entire song, something that I’m fairly impressed by. Even looking past the formula, the song earnestly tries to convey it’s religious message and it comes across loud and clear. It’s a little blunt; namely that even a casual country fan could see the last verse coming from a mile away, but the song is still effective. Luckily, even if it is a little blunt, “Temporary Home” is easily one of Carrie’s best vocal performances, only rivaled by “Someday When I Stop Loving You”, which is also from Play On.

Maybe it’s just because of my personal religious beliefs, but the song’s notion that this life is just a “temporary home” in preparation for the afterlife is very much how I see this life, and I bet many listeners everywhere will be able to relate. It’s also nice that she pays attention to some of the more maligned social groups, namely foster kids and moms in halfway houses- something that’s a little more rare in modern country songs. Honestly, it’s just a miracle that hobos weren’t chosen, if you ask me.

ALL THE RIGHT MOVES- One Republic

2009-12-08T22:45:00.000-08:00

From the Album: Waking Up
Released Date:
Worldwide: September 29, 2009
United Kindom: January 11, 2010
Germany: 2010
Recorded: 2008-2009
Genre: Alternative rock, pop rock
Length: 3:59
Label: Mosley, Interscope
Writer(s): Ryan Tedder

REVIEW GUIDE:

OneRepublic soared to the top of the pop singles chart with their first major release "Apologize," assisted significantly by the name power of their music industry angel Timbaland. Since that time OneRepublic's Ryan Tedder has become one of the most in demand songwriters and producers in the music business. Leading up to a new OneRepublic album, one of the clear questions has been whether Tedder spent his pop inventiveness and energy on other artists with little left for his own band. "All the Right Moves" should go a long way in easing any of those fears.

"All the Right Moves" is an outstanding example of Tedder sticking by this promise. The song rests on a massive hook around the lines, "All the right friends in all the right places, so yeah we're going down. They got all the right moves in all the right places, so yeah we're going down." The high speed drum rolls are irresistible as is a gorgeous piano and guitar break. This is definitively not an attempt to repeat the group's success with "Apologize," but the band demonstrates an exhilarating surefootedness with elements that can make a pop song irresistible.

Lyrically, the exact meaning and point of "All the Right Moves" is somewhat obscure, but the audio textures formed by the words fit perfectly into the sound of the record. The overall feel is of an air of sadness in not quite being able to achieve one's goals and aspirations with another. Regardless of whether you experience a depth of meaning, you are likely to be singing along.

Ryan Tedder and the band seem to have an endless inventory of sounds to use and layer as the song progresses. This structure prevents any possible boredom from the repetitive nature of the chorus. "All the Right Moves" is a recording lovingly structured by an expert at work. Tedder has spent much of the past year creating hit recordings for other artists as songwriter and/or producer. Here he shows that he did save some exciting "moves" for his own band.

OneRepublic's commercial success with "All the Right Moves" still remains up in the air. Although they can clearly put together stunning pop material, a clarity of identity and focus for the band that pop fans can easily recognize continues to be elusive. However, "All the Right Moves" is one of the true pop gems of late 2009. The album Waking Up should be awaited with eager anticipation.

HAPPY- Leona lewis

2009-12-08T22:21:00.000-08:00

From the Album: Echo
B-side: "Let It Rain", "Fly Here Now"
Released: 15 September 2009
Format: CD single, digital download
Recorded: 2009
Genre: Pop, R&B
Length: 4:02
Label: Syco / J
Writer(s): Evan Bogart, Leona Lewis, Ryan Tedder
Producer: Ryan Tedder

REVIEW GUIDE:

When one of the top big ballad singers discovered in the past five years, Leona Lewis, heads to the studio with arguably the top producer and songwriter of towering pop ballads, Ryan Tedder, you know there will be fireworks. However, there is no assurance of a masterpiece. "Happy" is masterful. It is one of the most genuinely moving and realistically inspirational songs in recent memory. There is a lot of pain laid bare in the words and Leona Lewis' voice, but the ultimate message is that happiness is something well worth the pain and the fight.

For those still blown away by "Bleeding Love," the pair of Leona Lewis and producer Ryan Tedder have an even more powerful song for you. There is the same stately elegance that puts the songs in a similar sonic category. A static, ambient chord kicks things off, but cascading piano soon kicks in and we end up with a trademark Tedder wall of percussion for the chorus. However, "Happy" is more mature lyrically than "Bleeding Love" and Leona Lewis' singing moves to a different level of interpretive power here. This is a stellar song delivered with a near perfect performance.

The song "Happy" details in words a concept that not taking chances may build a life of safety. However, it's those risks we choose to take that are necessary for truly being happy. Leona Lewis sings emphatically that she is going to dismiss the former advice in favor of the risks so that she can have the chance at finding happiness. The entire spirit of the song is encapsulated in the chorus, "So what if it hurts me, so what if I break down..."

Leona Lewis' vocals here move beyond simple power and bombast. She delivers the words with feeling that truly engages the listener emotionally. Her sense of drama is impeccable particularly with a stellar melismatic run that leads into the final verse. Lewis told The Sun, "The vocal was totally spontaneous. I sang it as soon as we finished writing. Sometimes it's better not to over-think things."

"Happy" exhibits what pop music is at its best. Melodically it is instantly memorable. The lyrics have a true power to move the listener, and the performance of Leona Lewis is one for the ages. That makes all of us who love pop music very very "Happy."

TIME FOR MIRACLE- Adam Lambert

2009-12-08T22:17:00.000-08:00

Released Date: October 18, 2009
Format: CD, digital
Recorded: July 2009–September 2009 in Los Angeles, California
Genre: Pop rock
Length: 4:43
Label: RCA/19
Writer(s): Alain Johannes, Natasha Shneider
Producer: Rob Cavallo

REVIEW GUIDE:

Perhaps Adam Lambert's single from the soundtrack to the epic disaster movie 2012 should be titled, "Maybe It's Time for a Power Ballad." The current pop music environment is so dominated by uptempo music at the moment, a true classic power ballad feels like an exhilarating breath of fresh air. Add to that feeling that this is also a very very good one that I suspect would make Jim Steinman and Aerosmith's Steven Tyler proud. Those who have waited patiently to hear new music from Adam Lambert are very unlikely to be disappointed with "Time for Miracles."

"Time for Miracles" makes sure it does not sound bland and ordinary from the very beginning. The opening chiming sounds almost sound a bit like holiday music and then there is an edge of country-rock blurring the direction the song might take. However, once Adam Lambert begins to sing 17 seconds in we know he will keep our focus on his voice sweeping away the production no matter how large. "Time for Miracles" plays heavily on Adam Lambert's ability to sing as if there is a vale of tears just beneath the surface of his vocals. It brings to mind his stunning performance of "Mad World" on American Idol.

The song "Time for Miracles" is powerful in its own right. The lyrics are specifically about a relationship in trouble, but the chorus, "Maybe its time for miracles," works quite well in trailers for 2012 as we watch the world itself falling into destruction. A miracle would seem the only option for saving our planet. In addition songs about miracles are naturals for the holiday season on its way. As Simon Cowell might say on American Idol, song choice can be everything.

Producer Rob Cavallo, the man best known for his work on Green Day's epic American Idiot, provides an arrangement dense with strings and screaming guitars. The sheer volume of the backing track allows Adam Lambert to explode into his stunning upper vocal range without overpowering the rest of the recording. He can swagger and sway through the song to his heart's content.

"Time for Miracles" is likely to be one of the bestselling singles yet by an American Idol contestant with the anticipation built up for this record and the fact that it delivers quite admirably on Adam's Lambert promise that he demonstrated last spring. It is a month out from the release of the still untitled solo album, but "Time for Miracles" is likely to ratchet up the anticipation a few more levels. Adam Lambert is one of the most exciting new recording artists to appear on the pop music scene in the past decade.

OBSESSED- Mariah Carey

2009-12-04T00:45:00.000-08:00

From the Album: Memoirs of an Imperfect Angel
Released Date: June 16, 2009
Format: CD single, Digital Download
Recorded: 2009
Genre: Pop, R&B, Hip Hop
Length: 4:04
Label: Island
Writer(s): Mariah Carey, Christopher "Tricky" Stewart, The-Dream
Producers: Mariah Carey, The-Dream, Christopher "Tricky" Stewart
Certification: Platinum (RIAA), Gold (ARIA)

REVIEW GUIDE:

"Obsessed" is certainly a change of pace for Mariah Carey who has built one of the most phenomenal pop music careers of all time out of songs primarily about love, sex and inspiration. The new single is a very direct, bordering on nasty, dis reportedly of Eminem but probably of others as well. Lyrically "Obsessed" is interesting, but musically it just doesn't hold up with the standard of Mariah Carey's other work. She sounds surprisingly bored for the words she is singing.

Mariah Carey is clearly settling scores on "Obsessed," but she sounds more like she's making a narcotized plea over the phone. Mariah could learn a thing or two from Britney Spears in this department. The auto-tune drenching of much of the song does not help matters. Those having similar issues in life will surely grab some of the more clever lyrical put-downs here, but the music, a plodding, repetitive beat with little melody, is forgettable.

The most prominent speculation is that this song is a response to Eminem and his track "Bagpipes from Baghdad" where he takes on Carey's husband Nick Cannon. If indeed Eminem is the target, the pithy line, "You a mom and pop, I’m a corporation, I’m the press conference, you a conversation," rings a bit of playground sniping rather than being based in reality considering these are two of the biggest pop stars of all time. However, it will be interesting to see if musical feuding between two major stars is a commercial goldmine for Universal, the home to both artists. If so, expect to see more of this in the future.

One of the most disappointing aspects of "Obsessed" is that an artist with Mariah Carey's career record has elected to choose a bitter, musically weak recording to kick off a major new studio album. Her vocals, historically among the most memorable in pop music history, are drowned by auto-tune leaving a faceless drone on the chorus. I hope she has indeed settled her score here and on the album Memoirs of an Imperfect Angel she will return to songs worthy of her talent.

BAD ROMANCE- Lady Gaga

2009-12-03T02:51:00.000-08:00

From the Album: The Fame Master
Released Date: October 25, 2009
Recorded: 2009
Genre: Electropop, dance-pop
Length: 4:54
Label: Interscope
Writers: RedOne, Lady Gaga
Producer: RedOne

REVIEW GUIDE:

Lady Gaga lets the love monsters out of the closet and they are stepping to a martial beat. If you had any fears that Gaga would be a one album flash in the pan, the room filling beats and melodies of "Bad Romance" should help dispel them. The song is an intense litany of nearly pathological romantic entanglements all set to beats designed to crowd the dance floor. Lady Gaga's singing is at its best so far here as she moves from snarling threats to floating sweetness and back again.

"Rah-rah-ah-ah-ah! Roma-Roma-ma-ah! Ga-ga-ooh-la-la! Want your bad romance!" It's Lady GaGa's call to arms against the monsters of negative love relationships. This is one of the songs she wrote over the last year while touring and turning into one of the world's biggest pop stars. She has stated in press releases that the songs are all about the various monsters she faced during the time. One of those was the love monster. RedOne is back in the collaboration chair, and this is their biggest achievement yet.

"Bad Romance" may not be as instantly engaging as "Poker Face" or "LoveGame," but songs about the seamier, uglier side of life do not endear themselves quite as quickly. However, seen in the light of the love monsters it is attempting to chase down, "Bad Romance" becomes a powerfully cathartic exercise.

Musically, "Bad Romance" is a creature of the fashion runway. It was no coincidence that the song had its official premier in Paris fashion week. The music is a perfect, driving soundtrack for viewing arresting fashion designs. However, it remains quite listenable and danceable apart from that context. It is a reminder that the Lady Gaga experience is visual as well as musical. The full effect involves video, clothing, and stage sets in addition to sounds.

"Bad Romance" should easily keep Lady Gaga front and center in the very crowded pre-holiday music release schedule. It is an intriguing introduction to the eight new songs that will be included on the re-release of The Fame titled The Fame Monster. There is depth here that goes well beyond the party and drink atmosphere where we first met Lady Gaga on "Just Dance."

FIFTEEN- Taylor Swift

2009-11-20T02:05:00.000-08:00

From the Album: Fearless
B-side: You Belong With Me (Radio Mix)
Released: October 9 2009
Format: Digital Download, CD Single
Genre: Country, Pop
Length: 4:45 (ASlbum Versin)
Label: Big Machine Records
Writer: Taylor Swift
Producer: Nathan Chapman, Taylor Swift

REVIEW GUIDE:

So far with Taylor Swift’s new singles, I’ve noticed a pattern. While the first and third singles (“Love Story” and “You Belong With Me”) from Fearless were both a little faster and remixed to pop radio, the other two (“White Horse” and “Fifteen”) are slower songs that stay within Country radio. Fortunately, the slower songs are much better than the faster songs, as is the case with “Fifteen”.

The word that comes to mind when I hear this song is real. When you hear this song there is no doubt that Swift isn’t being genuine: she has lived this song and so have many other people. She took her real high school experience and translated it effortlessly into a song. Even if you’re not a teenager, we’ve all had someone who’s lied and said that they loved us and we believed them, and we’ve all wanted to go back in time and give ourselves advice.
So when you hear this song, don’t blow it off as a teenagers-only song, look at it for what it is: truth. In my opinion true country music personifies truth, gives it a voice and a melody and puts it out there for what it is- whether it be beautiful truth or the ugly truth of life. In that sense, this song is country because there are so many real people who live this song every day, whether we know it or not, or even care. This song is for them, all the “Abigails” out there.

Furthermore, while this song has a pop sound, it still sounds great with a mostly acoustic backing that never tries to be more than it is. The song perfectly matches Taylor’s voice, and she actually sounds good for the most part. It’s got that frank tone that sounds like it’s coming from a teenager, because it is.

This is by far my favorite Taylor Swift song, so I’m glad it got sent to radio because it’s her best song yet. Even if you hate her music, give this one a chance: it’s worth it.

PARTY IN THE U.S.A.- Miley Cyrus

2009-11-20T01:14:00.000-08:00

From the Album: The Time of Our Lives
Released Date: August 11, 2009
Format: Digital Download
Recorded: 2009; 3180 Media Group (Savanna, Georgia)
Genre: Synthpop, Pop
Length: 3:22
Label: Hollywood Records
Write(s): Lukasz Gottwald, Claude Kelly, Jessica Cornish
Producer: Lukasz Gottwald

REVIEW GIUDE:

Miley Cyrus' latest is a reflection on the arrival of an out of town success story in Hollywood for the first time. Lyrically interesting and musically engaging in a somewhat downbeat way, "Party in the USA" represents yet another step in the gradual maturation of Miley Cyrus as a pop artist. She made "The Climb" an inspirational smash, and there is no reason "Party in the USA" should stop her momentum.

With a title like "Party in the USA," most fans would expect this latest single to be a rousing hands in the air track. Instead, it is a midtempo reflective song that tells a tale of an out of town success and her first arrival in Hollywood. If the song is accurate, we now know that Jay-Z and Britney Spears are two of Miley Cyrus' favorite and most comforting fellow artists. Hearing their songs on the radio helps her know everything is going to work out.

One of the unique aspects of Miley Cyrus' performance style among current pop artists is that she retains a country edge to her voice when she is performing straightforward pop songs. This works to give her as wide a fan base as possible while she slowly matures into an adult pop artist. With a somewhat different instrumental arrangement "Party in the USA" could easily become a country recording.

"Party in the USA" is the first track from Miley Cyrus' upcoming EP The Time of Our Lives. It will be released at the end of August 2009 and marketed exclusively through Wal-Mart stores. Miley Cyrus generated some controversy when she performed "Party in the USA" at the 2009 Teen Choice Awards. She was decked out in leather with a dance pole. Any artist's emergence from being a child or teen star into an adult persona is difficult. If "Party in the USA" as a recording points in the direction Miley Cyrus is likely to go, she will be a powerful voice in pop music for years to come.

COWBOY CASANOVA- Carrie Underwood

2009-11-17T01:21:00.000-08:00

From the Album: Play On
Date Released: September 14, 2009
Format: CD Single, Digital Download
Genre: Pop Country
Length: 3:53 (Album Version) 3:41 (Radio Edit)
Label: Arista Nashville
Writer(s): Mike Elizondo, Brett James, Carrie Underwood
Producer: Mark Bright

REVIEW GUIDE:

A while back I must have become a follower of Carrie Underwood on Facebook, because after returning from the library, I saw a notice of her new single on my news feed- and I decided to give it a listen. I enjoyed Carnival Ride at first, but after a while, I got sick of it and her screaming singing (with exceptions for “I Know You Won’t”, “Wheel Of The World” and “I Told You So”). Needless to say, I wasn’t looking forward to Play On, Carrie’s upcoming album that drops on November 3rd.

Starting out, this song screams Shania Twain, with its strong girl message and fusion of electric guitar, fiddle and steel guitar that all flow in and out of each other throughout the song. It’s a very cool sound, sounding a little like Brad Paisley’s recent album, albeit with less imaginative electric guitar parts. It’s not full-on country, but it’s definitely more country than pop and would never sound at home anywhere near the pop charts.

Carrie doesn’t scream, but sings strongly, reminiscent of Martina McBride’s shift in vocal style on her newest album. She growls a little and doesn’t try to rupture eardrums, and any higher notes really fit in with the song. In “Last Name”, she didn’t really seem to get the joke of the song and sounded empty, but not so on this song. She’s warning a girl about the “good time cowboy casanova, leanin’ up against the record machine.” She disses him with lines about “candy-coated misery” and “blue-eyed snakes” that show Carrie does have a personality behind the American Idol machinations- something rare among idol alums.

This Shania-styled smash is by far my favorite Carrie song yet, and manages to remind of me Shania while not sounding like a knock-off. It’s got the vocals, the interesting production and the attitude that all make a good single. I hope I like her new album as much as this… We’ll see, but for now, this is good.

FIREFLIES- Owl City

2009-11-17T00:50:00.000-08:00

From the Album: Ocean Eyes
Released Date: July 2009
Format: Digital Download
Recorded: 2008 or 2009
Genre: Synthpop, Electropop, Alternative Dance
Lenght: 3:48
Producer: Adam Young

REVIEW GUIDE:

It started out in a Minnesota bedroom, and now Owl City, a one-man project by Adam Young, is invading the pop singles chart. "Fireflies" is filled with whimsy from its lyrics about ten million fireflies to the sweetly simple melodies. It's difficult to listen to "Fireflies" without a smile creeping across your face.

From the first synthesizer blips that kick off "Fireflies," you feel yourself being taken off to a playful and fanciful musical world. It's no surprise then that the song's lyrics unveil thoughts about such unlikely top 40 songs topics as lightning bugs, dancing, and insomnia. Some may find the content a bit twee, but it could also be seen as a refreshing turn to elements of real life devoid of the intense drama of love and relationships.

The synthesized melodies gradually crescendo to a cathartic chorus giving the music some gravity just when it could drown in a sea of sugary sweetness. Recording effects help Adam Young add interest to vocals that otherwise could feel rather ordinary. The power in "Fireflies" is not simply in its whimsy. Creative musical arrangements distinguish Owl City from a crowd of solo musical projects.

The success of "Fireflies" demonstrates both the power and the vitality of social networking communities. Adam Young came to the attention of the pop music world through posting of his creations to MySpace. It is difficult to imagine discovering music like this in any other way, and the world of "10 million fireflies" is not one we would want to miss.

LIVE LIKE WE'RE DYING- Kris Allen

2009-11-17T00:15:00.000-08:00

Released Date: September, 2009
Format: CD Single, Digital Download
Recorded: 2009
Genre: Pop
Length: 3:32
Label: Jive
Writer(s): Andrew Frampton, Steve Kipner, Danny O'Donoghue, Mark Sheehan
Producer: Andrew Frampton, Steve Kipner

REVIEW GUIDE:

Kris Allen sounds here like an American Idol champion should sound. His version of "Live Like We're Dying," originally recorded by the Irish band the Script, is possibly the best first post-American Idol single yet by an American Idol champion. This record demonstrates again that one of the primary keys to the success of Kris Allen as a performer and now recording artist is almost uncanny skill at selecting material to sing that maximizes the presentation of his talents. It's very easy here to envision Kris Allen giving an energetic and engaging live performance.

"Live Like We're Dying" is a great inspirational pop song. It would deserve to be a major hit in its original form by the Script. However, Kris Allen does take the sound a step further with a muscular and engaged vocal performance. He wisely sidesteps presenting a laidback singer-songwriter style single, and instead "Live Like We're Dying" is a recording that could appeal to a massive audience. Mainstream pop, contemporary Christian, adult contemporary, and rock fans can all find something here to love.

One of the gifts that American Idol has given to mainstream pop music is a cadre of artists with real vocal talents that require no electrical enhancement to sound great on record. They will still sink on record without quality songs to sing and an aptitude for interpreting songs to their audience, but with quality material the vocals can be allowed to soar. Kris Allen's vocals here sound great. The instrumental arrangement can break down to little more than his voice, and he still sounds impressive.

For avid American Idol fans, Kris Allen has laid down the challenge to Adam Lambert as well. It almost seems like we've seen this story before. Adam Lambert certainly won the battle for press attention during this year's American Idol season, but ultimately the quietly confident approach of Kris Allen won. Since American Idol ended, Adam Lambert has been a clear press favorite even appearing on the cover of Rolling Stone, but this single by Kris Allen is not just acceptable, it is excellent. He sounds like a champion.