Billboard Top 10 April 2015 Review


5 thoughts on “Billboard Top 10 April 2015 Review”

  1. #11. Don’t really have words for this one. I like Whitney Houston’s original (it’s not my favorite song I would religiously defend against detractors and copycats, but I still like it), and this song is just an average club tune which happens to re-use a hook from an older song, nothing more, nothing less.

    #9. I found this song about a month before it entered the top 10, and my first impression was that this was Flo Rida still trying to be relevant, succeeding by adding a breakdown with a saxophone riff, which seemed to be a thing this past year (see also: “Talk Dirty” and “Problem”), and failing by bringing in Sage the Gemini, who hadn’t been relevant since “Gas Pedal” in 2013, and I also thought the title was an attempt at being Drake and popularizing a short, catchy abbreviation, as he did with YOLO. Sage actually does up the track really nicely, his own verse being a step up from “Gas Pedal” and his chorus adds to an already sweet buildup. As for what Flo Rida contributed…well…sounds like his usual tropes, combined with the staccato Trap-rap flow that everyone seems to be ripping wholesale now. (Also, how did it take 14 people to write this? Low Rider only had 3 writers, who are credited here alongside Flo, Sage and this Lookas guy, who else is there?)

    #7. Haven’t heard of this band before now. I like this song enough, and their post-New Wave style (at least what they display on this song) is cool. The generic 2010s Indie Pop Rock-esque vocals bring it down a lot though. But on second listen, they don’t detract as much as I thought.

    #4. Ah yes, The glorious Weeknd is still charting. Admittedly, I like The Weeknd, especially his old mixtapes from when he was first gaining traction (Dark RnB beatwork with The Weeknd singing about…well…basically what he’s singing about here), but I definitely understand the creep factor that would turn someone off of his music. This song is alright, the vocals do clash strangely with the music, and having listened to more of the guy’s material, I guess it would be safe to say that this type of instrumental doesn’t go over well with his vocal style, and he’d need to…

    Okay actually it does go over okay, what really turns me off is the slightly detuned effect that seems to be placed on his voice here. Would his natural, singular voice not work better here? Fuck it, next.

    #3. I’m confused as to whether or not I like this. It’s generic as fuck, but the beat here (yeah yeah, the only reason people like it) feels like a throwback to the type of Pop-Rap that was making waves when ringtone sales were a thing in the 2000s; it also reminded me of several electronic artists I like whom pull influences from that whole thing (See Also: Rustie, Hudson Mohawke, basically anything posted to the r/dofflin subreddit [yes, that’s spelled correctly]). So should it have been an instrumental? Definitely.

    I should also mention that this song was released in 2014, before anything was known about To Pimp a Butterfly, making the comparison a little unfair. I still see your point, though.

    #1. God, this song is unbearably average. And…oh wow, another stylistic throwback, this time, to around 5 years ago when there were decent rap tunes tried to be contemplative or relatable and succeeded in that regard, but relied way too much on their annoying featured-guest hooks to carry the whole song (most obvious examples: Jay-Z’s “Empire State of Mind” and Tinie Tempah’s “Written in the Stars”). I don’t know if that counts as a throwback or if it’s always been here and continued after it died down.

    Whew, I finally give my thoughts on one of your countdowns, and said stuff I’d probably take back a week from now.

  2. Haha having lost an eye to cancer myself that Eye bit was hilarious, I am always tempted to make up a cool story about losing it.

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