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All posts for the month September, 2010

…a remake?

Digital Spy has the exclusive preview of Shayne Ward’s new single, and normally that would be a cause for celebration. However, the initial internet reaction has been less than receptive.

Let’s be honest…Nickelback doesn’t exactly spell credibility with the folks that are rooting for Shayne to succeed, let alone a Nickelback song that has recently been a hit. It would be one thing if he covered a song by another artist that didn’t make it big (see Joe McElderry’s “Ambitions” or Kris Allen’s “Live Like We’re Dying“), but unless Shayne’s bringing something so earth-shattering to the song that it’s basically a new song, the record-buying public probably won’t respond too enthusiastically. Part of the excitement in relaunching an artist is hearing NEW music, and that’s not what Shayne’s team has brought to the table, despite all of the promising leaks we’ve heard the past few months.

So here’s the deal…we are judging 60 seconds of a song that we haven’t heard in full, and feeling let down. And by “we”, I mean the folks who have already posted their opinions on forums like Digital Spy and Popjustice. Sex sells, and so the pics that have come out recently, combined with reports of a sexy video being shot next week, are taking Shayne in that direction. Who am I to complain about that? But at the end of all this, it’s a music career, not a modeling career. Unless he’s planning to be the new Calvin Klein model (which he’s very qualified to do), all of this is for naught if the music doesn’t deliver. Let’s just hope that happens.

[Update: The full version has now surfaced, and if you didn't know the Nickelback version of the song, you might not be as jaded. It's definitely a more contemporary arrangement, and not nearly as bad as the moaners would have you believe. In fact, it fits his voice pretty well.]

“Gotta Be Something” comes out November 7th in the UK, followed by the full-length Obsession on November 15th.

If you follow me on Twitter (@popmusicnotes), this is how I wrapped up the MTV Video Music Awards in 140 characters or less:

Drake – slick, Robyn – robbed, Taylor – can’t sing, Chelsea – not funny, Gaga & Eminem won a bunch, Kanye – freak, Florence owned it.

All opinion, and I know several people disagree with me on the Chelsea assessment, but I’ve seen her standup, and she’s a one-trick pony. Gets old quickly. Anyway, I did not come here today to talk about the host of the VMAs, but rather the highlight. Florence and the Machine absolutely stole the show with the Mount Olympus-esque performance of “Dog Days Are Over”, and the fruits of that are now starting to pay off. I saw the song get as high as #3 on iTunes on Monday, and currently it sits at #9. That’s pretty impressive for a song that was originally released in the UK back in 2008.

Having said this, it’s not like the song came out of nowhere…it was used heavily in the trailer for Eat Pray Love and was featured on shows like Mercy and Gossip Girl. America has responded to the VMAs spectacle by catapulting the song onto the Billboard Hot 100 at #93, and propelling Lungs up 56 spots to a new peak of #44 on the album chart. This is nothing new for Florence, though. “You’ve Got the Love” was utilized in the Christmas episode of Gavin and Stacey, and it peaked at #5 in the weeks that followed. Then Florence performed the song with Dizzee Rascal as a mashup called “You Got Dirtee Love” at this year’s Brit Awards, and she got all the way to #2. Say what you want, but the woman is extremely savvy in her song placement choices, although she also has solid songs that make an impact.

So now it’s up to American radio programmers. This song is an instant smash for Adult Top 40 stations just waiting to happen, since their demographic heard this song every time they clicked on that Eat Pray Love trailer on YouTube. Top 40 might be a stretch, but it could happen.

Once again, I find myself being sucked into the new season of X Factor, primarily because its US counterpart (American Idol) has become such a pitiful shell of its former self. While the X Factor tryout episodes are just as annoying at times as the US tryouts are, every once in a while you get a glimpse of talent so unexpected that it blows you away. Such is the case with 16-year-old Cher Lloyd, who blew the judges and live audience away with her performance of Keri Hilson’s cover of “Turn My Swag On”. To give some context, here’s the video for Keri’s take on the Soulja Boy original:

And then check out Cher’s intro and performance. This, my friends, is why I love the talent shows. Despite the fact that Cher is modeling her style and choreography off of Keri’s performance, she is a natural-born performer.

Honestly, I could watch that over and over and over again. If ever there was an example of someone having an X Factor, it’s Cher. Next stop is boot camp, and it has to be all but a given that she’s going to make it onto the main competition. If you watched the end of the audition video, you would swear that Cheryl was plotting some diabolical plan to steal either Cher’s talent or her soul. I haven’t decided which yet.

As for Keri Hilson, she should have an album coming out soon, although her release dates bounce around quite a bit if her debut CD is any indication. Idolator posted a new track called “Still a Girl”, and while Robbie likened the sound to TLC, I hear a LOT of Gabrielle’s “Dreams” in the backing track. Solid album cut, although I don’t think it has hit potential, but it’s an interesting direction for her. You have to wonder if “Turn My Swag On’ will end up on the new record, but in the meantime you can pick up the remix version of Soulja Boy’s track with Keri singing the hook at Amazon MP3 or iTunes.

What the heck…let’s close this out with a Gabrielle flashback. Rumor has it she is coming out with a new album in the near future.

Just prior to taking off for the mountains this past weekend, word was breaking that Kanye West had posted an apology to Taylor Swift via Twitter. Since I’ve spoken about this in the past, my initial instinct was to just let it blow over. However, it seems folks are still talking about how this was handled. My friend Will posted about the apology, and had some questions about the validity of the apology, as well as the artistic merits of Kanye. His post struck a chord with me for a couple of reasons.

I’ll start off by saying that I thought what Kanye did was tacky and completely uncalled for, and that he has shown both arrogance and immaturity in his personal appearances over the past five years. (I got into this a bit last year) Having said that, I think it’s fair to stick to the facts here and say that Kanye does sample music and lyrics that other artists have created, but what he does beyond those samples is pretty brilliant. Writing lyrics for a rap record is a genuine talent, and there is a reason that other artists come to Kanye to produce their records. If it was simply a matter of sampling someone else’s records, there are many others who can do that and do it well.

As for the samples themselves, many of them are not actual samples, but interpolations of the original. The original version of what Kanye interpolated from Lauryn Hill for “All Falls Down” was actually a live performance for her MTV Unplugged. The Daft Punk sample was much more direct, but what he did with it was simply brilliant. So brilliant, in fact, that Daft Punk actually performed live on TV with him on the Grammys. They had never performed live on TV prior to that, and on top of that, they even come out and complimented Kanye on expanding the sound from the original. When folks as innovative as Daft Punk can recognize what Kanye does, it seems like he’s moved beyond hired gun and into artist territory.

I hope this doesn’t come off as a full-on defense of Kanye, because it’s not meant to be. Kanye needs to do a lot more than just tweet an apology, and a pile of epic beats and lyrics won’t erase a long trail of bad behavior. He’s going to have to show and prove, and that will mean letting his actions represent the words that he uses. However, his personal actions cannot take away the brilliance of the music he has released, although they sure can taint it. A track like “Can’t Tell Me Nothin’” takes on new meaning when you put it into the context of the past year.

They say I talk with so much emphasis,
Oh, they’re so sensitive.
Don’t ever fix your lips like collagen
Say something were you gone end up apologising.

Everyone and their brother will be posting this, but this has to be a contender for Video of the Year. Cee-Lo has never been known for boring videos (see his Gnarls Barkley and Goodie Mob video output), but this one tells the story perfectly. Hopefully you already know that this is NSFW, but watch Cee-Lo grow up into The Lady Killer, which is also the name of his now hotly-anticipated solo CD dropping on December 7th.