In this post, I'll be doing the Diet Coke version of bitching about S8 of The Voice; "musing"/"reflecting" 'n such stuffs. This is mainly to justify my case of being the loudest voice in a fairly extreme minority.
Remember, I started this blog and my recaps of the show back in S4 after Judith Hill AKA HRFH [Her Royal Fucking Highness] was getting way too much praise on the show and from esteemed critics such as Lyndsey Parker, Michael Slezak & the rotating list of Entertainment Weekly people.
So, after the jump, read some musings I have over how Season 8 of the NBC Program with Ratings has been in my indignant 4-eyes.
Thursday, April 30, 2015
Tuesday, April 28, 2015
The Voice S8: Will They Stay or Will I Go?
A LOT is riding on tonight's episode. With India and Koryn needing the votes and nothing else, their presence on the show is needed so I stay recapping for S8. If not, I ditch this until the Finale Results.
Depending on how WRONG the public gets it if my favorites go home, I won't even live-tweet the show as counter discourse this time. Seriously, this show has tried my patience in the past two seasons I'm not sure I want to watch Season 9.
Anyway, the question as always is...
After tonight...will I still be recapping S8 of The Voice?
Depending on how WRONG the public gets it if my favorites go home, I won't even live-tweet the show as counter discourse this time. Seriously, this show has tried my patience in the past two seasons I'm not sure I want to watch Season 9.
Anyway, the question as always is...
After tonight...will I still be recapping S8 of The Voice?
Monday, April 27, 2015
The Voice S8: Two to Objection (Tango)
First thing's first, a moment of silence for Deanna Johnson who was unjustly eliminated last episode. *moment of silence*
Tonight's episode title is in reference to the Shakira song "Objection (Tango)" and the fact The Voice coaches...except Shakira are back to act as special advisers. Here's the breakdown:
- Adam will have Usher advise Joshua Davis (Joshua fans are still terrible, awful, disgusting, repugnant and tone deaf creatures).
- Pharrell and Xtina will have Gwenscrew up yet again act as adviser for both of their teams.
- Blake will have Cee-Lo advise his team (Probably to pretend like Meghan Linsey is a "soul artist". -_- -_- -_- -_- -_- -_- -_- -_-)
Possible misguidance could happen (Xtina will probably sabotage India Carney with ANOTHER bad song choice because Xtina is simply an idiot in picking songs for her.) but at least it's cross Voice coaching so..."kewl" I suppose.
These are the nouns, pronouns, gerunds, marklar, banter, fuckery and FlirtCruiting that transpired...
Let's play rough and get it on!
Tonight's episode title is in reference to the Shakira song "Objection (Tango)" and the fact The Voice coaches...except Shakira are back to act as special advisers. Here's the breakdown:
- Adam will have Usher advise Joshua Davis (Joshua fans are still terrible, awful, disgusting, repugnant and tone deaf creatures).
- Pharrell and Xtina will have Gwen
- Blake will have Cee-Lo advise his team (Probably to pretend like Meghan Linsey is a "soul artist". -_- -_- -_- -_- -_- -_- -_- -_-)
Possible misguidance could happen (Xtina will probably sabotage India Carney with ANOTHER bad song choice because Xtina is simply an idiot in picking songs for her.) but at least it's cross Voice coaching so..."kewl" I suppose.
These are the nouns, pronouns, gerunds, marklar, banter, fuckery and FlirtCruiting that transpired...
Let's play rough and get it on!
Friday, April 24, 2015
This List is RANK: The Top 40 Kelis Songs of All Time
She's the most underrated female vocalist of the past 10-20 years; the one that at one point was tattooed on Nas' arm; Kelis has been slept on by everyone except those that know more than "Milkshake" and "Bossy" ft. Too $hort.
These are the 40 best offerings she's ever given in music [it was so tempting to make it 45, but limits within reason.] For reference, I'm considering her albums from Kaleidoscope to Food and select cuts from varied projects.
***NOTE: Wanderland in its entirety can be streamed in the U.S. on Grooveshark. No other streaming site has it. Only Grooveshark.***
40. "Breakfast" [from Food]- One of Kelis' more mature cuts, what has it ranking at #40 is that like its place on Food, "Breakfast" is a fabulous mood setter [even if it lacks immediate replay value]. Earnest lyricism and subtle traces of a newfound, smoky rasp add to this song's charm.
39. "22nd Century" [from Flesh Tone]- From Kelis' sole Interscope era album (Thanks for the dropping the ball, Will.i.am Music Group), "22nd Century" while laced with 90s club spun for the modern EDM obsessed market doesn't measure up in the long run against a lot of other Flesh Tone songs.
Still, its electric ambiance has it making the list over only 2 other tracks from the album [that are mentioned in the before #1 section].
38. "No Turning Back" [from Kaleidoscope]- While from the good company that is Kelis' debut album, this is easily the most lukewarm of the Kaleidoscope era songs to make the list [SPOILER: "Roller Rink" is nowhere to be found because it's flat out terrible.]
Still, Pharrell's slinky drumbeats add the unmistakable je ne sais quoi/x factor type vibe known in Kelis' early career.
37. "Wouldn't You Agree" ft. Justin Vince [from Kaleidoscope]- The closer to her debut is...well; melodramatic/operatic as fuck. Admittedly, this will take way more than one listen to appreciate. While the dialogue in the song is as frank and honest as anything Kelis has done, "Wouldn't You Agree" overall is plagued with uneven cadence and melodrama.
What has it at #37? Pharrell's production; apart from "Blurred Lines" and "ATM JAM", that man can do no wrong on production.
36. "Dreamer" [from Food]- The closer to Kelis' most recent effort isn't bad per se; it's just a bad closing track. Had this been in the middle, its oxymoron style fusion of exuberant ennui is just a bad way to end the mostly upbeat album. Still, there's an undeniable "menthol vocals" that gives the song a weird but deserving charm.
35. "Change" [from Food]- A cut from Food that exudes something of an Odyssey siren song, its melodrama isn't a total hindrance as it is...an acquired taste. Still, the instrumentals on this track take up 75% of this song's appeal alone and that's not a bad thing.
34. "Friday Fish Fry" [from Food]- Giving longshoreman realness, FFF is simply mood elevating goodness. Even if compared to other songs on this list it's "safe"/"tame", it's still a song worth blaring out loud due to its peppy funk.
33. "Glow" ft. Raphael Saadiq [from Tasty]- An overlooked collaborative effort from Kelis' 3rd album with help from Raphael Saadiq of Tony! Toni! Toné! fame. An undercurrent of Kelis' music is subtle sex appeal. Not simply "allure", but a sexiness that is both reflective of self and accessible.
Add in the fact that Raphael Saadiq's production is almost Pharrell level good and "Glow" should be able to shine right with the rest of Kelis' material.
32. "Acapella" [from Flesh Tone]- The lead single from Flesh Tone did give Kelis her first #1 hit...even if it was on the Dance charts. While the David Guetta production was catchy, "Acapella" possessing lyrical balance between "lofty" and "realistic" and the video for the song adding a layer of depth to it...
"Acapella" is just underwhelming if paired up against the oeuvre of Kelis' work.
31. "Mr. U.F.O. Man" ft. John Ostby [from Wanderland]- A lost track from a lost album in the States [Virgin Records can burn in hell for not releasing this album in the U.S. at all.] While up against the rest of Wanderland tracks here, it's 6th of 6 but still a bright spot in her work.
Mixing soul, gospel, funk and even a "pop" 808 drum, "Mr. U.F.O. Man" is a "conscious" song and spiritual funk done fabulously.
These are the 40 best offerings she's ever given in music [it was so tempting to make it 45, but limits within reason.] For reference, I'm considering her albums from Kaleidoscope to Food and select cuts from varied projects.
***NOTE: Wanderland in its entirety can be streamed in the U.S. on Grooveshark. No other streaming site has it. Only Grooveshark.***
40. "Breakfast" [from Food]- One of Kelis' more mature cuts, what has it ranking at #40 is that like its place on Food, "Breakfast" is a fabulous mood setter [even if it lacks immediate replay value]. Earnest lyricism and subtle traces of a newfound, smoky rasp add to this song's charm.
39. "22nd Century" [from Flesh Tone]- From Kelis' sole Interscope era album (Thanks for the dropping the ball, Will.i.am Music Group), "22nd Century" while laced with 90s club spun for the modern EDM obsessed market doesn't measure up in the long run against a lot of other Flesh Tone songs.
Still, its electric ambiance has it making the list over only 2 other tracks from the album [that are mentioned in the before #1 section].
38. "No Turning Back" [from Kaleidoscope]- While from the good company that is Kelis' debut album, this is easily the most lukewarm of the Kaleidoscope era songs to make the list [SPOILER: "Roller Rink" is nowhere to be found because it's flat out terrible.]
Still, Pharrell's slinky drumbeats add the unmistakable je ne sais quoi/x factor type vibe known in Kelis' early career.
37. "Wouldn't You Agree" ft. Justin Vince [from Kaleidoscope]- The closer to her debut is...well; melodramatic/operatic as fuck. Admittedly, this will take way more than one listen to appreciate. While the dialogue in the song is as frank and honest as anything Kelis has done, "Wouldn't You Agree" overall is plagued with uneven cadence and melodrama.
What has it at #37? Pharrell's production; apart from "Blurred Lines" and "ATM JAM", that man can do no wrong on production.
36. "Dreamer" [from Food]- The closer to Kelis' most recent effort isn't bad per se; it's just a bad closing track. Had this been in the middle, its oxymoron style fusion of exuberant ennui is just a bad way to end the mostly upbeat album. Still, there's an undeniable "menthol vocals" that gives the song a weird but deserving charm.
35. "Change" [from Food]- A cut from Food that exudes something of an Odyssey siren song, its melodrama isn't a total hindrance as it is...an acquired taste. Still, the instrumentals on this track take up 75% of this song's appeal alone and that's not a bad thing.
34. "Friday Fish Fry" [from Food]- Giving longshoreman realness, FFF is simply mood elevating goodness. Even if compared to other songs on this list it's "safe"/"tame", it's still a song worth blaring out loud due to its peppy funk.
33. "Glow" ft. Raphael Saadiq [from Tasty]- An overlooked collaborative effort from Kelis' 3rd album with help from Raphael Saadiq of Tony! Toni! Toné! fame. An undercurrent of Kelis' music is subtle sex appeal. Not simply "allure", but a sexiness that is both reflective of self and accessible.
Add in the fact that Raphael Saadiq's production is almost Pharrell level good and "Glow" should be able to shine right with the rest of Kelis' material.
32. "Acapella" [from Flesh Tone]- The lead single from Flesh Tone did give Kelis her first #1 hit...even if it was on the Dance charts. While the David Guetta production was catchy, "Acapella" possessing lyrical balance between "lofty" and "realistic" and the video for the song adding a layer of depth to it...
"Acapella" is just underwhelming if paired up against the oeuvre of Kelis' work.
31. "Mr. U.F.O. Man" ft. John Ostby [from Wanderland]- A lost track from a lost album in the States [Virgin Records can burn in hell for not releasing this album in the U.S. at all.] While up against the rest of Wanderland tracks here, it's 6th of 6 but still a bright spot in her work.
Mixing soul, gospel, funk and even a "pop" 808 drum, "Mr. U.F.O. Man" is a "conscious" song and spiritual funk done fabulously.
Thursday, April 23, 2015
This List is RANK: The Top 30 Azealia Banks Songs of All Time
She's the Harlem witch-hop mermaid who shut people up with her recent Coachella gigs. Azealia Banks is a hot potato in music but once you get past the bullshit, her music is the biggest reason her name has been thrown around. She raps, sings, raps in occasional Spanish and sings in occasional Spanish.
These contributions happen to be the 30 best instances of her talent. For reference, I'm considering more than her EP, 1991, mixtape, Fantasea and "proper" debut effort Broke with Expensive Taste. A remix or two may appear as well.
30. "ATM JAM" [the Kaytranada remix of the...attempted single]- Let's keep it real; "ATM JAM" on a good day is sub par Azealia material. Any other day, the song is just pitiful; that was until the Kaytranada remix of the song made its way to the YouTube-sphere. Lucid but captivating, this should've been the official version the song.
29. "BBD" [ported from Fantasea to BWET]- A song that on its own is decent, but comes to life in performances from Glastonbury to...well name a festival and she's played it. Shorthand for "Bad Bitches Do it", Banks' flow is at its most bubblegum/basic "swag" [for her] but it's as wonderfully vulgar and club friendly as the rest of her songs.
28. "Grand Scam" [lyrical exercise from early/MySpace era Azealia]- Sole purpose of "lyrical exercise" my ass with this. This is essentially a demo of what could've been a banging as fuck song. GS showed an early penchant for disciplined and stinging lyrical control.
27. "Fierce" [from Fantasea]- If you ever wondered what Paris is Burning would sound like in a Hip-Hop song, look no further. Drag queen audio spliced in with the "Baby Drag Queen" Azealia is known to be when feeling her oats in a song created a wonderful vogue-off worthy song.
26. "Seventeen" [early/MySpace era Azealia]- The first "serious" song she ever made ["I was seventeen and the song's called 'Seventeen'...sooooooooo deep. XD"], the line "Hot steppin' like Tekken" and a disturbing but not totally out of place sexual Azealia badgering that the age of consent is 17 O_- O_- shows that at 17, she gave no fucks.
These contributions happen to be the 30 best instances of her talent. For reference, I'm considering more than her EP, 1991, mixtape, Fantasea and "proper" debut effort Broke with Expensive Taste. A remix or two may appear as well.
30. "ATM JAM" [the Kaytranada remix of the...attempted single]- Let's keep it real; "ATM JAM" on a good day is sub par Azealia material. Any other day, the song is just pitiful; that was until the Kaytranada remix of the song made its way to the YouTube-sphere. Lucid but captivating, this should've been the official version the song.
29. "BBD" [ported from Fantasea to BWET]- A song that on its own is decent, but comes to life in performances from Glastonbury to...well name a festival and she's played it. Shorthand for "Bad Bitches Do it", Banks' flow is at its most bubblegum/basic "swag" [for her] but it's as wonderfully vulgar and club friendly as the rest of her songs.
28. "Grand Scam" [lyrical exercise from early/MySpace era Azealia]- Sole purpose of "lyrical exercise" my ass with this. This is essentially a demo of what could've been a banging as fuck song. GS showed an early penchant for disciplined and stinging lyrical control.
27. "Fierce" [from Fantasea]- If you ever wondered what Paris is Burning would sound like in a Hip-Hop song, look no further. Drag queen audio spliced in with the "Baby Drag Queen" Azealia is known to be when feeling her oats in a song created a wonderful vogue-off worthy song.
26. "Seventeen" [early/MySpace era Azealia]- The first "serious" song she ever made ["I was seventeen and the song's called 'Seventeen'...sooooooooo deep. XD"], the line "Hot steppin' like Tekken" and a disturbing but not totally out of place sexual Azealia badgering that the age of consent is 17 O_- O_- shows that at 17, she gave no fucks.
Tuesday, April 21, 2015
The Voice S8: Darth FATEr
Apologies for the reached and stretched reference to Darth Vader, but tonight determines just how many of my favorites will remain on S8 of the NBC Program with Ratings.
10 votes went to India, Deanna and Koryn per usual. The question is if you, the other viewers, did the right thing and rejected the critics.
So the biggest question as always is...
After tonight...will I still be recapping S8 of The Voice?
10 votes went to India, Deanna and Koryn per usual. The question is if you, the other viewers, did the right thing and rejected the critics.
So the biggest question as always is...
After tonight...will I still be recapping S8 of The Voice?
ALL MALE (Music) REVIEW SPECIAL: "Ghost Town" by Adam Lambert
In a special post (Which can double as a response to TheBacklot, Billboard, Fuse and just about every goddamn music outlet that cares about this), I decided to listen to the "much anticipated" lead single from Adam Lambert's upcoming 3rd studio album, The Original High, called "Ghost Town" (A song title that because of a space bar might incur the wrath or indifference from Madonna and her song "Ghosttown").
Initially, I groaned at the idea of Adam Lambert still having a music career as really one song of his is good ["Whataya Want From Me"]. Snippets of "Ghost Town" starting from his Instagram and spreadinglike a virus to entertainment outlets eventually became too much to put up with so here I am; giving my opinion on a lead single by a singer I normally stomach more than Sam Smith because Lambert was lucky with "Whataya Want From Me".
Released in lyric video form in the ass-crack of dawn, "Ghost Town" is a Max Martin produced track of EDM in the form of Electro-Campfire-LSD-Pop (Something you can blame on "FourFiveSeconds" or "Ghosttown" starting depending on which song you hate.)
For this one, I'm keeping it simple; there will be Good, MEH and Bad things about this song.
Here goes...
The Good: Believe it or not there is some good to "Ghost Town". The 1st and 2nd verse instrumentals play into the rising trend of 90s House Music re-surging in pop songs [thank you "Hideaway" by Kiesza; I wish more stations had the balls to play your music and I wish your label didn't suck at promoting you.]
How is the instrumental "addicting"? Max Martin. He's Swedish and all Swedish people know how to make Pop instrumentals.
The MEH: The vocals to "Ghost Town" for the most part are subtle Adam Lambert which is rare and semi-pleasant here. Is it "Whataya Want From Me" good vocals? NOPE. Simply put, just because he isn't "Arena Rock" anymore doesn't mean he miraculously became magical.
The BAD: Certain lyrics to "Ghost Town" are some of the dumbest and most pretentious in the last 5 years of pop. OH. MY. GOD are they bad.
Stupid lyrics:
- "I tried to believe/In God and James Dean/But Hollywood sold out..."
- "A city of Vampires/Tonight Elvis is dead/And everyone's spread/And love is a satire..."
I'm not kidding; somebody reading through the lyrics didn't make a Scooby-Doo "RUH ROH" noise and have them work on these lyrics.
The Verdict: The hype is way overdone, but "Ghost Town" may just be the 2nd Adam Lambert song I ever like. On a scale of 0-5, "Ghost Town" would get a generous 3.25 out of 5.
On a scale of 0-10, it'd get a generous 7.25 out of 10.
Watch the lyric video for yourself and give YOUR thoughts.
Initially, I groaned at the idea of Adam Lambert still having a music career as really one song of his is good ["Whataya Want From Me"]. Snippets of "Ghost Town" starting from his Instagram and spreading
Released in lyric video form in the ass-crack of dawn, "Ghost Town" is a Max Martin produced track of EDM in the form of Electro-Campfire-LSD-Pop (Something you can blame on "FourFiveSeconds" or "Ghosttown" starting depending on which song you hate.)
For this one, I'm keeping it simple; there will be Good, MEH and Bad things about this song.
Here goes...
The Good: Believe it or not there is some good to "Ghost Town". The 1st and 2nd verse instrumentals play into the rising trend of 90s House Music re-surging in pop songs [thank you "Hideaway" by Kiesza; I wish more stations had the balls to play your music and I wish your label didn't suck at promoting you.]
How is the instrumental "addicting"? Max Martin. He's Swedish and all Swedish people know how to make Pop instrumentals.
The MEH: The vocals to "Ghost Town" for the most part are subtle Adam Lambert which is rare and semi-pleasant here. Is it "Whataya Want From Me" good vocals? NOPE. Simply put, just because he isn't "Arena Rock" anymore doesn't mean he miraculously became magical.
The BAD: Certain lyrics to "Ghost Town" are some of the dumbest and most pretentious in the last 5 years of pop. OH. MY. GOD are they bad.
Stupid lyrics:
- "I tried to believe/In God and James Dean/But Hollywood sold out..."
- "A city of Vampires/Tonight Elvis is dead/And everyone's spread/And love is a satire..."
I'm not kidding; somebody reading through the lyrics didn't make a Scooby-Doo "RUH ROH" noise and have them work on these lyrics.
The Verdict: The hype is way overdone, but "Ghost Town" may just be the 2nd Adam Lambert song I ever like. On a scale of 0-5, "Ghost Town" would get a generous 3.25 out of 5.
On a scale of 0-10, it'd get a generous 7.25 out of 10.
Watch the lyric video for yourself and give YOUR thoughts.
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