On paper, having one of our top guilty pleasure jams of 2009, the Vistoso Bosses‘ unfortunate non-hit “Delirious”, be completely sapped it of it’s appealingly Crayola-hued, “Legend of Zelda”-meets-four-square wispiness for darker electro textures doesn’t seem like it would fly.
Yet, consistently impressive remixer/ producer Doctor Rosen Rosen ultimately makes this revision work, his heavy slabs of spooky synth gloom and typewriter drum machine ticks bringing a sinister heft to lines like “When you look in my eyes/ You make me delirious”, instantly transforming what was once this cutesy (and fairly harmless), teenybop crush ode into the beginnings of an exciting “Fatal Attraction”-for-the-high-school-set big screen thriller.
It’s hard to disagree with the classy and polished R&B diva route Mary J Blige has ventured into the past decade of her career: she’s more beautiful than ever, her voice is stronger, her personal growth is inspiring. At the same time though, there’s only so many re-writes of “Be Without You” one can take.
Are we saying we yearn for Blige to revert back to the always-wronged girlfriend/ wife role she seemed glued to in the opening phases of her career? No, not necessarily. But we do miss the sheer glee that arose once her church-grown vocal gymnastics were paired with the sounds of urban music’s past via old R&B and rap samples. Let us not forget, she is the Queen of Hip Hop-Soul.
Apparently, iconic rapper/ producer Marley Marl shares that same sentiment, as he’s taken it upon himself to give Blige’s latest single “I Am” some of that What’s The 411? flavor for this old school house party-approved remix.
Stapling the song’s “Ain’t nobody gonna love you better than I am” theme to the beat of T Ski Valley’s 1981 hip hop classic “Catch The Beat” (itself, one of the billion or so tunes to reference Taana Gardner’s “Heartbeat”), while adding a lil’ golden age braggadocio mic flair (“Who’s the king of the nineties? (I am)/ Who’s the king of the grind, B? (I am)/ Since you slept on a legend, step behind me…”), Marl swiftly resuscitates a track we would have probably forgotten all about in a couple months time, while simultaneously giving the kids a lil’ taste of why we fell in love with MJB in the first place oh so long ago.
Can this throwback sound please be the overall theme for Mary’s next album?
Ellie Goulding’s lightweight wisp of a voice may adhere well to her “Starry Eyed” single’s tender, child-like perspective on first love euphoria, but it’s in NY singer-songwriter Samuel (previously hyped here for his acoustic remake of The-Dream’s “Shawty Is The Shit”) and production team The Knocks‘ cover of the track that a far better song is crafted.
While The Knocks bring a much-needed heft to the tune’s fine, but slightly underwhelming, twee-tronica shimmer in their application of atmospheric synth washes and a toe-tapping downtown strut, Samuel’s breathy tenor acts as the perfect compliment to Ellie’s bird-like chirp, the combined power of their married vocals nicely illustrating (and making far less corny) the giddy lyrical visual of a newbie couple feeling like they’re being struck with lightning from eachother’s caressing touch.
Catch the original’s video below, followed by an MP3 of the Samuel/ Knocks remix.
Goulding’s debutLightsarrives in the UK in March; Samuel’s recently completed LP Trains To Wanderland is set for a later 2010 release.
Under Rosen’s helm, the bright and shiny crackle and pop that made “Telephone”’s original incarnation veer a little too Britney-esque and chaotic at times, is slightly downplayed for a darker electro-pop pulse, excitingly heightened by quirky, voice-affected breakdowns, fuzzed-out basslines, and a far-too-brief soul clap section around the three-minute mark (plus, it also doesn’t hurt that Beyonce’s portions are more successfully woven in here).
If only we had the power to sway label-heads (which, sigh, we don’t), we’d encourage them to use this version to accompany the forthcoming “Telephone” music video rather than the original.
By now you’ve probably heard the Major Lazer/ Nina Sky/ Ricky Blaze ‘09 delight “Keep It Goin’ Louder” re-spun a number of wildly different ways, but have you ever considered how good it might sound when re-fashioned with a ’50’s pop Phil Spector/ girl group twist?
That’s the vibe Vancouver remixer DJ Kutcorners goes for, and awesomely nails, on this ‘Surfs Up’ revamp, which marries Blaze and Sky’s already blissed out vocals with a clap-happy and twinkling chimes-adorned Wall of Sound groove that’ll have you wishing you had some kind of sock-hop-themed event to attend.
At one point we would have been more than happy to hear every rapper possible be featured on endless remixes of Consequence’s “Whatever You Want” because the track was just…that…good. Twomixes later though, we gotta admit that that idea has lost much of it’s appeal.
Most of that weariness arises from the fact that this much-anticipated third “Whatever” installment (a Bad Boy Remix, hyping the reunion of Diddy and once-again-protégées The LOX) completely fumbles at re-creating the fun-loving air of it’s predecessors.
We get that the street-toughened LOX never settled comfortably with the glittery suits/ money flashing/ ’80’s-pop sampling goings-on that framed Bad Boy’s late ’90’s heyday (that was the whole point of them leaving the label in the first place, right?), but you would think that given this second (Third? Fourth?) chance had a career re-ignition, the boys would sound a little more inspired than they do here.
Instead, they come across like they lost some sort of bet and were forced to appear here, contributing oh-so-bored verses about living the lavish life that make being wealthy feel as entertaining as clipping your toenails. Even Diddy, King of the Monotone Mic Presence, reads fatigued, sleep-walking his way through “throw your hands in the air” hype-man orders as if distracted by the thoughts of the hundred and one other things he’d rather be doing at the moment.
What’s the point of being excited about a LOX/ Diddy reconciliation if all the members involved still sound as disinterested in the situation as they did before the split up?
Shake away all lingering traces of doubt and save those “sophomore jinx” giggles for another band’s disastrous second go’ round. Why? Vampire Weekend’s Contra, the much-anticipated follow-up to the 2008 self-titled debut that rocked many a bloggers’ year-end round-up, has finally made it’s Web premiere (it’s currently streaming on the band’s MySpace) and…it’s…awesome.
On the surface, what the boys accomplish here isn’t too deep: they’ve simply taken the charming themes of the first album (the world-pop-focused melodic merriment, the random preppie life gibberish) and polished and expanded on them…a typical sophomore LP course of action. But in the playful and ever-awe-inspiring musical universe of VW, even the tiniest doses of ambition (be it more of a lenience on electronic-based musical textures, surprisingly moving first stabs in true balladry, or the inclusion of Auto-Tune[!?!]) go a long way.
Of the ten cuts (all single-worthy) being served, and excluding previously released delights “Horchata” and “Cousins”, for us, Contra definitely hits home-runs when it comes to “Run” and “Diplomat’s Son”.
On the former, singer Ezra Koenig is suddenly hit with the idea of going off on a romantic getaway for two, somewhere far away from “all the stars in bars” and all the gray-toned humdrum of 9-to-5 living, where he and his boo can enjoy the simple bliss of different surroundings and eachother’s conversation.
We never really learn if the duo actually act on this idea, but all the excitement built around him just putting the notion out there is satisfying enough, from the heartwarming way Ezra describes her eyes lighting up with surprise at his out-of-nowhere proposal, to the rumbling tribal-like percussion, sudden erupting bursts of horn-fare and the song-ending detour into new wave-inspired glee that all seem to illustrate his suggestion being the greatest plan ever.
The plotline to the six-minute long, hodgepodge masterpiece “Diplomat’s Son” also follows some sort of life-altering “a-ha!!” moment (“It’s not right/ But it’s now or never/ And if I wait/ Could I ever forgive myself?”) interspersed with beautifully detailed lyrical imagery (“The sight of dishes sittin’ in the bathtub”; “The moon glow(ing) yellow in the riptide”) and a tinge of nostalgia (“It was ‘81″), but that barely registers with importance when you’re being distracted by all the glorious going-ons happening in the backing arrangement.
A mechanized dancehall strut decorated with sampled M.I.A. chants, dreamy doo-wop background vox, frilly strings, Afro-pop bop and piano notes that can’t figure out if they want to portray a doo-wop or ragtime style, the production behind “Son” is a peculiar monster indeed; it’s also the best thing VW has ever put to tape…and that’s saying a lot for a band whose two full length albums so far released both feel like greatest hit comps.
Hear Contra, in it’s entirety here, but don’t forget to pick it up when it officially drops January 11th.
That’s the reality for pop newcomer Ke$ha and her debut single “Tik Tok”, an air-brainy, white girl rap concoction about on-the-budget “swagger”, Jack Daniels-assisted dental hygiene practices and spending booze-filled nights dodging “boys trying to touch my junk” at the local hot spots while in search for her ideal boy-toy: Dudes that “look like Mick Jagger” (cue puke in mouth).
It’s as unabashedly trashy as it is horrifically catchy (oh, who could deny that classic DJ-directed pop hook or the Twitter-iffically now opening line, “Wake up in the morning feelin’ like P Diddy”?) and basically pleading for some rapper to attach some equally hedonistic sixteen to it.
No surprise at all that that rapper ends up being guilty pleasure-magnet Pitbull, who fronts this remix with a verse that re-heats old ’90’s rap dialogue (“There’s some freaks in the living room getting it on and-”, yeah, we all know how that one ends) while providing other Spring Break in Cancun-centered lyrical fluff that will have your grandparents S-ing their DH’s in disgust.
Whether you dig it’s glitchy dance-pop inanity or chalk it up as Reason No. 5,864,221 why today’s music sucks balls, be prepared to hear it ad infinitum well into the Two Thousand and Dime.
Swedish blog-pop royalty Robyn has popped her remixing cherry with this “Rakamonie” twist on El Perro Del Mar’s possessing Love Is Not Pop highlight “Change of Heart”, decorating it with her vocals and a low-key electro-pop touch that basically makes it sound like one of her own records.
To our ears, the original, with it’s marvelously-executed, retro-baked allure, is still the better version, but Robyn does a solid enough remixing job on “Heart” to inspire mild anticipation for whatever tinkerings she may provide for other artists’ catalogues in the future.
With the return of Maxwell in 2009 giving male falsetto-led slow jam R&B it’s rightful throne-holder back, it almost feels unnecessary for Alan Thicke’s son to even be around anymore offering his comparably inferior take on the form.
Still, we’ll give Robin this: his fourth album lead single/ title track “Sex Therapy” slithers and seduces in all the right places, blending yet another retread of the steady-pulsing late-night R&B groove behind Ciara’s “Promise” (producer Polow Da Don helmed both), a brief lyrical nod to Twilight, and a hook inspired by Lesley Gore’s 1963 No. 1 “It’s My Party” (“It’s your body/ We’ll go hard if you want to/ As hard as you want to…”) with far more successful (and less hilarious) results than a merging of the three might seem on paper.
For the inevitable guest rap-laden remix, Thicke even has the smarts to employ Ludacris, who, even as he edges long-in-the-tooth rapper status, still manages to come out with goofy XXX winners like “Got the banana/ Now let me split you” that the tween-aged schoolyard set can no doubt appreciate.
As nice as it is to get free music, think of how much better your soul would feel if you purchased it the old-fashioned way.
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(MP3 posts are for promotional and/ or previewing purposes only; if any artist or their representation wish to have the links removed, contact me and I will happily comply!)
On paper, having one of our top guilty pleasure jams of 2009, the Vistoso Bosses‘ unfortunate non-hit “Delirious”, be completely sapped it of it’s appealingly Crayola-hued, “Legend of Zelda”-meets-four-square wispiness for darker electro textures doesn’t seem like it would fly.
Shake away all lingering traces of doubt and save those “sophomore jinx” giggles for another band’s disastrous second go’ round. Why? Vampire Weekend’s 
Who would’ve ever thunk that the uncredited female voice that co-signed Flo Rida’s Dead or Alive & oral sex pleasure-meshing hook on 
Swedish blog-pop royalty 
With the return of Maxwell in 2009 giving male falsetto-led slow jam R&B it’s rightful throne-holder back, it almost feels unnecessary for Alan Thicke’s son to even be around anymore offering his comparably inferior take on the form.
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