Thursday, April 30, 2015
Of Note: ‘Universe’
Mohombi (Mohombi Nzasi Moupondo), formerly part of the Swedish hip-hop group Avalon, has been doing it solo since 2010. His first single, ‘Bumpy Ride’ was a big hit in Europe, going top ten in many countries. He’s had several others since, but not broken through in the U.S. ‘Universe’ is his latest and greatest and is looking to change that.
It’s currently on Billboard’s Club Play Dance charts (falling, after peaking at #7) and, with any luck, will grace the Hot 100 sometime soon.
It’s a great song; uplifting and sunny as the day is long with hooks to spare. I love the bridge and those chugging strings that drive the entire song. His vocals are dead on and I will be surprised if this one doesn’t find a wider audience.
Wednesday, April 29, 2015
Of Note: ‘Stranger’
by Jay Hayden and King Vodka
Ahh… there was a time in my life when this song would have pretty much summed up many of my wonderful one-off sexual encounters. Those days (for me) are gone, but this song still resonates with a sensual vibe which cannot be denied.
Jay Hayden (not to be confused with the actor of the same name), hails from Washington D.C. He is primarily a songwriter and producer, though he does perform live, as a solo artist, in the D.C. area, quite frequently. Back in 2010, Hayden hit the Billboard Top 100 with a single from his first album, ‘Love Counseling’, called ‘Nowhere’.
‘Stranger’, his latest release, with King Vodka, glides by on a voluptuous feather bed of late night lust inspired by one-too-many cocktails. Subtle and arousing, it’s the kind of old school, tasteful carnality one hears all too infrequently these days. Whether it finds a place on radio, other than urban R&B stations, remains to be seen.
Tuesday, April 28, 2015
Of Note: ‘Don’t Wanna Go Home’ by Duncan
Hmmm. Typically, I’m able to come up with some information on an artist. You know, a bit of background, some interesting facts… something. The song itself came out, according to Amazon, back in June of 2013 (January of 2013 - according to YouTube).
I did find a twitter feed on Scoopnest, but that appears to be seven months old.
He appeared on Daddy Yankee's last release, which was produced by The Cataracs. He appeard on the soundtrack for a rom com called 'New Year's Eve', and he released a song called 'On the Run' in 2015.
But, other than that, where an artist named Duncan is concerned, I keep coming up empty.
‘Don’t Wanna Go Home’ is a sweet slice of modern pop. Tasty. Nothing new, but perfectly tailored and impeccably styled.
So… who is this? Where is he from?
And why is the EP this song came from free on Amazon?
You should check it out, because ‘Don’t Wanna Go Home’ (not to be confused with the Jason Derulo song) is not the only selection on that EP worth a listen. I am also rather partial to ‘Last Night’ (feat. Katy Tiz & Ryland Blackinton).
Yeah, I know… it’s two years old, but… still tasty!
Friday, April 24, 2015
Thursday, April 23, 2015
Let's Dance 2015
I have been in a dance mood of late. It could have something to do with the promise of spring. Or it could have to do with my desire to be uplifted, transported, and elated.
These songs fill up my current dance card to the max. Some cheesy, some naughty, a couple of slices of perfect pop, a few served with a chill... but it all works for me.
Dig in and see if the same is true for you.
Wednesday, April 22, 2015
Of Note: ‘Cool’ by Alesso
I must be in a Swedish house music state of mind this week.
Don’t worry, this, too, shall pass.
Alesso hails from Sweden. In 2011, he hooked up with Ingrosso (currently part of Axwell and Ingrosso - see yesterday’s post) of Swedish House Mafia, who introduced him to the art of spinning. He took to it like a duck to water and in the process has worked with numerous artists (Avicii, OneRepublic, Calvin Harris, Usher, David Guetta) and seized the reins once held by Swedish House Mafia.
‘Cool’ is a cream-filled punsch-roll certain to pacify even the greediest sweet tooth. It bounces and glides by, hitting all the expected ebbs and ramp ups. Roy English’s vocals are as spot on as they are faceless. Like all fads, the overall sound’s shelf date looms as large as the bombast of the synths employed. It’s formulaic, for sure, but like the best Swedish pop, that is part, if not most, of its charm.
And charming it is.