Warning... this is an adult site. If reading or viewing things about what gay men do sexually with one another bothers you - you should not read this blog. This blog is a reflection of my adventures and thoughts. Some are fun, some not so pretty. I won't name names, or kiss and tell... but I will live to tell. And baby, trust me - I am gonna spill it all over your pretty little party dress. Enjoy!
This is my current playlist. It took me forever to figure out how to download that damn free U2 album, and that is why two of their songs are on this list. That album took home a lot of 'Best of the Year' awards last year. I am thinking they deserved them.
The rest is a the usual mixed lot. Erkia Jayne proves more versatile than previously thought on the Black Eyed Peas inspired 'Crazy'. Tove Lo pushes her way back into the Top 40 for a third time with the entertaining 'Talking Body', while Zedd (feat. Selena Gomez) takes a trip back in time to create the rather rote dance floor pleaser 'I Want You To Know'. Tori Kelly is currently rumbling about in the lower 75 of the Hot 100 with the surprisingly catchy 'Nobody Love'. The song feels patched together, but it works, thanks to the vocal chops of Ms. Kelly. And who could deny those horns?
The rest range from dance floor fodder to high art - several of which, I am sure, will be featured as part of my 'Of Note' series, in the near future. Enjoy!
As I
was syncing my nano iPod, I began to hobble together a new play list. Seems there were about 32 songs I’d
downloaded (most for free), but never gotten around to giving the time of day. So, I thought I’d share my thoughts on some
of the cream of that crop.
And
guess what? I really like most of them. A plethora of new acts, to be sure, but a couple of
veterans managed to slip in there, making for an eclectic, interesting ride.
Enjoy!
Sideways
Wrabel
This
one has been on my Nano for a while now, but I only started paying real attention
to it this week. Maybe it was the corny
saloon singer opening, reminiscent of Ray Davies of the Kinks, which had me
hitting the fast forward button. My advice? Stick it out, because ‘Sideways’ ends up
revealing a totally different performer.
His
aching falsetto and the slight Disclosure-like setting are sure to draw
comparisons to Sam Smith. And, though
not as soulful as Smith, Wrabel (of Afrojack’s ‘Ten Feet Tall’) manages to bring
a hollow ache to the table as he sifts through the complexities of a romance
stuck in neutral. Each verse, each
chorus, reveals something sonically new to the song, taking the listener on a
bittersweet journey.
One
thing I know? I won’t be hitting that
next button anymore.
Begging For Thread
Banks
Heavy
on atmosphere, Banks’ single, ‘Begging For Thread’ aims for the icy, jaded
detachment established by the likes of Tove Lo and Lana Del Rey, and hits the
bull’s-eye.
The
production alone manages to create quite a bit of drama while the vocals remain
firmly in check; no vocal histrionics here. It
makes for an interesting tension, with the yearning beat causing ‘Begging’ to
rise above the crowded field.
Whether
she has personality enough to distinguish herself remains to be seen. But, overall, I’d grant her contenders
status, for sure.
When Everything Was What It Was
The Belle Brigade
Think
Indigo Girl(s) meet ‘Tusk’ era Lindsey Buckingham, and you know exactly what the
duo The Belle Brigade is all about. As
such, ‘When Everything Was What It Was’ scoots along just fine on a pleasant,
countrified folk shuffle beat sure to please.
The harmonies are bright, confident, and fun, the lyrics informed and
knowing, making this one go down like a tall glass of the best lemonade on a
sunny afternoon.
The
real fun? Wait until after the break
when a wall of sound which seems to include a horn section and a flattened out
sax, comes out of nowhere, kicks into high gear, and gives the song the perfect,
unexpected send-off.
PAINKLLR (Cole Plante Radio Edit)
Erika Jayne
I have
long admired Erika Jayne. Not content to
be merely a pretty, faceless voice, from day one she has strived to provide
something of substance to the dance music she brings to the floor. To bear this
out, her hits (‘Rollercoaster’, ‘Party People’, ‘Pretty Mess’, etc.) routinely
hit number one, no doubt due to the integrity she operates with.
‘PAINKLLR’,
however, is on the slight side, though
enjoyable none the less. On this mix, Cole
Plante’s synths, from time to time, both manage to undermine and overwhelm Ms. Jayne’s
efforts. That said, ‘PAINKLLR’ has been rocketing up the Club Play Charts, so I
expect it to join her other great singles in the number one slot.
Break The Fall
Laura Welch
If
Florence Welch and Sophie Ellis-Bextor mixed musical DNA, Laura Welch would be
the result. There is an ache and break
in Ms. Welch’s voice that is very similar to Sophie’s, while the bombast that
propels ‘Break’s chorus is reminiscent of Florence’s work.
Fortunately,
‘Break’ is visceral enough to survive on its own terms; full-bodied and fully
commanded. A confident, sure outing, definitely
worth more than a single listen.
Why I Had To Go
Bishop Allen
Oh, my.
On ‘Why’, Bishop Allen has taken a trip back to 1979, capturing perfectly a
Korgi’s like simplicity and innocence.
The verses are bouncy, clipped and a tad chilly, though it’s hard not to
get caught up in the sunny euphoria created within all that airy space once the
subtle synths whoosh in on the chorus, jetting us off on a futuristic,
drum-machine inspired mission.
It may
simply be nostalgia clouding my better judgment, but ‘Why’ is a lot of fun and
certain to have you swaying your head back and forth in an old school DEVO sort
of way.
Grown Up
Eli “Paperboy” Reed
A
power-positive, upbeat slice of pop detailing the challenge of maturing from a
kid who fears his mother will walk in on him “relaxing” to a fully-functioning,
responsible adult.
Yeah,
that description doesn’t really capture the breeziness of this tune, though it
is apt. To be sure, Eli is personable
enough and the song is not without its charms.
Introduced
via something reminiscent of a child’s tune issuing forth from scratchy,
well-worn vinyl, ‘Grown Up’ then kicks it into full fun mode, striking a comfortable chord somewhere between
Barenaked Ladies and Smash Mouth. The
song offers up its cleverest bit in the first verse and plays out like the
theme song from some generic Fox sitcom.
Pleasant
enough, I don’t see ‘Grown Up’ popping big unless it gets some exposure via,
well…a generic Fox sitcom.
New Home
Deacon Blue
Glasgow
vets, Deacon Blue, return revitalized with the title track of their new
album. Opening with a simple piano figure, a
galloping beat and jangly guitars soon take over leading us through two verses
before bursting into a soaring chorus. The
production is crisp and clean, capturing a seamless performance. More
reminiscent of Paul Simon than U2, Ricky Ross and Lorraine McIntosh are in high
form.
‘New
Home’ is all about the promise of a new day and the excitement one experiences
stepping into the future with a clean slate.
In other words, a perfect song for any soul in need of an anthem to
accompany their rebirth.
Runaway
sELF
Veteran
act, sELF, who have tried on everything from Nirvana to Beck, return to the
scene, taking on yet another persona. Delicious, quirky fun, ‘Runaway’ offers up a
perfect slice of modern pop a la Phoenix and Passion Pit, beeping and blurping its
way into your brain.
Hardly
what anyone would have expected given their grunge roots, but Matt Mahaffey has
never been one to stick to a sound. And, in light of the fact that he recently
produced Hellogoodbye, one can now see how that teaming must have been a great learning
experience for both artists. Never fear. On ‘Runaway’, Mahaffey nails it, creating his
most commercial offering yet.
Call Me
St. Paul and The Broken Bones
Sounding
like a veteran act, St. Paul and The Broken Bones actually formed in 2012 and
couldn’t commit to touring fulltime until all their horn players had graduated
from college.
On ‘Call
Me’, the ghosts of Steve Winwood and The Spencer Davis Group haunt every note.
But not to worry: the boys have found a niche on NPR and already have an
established fan base. Seems all those
retro horns and that vintage sounding blue eyed soul bring
to mind a bygone era that appeal to a lot of people. And one can hear why.
‘Call
Me’ is certainly a refreshing change of pace, to be sure – an organic one, even
– but sometimes this particular homage steers a little too close to the original
for my comfort level. Still, it is a
classic sound, a great listen, and something tells me the group is lot of fun live.
Okay,
here we go, as we work our way through my list of August singles. And guess what? I am really, really excited about a song –
and kicking myself that I didn’t check it out and review it sooner.
Childish
Gambino
I love
you so much, I want to go to prom with you.
I knew
you were smart. I knew you were
talented. I knew you were cute as the
dickens.
But,
damn.
The man
has got it going on.
Oh,
yeah… and, another surprise.
I sort
of like a Chris Brown song. Well, at
least the part that belongs to Chris.
Umm…
yeah.
Hell
just froze over.
Amnesia
5 Seconds Of
Summer
Hmmm. Only one of
the members of this band is no longer a teen, and he is only twenty years
old.
So, exactly when did they “spend all these summers
getting wasted”?
And that is what is at the heart of what is wrong with ‘Amnesia’. It suffers from the same thing that has
plagued a couple of One Direction’s releases; the groups are too young for the
song. It sounds ludicrous coming out of
the mouth of these mere babes.
I realize that will play into their favor when they mount
that inevitable ‘Reunion’ tour twenty years from now, but at this time in their
career, I’m a bit embarrassed for them, what with their lack of experience, knowledge
of the human condition, and credibility.
‘Amnesia’ finds 5SOS in sweet heartbroken dude form; a
plucked / strummed acoustic guitar, heavy intrusive strings, explosive
heart-on-sleeve chorus. This cookie has
been cut many times before. We, the
audience, have heard it before. We don’t
suffer from amnesia.
But ‘Amnesia’?
Utterly forgettable.
V. 3005
Childish Gambino
This man is brilliant.
The way his mind works astounds me.
This is nano-worthy.
He is so over-the-top talented. He is the artist Kanye West can only dream
about becoming.
Childish Gambino is the future of rap. He is an absolute original, in tune with a world
that only he knows and we are so lucky that he lets us in for even the
slightest glimpse.
Love the incredible mix of musical ideas. There are dance synths, and hip hop beats,
and crap rap, and some kind of Marvin Gaye R&B vibe going, along with his
own idiosyncratic flow. As a stylist,
this is the man to watch and listen to.
This is one of the best of the year, folks.
And I love the video.
I can’t help but think that teddy bear is Gambino’s way
of sticking it to Kanye.
Well played, Mr. Gambino.
Bartender
Lady Antebellum
This is the same pop/country territory that Miley Cyrus
used to flirt with back in the days when she was still shaking Hannah Montana
off her big girl boots.
Lady Antebellum came up in the ranks along with a slew of
like-minded acts (Little Big Town, Sugarland, The Band Perry, et al). In a way, they are all indistinguishable from
one another, offering female vocalists who have enough of a twang to their
voices to qualify as country and slick production which add just enough touches
to keep Nashville in mind.
Radio programmers love this kind of stuff because it is
faceless, harmless, and goes down like a vanilla shake.
‘Bartender’ finds this trio adding hip hop touches and
rhyme schemes while dropping slang American teenagers in the know ‘get’. Lady Antebellum takes no risks, other than
endorsing excessive drinking as a means of coping with heartbreak, sort of a tradition
in country music.
I shrug my shoulders at this kind of stuff and can’t wait
until country music gets back some roots rawness. Nashville is not, and should not, try to be
L.A. There’s already enough plastic
fantasies in the world and big sales do not equal great music. Personally, I think it’s high time country
music reclaims itself.
New Flame
Chris Brown
Featuring Usher & Rick Ross
“Who says you can’t fine love in the club?”
And who says I can’t actually enjoy and like – yes! – like
a song by Chris Brown, unrepentant woman beater / serial misogynist that he is.
‘New Flame’ coasts on by cushioned on a smooth groove
with a scatter beat that hits me right where I live. Light that fire. Dim those lights. Break out the wine. It’s
sweet and so are the lyrics and melody.
Chris is in Romeo mode and I am thinking he has every chance at success,
getting the object of his affections and future new love to come home with him
and get between the sheets.
At about the 1:30 minute mark, Usher enters the picture,
keeping things on target while adding a bit more syncopation and energy. And… I’m still liking it! Usher is a bit more strident with his vocals,
and I sorta wish Mr. Brown had continued on his own, but, hey… Chris has an
image problem and needs all the help he can muster in order to get songs into
the Top 40, so, I understand. And, no,
their voices do not mesh (it gets a tad screechy), but that’s okay, too. The part where they try to out-sing one
another is relatively brief.
But then, at just before the 3:00 minute mark, in comes fraud
/ poser Rick Ross, who proceeds to spout off exactly what’s expected of
him. It’s no longer about love; it’s
about “sliding in”. It’s about designer
goods and bling. It’s about dropping the
N-Word and name-dropping, as opposed to actually coming up with something
interesting to say. It’s also about
dropping that girl the moment she shows any interest in a relationship… you
know, after you’ve already done the dirty deed.
This is exactly what destroyed Jeremih’s ‘Don’t Tell ‘Em’,
another sweet little seduction song derailed by Rap 101 dullness, so, boo, Mr.
Ross. Your phoned in crap rap wrecks
this for me. This was about ‘finding
love in the club’. Next time, do your
damn homework and come up with something that befits the song.
Add caption
Lifestyle
Rich Gang
Featuring Young Thug & Rich Homie Quan
This is culturally repulsive.
This is culturally repressive.
It’s also incredibly shrill, with voices pitched for
maximum annoyance. Something tells me
this all has little to do with reality and all to do with packaging. It certainly has nothing to with advancing
the art of rap, bringing something new to the table, or music.
Enjoy your ‘Lifestyle’ now, Rich Gang, because it is not
going to last.
BTW: Have you seen the net vid advertisement for NFL
Madden 15? Yeah, nails it.
Blah, blah, blah, indeed.
PAINKILLR (Victor
Dinaire Remix)
Erika Jayne
I love Erika Jayne.
I don’t know exactly what it is about her that causes her to rise above
the slew of dance floor queens, but she always does. I think it’s because she tends to bring more
substance to her beats.
‘PAINKLLR’, as remixed by Victor Dinaire, comes off as
smoky and mysterious, delivering some delightful tension.
Ms. Jayne’s voice is also rich, and given the pitch of
her voice, that is saying a lot. She’s
not merely airy and breathy. Nor does
she bellow, over emote, or go all shrill.
She’s in the same league as Kristine W, bringing great
chops and interesting perspectives to clubland.
Leave The Night
On
Sam Hunt
Sam is a cutie.
Unfortunately, his music sounds like today’s standard issue country pop,
a la Carrie Underwood, Keith Urban, et al.
‘Leave’ goes exactly where you think it will, doing exactly what you
expect it to when you expect it to.
Which leaves all the responsibility for getting this song
on the radio riding on the charm of Mr. Hunt.
He has a great face.
So why is his music so damn faceless?
Bo$$
Fifth Harmony
The girls of Fifth Harmony want “a Kanye, not a Reggie”.
Yeah, well I want some En Vogue. And I’m pretty sure that’s what is being
served up here, thanks to Mr. Simon Cowell and L.A. Reid. These ‘X-Factor’ alums are pretty to look at,
have tons of style, and I just can’t wait for the ‘breaking up’ rumors and
backstage squabbles to leak.
As an homage, it works fine, but other than brat rap
sass, these ladies don’t add all that much new to the mix. The song reminds me a lot of Xtina’s ‘Show Me
How You Burlesque’, only, not as interesting or bombastic.
Too bad: a little bombast might have helped, because, as
is, I’m not sure ‘Bo$$’ has what it takes to make the bigger leap onto
radio.
Basement Jaxx
feat. ETML
Never Say Never
You never know what you’re going to get with Basement
Jaxx, except that it will be well done, worthy of a listen or two, and of
interest.
‘Never Say Never’ finds them in softer mode, featuring a
lovely, rounded, fully-realized male vocal which is eventually joined by a
complimentary female vox. Chorded piano surrounded
by plenty of atmospherics create the perfect launching pad for an explosive
dance mix. The original plays it subtle,
but you know there are flanks and flanks of synths out there begging to take
this one through the ceiling.
The video creeps me out a little, though I don’t know
why. Robots and sex don’t mix well in my
head space, I guess.
Oh, yeah, and…
Twerkbot. (Roll
eyes here.)
Studio
ScHoolboy Q
Featuring BJ The Chicago Kid
Seems BJ The Chicago Kid is stuck in the studio,
listening to a track that is so dope, he has to smoke some. But, if you his girl, no worries, because he’d
much rather be blazing you. But, no, no…
he gonna sit and listen to the playback and do a little toke.
Okay. We get it.
The backing track is great, providing incredible
atmosphere, capturing that other worldly vibe that takes place when you are
stuck in a little black box for hours and hours, removed from the rest of the
world.
Sadly, that’s as good as it gets.
Don’t get me wrong, ScHoolboy Q has a really fascinating syncopation
going on. It’s obvious he’s bringing
something different, but he also seems to be stuck in juvenile mode when it
comes to how he thinks about women – and that is his downfall, here.
He likes saying the word ‘pussy’, and he doesn’t beat
around the bush (ooh, that pun), cuz all he wants to do is get his dick up
inside there.
Yes, he gets straight to the point.
Maybe next time out he could try making a different kind
of point.
Last Call
Bello Boys Feat.
Kat DeLuna
The Bello Boys are in typical form on ‘Last Call’
bringing their special brand of Tejano to the dance floor. At least I think I have that pegged right –
they mix in so much that is familiar (including what I refer to as ‘The Swami
song’) it ends up its own stew.
Kat is in fine form.
It seems like forever since we’ve heard anything new from her. Here, she’s subbing for Crystal Waters, and
doing a bang up job of it, too.
‘Last Call’ is cute.
And as catchy as it is a bit annoying.
As is, I can’t picture myself ever rushing to the dance floor when
played, but I do appreciate the diversification and energy it brings to the Club
Play chart.
0 To 100 / The
Catch Up
Drake
Drake is angry.
Let’s see… N-word (repeated as needed), bitches, shawty…
yep. It’s all there.
But Drake is mad.
Don’t put Drake down.
Drake don’t like that.
Drake actually makes reference to ‘Forrest Gump’s “Run,
Forrest, run!”
Because that is what Drake does when he is angry; make
reference to old white man films.
It’s all his Dad’s fault. Daddy didn’t come pick up Drake
when he said he would.
