Who Did It Better? Tell Me I'm Not Dreaming (Too Good To Be True)

Who Did It Better? 

Tell Me I'm Not Dreaming

Today's Who Did It Better? entry sheds a little light on the #1 hit that never was. It involves a bit of a record company grudge and some family tension, but shut this could've been down before it even got out the gate. Let's dish...

Tell Me I'm Not Dreamin' (Too Good to Be True) was a song written by Michael Omartian, Bruce Sudano and Jay Gruska.

Going forward, for the sake of this post, we'll just refer to it as Tell Me I'm Not Dreamin'.

It was first recorded by Jermaine Jackson with his younger brother Michael Jackson, for Jermaine's eponymous debut album on Arista Records. 

In her 1993 book Michael Jackson: The King of Pop, author Lisa D. Campbell states that "although it was never officially released as a single because of legal difficulties between Michael's label, Epic, and Jermaine's label, Arista, the song did receive a lot of airplay." However, word on the street thought there were several other factors at play. At the time, it seems Michael and his label were very concerned about oversaturating the market with music associated with him. In addition to his epic-selling Thriller album, which continued to churn out hit after hit, Michael had also been busy helping out other artists such as Diana Ross, his sister Rebie, and the son of the founder of Motown, Berry Gordy's son who recorded as Rockwell.  Also, when The Jackson Five left Motown for Epic and became The Jacksons, Jermaine chose to remain as a solo artist with Motown, something that had divided the family group at the time and remained a sore spot for Epic. Rumor also had it that Jermaine took the decision hard, blaming Michael for scuttling what he felt was a guaranteed #1 hit.  

Because it was an airplay only hit without a proper A-side vinyl release, Billboard could not include the song on any singles chart. Nor, at the time, did they have an airplay-only chart. So, though the song did register on Radio and Records′ Top 40 chart - a chart based solely on airplay - peaking at #6 in June of 1984, it was not considered a bona fide hit. The only Billboard chart where the song appeared was their Hot Dance Club Play chart, where it spent a solid three weeks at #1 for the month of June. 

 

Tell Me I'm Not Dreamin' featuring Jermaine and Michael's vocals was released on vinyl as the B-side for both the 7" and 12" versions of Jermaine Jackson's single, Do What You Do, while an instrumental version of the song was on the B-side of another Jermaine Jackson release, Dynamite.

Even though the song was not an official hit, it was later nominated at the 1985 Grammy Awards for Best R&B Performance by a Duo or Group with Vocals.

In 1988, Robert Palmer was recording the follow-up album to his breakthrough release Riptide. Riding high on the popularity of his international smash Addicted To Love, the label wanted to see if lightening would strike twice and ordered an album in the same vein.  Palmer chose to include a cover of Tell Me I'm Not Dreamin' on his album, Heavy Nova - which did indeed continue the singer's winning streak. Released as the third single from the album in June of 1989, his version managed to reach #60 on the Billboard's Hot 100.

And that's the whole story.

Now? On to the competition!

The Song: Tell Me I'm Not Dreamin' 

The Competitors: Jackson and Jackson vs. Palmer

Tell Me I'm Not Dreamin' - Jermaine Jackson and Michael Jackson

Tell Me I'm Not Dreamin' - Robert Palmer

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Jermaine Jackson and Michael Jackson

Oh, that is a nice fat beat. Fun bass line. Those spacey, spooky synths with a very 'Thriller' era rhythm track. 

Man, I remember when this came out - and I haven't listened to it since - I was certain this was going to #1. I remember being super disappointed when it was pulled as a single. In hindsight? Why didn't Jermaine just go back into the studio and record the track with someone else or by himself? 

And there lies my issues with the Jackson family - save for Michael and Janet; once they became extremely privileged, they suffered from a bit of sloth, making extremely poor musical and business decisions. Someone with Michael's ambition would have found a way to release this on their own - the song's hook is undeniable. 

Vocally, the brothers are very easy to tell apart. Jermaine has a deeper bottom to his voice and doesn't have Michael's range or his telling vocal tics.

Jermaine verse one, Michael verse two. And notice how Michael brings so much more fire to his performance, especially the second half of verse two. 

On that C-section is where we really get an opportunity to compare the two vocalists. Maybe Jermaine didn't have enough of an edge to sell this on his own. Michael certainly fills up every available surface with his genius. In his prime? The man brought sounds to the table no singer had ever produced before. 

It's a combination of that niggling repetition of the song's title and that extremely propulsive beat which sells this regardless of who is singing. Also, all the synth flourishes, the echo chamber, and aural space in the mix can't help but bring up comparisons to Michael's Thriller.

Those snaky synths in the C-section sure date this thing, but are vintage fun all the same.

Love the use of the horns! They dash in there like James Bond.

Okay, the more I listen to this, the more I'm thinking Jermaine is definitely taking a backseat to Michael. Still, if I'd been Jermaine, I would have not let this one go unreleased as a bona fide single. I wonder how the songwriters felt?

This is every bit as fun as I remember it. 

And just think of the video that might have been... sigh.

Robert Palmer

Palmer brought on board B.J. Nelson to bring the fire to this one. Let's see how it goes.

Palmer's big scattered drum beat approach. Synths rev up like the start of a motion picture, not once, but twice. Love the dropped beat. This is fun. 

I adore Palmer's gritty vocals. Wow... this is really a duet. B.J. sounds great. Lots of buzzing guitar work. The whole feel is very different from Jackson's version, yet - it's the song itself that dominates - what a juggernaut. 

I am surprised this wasn't a bigger hit, but then... if I recall correctly, people were getting a little burnt out on Palmer's big beats.

Again, with the dropped beat. Smart. 

They blend so well together. Man. This is going to be tougher than I thought. This version has a lot more muscle to it, it's much less spacey/spooky. It's thick and chunky - the mix is thick, the beat chunky. 

B.J. Nelson sing the way Jackée Harry talks.

Palmer is on fire on the second half of verse two. 

The vocals repeating the title? They sound exactly the same. 

The C-section is a little underwhelming. None of the fireworks experienced in Jackson's version. Competent, but little else. And the synth solo that follows is sort of anti-music. It's very angular and with the mix already being so bulked up, it feels like too much noise? Ends well, though.

The vocal back and forth if fine. I really like B.J. Nelson. 

No fade. A concert ending. 

Huh.

The Verdict

Do I need to listen to these again? 

I think I want to give this to Jermaine and Michael... especially Michael. 

There's an actual balance to Palmer's version which I appreciate, but Michael's talent is rather undeniable - he simply dominates that song. 

The song is huge and needs someone as innovative and expressive as Michael to really control it. Michael's vocals turn on a dime - it's rather magical. Keep in mind, he is at the height of his abilities. 

So, yes... this goes to Jermaine and Michael. 

Palmer's version is great and had the other version not existed, I would put be in his corner. It's danceable. It's driven and fun. 

But Michael's magic is too strong and can't be denied. 

So, despite all my current misgivings regarding Michael and his legacy, I have to say... this belongs to him. 

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And that's enough of me.

Okay, your turn. You know what to do: leave your thoughts and choice in the comments section.

That's all for now.

Until next time...

Thanks for reading... and listening!

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Tell Me I'm Not Dreamin' - Robert Palmer

Who Did It Better? Never Can Say Goodbye - The Finalists!

Who Did It Better? 

Never Can Say Goodbye

The Finalists!

Marking the 101st song we've examined as part of the Who Did It Better? series, today, after having examined nine versions, three at a time, we take a look at the three versions of the  classic song, Never Can Say Goodbye, which received the most votes. Yes, we whittled it down to three... but now comes the hard part... we must choose one. So, be sure to leave your vote in the comments section. I'll do a tally, add my own and announce the winner next week! 

As for the song? Written by actor Clifton Davis, Never Can Say Goodbye is a song which remains evergreen, as in, to this day, artists continue to discover and cover it, each bringing something unique to the mix. Davis starred in the television sitcoms That's My Mama and Amen. In addition to his many television, Broadway and movie credits, he was also a songwriter, responsible for Lookin' Through The Windows and Love Song (The Jackson 5), Can We Fall In Love Again (The Supremes) and the perennial favorite Never Can Say Goodbye.

Originally written for The Supremes (post Diana Ross), the powers that be at Motown thought the song was a better fit for The Jackson 5. Included on their 1971 album, Maybe Tomorrow, it features a 12 year-old Michael Jackson on lead. Released as a single, the song would peak at #2, remaining there for three weeks in May of 1971, kept from the top spot by Three Dog Night's Joy To The World. Their version did go #1 on the US R&B chart, while also snagging the #33 slot in the UK. 

As the seventies went full-bloom, so did the sexual revolution and... the very adult world of the discotheque.

Gloria Gaynor had a major disco-defining moment in 1974, when her version of the tune became a worldwide smash. Stateside, she nabbed the #9 slot on the Hot 100, and #3 in Canada, while overseas, she fared even better... hitting #2 in the UK, besting The Jackson Five's version in both Canada and the UK. In addition the song got to #3 in Australia, #13 in Germany, #3 in Ireland, #6 in The Netherlands, #8 in South Africa, and #3 in Spain. 

Produced by the Disco Corporation of America, a production company newly formed by Meco Monardo and Tony Bongiovi, augmented by Jay Ellis and Harold Wheeler and released on MGM Records, her version has the distinction of being the first #1 song on Billboard's Dance/Disco chart (which later would become the Dance/Club Play chart.)

The Communards, a British duo which consisted of Jimmy Somerville, formerly of Bronski Beat, and Richard Coles, had scored a #1 UK hit in 1986 with their cover versions of Don't Leave Me This Way. It also snagged the top spot on Billboard's Dance Club Play chart in the US. In the age of AIDs, due to the lack of funding and interest in solving the health crisis, the single took on new meaning among members of the gay community. 

As part of their second album, 1987's Red, the pair chose to cover another disco classic which would resonate in a similar manner; Never Can Say Goodbye. Their hi-NRG cover of the song would reach #1 in Spain, #2 in Ireland, number, and #4 and #2 on Billboard's Dance Club Play chart in the US.  

And that's the whole story.

Now? On to the competition

The Song: Never Can Say Goodbye

The Competitors: The Jackson 5 vs. Gaynor vs. The Communards

Never Can Say Goodbye - The Jackson 5

 

Never Can Say Goodbye - Gloria Gaynor

Never Can Say Goodbye - The Communards

Here are my previously posted thoughts about each version:

The Jackson 5

So, this is a product of The Corporation - a group of Motown insiders who had an ear for what pops. 

Odd harpsicord opening, suggestive sigh, and then some freaky sounding beats being laid down. With a virginal sounding Michael singing on top... well, he might as well be female - his tone is so pure and bell-like. Pristine. The backing vocals are suitably subdued. 

But as we ramp up the intensity, future Michael comes into play. He's got an edge to him, backed up by a fascinating rhythm section. Oh... and a flute. Yeah. Well... it was kind of a Jackson 5 thing, right? That flute. 

Oddly enough, hearing this, you can well imagine The Supremes with Diana Ross recording this song. It's a perfect fit. And Michael is summoning a bit of Diana's precious princess-vibe as we mellow back down to a second verse.

And for all of the pop-smarts that Michael's vocals bring to the proceedings, I have to say... that by verse two that backing track is sounding a bit canned - a bit too adult-contemporary, considering this is a bunch of teens. Another reason this would have worked better for the Supremes. 

Love that breakdown at the 1:29. Michael carries the day, doing a little James Brown imitation there.

And again, verse three? We get the smoothness of Diana. He had great pipes and glommed on to all the right influences. It's hard to believe this is coming out of a 12 year-old singer, but then again, by this point, he was already road-tested and seasoned.

The interplay with the flute? It works on some level. Gets pretty busy, though. 

I do have a problem with this. These boys are too young to be singing this very adult song. Not only is the arrangement adult contemporary, but the subject matter? Well, I don't know too many teens who could articulate the ups and downs of a relationship in this manner. That The Jackson 5 pull it off only proves what old pros they'd quickly become.

Gloria Gaynor

Can you say 'disco strings'! Oh, my... what a wonderful whirl. I am already heading for the dance floor. And that horn chart stings like honey bee.

The gallop? Well, it's 1972 and, therefore, early in the disco game. Gaynor hits note one sold-footed, if a bit nasal. That's okay, she's got a lot of swirl to compete with. I love that as we build up to that chorus, she stretches out into more of a legato sound, finding and defining that lovely melody. Gaynor's voice is in top form. 

The backing vocals are kept in check and timed nicely. And she opens up on more and more, I am in heaven. Those notes simply appear and hover. Delicious. The big scoop on 'so'? So much fun. She does an incredible job of mixing up her attacks and brings so much shape to this. And the amount of energy and excitement it all creates? Infectious. 

In lesser hands? That chorus could go totally shrill, but she manages to keep the energy and attack in place while rounding off the top just enough to make it super palatable. 

Second verse, same as the first... her vibrato comes into play, but it is so tight, it melds well with the strings and horns. I am astounded by those backing vocals - timed so well and kept in check. Marvelous. 

And, trust me, that horn chart? That would undermine a lesser singer, but Gaynor is not having it, oh, no. She is queen bee, here.

There is such a wonderful depth to this arrangement. Kudos all around. A perfect marriage of style, sound, and technique. 

The Communards

What a regal opening. From two queens, what else could we expect? Of course, they know how to make an entrance.

Sommerville simmers over that swath of synths like a ghost. A hollow sounding synth bass and in the machine kicks. Sommerville's falsetto? Flawless. As is this mix. I rather like that he's barely riding on top of the wave; it continues that spirit-like sound. 

My only beef with Sommerville's vocals has to do with the fact that they have no bottom - which, of course, is due to the fact that he's singing falsetto. That very airy quality is what makes him sound rather specter-ish. It's a fascinating (and rare), but I find myself wanting a bit more variety. 

Hmm. Not in love with those female backing vocalists - although, point of fact, there are no other vocalists listed in the credits on the album, so it has to be Sommerville doing his own backing vocals (according to discogs.com.)

My word, this machine took off and just keeps pounding forward. It's energetic, but... a bit lacking in character.  There isn't a great deal of warmth to be found in these grooves, but then those were the times, yes? 

I rather like the soulfulness Sommerville manages to bring to the first few lines of each verse. And when he takes the briefest of liberties with the melody line, jumping up a third? That's rather thrilling, as well. 

This arrangement... it just soars and soars. Every time I think I'm over it, the damn thing pulls me back in. And the more Sommerville breaks away from the expected, the more I admire his vocals. He has got some serious chops. 

Also, I have to say, it's nice to hear a male vocalist declare his love of another man without flinching or apologizing. This is activism at its most danceable. 

Eek. That instrumental breakdown. Not only does it kill the vibe, it suddenly jerks the tempo out of alignment - in the listener's brain. Fortunately, it doesn't overstay it's welcome.

Honestly, when and if (well, you know, old queens never die) Sommerville ever passes from this mortal coil, I sure hope they examine his vocal chords in depth. No one sounds like this. Not with this amount of stamina. My throat is hurting just listening. I can't imagine what's going on in his larynx. 

Oh, and he's doing such a fine job, I'm not sure why Coles felt the need to smarm it up with that horrible Vegas-style breakdown at the 3:35 mark. And just when you think Sommerville has no where else to go, he breaks out totally - where is that sound coming from? That is amazing.

Warm, it is not. Energetic and rather an amazing feat? 

Absolutely.

The Verdict

Michael is amazing. But the song? Not a good fit. And I don't like the tempo or the arrangement. It's too by-the-numbers and too adult contemporary. 

Gloria is at the top of her game here. Maybe the arrangement can be faulted for being a bit Vegas brassy, but I adore it. It works on all levels for me. And I adore the depth and warmth Gaynor keeps bringing to the mix time and time again. She is so on point throughout. I have a hard time finding fault with this version.

The Communards? Historical, for sure. So let's give them props for that. And Sommerville? What an amazing voice - unlike any other, and here, used to great effect. He sounds ghostly for the same reason that this version is historically significant to the gay community. 

However... Coles' arrangement sounds more dated than Gaynor's. It's also cold and, on brief occasion, difficult to fathom. Those breakdowns? That instrumental section? They detract. Sommerville is an angel soaring and soaring. All those electronics? They keep bringing us back to the cold, hard world. And that's my major issue... and even Sommerville shares a bit of the blame, here... this is cold. Too cold. I need this to be body temperature at the very least - which is why Yazz's version still pulls me in. No, she can't touch Sommerville vocally, but her version is very human and rather lovely. And it's those qualities I find lacking in The Communards.

So... in the end? 

My vote goes to Gaynor. She owns this song. I will always want to dance to her version. Hearing it? I am automatically in a better mood and wish I could sing it. That's the hallmark of a great song. 

So, Gloria Gaynor for the win. 

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Okay, kids...

It's your turn. Your last chance to have a say, here.

Who is it going to be?

The Jackson 5? Gloria Gaynor? Or The Communards. 

All are worthy, but only one can win.

So, have your vote counted. Leave it in the comments section, along with your thoughts, or any suggestions for future Who Did It Better? posts. 

And that's all for now.

Until next time...

Thanks for reading and listening... and voting!

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Never Can Say Goodbye - The Jackson 5

Never Can Say Goodbye - Gloria Gaynor

Never Can Say Goodbye - The Communards

Of Note: ‘Call It Off’ by Shamir

Of Note: ‘Call It Off’ by Shamir

There’s so much going on in Shamir’s new single, ‘Call It Off’, that is would be difficult to call attention to it all.

Let’s start with that voice!  What an amazing instrument.  What a jaw-dropping range.

I’ll be honest… I thought this was being sung by a woman.  It is not. 

Shamir seems to be a part of a new, Nicki Minaj-inspired, male singer surge (find Toddrik Hall on YouTube).  Shamir is what Jermaine Stewart hath wrought, but even edgier and much more off the beaten path.

Next – check out that Teddy Riley / Michael Jackson thing he’s got going in the background.  It is dead on.  Damn thing percolates, gets under your skin and finds a place to live in your head.

Rather fascinated by this young man. 

Twenty-year old Shamir is from Las Vegas and soon to belong to the world.

A Brand New Day

A Brand New Day

"No union is more profound than marriage, for it embodies the highest ideals of love, fidelity, devotion, sacrifice, and family. In forming a marital union, two people become something greater than once they were. As some of the petitioners in these cases demonstrate, marriage embodies a love that may endure even past death. It would misunderstand these men and women to say they disrespect the idea of marriage. Their plea is that they do respect it, respect it so deeply that they seek to find its fulfillment for themselves. Their hope is not to be condemned to live in loneliness, excluded from one of civilization’s oldest institutions. They ask for equal dignity in the eyes of the law. The Constitution grants them that right." 

 - Supreme Court Justice Anthony Kennedy

Wiggle, Wiggle, Wiggle Room: Pop Music Reviews for the Dawning of Summer

There is finally some wiggle room in the Top Ten this week, with some new fodder pushing its way up the charts.   No, there isn’t anything to get too excited about yet, but here’s hoping – the summer is still in the fetal stage.

There is a country song (that actually sounds like a country song) that has been floating just outside the Top 40 which gets a big thumbs up from yours truly.  Too bad it’s been playing lady in waiting so long that I highly doubt it will ever get to enter the throne room.  A pity, given its powerful message.  But then, there doesn’t seem to be a lot of room on the radio or the charts for songs with a message – but misogyny?  Oh, yeah… that’s a first class ticket right to the top, homey.

Feelin' Myself

will.i.am Featuring Miley Cyrus, French Montana, Wiz Khalifa & DJ Mustard

There is nothing fun, original, uplifting or very interesting going here, despite all the collaborators.  Typically, will.i.am can be counted on to bring it to the dance floor, but these beats are so played out that not even liberal use of the ‘F’ bomb can elicit anything approaching a reaction.  As for Miley – well, apparently ‘she a rapper’ now.  In the vid for this she’s dressed like any number of faceless strippers and mouthing stuff that demonstrates that the lass is tardy for the party.  Not her fault, but somebody better start nudging her in a direction that is actually relevant, because this stuff is dire.

Love Never Felt So Good

Michael Jackson & Justin Timberlake

My first impression:  Michael sounds like he has a head cold.  His vocals are throaty and thick with a plugged nasal cavity.  But, I guess that’s to be expected.  This is a one of those posthumous releases, typically songs that would never see the light of day if the artist was still alive and had veto power. 

As songs go, it’s a nice slice of 70’s soul pop that coasts by with a breezy beat and a plethora of accents via strings, synths, horns and the rhythm section.  It’s pleasant enough insubstantial fare.  Justin sounds fine.  It debuted at #20 on The Billboard Hot 100, marking Mr. Jackson’s return to the charts.  

It could get some radio play.  It’s certainly uplifting enough, like much of Mr. Timberlake’s recent hits.  But the taint that shadows such releases render them typically viewed as little more than a novelty record.  Time will tell. (P.S. it survived a second week in the Top 40)

Bad Blood

Bastille

This one is powered by the same silly battle cry that filled out their hit, ‘Pompeii’.  Maybe this will be a hit, but I doubt it.  It doesn’t pack the same punch; maybe because there is less going on in this one, maybe because the production is less layered, less dense.  One thing is clear: Folks are gaga for this group.  And I don’t get it.  They aren’t nearly as innovative as .fun, the hot group last season.  But it is pleasant enough pop.  So, as air filler, it works fine.  Eh.

Birthday

Katy Perry

Perry’s latest finds her treading familiar water.  It’s radio friendly and inoffensive, but brings absolutely nothing to table. I can’t even say that it’s clever, something that used to sell even the weakest of her material.  Such as it is, this one plugs a marketing need for an artist like Perry – a song that will be played at birthday parties!  Yay.  Eternal royalties.  It’s nice pop, but like most of her latest CD, ‘Prism’, it feels uninspired and a tad tired.  When she breathes / coos “Happy Birthday” just before the big build up bridge, I honestly can’t tell if she’s trying to be sexy, or if she’s simply so tired of all this that she could give a rat’s ass, too.

Beachin'

Jake Owen

Do you remember that ‘spoken word verse / sung chorus’ song, ‘Lullaby’ by Shawn Mullins.  Yeah, well this one pretty much has that same feel, but without the uplift.  Nor is it very revelatory or interesting – qualities that could be found in Mr. Mullin’s offering.  ‘Beachin’, of course, is a lot more upbeat, riding on that modern country sheen that has absolutely nothing to do with country music. 

This is a generational thing – as in, marketing experts have determined, yadda, yadda.  Yep, gotta rake in that twenty-something cash. 

This feels lazy and calculated at the same time.  What it’s not, is charming, which a song like this needs to be in order to get my toes a’ tapping.  That said, expect this to be a big hit this summer.  Oh, yeah…

Automatic

Miranda Lambert

OMG!  How can anyone NOT like this song?  I love the message.  Yes, if things are simply handed to us, we tend not to really form any sensory attachments.  And I do remember listening to and recording songs off of the radio on an old cassette player because I couldn’t afford to buy them.  Yes, the inclusion of the pick-up truck stuff feels obligatory, but then I don’t think a country song that does not mention one gets any airplay these days.  And, okay, the production ends up going all ‘U2’ like by the end, with those thick chorded echo guitars, but the song is, at its core, simple and sweet; like the best of real country music.  Thank you, Miranda!

You & I

One Direction

This group and its handlers continue to astound me by serving up nostalgic sounding adult contemporary fare coming out of the mouths of tween heart throbs.  It’s like they want to appeal to both girls and their mothers.  ‘You & I’ sounds like a big ‘bic lighter in the air’ arena power ballad and hits all the marks, recalling the time when hair metal bands went all outlaw, changing tactics and raking in an addition five minutes by mewling some crappy emotional plea in the form of a song that would appeal to all the babes.  Sung by someone over the age of thirty, this song might make sense (think Richard Marx), but One Direction?  It’s like listening to wrong sounding Muppets.

Am I Wrong

Nico & Vinz

This is three-quarters The Outfield (remember them?), and one-fourth Sting, which means it ends up reminding me a lot of Martin Paige and some of the sludge that occupied the charts and dominated the play lists of stations like Cities 97 during the mid-90’s.  Yeah, this one will be ‘that’ song – the one everybody remembers as a feel-good moment, but can’t remember anything about the artist(s) who created it.  This one is too reminiscent of too many other things to have much impact on my psyche, but it is getting plenty of airplay.  And I get the feeling – and I could be very wrong – that this one should be filed under ‘one hit wonders’.

Rude

MAGIC!

Save me from white boys playing reggae.  Now when The Police did it, it was an incorporation of the sound and vibe, because they also had the whole punkish/new wave thing going on, right?  MAGIC! (?) has little else going on, so this simply ends up feeling rather lackluster.  It’s currently scaling the charts at a rapid rate, which goes to only prove that people are so hungry for anything that doesn’t sound like everything else that they will glom onto second-rate hotel bands like these schleps peddling something that has been done much better much more interestingly before. Ugh.  

Bombs Away

Gia

Hmmm.  No diva vocals here, which is a bit of a disappointment given the song’s titular promise.  Gia’s voice is pleasant and slight with the familiar click track that anchors the first minute of this song building to the inevitable uttering of the song’s title. It lands flat, leaving one feeling a tad under-whelmed, for there is no explosion.  Even the battalion of synths that surge forth, serving as the song’s chorus a la Calvin Harris’ ‘Summer’, fail to ignite this one.  Maybe there are better mixes, but I don’t really feel there’s enough meat here to warrant any gravy.  That bums me out, especially in light of how quickly this one is climbing the Club Play chart.

Wiggle

Jason Derulo Featuring Snoop Dogg

“You know what to do with that big fat butt!” declares Mr. Derulo.  Oh, then “Patty cake, patty cake, with no hands…”  Yeah, this is not rocket science.  But it’s also not something I expected from this artist, and I say that, having endured a spring full of his recent hit, ‘Talk Dirty to Me’. 

Apparently, misogyny is now a rite of passage for young pop stars.  I keep looking at the lyrics video for this song and have to keep hitting the pause button, because the depth of hetero male stupidity on display is so inept, clumsy, and  cringe-inducing, it’s like watching your nerdy best friend ‘get some’ for the first time on prom night.

Oh, man.  Of course it’s going to be a big hit.  Sonically, it does manage to change things up enough and possess enough texture to keep my ear interested, but oh, those lyrics.  Makes Robin Thicke seem like Shakespeare.