Katy Perry - ‘Part of Me’
Though her last single, “The One that Got Away,” was eerily timed with the announcement of her split from Russell Brand and the tabloid speculation of her shock and sadness, it seems Perry has gotten way over it and released this break-up anthem, “Part of Me.” She sings in her usually shrill vocals that he can “keep the wedding ring. In fact, you can keep everything (yeah, yeah) except me.” Get it, girl.
Producer Dr. Luke doesn’t stray from the formula that gives the duo five No. 1 singles (now six). In fact, you can hear parts of “California Gurls,” “The One that Got Away” and “Teenage Dream” melded into this pop machine of a song. Insufferably reductive? Sure. Painfully addicting? You betcha.
Nicki Minaj - ‘Starships’
Before the release of Nick Minaj’s “Starships,” the latest single off her yet-to-be-released Pink Friday: Roman Reloaded, you can assume the conversation between her and the record executives went similar to this: “While we appreciate the frank honesty of ‘Stupid Hoe,’ we’d love to hear another ‘Super Bass.’ So fun — and so successful! If you don’t have any inspiration, take a listen to some LMFAO and Katy Perry.”
Although “Stupid Hoe” was aggravating and annoying, at least it felt genuine. This mess, on the other hand, feels like Minaj turning into yet another alter ego: the record executive drone. The beats are stale, the lyrics cliche. Maybe “Super Bass” was a fluke, but at least preserve the pop sanctity of it by not trying to repeat it.
Usher - ‘Climax’
Knowing Usher’s predilection for bedroom slow jams and the title of his latest single, “Climax,” this song didn’t appear to be anything more than R&B sexy-time jam. But Usher pulled a fast one on listeners and has somehow managed to stay ahead of the curve. A complete 180 degree turn from the Euro-trash of “OMG,” “Climax” drenches itself in the slow, dubstep-inflicted synths of James Blake and The Weeknd.
It’s a smart move for him, as the dance craze wanes down. However, more importantly, it works damn well. Usher’s smooth falsetto, crooning for a lover to stay against the icy beats goes down like a good drink.
Madonna - ‘Girl Gone Wild’
Despite the huge hype of her Super Bowl performance and worldwide radio release that preceded Madonna’s first single “Give Me All You Luvin,” the song has all but disappeared from consciousness after the Super Bowl. For an entertainer that thrives on cultural relevancy (in the best way possible), it was likely a big scare, explaining the rush release of second single, “Girl Gone Wild.”
And oh dear. Against a four-on-the-floor beat heard time and time again from Benny Benassi, Madonna unconvincingly sings, “I’ve got that burning hot fire” in paper-thin and high vocals. Madonna proved with 2005’s Confessions on a Dance Floor that she could still groove even with Euro-dance beats. Apparently, she now equates fun with stupidity, reaching the for the lowest common denominator. Where she once commanded listeners to Vogue, she’s now picking leftovers from Deadmau5’s musical trashcan.
Published on Tuesday February 28, 2012 as: Nicki, Madonna sound stale, Usher impressses with single