On December 10th, R. Kelly will release what seems to be the return of ‘nasty’ R. Kelly with album Black Panties. Kelly is easily among R&B’s most preeminent artists. Sure, his sales have falling off much like his contemporaries, but no one can deny the salacious singer/songwriter has a long and illustrious career. This particular post won’t discuss Kelly’s earlier successes with tracks like “Bump and Grind” or his Grammy-winning track “I Believe I Can Fly”, but will instead focus on his post- new millennial success. The early part of the millennium was kind to R. Kelly, much like it was to a number of neo-soul artists. But as Nelly Furtado asks on her 2005 album Loose, “why do all good things come to an end?”
Tie – 10th
The Best of Both Worlds & Unfinished Business (with Jay-Z)
I was only actually privy to Unfinished Business (2004), which managed to debut at no. 1 on the Billboard Albums chart (215,000 copies) – don’t ask me how. That said, I didn’t hear too many good things about R. Kelly and Jay-Z’s previous collaborative effort The Best of Both Worlds (2002), which landed at no. 2 with 223,000 copies sold itself. I’ll only speak for Unfinished Business to be fair, but I’ll just tell you I thought it was an undercooked affair. Sure there were some bearable moments – emphasis on ‘some’ – but ultimately, the album just felt second-rate for both musicians with such shimmering careers. Balling these two were not…SMH.
Don’t let the inclusion of “Trapped in the Closet” fool you folks – TP.3 Reloaded (2005) found R. Kelly doing what he does best pretty mediocrely. Yeah, I was one of the 491,000 who purchased it when it came out, but looking back, its just not my favorite album by R. “In The Kitchen” adds a freaky bright spot, as do risqué sex-inciters like “Remote Control” or “Put My T-Shirt On”, but otherwise, Kells is a lil’ too freaky for his own good. I mean for a man who seems to be able to make some incredibly outlandish references to S-E-X, TP.3 Reloaded just was so-so.
Write Me Back
You could lump Kelly’s Love Letter and Write Me Back albums as one in many respects. Both are Kelly back in conservative, neo-soul mode as opposed to cutting edge, “let’s get down” mode. Write Me Back isn’t a bad album, but it is pretty conservative. There’s nothing wrong with singles like “Share My Love” or “Feelin’ Single” save for the fact they sound incredibly similar to Kells a la Chocolate Factory (that was 2003). “Clipped Wings” is a nice moment, though Write Me Back could’ve used a few more like that to truly make it a signature R. Kelly showing.
Like the fine Write Me Back, my main issue lies with the conservative nature of Love Letter. It’s not bad, but it may fall a shade short of Kelly’s more balanced albums, specifically Chocolate Factory, which manages to balance the freak and the soul. “When A Woman Loves” is a nice addition to Kelly’s collection, though he milks it for every bit it’s worth. “Love Letter” is smooth as silk while “Radio Message” appeals as well. Still, I believe I speak for many R. Kelly fans in saying we remember his bedroom work more than his more refined, less risqué offerings.
Former teen-pop singer Aaron Carter has filed for bankruptcy, following numerous other celebrities who have found themselves “in the hole” you might say (hasn’t Toni Braxton done this like twice?). Carter has had some issues since his fame waned, and has never reclaimed his place as a pop force within the music industry. For any former teen star, it seems to be an arduous task to make one’s self relevant in a incredibly trendy, ever-changing music industry. The question for Carter is does he have any interest in being a pop star again? Could making that awesome comeback album change his life for the better or could the taste of fame cause him to backpedal?
According to a CNN article referencing Carter’s bankruptcy, his publicist Steve Honig seems to suggest Carter is now doing ‘good’ or on the right track you might say. That is definitely a ‘come-up’ in itself and probably best for Carter at this time following issues. However, I can’t help but to envision the the once corny, but popular teen-pop star coming back with a cool, swag-laden studio album fitting in right with his contemporaries. No I’m not touting Carter as the best vocalist in the world or even better than a pool filled with pop-stars, but couldn’t an indie-released pop album with an addicting lead single possible get Carter on his feet? Think about it, a hip-hop oriented pop single with a guest rapper just might change Carter’s fortunes and give him some paper, right? I dunno, just some thoughts I guess.
- Aaron Carter bankrupt (kamkos.wordpress.com)
- Aaron Carter files for bankruptcy – Philly.com (blog) (philly.com)
- Aaron Carter Files For Bankruptcy: ‘The Best Is Yet To Come’ (hollywoodlife.com)
- Aaron Carter Files for Bankruptcy (eonline.com)
- Gone For Broke: Aaron Carter Files For Bankruptcy (popwrapped.wordpress.com)
- BREAKING NEWS: Aaron Carter Is Broke As Fuck (welovefun.wordpress.com)
- Aaron Carter Files For Bankruptcy, Claims He Only Has $8,000 In Assets (huffingtonpost.com)
- Pop star Aaron Carter files for bankruptcy (washingtontimes.com)
2013 has produced many notable albums overall. Among the many triumphs include an alternative juggernaut (Vampire Weekend’s Modern Vampires of the City), a soulful return (John Legend’s, Love in the Future), an atheistic Brit-metal reunion (Black Sabbath’s 13), and an electronic thriller (Daft Punk’s, Random Access Memories). Those aforementioned titles are just some of the sound efforts that thrilled us in 2013. That said, it is usually the fourth quarter (October through December) in which the record companies roll out those unstoppable commercial blockbusters. Some arrive in September as well, though the first week sales totals tend to ascend to loftier heights during the month of October. The problem for fourth quarter releases in 2013 is that there seem to be fewer of these sure-fire blockbusters or worse yet, the expected blockbusters are flops.
In October, the ‘big-time’ releases included Justin Timberlake’s The 20/20 Experience – 2 of 2 (released off-cycle on September 30), Miley Cyrus’s Bangerz, Pearl Jam’s Lightening Bolt, Katy Perry’s PRISM, and Arcade Fire’s Reflektor. That’s not a bad list in the least with all of these albums debuting at no. 1. The numbers for these releases were superb contextually given album sales in recent times. That said, it wouldn’t be until Eminem’s November 5th release of The Marshall Mathers LP 2 that sales would move past that 500,000 threshold. In fact, the top release of the October collective of albums was Timberlake’s second album, which sold 350,000. That paled in comparison to the near million that The 20/20 Experience sold just earlier in the year. The smallest of the no. 1 bows impacting the charts came from Arcade Fire’s Reflektor with 140,000 copies sold. 140,000 copies are solid numbers, especially for an alternative rock band, but those numbers can’t dig music sales out of their recession.
On a related note, what’s been more troubling when analyzing chart numbers has been the top-heaviness of the chart usually with only the ‘star’ album. This week, Eminem gave the charts nearly 800,000 copies boost, BUT the week’s second bestseller, Celine Dion’s Loved Me Back to Life, sold <100,000 copies (77,000 to be exact). If fourth quarter sales continue at this tepid rate, particularly with former bigger names like Celine Dion and Avril Lavigne underperforming, the fourth quarter certainly won’t make up for the sales issues of 2013; The effect of an 800,000K blockbuster wouldn’t be sufficient.
The best bets left to impact the charts in a big way seem few and far between. The biggest impacters are likely Lady Gaga’s ARTPOP (November 14), One Direction’s Midnight Memories (November 25) and Britney Spears’ Britney Jean (December 3). Lady Gaga’s numbers are quite underwhelming based on early prognostications; she may sell 260,000 copies. As for One Direction, big numbers wouldn’t be shocking, particularly considering Take Me Home debuted at no. 1 last year with over 500K, but how much will Midnight Memories move, particularly given a younger demographic? Can they match or exceed their former numbers? Britney Spears certainly can have a huge week, but has she cooled off since her heyday? What I’m basically saying is, the fourth quarter seems a couple of releases short of a definitive hit.
The other problem or a question with the fourth quarter is, will their be that Christmas album that puts the music industry on its back to infuse some charting numbers? There have been holiday albums released by Mary J. Blige, Kelly Clarkson, Susan Boyle, and The Robertsons (of Duck Dynasty). Will any of these become that hot selling commodity leading into Christmas? The best bets would be Clarkson or Duck Dynasty as Susan Boyle and Blige haven’t made much of an impact as of yet. Also what about this albums lingering in or around the top ten such as Drake’s Nothing Was the Same, Katy Perry’s Prism, Miley Cyrus’ Bangerz, or surprise Lorde’s Pure Heroine. Can any of these gain a second wind and salvage the fourth quarter glory?
As stated earlier, personally, I feel this year’s fourth quarter feels a piece or two short. Time will tell if this is the case of course.
- Eminem’s The Marshall Mathers LP 2 Debuts Big (brentmusicreviews.com)
- Arcade Fire’s ‘Reflektor’ Hits No. 1 On The Billboard 200 (huffingtonpost.com)
As a music lover, I tend to enjoy artists who possess a distinctive voice – call me a weirdo (I like to think I’m just ‘eclectic’). That said, I also understand that a uniquely voiced artist often causes divisiveness among music listeners. British singer/songwriter James Blunt is no different. While characterizing Blunt’s high-pitched tenor as being ‘left-field’ as say Macy Gray would be quite an overstatement, Blunt definitely sports a unique sound. Given Blunt’s vocal contrasts to other artists, one might expect his music and style to showcase and highlight such. Well four albums in – with most recent effort Moon Landing dropping November 5, 2013 -Blunt’s distinctiveness artistically is only so-so. In other words, blasé. Cast the stones James Blunt fans, cast those stones.
I recently reviewed Moon Landing (see my review here), and while I found it to be both pleasant and sometimes even enjoyable, at times the effort also trended ‘middle of the road’. Among the album’s strongest moments included “Satellites”, a care-free anthem whose chorus states“…for all we know life’s just a dream / who the hell knows what it means…”, poetic folk-pop promo single “Bonfire Heart” (“You’re mouth is a revolver / firing bullets in the sky / your love is like a soldier / loyal ‘til you die…”), and stunning closer “Blue On Blue”. Blunt does do some subtle things throughout to try to keep things interesting, but Moon Landing still could use that extra ‘oomph’ and innovative drive. It lacks ‘I’-word by all means…just sayin’!
As I did some background on recent effort Moon Landing, if I were to summarize Blunt’s intents on this album, it would be that he basically wishes ‘bear his soul’ (“About getting back to basics and rediscovering the power of music to communicate emotion directly and honestly, without too much polish or complication” per his Atlantic Records bio). Honestly, he is both candid and conservative in approach you might say, speaking from the heart as opposed to earnestly searching for his next commercial breakthrough. Ideally, this sort of ‘return’ to his Back to Bedlam sensibilities should also land him commercial rewards as well, right? WRONG! As I study prognostications for albums released on November 5, I see nothing about James Blunt debuting in the top ten. Some Kind of Trouble (2010) bowed just outside the top ten at no. 11 and failed to be certified by the RIAA (Back To Bedlam went double-platinum while All Souls Lost was gold-certified).
That brings me to my ultimate opinion and point of this whole feature on Blunt as an artist in 2013. I feel that while he has remained consistent since his valedictory “You’re Beautiful” and Back to Bedlam days, he hasn’t ascended to the next level. In the States, nothing has come close to the success of “You’re Beautiful”, and whether unfairly or not, that song seems to be the benchmark that Blunt has yet to meet or exceed. As a supporter of Blunt’s pipes where others might characterize his vocal timbre as ‘whiny’, I personally would like to see him ‘spread his wings’. That doesn’t mean the 39-year old needs to be a sellout and start incorporating electro- or hip-hop into his music (can you imagine?!?), but instead of opting for the ‘doubleback’, perhaps Blunt should be more progressive. Middle-of-the-road artists aren’t exactly the most popular commodity these days…
Favorites (from Moon Landing):
“Satellites”; “Bonfire Heart”; “Heart to Heart”; “Postcards”; “Blue on Blue”
Verdict (Moon Landing): ✰✰✰
- James Blunt: Moon Landing (Review) (popmatters.com)
- Why is James Blunt so unpopular? Editorial comment by Busy Elle Bee (busyellebee.wordpress.com)
- Interview: James Blunt Accepts ‘You’re Beautiful’ & Returns to His Indie Roots on ‘Moon Landing’ (news.radio.com)
Some artists constantly change up their formula, while others are content. There is nothing wrong with being content, but sometimes it puts your artistry into serious questioning. There are many artists I could characterize as ‘one dimensional’, but I chose five who truly epitomize this description. And yes, some of these are artists I highly respect and listen to. I’m a meanie, I know.
I really do respect and enjoy India. Arie’s music, but I feel that she hasn’t truly ‘spread’ her wings for a couple of albums. I’m all about “if it ain’t broke, don’t fix it”, but still… “Video” will always be a classic, but can the same be said of “Cocoa Butter” from 2013’s quietly released SongVersation? Arie is one of those artists who’s so ‘chill’ that she sometimes comes off a bit boring and blasé. She remains prudent mind you, but I wouldn’t mind if she shook things up just a wee bit.
Another artist I really respect and enjoy listening to is John Mayer. However, since his best album Continuum (with all the blues and soulfulness), he’s not had that same spark. Battle Studies had its moments (“Who Says” and “Half of My Heart” among them), while both Born and Raised and Paradise Valley were enjoyable but lacked the spark of his earlier efforts. Or maybe they just lack the ‘commercial’, pop appeal. I mean he doesn’t have to relive “Waiting on the World to Change” but still…
I don’t know about everyone else, but frankly I’m pretty tired of hearing about Wiz smoking weed. Because of this lack of range (or artistry), Wiz’s sophomore album O.N.I.F.C. was incredibly forgettable. As I’ve referenced earlier, his song “It’s Nothin’” featuring 2 Chainz truly was ‘nothing’. Of course, the lack of another banger like “Black & Yellow” would hurt anybody. Still, no pass Wiz!
One Direction (and various other teen-pop bands/artists)
Before I get stoned, this doesn’t merely apply to One Direction. Why are they highlighted? Well they are easily the most popular boy-band / teen pop artist(s) not named Justin Bieber. Basically, the formula for the teen pop band is what makes the majority of them one dimensional. The format is so tried and true that in many respects, it hurts the artistry. We’ve come to expect extraordinarily good-looking girls/guys and corn-ball/schmaltzy songs slated somewhere between pop, R&B and rock. Sure, One Direction’s Take Me Home was a good album contextually considering its fan base, but other than teen girls, who’s really listing them as their favorite ‘artist’? Exactly.
Last year I wouldn’t have listed The Weeknd on this list, but Kiss Land had a hand in this change of heart. I enjoy listening to The Weeknd… on Trilogy. As for Kiss Land, he boxes himself into the same thing he did on his mixtapes only he does it much less satisfyingly. The voice is still incredible, but how many more times do you sing about weed consumption, being oversexed, so on and so forth? I’d say the same about The-Dream, whose IV Play was clumsy as albeit and lacked the fun of the artists previous efforts.
Isn’t this one obvious? This man goes dumber than fudge… replace ‘fudge’ with another word. I’m not gonna lie, I own both of his albums and was even onboard during his “Duffle Bag Boy” days when he was Tity Boi in Playaz Circle, but that doesn’t mean I don’t consider him ‘one dimensional’. That said, can anyone really imagine ole boy being truly serious? Nope, didn’t think so.
- Playlist: September 2013 Jams To Lead Into October (brentmusicreviews.com)
It’s hard enough to make a blockbuster album the first time. What’s even more arduous is following up a blockbuster and trying to achieve a similar level of commercial and critical success. Something that artists have done that surprises me personally is to opt for their follow-up album to be a ‘sequel’. I mean why take that considerable amount of pressure to live up to the original? As we all know in films, sequels tend to suck compared to the original. While the effects aren’t always as drastic for the sequel album, sometimes they are.
Many musical sequels have graced us including numerous in recent times. Some of them are strong enough, such as Lupe Fiasco’s Food & Liquor II or even Jay-Z’s Blueprint 3 which may not have superseded the original, but did yield one Jay-Z’s most memorable hits, “Empire State of Mind”. Still, other sequels are purely wack as f… I’ve chosen three that I personally don’t quite match the glory of the original. One of these three in particularly isn’t too shabby of an album, but its still an ugly stepsister to a much better juggernaut.
The 20/20 Experience 2 of 2
Sequel to The 20/20 Experience (2013)
One could argue that Timberlake’s second album of 2013 is much more experimental and surprising than the first. When I first sat down to listen to the opener “Gimme What I Don’t Know (I Want)”, I was quite surprised and not necessarily positively. From my perspective, ultimately, I find The 20/20 Experience 2 of 2 to lack cohesion, be overproduced, and trend a tad bit too left of center compared to its older sibling. It has it’s moments, perhaps most notably moderate hit “Take Back The Night”, but it also leaves you wanting more.
Mary J. Blige
My Life II: The Journey Continues, Act I
Sequel to My Life (1994)
Honestly y’all, this one sort of hurts me, but I believe my rationale is sound… Following up a 90s R&B classic is a tall task; it ain’t no joke! If any diva was up to successfully accomplishing this, it would be the queen of hip-hop soul, Mary J. Blige. Her sequel to My Life (My Life II: The Journey Continues, Act I) oddly arrived 17 years after the original to less triumphant results. It was by no means a bad album, but following the heels of not only one of Blige’s most important albums as well as her recent resurgence (The Breakthrough (2005)), My Life II:The Journey Continues, Act I just doesn’t stack up against Mary’s best, whether she wants love “25/8” or not. I mean she sounds awesome, but the material is not among her best.
I Am Not A Human Being II
Sequel to I Am Not A Human Being (2010)
When Lil Wayne finally admitted and apologized to what we fans already knew in regards to a “lackluster” 2013, it seemed pretty ‘tired’, much like the sequel to I Am Not A Human Being was. For starters, Weezy’s first album was by no means the ‘cream of the crop’ of his discography, but it did have some bright spots including “Right Above It“. Personally, I like “Right Above It” because he made an awesome reference to my favorite college basketball team, the Kentucky Wildcats (had to throw that out there). As for his second installment, Tunechi’s reliance on all things oversexed is a major turn off. I can’t speak for his female fans’ opinion, but I’d certainly object to the MC’s misogynistic approach here. “Love Me” gets a pass barely, but otherwise, Weezy sounds like he’s just going through the motions. Whether “Sex Never Felt Better” or not (shout out TGT), perhaps toning it down and providing some thoughtful rhymes would’ve worked out much better for you Weezy.
- Must-Listen: Hear Mary J. Blige’s ‘This Christmas’ (essence.com)
Alternative band MGMT recently released their third effort, MGMT rather dismal commercial fortunes. Three years prior, the buzz surrounding their sophomore effort Congratulations propelled that affair to an impressive number two bow with 76,000 copies on the Billboard albums charts. Despite a quick start particularly for an indie-group, there were many who cried ‘foul’ about the group’s sophomore effort because it was much more experimental than their first (Oracular Spectacular), which sported a more commercial sound. This not only caused the impressive Congratulations to become underrated, but also ultimately sort of doomed ‘the next album’. Sure MGMT was no promotional juggernaut, but even brief but punchy single’s experimental touch didn’t exactly suggest gargantuan numbers would be posted on the charts.
While the experimental release can broaden any artists boundaries, it often can isolate their core fan base as well. There have been numerous ‘experimental’ albums in recent years that have done more ‘harm’ to an artist’s bank account than say even confirmed or cemented their artistry. Kanye West is one of the most experimental musicians within his style, hip-hop. Most of his albums have yielded incredible success both commercially as well as critically. Yeezus definitely received its fair share of accolades from critics and even hardcore fans, but the sales haven’t reflected that West’s most shocking album was truly a success. An underwhelming start for West (327,000 copies) continued to wane, something the West camp is certainly not used to. While lax promotion played a role, the album itself is dark and lacks the commercial appeal of West’s past efforts.
Numerous other examples of the flaws of experimentation can be cited. Remember how shocking Panic! At The Disco’s sophomore effort Pretty. Odd was compared to the band’s debut? I liked it, but I understand the surprise that that was the direction the band went with. What about Lil Wayne’s horrid idea to release a rock album (Rebirth)? Kelly Clarkson wasn’t exactly going ‘experimental’ on My December in the traditional sense, but the rebellious rock-driven album certainly didn’t deliver a home run. Worth noting is the aforementioned albums all suffered commercially. While it could be a generalization to say that all of the sales erosion of the titles was due to contrast and experimentation, it is also quite feasible that experimentation played a role.
The question then must be addressed then, is how much experimentation is too much? From my perspective, it’s a balancing act. If you are an artist who is already established and your style is particularly popular with folks, why would you want to change it considerably? Sure, there is nothing wrong with tweaking or even taking some risks showing artistic license, but in a music industry that is quite unforgiving, why alienate the base that is supporting you? Sometimes experimentation is the risk that can undo the arduous work to build a career.
Justin Bieber lately you get a temporary pass from me buddy… at least until the Miley Cyrus phenomenon, machine or whatever it is ends. I’m hoping it ends soon, for all of our sakes. My new favorite person to scrutinize for irresponsible actions is Billy Ray’s daughter, and rightfully so. Basically, all the criticism and jeering is justified. Miley Cyrus is going through a ‘shock’ phase to get attention and the saddest part is that it is working and that is sad. I understand she needs attention to give her a decent stab at a comeback, particularly after Can’t Be Tamed was pretty tame in sales from start to finish, but still, she’s taken it to a new level.
Sex always garners attention, so Cyrus has decided to sex up her image. Fine, seems the natural course of action for any teen star… good or bad. Add some hip-hop culture to the mix and now Miley has ‘swag’ (“We Can’t Stop”). Perform given breakout single at VMAs, wear provocative clothing, scar children’s minds for ever by destroying the sanctity of the teddy bear, spank someone’s butt, strip, twerk on Robin Thicke and change the purpose of a foam finger forever…Hmm…Okay… Then throw in tears, a wrecking ball, a sledgehammer, nudity, and plenty of tongue action, and you have a number one single (“Wrecking Ball”). Well, the song’s good at least.
Now Miley has taken a page out of Green Day’s book at the I Heart Radio Music Festival by making it more buzz worthy on internet traffic than it would’ve been. Congratulations, maybe? I dunno. Green Day’s Billie Joe Armstrong had a breakdown on the 2012 festival that led to a stint at rehab and certainly didn’t help propel sales of the band’s trio of albums released in the fall of the same year (they basically bombed). At the 2013 edition, it was Miley’s outrageous outfit that drew attention, though certainly didn’t have quite the disturbing effect that Billie Joe’s um issues. Still, the outfit seems so unnecessary. Why does Miley have to go so, um, trashy? That’s the aspect of the new Miley I just can’t wrap my brain around.
I mean, Miley has a song I actually like in “Wrecking Ball” and I didn’t mind “We Can’t Stop” that much (could’ve done without all the processing and that “molly” lyric). So why can’t Cyrus’s endeavors be about the music and promoting it in a more refined manner? Why does everything have to become sexual innuendo? What makes it worse is that it’s clumsy and awkward at that. I mean there’s nothing wrong with a little naughtiness, but Cyrus’s ‘means’ to achieve a successful album and reinvigorate career seem a bit irresponsible to me. Maybe it’s just hunger for stardom or renewed stardom, but still, the shock value is offensive, at least in my opinion.
- Miley Cyrus Twerks, Puts on First Live Performance of “Wrecking Ball” (thehollywoodgossip.com)
- Miley Cyrus performs at IHeartRadio music festival (thenewstribune.com)
- Miley Cyrus Performs at IHeartRadio Music Festival (abcnews.go.com)
- Miley Cyrus Wears Pasties for iHeartRadio Music Festival Performance (finejoeyoung.wordpress.com)
- Miley Cyrus poses with the Kardashians at iHeartRadio music festival (nydailynews.com)
- Miley Cyrus performs at IHeartRadio music festival (miamiherald.com)
- Miley Cyrus Breaks Down Crying During Post-Split “Wrecking Ball” Performance (finejoeyoung.wordpress.com)
- Miley Cyrus twerks yet again at the iHeart Radio Music Festival in Las Vegas (myfacehunter.com)
- Miley Cyrus Live iHeart Radio Music Festival (coreygman.wordpress.com)
- Miley Cyrus Flaunts Body at iHeart Radio Music Festival Village! (justjared.com)
How about a case study of where I think five artists stand in 2013? Let’s case study it up!
Up. While it is debatable what one’s personal definition of trending up may be, Miley Cyrus for all her illy selected sexual innuendo musically made an upgrade, particularly with “Wrecking Ball”. Yes, the video is strange, particularly her nudity and tongue-action, but the song quickly rose to no. 1 and might just make Bangerz a force to be reckoned with. Oh and that one hit she had before “Wrecking Ball” “We Can’t Stop” is still doing things.
Down. I think that Miley Cyrus has stopped some of Justin Bieber’s PR bleeding with her own antics, but who knows if Justin might actually think some of the attention Cyrus has received is ‘positive’ and now he decides to go nude… oh wait a minute… Bieber has wasted 2013 with irresponsibility, unnecessary and excessive shirtlessness, and a tepid album in Believe Acoustic. Maybe his downward trend has stabilized a bit as of late, but he’s still shirtless and still seems a few brain cells short to me…
Up. Yeah, I had my skepticisms about “Roar”, but had it not been for a nude video and quite the compelling big pop song from Miley Cyrus, mightn’t Ms. Perry still stayed at no. 1? I’ll give it to her, she definitely shows more maturity on “Roar” and there is no doubt that Prism will debut near the top of the charts upon its arrival.
Down, maybe Steady. Ah the newbie. Mahone has been releasing singles trying to find the right one to connect to a teen audience and perhaps even transcend that demographic. “Say You’re Just A Friend” was not the single, regardless if no. 1 hit maker “Flo Rida” upped Mahone’s swag beyond those diamond studs. “What About Love” seemed to be the right single, but now it seems as if teen’s newest heartthrob failed to capitalize on the success of the single and at least rush out an EP. Slow and steady wins the race mind you, but when things are hot, keep them on FIRE!
Up. Basically, my favorite newer MC made everybody mad on his brutally honest “Control” verse, which was Big Sean’s song. He went where so many rappers seem not to go these days as they are too concerned about the cash flow, the girls, and mollies. Lamar’s second album will have a tall task to supersede his classic good Kid m.A.A.d City, but whenever he does go for it, you just know KL is going to live to his newly proclaimed ‘King of New York’ status.
- Miley Cyrus: Now That You’re Single, You Should Date Justin Bieber (hollywoodlife.com)
- Cher: Ashamed of Miley Cyrus Bashing, Sort of Apologetic (thehollywoodgossip.com)
- Justin Bieber shocks on ‘oral sex’ rap track Lolly with Maejor Ali (metro.co.uk)
- Liam Hemsworth Skips Town As Miley Cyrus Releases Topless ‘Bangerz’ Artwork (socialitelife.com)
- Miley Cyrus ‘hasn’t decided’ what to do with engagement ring (nydailynews.com)
- Justin Timberlake praises Miley Cyrus (contactmusic.com)