Big Sean Featuring Drake—“Blessings”
#54
Two young, rich guys rapping about how blessed they are to be young and rich over music that suggests they’re not as happy being young and rich as you might think. This fulfills two fantasies of the pop audience at once: being young and rich is the most fun you’ll ever have, but being young and rich doesn’t guarantee happiness. Pop fans like their stars moody, and though I doubt either of these guys is so cynical or calculating as to consciously manipulate those feelings, they’re taking advantage of them all the same. For some reason, Drake’s doubts and moodiness strike me as real, whereas everything about Big Sean seems like an act, though that may only mean that Drake’s act has been internalized in a way Big Sean hasn’t managed. It may also mean that Sean is an even bigger jerk than Drake. When you’re young and rich, anything’s possible.
Sam Smith—“Lay Me Down”
#75
The appeal of Smith’s last two singles was their simplicity: both were built on classic structures that Smith made sure not to fool around with too much. This time he abandons that idea and throws everything in, pushing his vocals past the breaking point, and the results are a mess. The middle eight makes no sense at all, and the verses aren’t much better. The music is so bad that the lyrics, already confusing, are rendered meaningless. I’ll give him the benefit of the doubt and write this off as a rookie (or near-rookie) mistake. I just hope this isn’t an official single, because that would call his judgment into question.
Shawn Mendes—“A Little Too Much”
#94
Half-assed Ed Sheeran imitations are not going to save this kid’s non-career, but anything’s worth a try. This actually makes less sense than Sheeran’s ballads, which is quite a feat.
Kid Ink Featuring Chris Brown—“Hotel”
#96
So far all of Kid Ink’s hits have featured Chris Brown, bringing up the question of whose hits they really are. Whatever the case, “Hotel” is dense, lustful, even sexy in places, easily the best of their singles. Which means it’s above average musically, only slightly so lyrically, and you’re still faced with the question of whether you want to listen to Brown air his opinions of women. In case you wondered, those hoes still ain’t loyal, but he’s always open to a threesome.
A-Trak + Milo & Otis Featuring Rich Kidz—“Out the Speakers”
#98
Sonic sensationalism of a high order, as always, but it gets dull fast. The dynamics are impressive, though: they make those horns sound like a real fanfare that might be building up to something. It doesn’t, but that’s part of the joke, and it’s fun for a while anyway.
Little Big Town—“Girl Crush”
#100
The real surprise of “Girl Crush” isn’t the faux-lesbian teasing but how lifeless it sounds. The production is excellent, the vocals fine, the message clear, and it’s certainly different from the normal Nashville sound, but somehow nothing comes across. It’s grittiness is so carefully crafted there isn’t an ounce of human feeling left in it. It’s often difficult to hear the greatness hidden behind Nashville’s glossy production techniques, but there’s no greatness hidden here, just a decent song so carefully played all the life has gone out of it.