Ellie Goulding
“On My Mind”
#22
People have complained that Goulding is turning into just another EDM singer, but if anything I prefer her dancing queen phase to her earlier, overloaded, mixed-metaphor brand of romanticism. She wasn’t saying anything more then than she is now, she just gussied it up in a pretentious exterior. And more than ever it’s the music that gets her message across. The lyrics may say that her heart and mind are confused, but the music suggests the source is a slightly lower portion of her anatomy. It’s not a profound discovery, but it’s more than could be found in any of her earlier records.
Drake & Future
“Jumpman”, #52
“Diamonds Dancing”, #70
“Big Rings”, #75
“Digital Dash”, #81
“Live From The Gutter”, #85
“Scholarships”, #86
“30 for 30 Freestyle” (Drake only), #88
“I’m The Plug”, #89
Lyrically and thematically there’s little difference between these two: for the most part their message boils down to “I’m richer than I used to be, and I get more sex, but I still have problems.” Stylistically, though, they’re almost exact opposites. Future is an ensemble player, enmeshing his voice in the beat so deeply he sounds more like another instrument than a rapper. Drake, meanwhile, is a soloist, standing out and above the beat at every moment, enunciating so clearly that his meaning is conveyed less by flow or phrasing than by pronunciation. This difference makes it virtually impossible for them to rap together, at least without Drake dominating, and except for occasionally finishing each other’s lines they never interact vocally. There are a couple of moments when Drake tries to rap like Future (he’s always been an—unconscious?—mimic), but otherwise they stay out of each other’s territory. They never venture far beyond anything they’ve said before, either, though Drake’s sexist condescension comes through more sharply than it has in the past, especially on the extended coda of “Diamonds Dancing”. All in all, What a Time To Be Alive will neither damage nor enhance either reputation; it doesn’t demonstrate much connection between the two or suggest they had more fun than usual putting it together. Which makes you wonder why, aside from the obvious commercial reasons, it even exists.
One Direction
“Infinity”
#54
I appreciate their continued willingness to share vocals, but many of their songs would benefit if they were delivered by a single voice instead of a sentimental gangbang like this. It would also help if they found (or wrote) better songs. This isn’t terrible, but infinite it ain’t.
Fetty Wap
“RGF Island”
#61
His powers of hook craft are strong, but I often have a hard time sussing out the words. Not their meaning so much as why they’re even there.
Lil Dicky Featuring Fetty Wap & Rich Homie Quan
“$ave Dat Money”
#71
Essentially a comedy record, but one with a good hook (look, ma, it’s Fetty Wap!) and a lot of good lines. Some of the jokes are dumb, the more obvious ones wear thin fast, and the final rap would be funnier, and more satirical, if it didn’t include an apology. But I always find myself laughing, especially when Dicky borrows his cousin Greg’s Netflix logon. “Thanks, Greg!”
Demi Lovato
“Confident”
#84
Some have suggested that the change for the better in Lovato’s music is a result of her taking herself more seriously, but I think it’s the opposite. Taking herself too seriously has always been her greatest weakness. The difference now is that her growing confidence has allowed her to inject more humor, and even some wit, into her music. She doesn’t just sound like she’s expressing herself, she sounds like she’s enjoying expressing herself, and that makes a huge difference. Yes, that Gary Glitter beat is old hat, but there’s a reason millions of marching bands have employed it from the day it first appeared: it’s perfect for expressing a certain form of strength and, yes, confidence. After almost 45 years, I’m still not tired of it.
Naughty Boy Featuring Beyonce & Arrow Benjamin
“Runnin’ (Lose It All)”
#90
A few years ago, though no one in the press or among her stans seemed to notice, Beyonce stopped being a pop star. It wasn’t anything she did; it was a natural transition, one that hundreds of artists and performers have gone through as they grew older. This song, I suppose, is also a natural part of the process: the inevitable attempt to revive a career by attaching yourself to a younger and, one hopes, hipper up-and-comer. Beyonce sings well, Arrow Benjamin sings badly, and the song is negligible. It dropped off the chart almost immediately. Back to the drawing board!
Thomas Rhett
“Die A Happy Man”
#92
The second record of the year to cite Marvin Gaye in the lyrics while musically quoting someone else (in this case Smokey Robinson); if it happens again it will be a trend. After “Crash and Burn” the tameness of this exercise in craftsmanship is almost depressing, but it’s also no surprise that it’s Rhett’s biggest hit. Maybe this will give him the confidence to experiment even more, like Brad Paisley did after his breakthrough, though there’s as great a chance it will turn Rhett into another competent but boring country star. I hope for the former, but the latter probably isn’t many years off.
Major Lazer Featuring Ellie Goulding & Tarrus Riley
“Powerful”
#95
As long as Ellie Goulding is singing this is a good record—a decent song matched to a more than decent, if derivative, arrangement—but when Tarrus Riley enters everything collapses. He sounds like Joe Cocker attempting a Sam Smith impersonation (yes, I know Joe Cocker is dead; that’s the point). Unfortunately, it’s Riley who gets to sing the chorus. This makes it almost impossible to enjoy Goulding’s second verse—I find myself cringing every time in anticipation of Riley’s re-entrance. Surely somewhere in the world there are men who are as good at singing along to EDM tracks (which this barely is) as Goulding and other women are. Has anyone looked in Kazakhstan lately? Estonia? The Outer Hebrides?
A Great Big World Featuring FUTURISTIC
“Hold Each Other”
#99
The only thing of interest about this record is the change in gender pronouns in the second verse. Support for gay rights (in which case they’re late)? Or a reference to God (in which case, uh…)? Whatever it might be it isn’t enough to make this pablum bearable.