Ariana Grande
“Focus”
#7
Trying to be Mariah Carey didn’t pan out, so now Grande sets her sights a little lower and aims for Christina Aguilera. But guess what, she doesn’t have Aguilera’s vocal power anymore than she had Carey’s high notes. When she gets loud she screeches. This isn’t bad, but it lacks, um, you know. Maybe someday Grande will learn to make music with the voice she has, but in the meantime she’s flailing, and it isn’t pretty.
Chris Stapleton
“Tennessee Whiskey”
#23
Maybe it’s my familiarity with the George Jones version of this song, but I seem to be immune to the charms of Stapleton’s rough hewn voice and inability to hit key notes (which, you know, makes his music more “real”). The rustic buzz of this record—which I like—is as much an achieved effect as the smoothest Billy Sherrill production, and it’s worth remembering that Stapleton made his living, until now, writing songs for the likes of Luke Bryan. In other words, he’s as much a pro as anyone else in country (or in pop music, for that matter). One with a slightly different look and perspective perhaps, but still a pro. I like this, but I wish he hadn’t felt the need to bluff and almost bully his way through the notes he cant reach.
Justin Bieber
“I’ll Show You”
#51
More excellent music courtesy of Skrillex, and Bieber sings with more depth than usual. That’s because he’s singing about how no one understands him, a subject easy for anyone to relate to. But with music this good I’d like something more in terms of lyrics than Bieber feeling sorry for himself, and I doubt if I’m ever going to get it.
G-Eazy x Bebe Rexha
“Me, Myself & I”
#83
My opinion of G-Eazy seems to be the opposite of everyone else’s. I find his somewhat flat voice a great effect, lending credibility even to his most banal lines, and though his flow is too reminiscent of Wiz Khalifa for my tastes (at least on this track), overall he sounds promising. Bebe Rexha’s chorus wears thin fast, though, as does her weird, baby doll swallowing sandpaper voice.
Zac Brown Band
“Beautiful Drug”
#95
Let’s face it, no matter how much effort critics invest in overrating Sam Hunt, the country/hip-hop crossover is already becoming old hat. It’s time for country to move forward (incrementally, of course). And who should, surprisingly enough, take the lead but Zac Brown, a fellow who’s spent the last few years with his nose deeply buried in the comfortably mellow sounds of the 70s. Now, out of nowhere, Brown goes EDM. Not whole hog, mind you—he seems to be taking most of his cues from Mumford and Sons rather than, say, Swedish House Mafia—but the influence is obvious. He even uses drugs as a metaphor. They’re not the sort of drugs people who normally listen to EDM would use, but at least Brown gets the general idea. None of which makes this a good record or much more than an oddity, and the ominous specter of jam band EDM may not be something you care to contemplate, but at least it’s a step into the present.
Parmalee
“Already Callin’ You Mine”
#96
Tougher sounding than their previous singles, possibly because they finally have a chorus with a little drive to it, this is a perfectly acceptable piece of Tom Petty influenced country power-pop. Since it’s limitations are built into the form, you can’t say they aren’t doing their best. Their best just isn’t much, is all.
Randy Houser
“We Went”
#100
Like Luke Bryan, Houser is a cliche machine, only with less of a voice and weaker hooks. And since Bryan is barely above mediocre, you can imagine where Houser is.