Gwen Stefani
“Make Me Like You”
#54
“Make Me Like You” would have sounded flat a decade ago, when Stefani was in her prime, mixing and matching genres and styles with abandon. It sounds even worse now. There’s nothing particularly wrong with it, but it lacks inspiration and any sense of need. It’s craft and nothing else. All she’s really trying to do is take advantage of her time on The Voice and reappearance in the tabloids. She always was an opportunist.
Adele
“All I Ask”
#77
I’m beginning to think the real problem with Adele isn’t the material she writes or chooses—though that is a problem—but the way she uses her admittedly magnificent voice. “All I Ask” sounds, almost literally, like a mediocre karaoke version of a forgotten Lionel Richie song. Written by those master thieves Bruno Mars and the SmeeZingtons, it takes Adele so far out of her vocal range that she becomes painful to listen to (and it only gets worse when she changes key). Listen to the her second time through the chorus, where she slurs the words together and loses any sense of control. Possibly her worst performance.
Sia Featuring Sean Paul
“Cheap Thrills”
#81
For a songwriter to record an album of songs rejected by other artists is a good concept, except that it ignores the obvious: the songs were rejected for a reason, usually quality. Considering the overall direction of Anti-, though, it’s impossible to imagine Rihanna singing “Cheap Thrills” even if it were better song. It’s also worth pointing out that whenever anybody says something is free or cheap, that only means someone else is paying. In the present case, it’s whoever buys this record.
Zara Larsson & MNEK
“Never Forget You”
#83
More EDM pop. Decent beat, decent vocal from Larson, not so decent vocal from MNEK. Universal themes presented in generic fashion. Produced in such a machine-like way you can’t be sure the two singers have ever met. Kind of works, anyway, at least when Larson is singing.
Luke Nasty
“Might Be”
#85
The sampled hook is so great that for awhile you can ignore the Big Sean-like rap. But even the best hooks wear off, and this record is far too long to sustain the gimmick.
Chris Young Duet With Cassadee Pope
“Think Of You”
#86
Another decent song ruined by country’s tendency toward overload. Things get so loud that, even doing her best Carrie Underwood, Cassadee Pope gets lost in the roar. Listening to singers shouting over too many guitars is starting to become painful.
Kid Ink Featuring Fetty Wap
“Promise”
#92
Kid Ink is so lacking in distinguishable qualities that he needs big-name features to get his music on the charts. This time Fetty Wap gets the honor, and repeats himself so efficiently you’re almost hooked. Then Kid Ink starts rapping. The record disappears. Then Fetty comes back, and it’s OK, but you start to feel you don’t like him as much as you used to. And so on.
Lee Brice
“That Don’t Sound Like You”
#98
Unfortunately, it does sound exactly like Brice.