Surprised LWYMMD is in here over other Taylor Swift songs. Also, glad that “Royals” is here. And I remember that Max Martin said the song structure is incorrect as the pre-chorus is the catchiest section. It worked more than fine!
Review: I know it's probably up to debate on whether the Miguel part or the "we are, we are, we are" is technically the chorus, but I'd always insist on "we are, we are, we are" part being the hook, it's by far the catchiest thing about the song, it's iconic, it stands out way too much comparing to pretty much the rest of the music scene that doesn't really matter. This is the type of music where quality is the one that wins over, I'd always find its production so solid that I've put it at a premium score since I first heard it. It's incredibly chill, it's just like the instrumental on the verses, it's like a transition between verses, it's just like driving through the road at night, it's so tailor-made for driving, something scenic. Within the big bound of chillin' drive-through, the beat kicks sporadically, with intensity, like some sort of circus music and all those stripes and hoops, it's like some secret intensity and passive-aggression inside, before getting too carried away, and there's that bassy shaker sound that's like computer runs into problems. That "organ" sound is recurring and playing into the same 8 recurring notes, it's like Style 2.0, but something about its production just sounds so solid, it's still the tightest, the most premium quality one shimmered with effort I'd heard in a while. The "organ" sound really does sound so on-point on top of the beat, adding to a sense of melody and it's like a well-crafted artistic statement, just like Miguel's Adorn I mentioned, that greatly artistic and intentional side of R&B (Miguel, Frank Ocean, The Weeknd, etc). And how can I forget, the killer line. That "we are, we are, we are". J. Cole's vocal's balanced to that era's perfection in an attempt to emulate the word "classic", and I know it's caught up, somewhere between tough and mellow, somewhere between smooth and slightly coarse, somewhere between timelessness and melancholic scenic fantasy that no one just really seems to get it, with that slight urban twang just enough to capture the most classic energy caught up in an artistic statement of an R&B chorus, yet not too stereotypical to relegate to pandering of the broad appeal of the genre. The chorus sounds incredibly iconic and catchy to just listen along. Adding that "we are, we are, we are" on top of the dry tone in the prologue really created what actually works so well as a chorus. It's like a hangover, after being obsessed with somebody and singing love songs, but the chorus and music video are definitely not among the joyous. it's more like half-conscious, and lukewarm, the perfect song to absent-mindedly drive through a midwest suburban to, with mixed feelings, night can be scenic, but that lukewarm and depression got it less scenic, at some point there's that steely and mechanical riser and a small choir of background vocal summoned like ghosts. But just like that you'd really know the feelings of being a protagonist.
Last Edit: Apr 20, 2019 13:00:19 GMT -5 by Deleted
Review: You know you like it, but it drives you insane. When I first heard this chorus, it sounded insane. I almost f**king thought it's not humanly possible to produce this chorus. It used to hold the record as the best instrumental hook I'd ever heard.
It's like, so hypnotizing, something from another dimension, something supernatural in time and space and dance studio around, moving body and mind along with the danceable beat. Electronics fantasy, one stylish mechanical fantasy if there's truly one. It's uncanny, it's like, from another universe, it probably went too supernatural and hardcore, but it's from 2015, so I'm not gon' complain much. It actually still feels good to listen to it. "Daang daang daang, daang daang don Daang daang daang daang, daang daang don Daang daang daang, daang daang don Daang daang daang daang, daang daang don" Electronics instrumental with a vocal sample cut to supernatural perfection. Ain't it a most hardcore sh*t? The hook's totally charged by that half-simulated half-human vocal sample, some urban secret club dancing party, some dance studio turning into disco inferno sh*t. It's like, a supernatural experience to just listen to this chorus. It's such a harmonic and hard-af blend of human, nature and mechanical. It's like, you dance to a machine and it monitors you like a robot and there's a secret device to task you until you discover the door toward a super-nature realm. That's what this chorus sounds like. I know, DJ Snake somewhat was possessed by god or something in 2015 and turned a 6/7-note video game soundtrack type of melody loop into something so on top. Music producer's cred caught up to that era... One thing about the hardcore electronics beat itself is that, everything's so to the grid, sounding so good coming fresh from Logic and ProTool, kick drum very linear and quantified, bass drum is more spontaneous and non-straight in a quantified way, but hey, that's groovy enough. Hi-hats sounding like bicycle chains adding a sense of action, snare drum curtly wraps up each measure. Everything about the beat's sounding solid and high-quality, something to really savor as a product, not like every other song. But a much bigger part of me was raving about how much it can possess someone. How much... fantasy is hidden behind You Know You Like It's insane loop? How much... potential for stories and supernatural experience is hidden somewhere to be discovered? I was only obsessed with this chorus for a few months and it's already unbelievable. All that pleasure of dancing, all that flexible and groovy part of body and mind... All that super-nature, yet still within the bound of total control and security... It's iconic, it's art, it's timelessness.
Review: Probably the most polarizing chorus this decade. I used to have psychotic disorder, and this chorus got such rush of speed, that "hahahahahahahaha..." was trying to blow my head up. It's spinning like turbo and it's crazy. I both like and hate this chorus so much, what should I do? The pre-chorus got a sense of upward melody and progression, building up such suspense to release, and you'd thought it's so hardcore and gonna beat someone's brain out. But instead, the chorus doesn't directly go for power. It goes for that Daft Punk's high-quality vocal effect: "Hahahahaha hahahahaha". To follow up a blockbuster album, this chorus' like a middle ground between volcanic (such as Hello) and anticlimactic (such as Look What You Made Me Do), the electronically sanitized vocal is repeated and glazed to a premium sound, nothing too aggressive, but it's enough to blow the sh*t up. Everything used to sound so solid and a rush gimmick of talent. That exact same beat loops from verses to this hook and chugs along, with that plastic electronics edge. The Weeknd said he heard the beat and decided to build a song on top of it and it's one sick beat, filled with gimmicks looping over and over. Remember I said about The Weeknd having very unique one-man edge? Well, this chorus could as well be the best example yet. It's self-owned, it's a self-f**king anthem. It got that Weeknd-centric wave, the beat centering around him, and he's being the bad boi in him, having that half-self-aware schizophrenic attitude, tapping into the concept of newfound stardom even though he couldn't really understand the implications, but instead was all ride or die, if he made it, he made it. He's like, it's so funny to feel like on top. What's the odd of any... sh*t? But the truth is, what's really iconic is being i-conic, being himself, this chorus sounds so unique and The Weeknd's carving out a comfortable niche around his persona set. The bright side of Starboy is such a tribute to a self-swaggering loner. It used to be so f**king catchy and a statement and witness of top iconic talent of music scene. What the f**k happened? It's probably way too hardcore and playing it risky, that in an era that's yet to get dark side exterminated, it's turned into a psychotic loop. And unfortunately it left a dent in my memory. I don't want psychological disorder to happen again. I'm not even sure if I should include Starboy in this ranking, let alone top 10. When my psychological disorder happened, it gave me psychotic pain to listen to its chorus. But hey, one way or another, it stood out and left such an impression. So I include this here because while it's unsafe, it could be among the front-runner of implications. It sounds like a starship, it sounds like a turbo siren or something. It's more like a message song. I think it's a warning. 2010s' darkness and danger's a real thing. I've always been keeping that in mind.
Review: As of 2016, I thought this was gonna be the best hit of 2010s, honestly. I know its was a premature sentiment, but even to this date, after its crown spot in my heart has been taken away by a few songs, I still acknowledge its iconicity quite well, that's why its particularly gimmicky chorus found its way to the top 10. This chorus sounds f**king incredible. Released straight from the memory of summer 2015, it’s low-key swag around like arcade fantasy, whatever MJ sound it has, it sounds just like his own chorus and I would focus so much on the artist himself. Kick followed by a clap, it’s solid, it’s compact, this music-studio garage four-on-the-floor beat is living up its ambience like an arcade already. It’s minimal, but no one’s gonna focus on how many tracks it has when the bass-driven chords is so bouncy and jumping around on-beat and off-beat. It’s one of the only songs this decade that can drive the home-produced arcade sound toward a glazed near-perfection, arcade guitar and beat-box scraping on the background is a catch, next to the drum fills and riser and The Weeknd’s patented neutral-pitched very unique-sounding vocal shimmered with a sense of great innocence and down-to-earth guy persona that doesn’t quite come easy, crooning over that biggest catch line in a while “I can't feel my face when I'm with you” in a tone that can be interpreted as innocence under the upper hand of worldly bad entanglements. The elements are bouncing and building their way up to the second half of the full chorus and some hardest show’s about to happen. That second part of the full chorus, ain’t it sound like a perfection? That f**king choir of background vocal delivers a passionate “I can’t feel my faaaaaaaaaace…” as Weeknd jumping right in, the cymbal and synth shot heading it up and fading like a soft meteor, he’s bringing his A game. And he crooning over the background vocal is one blend that sounded so incredible that’s basically a perfection of 2010s’ music. Background vocal’s bringing a passionate game, and Weeknd himself brings his unique innocent, neutral and down-to-earth game under the layers of urban sophistication of anything but in the wake of Fifty Shades of Grey. The mixture between passion and guy’s rationality come together, and it’s like a culmination that got me rave about how this could as well be the coolest-f**king-sounding chorus this decade. But yeah, just like that it’s already among the top and I haven’t even mentioned the real deep meaning behind this chorus. Wanna hear it? I know you do. Let me ask you this: what's the real correct way to interpret an artwork? Is it what you read online, what you heard on the streets as a general set of opinions known as "common sense"? What if something like that’s twisted? Some people interpreted this chorus as being about drugs. Bullsh*t, in my opinion. I think what's real is that, consistency in a chorus' communication on the personal level speaks for truth about this chorus. There's a direct intention from the artist, in a conscious and subconscious level, it could be something he was aware or half-aware of, and his intention could be the info found online, but there's a more subconscious and unconscious messaging that is part of nature's pattern, that speaks for the whole self, transmitting to the energy set of the listener, that seeks interpretation of it as in how does the iconic artwork contribute to the whole decade's iconic scene and truth itself. Long story short, I think this chorus is actually about the struggling with self-identity. People can't really see their own face unless using a mirror or a camera. Out there on the streets, all those dusty illusion-like people... I don't wanna be like, it's all about them, I don't wanna be like, what I see is their dusty illusion-like faces. I can feel my face, and that's a huge part of self-identity and self-awareness, because face is mostly what people see during human contacts. To me, it's about knowing what I'm like, knowing that, hey, it's me, and other people are essentially not me. So when I say "I can feel my face", I suggest that I can feel who I am, I can feel my self-identity and it's so strong. It's a humanistic sentiment. So, when The Weeknd sang over a chorus that said he couldn't feel his face, it could just as well mean that he’s struggling with feeling himself. As the lyrics loosely suggest, he’s entangled with some sort of relationship that’s toxic, that’s destructive involving beating and psychological mess. So when his self-identity is something essentially with such authentic and nice implications, a toxic relationship with any other people can be enemy to his own authenticity. Even though the chorus with half self-awareness states that he kinda likes the feeling in a relationship, no one’s really gonna buy he likes it. I mean, the artist is The Weeknd, and I just said in Starboy chorus review that, he's one to have that unique one-man edge. So his artwork's energy works the best when it's at a more personal level and not really about a relationship. He's one of the guys to save me from hearing all those money/love cliches that are entangled with other people, attention and monetary gains in a way that flies in the face of realness from the concept of oneself. The real #1 chorus is always a self-f**king anthem.
You're one of a kind, living in a world gone plastic
Baby, you're so classic"
Review: Is this roaring '20s? Is this 1950s? MKTO's peripheral on Hot 100 but all up there to be watched and listened to, and it immediately became something rather polished and personal, just when you thought American dream is a term of big glamour, something to get high on, establishment's heritage with pools and parties like time is traveling, to the time where there gotta be New England cinemas, burlesque show and an arcade where fitting in is to play the persona of urbane gentlemen and sophistication into the city that goes down in history. To be on-screen, to be caught up in timeless and universal appeal that holds so much sway for the hodgepodge to look up to all that flashing lights, posters of hats and bars to be high. Authentic New England sceneries gotta start finding its place in a world of darkness in mid-decade when the likes of Uptown Funk, Shake It Off, Me and My Broken Heart were hinting at its presence. In a world gone plastic, in a world where the rest of the music scene was scratching the periphery of a satisfactory scenic orgy and party like that, MKTO got somewhere to convince me that this all could happen, Gatsby and Holden gonna get somewhere, and the word "literature" is fused with persona and anecdote. Thanks for trying, I knew from the beginning that this chorus' gonna be something in the forefront whenever I wanna pick up on somewhere to get high on, and it all has spelled New England. Kick's easy, clap's hard, and shaker and reverb in the background is a sh*t that's ambient like a loop that is pretty much an experience to listen to at that point, taking me to the club and arcade to stare at the face of icons. They have noise, they have a scene going, and it's going for everything cool, the retro bass playing that punchy "duh, duh, duh" in the background, "drop it drop it low like they did in the '90s" (oops, not a Charlie Puth review). Every line is like a punch line, every line is a big deal, every line I should pay attention to. Cutting a little abrupt and pausing away at mid-lines is for the groove: "You're over my head", "I'm out of my mind" "Thinking I was born" "in the wrong time" Just like that, he knows timelessness. What I hear is a vibrant young scholar's jumpy tone. No need for a king or a snooty one, every half-line Tony's neutral-pitched vocal is charging forward, it's nuanced, it's a gentleman just finding his groove to be forward with a sense of control and class. They said themselves, it's not a rewind. It's modern times. The real classic's always perfectly up-to-date, because what time era you're at, time's pulling power's so strong you just know the aesthetics are around somewhere. That background harmony, that "woo" in the background, that dorky but incredibly iconic "I kinda like it like it" line, is like, it's not a real time travel to 1950s, but I kinda like it and just play around with such classic aesthetics, it's like he doesn't know where it came from, but he's always down to make some, classics. It's like a chorus of classic itself. It's actually trying to describe to clueless people what classic could mean, in music and literature, all that old school chic, like a movie star, like Gatsby on screen. It strikes as a peripheral hit in Hot 100 and cultural scene this decade, two young beta-males trying to be taken seriously for New England establishment, but it's all very professional at the era. The entire chorus is quotable to the point where you can only expect the real big deal that's in and above the league of Gatsby is quivering on the horizon, it's coming soon. It makes me feel so empowered from time to time, listening to very cool sentiments being offered... Being one of a kind, being perfectly classic, being iconic. In a world showing itself to be plastic and illusional, here's to the one and only human.
Last Edit: Apr 27, 2019 23:59:18 GMT -5 by Deleted
Due to the controversy in Games section earlier this year, I didn't get to host or participate in Charlie Puth RD thread, so let me make things right this time. Next up is a detailed review of my favorite Charlie Puth chorus to date. I just know that this chorus wants my attention (also a f**king obvious pun).
Maybe you just hate the thought of me with someone new (someone new)
Yeah, you just want attention (oh), I knew from the start (the start)
You're just making sure I'm never gettin' over you (over you), oh"
Review: Charlie Puth and The Weeknd are two kings on my playlists. Both with very unique one-man edge, both playing R&B in pop, both playing low-key in stardom but high-key in singing. But Charlie has a way to follow up further in the timeline of the decade, Voicenotes keeps up with its resonance with me with quotable line after quotable line, when Weeknd just seemed to flatline in the wake of Starboy. Just when you thought Can't Feel My Face's that definitive gimmicky chorus of the decade, Attention did one step further and edged it off to be the king of its kind. Boldly initialed "A", boldly released and era-checked the adventurous summer 2017, it's like a thrill to just mention its name, A-ttention. This chorus is talking to someone, but it sounds the best when it sounds just like him, him, him, him, him. It's like forever waiting for a chorus sounding this cool. He just knows what he's doing, he's f**king with my head, leading right up from that passionate "oh no", here, Charlie Puth becomes the greatest showman of an era, who's not like "Here we go!" when "You just want attention" and dat bass drop at the same time? Well, it is like here we go, the gig is so whimsically devised totally by Charlie's own producer's cred, it's an one-man show, it kicks start itself so f**king well that only the perfect timing and happenstance can make it sound like this. The hook kicks start with a drum fill, it's hitting just the right spot, it's a fantasy and a view, then the bass line immediately hits, it got the groove where everybody's secretly talking about it if they hear it and feel the love. Is it '80s? Puth's after what he's vibin' with in stardom, it's just like it's meant to be, it's just like it's a fantasy and a hobby, sound's slightly retro, hotel in '80s' Miami, beachside parties and Hollywood Hills scenic banger, very arcade, very indie, carrying over what The Chainsmokers were all about to get high on. But it's more like an art statement here, it's more like an ingenuous individual effort here, it's more like an indie sound here, the drum machine playing it straight, the bass playing it groovy and intentionally goofy with a hold and jumps back and forth like an arcade game and all that pipes and drains. It always sounds the best when it's like a hardcore self-chorus. Charlie knows how to sound like one, the chorus' fine-cut for only one person to sing along and it never gets more than that, when he sits in front the camera, the attention is actually on him. He, his head voice, the bass, the whole ambience is one. And that's exactly the way to listen to this chorus. "You just want attention, you don't want my heart, maybe you just hate the thought of me with someone new". It has the most intimate, most human, the warmest voice and the most self energy in a chorus in such a while that it gotta mean so much to just listen along and feel the hottest pop guy this decade is crooning with meaning and every moment is a fantasy. Resonated with his mind and body, it's like everything's smartly connected. I know the chorus is a conversation with the "you" of the narration, but none can deny that Charlie Puth is a biggest loner ever. Charlie's music always sounds like oneself being the intimate center of everything. That's how its iconicity works its way to a place where infinity calls its name. It relates everywhere, it's accessible and nothing flashy and vain, just a typical midwestern pop guy ranting about a relationship and the other person is the annoying attention-hogging vain one that's the opposite of Charlie Puth. Sometimes I would feel like a prize horse's ass, vouching for the melodramatic center of innocence whatsoever, even to the point of passive-aggression. But an individual pop guy like that... the theme is about innocence, how can it not? He sounds like a keeper of innocence just wanna fit in all that entanglements with people... His voice's fluffy and headnotes floating and dominating on top of the lyrics and the beat, it's hard to explain how much magic he put there, the chorus a carefully-devised mechanism, half-step and whole-step interspersed with each other, even when it sounds intentionally cattywampus and one kick off, it sounds like one kick on. To carry the hook along, he curves the bass to a lower note, he adds the sound of bells tinkling in the background like the whole world's drained of big colors to simplicity and we're made of cardboard. Cardboard instrumental, cardboard Charlie, cardboard being the keeper of innocence. It would surely be sweet if we're all just cardboards to begin with. All sweet sceneries like indie music, sweet voice and streets and lanes of orange, gold and white... You can't spell "Charlie Puth" without "fairy-tale" even though you can. He's big on sceneries, he's big on creating an ambience and scenery in music production, that's why Nine Track Mind's going for really cute, it's all sweet and catchiness, candy factory and toy world blended with an innocent take on stardom and relationships, carrying over to Attention, where it's more about reality, the rant about bad side of people, the rant is almost too obsessive, passive-aggressive and further accentuates a beta-male like him is delicate, always seems like playing the middle game, always singing like a neutral man, always singing like he's crooning, always singing like something's delicate and a soft spot to expose. Now he's following up the timeline further to the game, possibly even to next decade where it's gonna be roaring '20s. Mid-western Hollywood suburban pop scene's gonna get more fresh, hanging out around the city just like a pop star, but I can't seem to get into the fresh scenery the modern culture itself is trying to make a city and stardom look alive just yet when something more's calling my name. There's something deeper that's happening. Attention's techno retro arcade sound is like we're in a big city, and all I can think about is how to rise above the industrial, its cubes, its pullings. Existence is a movie.
Hint for #3: (blank) vs. (IT) was a real thing... It's like, most epic combo of Hot 100 this decade. (IT) was released first as the first shot hardcore stuff from (blank) stardom in spring/summer of (blank), initially lukewarm in Hot 100, but I immediately liked it that summer, and (blank) was then released but it wasn't quite a hit for me just yet, but on contrary it bounced up Hot 100 right away and became (blank)'s first real claim to Hot 100 fame. (IT) which I'd been rooting for finally hit #1 nearing the end of (blank) in Hot 100 wrapping up to be his biggest Hot 100 hit, but it's about that time (blank) grew on me a lot with the previously reviewed very gimmicky chorus and became his biggest hit in my personal chart for a change. And I thought (blank)'s gonna be the best hit song and chorus of this decade. But then my feelings to it got lukewarm too, as the timeline went on, it's (IT) that followed along and connected with me at a deeper level in an adventurous year like 2017 and further.
Review: Can't Feel My Face vs. The Hills was a real thing. You see, on Hot 100 the it product of The Weeknd was The Hills (first released) -> Can't Feel My Face (first hit #1) -> The Hills (second #1 and eventually his biggest hit). On my personal rankings it's The Hills (summer 2015) -> Can't Feel My Face (2016, thought it's the best hit chorus of this decade) -> uncertain between TH and CFMF (2016-2018) -> probably The Hills (now). So, I'm sure you're wondering, which one won? Well, for now, I'll give the slight edge to The Hills. Haha. So... yeah, it's like, two sides concur that while Can't Feel My Face is a gimmicky rise to stardom with a killer choir-driven hook, The Hills is the one with consistency of energy, that, one step at a time, drives to somewhere deeper, resonates at a deeper level. Can't Feel My Face's hook rests on arcade and brain-tricking choir gimmick, props to music producer cred. The Hills, on the other hand, is more like music, more like the chorus from a song, a real popular and iconic hook to sing along, the poppy side of R&B and hardcore psychology that doesn't come canny. That pre-chorus scream's to tear the sh*t out, what you get when all you can feel at the moment is the dignified persona from beauty behind the psychotic madness. It just starts so high, at a rarefied air, at a rarefied headnote to hold on to that delicate flow to get high on. It's selling on himself, it's selling on melody, it's selling on madness, it's selling on probably not so much polished productions, all that eerie unrefined synth, all that low explosion bass, repping for the f**kboy, the pitchy and system overload. A part of me can't believe he's able to glide his head voice all throughout and makes it sound like good singing, his vocal teetering, somewhere between pitchy and on-tune, somewhere between blurred and hitting just the right spot as the one with instrumental and the ambience, somewhere between satan and god. It's playing into uncanny horror movie influence and a style unlike anything else, ever. "The hills have eyes open", take its 3rd, 1st, 2nd, 5th, 17th, 18th, 5th, 10th letter, and it spells "Ethiopia". Can it really go down that hardcore or the real case is that it's just teetering between the horror and the lighthearted nature of pop music. It's always so teetering, just like Can't Feel My Face's chorus, it's playing both sad and with a sense of euphoric potential, it's playing both manipulated and willful, it's jumping around, off and on, dark and bright, can't and can feel oneself, turning off and on the light switch, it's like, duality within individuality of a chorus. And it's just like an artwork and Weeknd's one tough-ass bad boy poet. When he sang over this hook, it got the linear hi-hat that steely decorates, the kicks that sparsely hit but when they do, it's one with slow-mo, and it's one that's more complex than that, can't be all the way straight for that entangled twisted mentality with explosions, beats are very groovy and driving that triangular groovy R&B side of things to the f**king bone. The intensity can hold your attention, hold the attenuated air until breath's good. It's raw like barbarism and heated steels. He's raw like a true loner and a badass, "I only love it when you touch me, not feel me/When I'm f**ked up, that's the real me/When I'm f**ked up, that's the real me, babe". It's about going to a deeper level on his own accords, no one else can really feel him deep inside, it's mysterious. It's f**ked up, that's the case with this decade in general. "When I'm f**ked up, that's the real me." -- me in 2010s. You'd think pop song this decade should've been bright, parties and fun stages with bands and dancing, a room in 10 different colors... But no, The Hills was one of the closest attempts to create a real definitive and iconic pop song this decade. The melody is still so sing-along, something hummed out and whipped up by that era in no time, it's very spontaneous, just like a song, yet iconicity is driving it deep inside. What a simple melody, right? It breaks down to nearly the same melody every line, belongs in that "loop" territory, the notes are EEEGECC DACDACDACDAC... DAC... D-A-C. But in this case it never sounds repetitive like mumbling rap to begin with. It's like Closer, repeating 3 notes over and over. But in this case it's driving way deeper, DAC notes repeating and turning, until drive it to a real deep point in heart that no one even knows how to verbalize. It can expose, let you indulge and drive that mess and uncanny territory to your f**king heart. It just about lingered its connection with me in a persona level recently, that's why I decided put this over CFMF for its more enduring longevity. That's what its energy has been playing all along. The scenes and motions of its music video, from the way he walks one step at a time, the way he walks so staged and intentionally grooving line to line along the way, to the way he f**ks with psychological nuance of slow-motion, the steady and slow-climbing performance on Hot 100 to hit #1... It's all connected. It's just so classic, it's just so caught up in that electromagnetic field of things in an era that attempted to make things right from all that phony and skewed sense of truth.
Review: Nick Jonas said that he's a sucker and fan for R&B-influenced pop like The Weeknd, Frank Ocean, etc, and I was like, f**k yah so am I. Gonna be my type of iconic jam in an era that didn't suck that much. Who tf is Nick Jonas? No one really knows, you can't just like... take anyone's presence for granted, Jonas Brothers was broken up after sorta hanging in the subconscious realm and never really asked for or had any hit single. Nick might as well be an urban legend and sh*t hopped out on the internet at that mid-decade mark with a classically slim and tight figure in those hot pics. Look, all I know is that a guy named Nick Jonas just hopped into the music scene in early 2015 that's a cool era. All that hot pics and slight stirs online and TV. But that image's sorta met halfway when put on screen and a little bit of a compromised version of the king of an era he's trying to be. An average-height guy with dorky yet adventurous spirit, singing in his middle-of-the-road strained vocal, running on the set of streets of downtown L.A. hovering between illusion and reality that looks like '80s arcade and cardboards... He's riding a motorcycle in the middle of the road, his shirts and haircut's middle of the road, I was pointed out that this chorus sounds like elevator music that's middle-of-the-road... But hey, "generic"'s the kind of sentiment you'd expect from lack of resonance, from some people. What's the common sense and common standard to just sorta rank it not glamorous on critics' list because some people don't like it? Is common sense inherently something sorta for kings and scholars to define? Let's remember one thing, that this hook did grow on me big time at some point in 2016, after its music video already did so much to me subtly that it's almost hard to believe that this is probably my favorite music video so far. Everything this hook really tries to sound like is actually a middle-of-the-road guy with a classic look trying to make solid music, turning his whole package of playing music and performing into a hobby. And it really does sound like he's liking it like a hobby. Is he a serious musician? Was he taking influence from Weeknd as in the same pantheon as MJ, from something snooty in rock n' roll age, from Frank as in Sinatra, or just the Ocean guy fresh from this decade that youngsters can relate to? Nobody seemed to really know. And that's the beauty of what happened with Jealous, it's young, vigorous, attractive, ready to go from an era that had slightly more tolerable energy than some others, it's fresh and ready-made, filled with that spontaneous energy that he liked that R&B influenced pop, that he's just about the right person to make 'em. How cool is that? This hook really is naturally the part where Jealous and Nick Jonas shine, always have been, following right up a most obsessive caterwauling of the decade "I still get jealous!!!!!!!!!!" And I must say that every bar is a testimony that there's effort put into that all around, he holds the air and flow quite well, this hook doesn't go explosive or climactic to be remembered, it chooses the middle route to kinda hold the air and feel where it takes him, a hook that's slightly stepped up in gravitas and a sense of climax from the verse. Is that God's Plan type of drive-along everyday kind of chorus something you'd expect from an effort like Jealous? Well, I can't think otherwise. It just naturally blends in that guy-next-door type of Nick Jonas persona, holding on to a flat type of melody and note and uses it so well. "You're too sexy beautiful, and everybody wants a taste/That's why I still get jealous", a lot of holding onto one note and sorta just adding a little twist by the end that sees the same kind of obsessive caterwauling living up to its catchphrase quality and it's honestly held so up for iconicity and resonance. That four-on-the-floor drum with garage band texture like going through an attractive and cool carwash, retro synth full of grains and low bass being played right in with saturated chords, the way shakers play it on every beat to play it agitated with a sense of big boy playful messiness. They did seem to fit in a lot of elements in there to kinda hope it's gonna be on top. But I'll say even its messiness is a fun mix, with a fun edge, some quirky vocal and sound effects away, there's the second half of the chorus, it's just the first half of the chorus over, but with a slight change in tone. Nick plays some nuance here, "'Cause you're too se-xxy beautiful, and everybody wants a taste", and bam, it's like playing sports in L.A., swinging a golf club and feeling the flow of a rockstar like it's a dance move, another urban modern classic being made. It's just so catchy on top of that blast of synth bass clicks that really accentuate itself at the elongated syllabus and pause in the "That's why" line, not to mention that bassy riser swelling for effects to culminate and wrap up the hook. It's hard to know if the guitar's playing it, or fun and quality itself's playing it. Props to that L.A. music studio kind of sound, it did once have downtown L.A. written all over it, going Billboard and Hollywood and sh*t and we all kinda sorta know it's more about the scenery of an era and the adventure. Riding a motorcycle and a cab, running and hovering between fun illusions and reality, hoping no one else's there, but when there are, you just about to turn yourself into a superstar, it's kinda like that low-key but high-key type of situation, know his persona's goofy, know his package's hot, the chorus can as well be a sentiment to himself, while it could sound more heavy-weight instead of coming across as overly obsessive and slightly frivolous, but still, this hook's nearly perfect to listen along during a transition phase with a tinge of adventure in the loop, just gotta play it along until the real hotshot's coming. As Nick goes along the alleys with a goofy grin like a playboy and a superstar, no one's watching him, yet everyone's watching him.
As I explained, for me there's an obvious choice for #1 on this list, do you know what it is?
Hint: From all the hit songs this decade, it's the catchiest chorus, it's the most intimate and honest chorus, and... it's the most controversial chorus.
And... if you're good at scavenger hunt, you should already know which year the #1 pick was from. And this is from an artist whom I characterized in a review as one of the guys having a unique "one-man edge".
For those of you who's been watching this thread (especially born ), I have an announcement: I'm gonna reveal the #1 of this ranking the same day Justin Bieber/Ed Sheeran release their lead single (this Friday). Now there are 2 events on Pulse Music Board that day.
Until then, you guys can discuss what's your favorite chorus-driven music this decade.
But you know, that's probably for the best. It's exactly the type of sentiment that should be addressed... from the #1 hit chorus of this decade. When nobody else's there, it's attenuated to the point where there's no sound, no action, it's like universe being created from scratch everyday, there's nothing to retrospect, all's void.
Then, came one voice, that feels both larger-than-life and from deep inside, but it's so intimate, from the little space around you. A voice bounced over the spectrum, through everyday like it's nothing, through lucid dreams toward lucid reality, a voice that's hurt, knowing what this decade has really been about. And amid all that controversy, it can as well be a premium moment for human connection. The voice asks: "Who am I?"
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