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An interesting mash up of Alicia Keys and Jack White of the White Stripes teaming up for the theme song from the new Bond film, Quantum of Solace (great title). The track has all the tell tale Bond instruments, piano, trumpets but the use of the electric guitar in White’s own unique fashion gives the track its own small but unique signature sound among all the other themes from the past.
With a tango inspired instumental, Jazmine’s second single off her debut album, Fearless, is a sly track that uses the violins well to channel the performer’s angst.
Chris Cornell fans have been on a serpentine path following his exploits. From Audioslave then Soundgarden, then finally his solo career, any hardcore fan cannot deny that he maintained a “Chris Cornell” touch throughout his previous works.
Then comes along Timbaland and we have the works below, tracks Timbaland describes as some of his, “best work ever.” They are no doubt Timbaland tracks, the somehow convoluted, disarrayed samples that always seem to come together to form aural masterpieces. Cornell’s stand out voice anchors all that seems to haphazardly happen around it, making sure that it stands out as a Chris song before being derided as simply another Timbaland piece.
Ciara returns to the airwaves with, Go Girl, from her third album Fantasy Ride. The production is by T-Pain, whose work cannot be missed with his usual radio commentary and the words “Nappy Boy” being uttered at some point. If you heard last year’s Kiss Kiss by Chris Brown, then T-Pain’s work has grazed your ears.
The song itself is a simple head bopper, nothing to really wrap ones ears around trying to break it down, but one cannot deny that it is a catchy track.
Natasha’s third single off the album Pocketful Of Sunshine, is the heavily R&B influenced Angel, produced by Darkchild.
The first video from the first single from the third album, T-Pain’s I Can’t Believe It, featuring the seemingly ever present Lil Wayne. The video takes its circus theme directly from T-Pain’s album, Thr33 Ringz, an allusion to the wild world of the music business.
“Let’s start looking at some videos as well.
A great video that overarches a variety of time periods showcasing the, “masters of war.”
“The world has become a darker place,” says Draiman. “It would be irresponsible for us not to reflect that, especially considering what our music is and what it continues to evolve into. We have a responsibility to acknowledge the role we have been given, to be at peace as a band that talks about things that aren’t necessarily comfortable.” – L.A. Times
Kanye debuted his new single at the MTV VMA awards, expanding West’s self proclaimed genius to new avenues, notably, singing.
A heartbeat seemed to be the inspiration for the track, for as it starts, a deep two note beat is all that can be heard before Kanye begins his auto tune aided singing. The mood throughout the song is subdued as Kanye speaks about an “undercover” love, until the chorus where he seems to unleash his emotional anguish with the excited strikes of taiko drums. Even through the pain, the heart seems to remain strong, as the original heart beat remains steady throughout the track.
Official Girl, a Danja produced track with the lyricists, The Clutch, presented at the opening of the track, a first personally, whom are usually relegated to the CD slipcovers.
Danja comes from the mouldings of Timbaland, producer of such hits as Justin Timberlake’s Sexy Back and One Republic’s Apologize. Evident is his tutelage that when the song begins playing, Timbaland’s notable beat-boxing is present. And as always a bass heavy back end caps off Cassie’s retrurn to the airwaves. Even though the production end doesn’t offer the imagery as past tracks chronicled, the lyrics are definitely going to connect to those in the same situation.
A warning siren goes off, rap artist Nas silently summons, “cue beat,” and an audible superhero comic seems to unfold through the producer’s, Polow da Don’s, hands at work on the mixing board. The perculating piano medley in the background is a signature sound for Polow da Don, which carries into the heavy bass drum, as if bringing forth an army, challenging his counterparts. All in all an example of simplistic layering that, even with the rock guitar strum added in to coincide with Nas’s stament, “Try telling Bob Dylan, Bruce, or Billy Joel
They can’t sing what’s in their soul,” still yielding the hero backdrop.
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