"Burnin' it Down" - Jason Aldean

Before we delve into some of the new hits of this summer, let's take one last look at country's fading face in popularity before it rides off into the sunset. Enough mixed metaphors for ya? Good, then let's look at Jason Aldean's "Burnin' it Down".

Okay... is this even a country song? I seriously can't tell anymore. Country music has become so pop-ified in the past few years the the two genres are starting to blend together in all the wrong ways. I mean, listen to that instrumentation in the beginning: you've got some electronic drum beats, and some of the most computerized guitar I've ever heard, if that even is a guitar. Where does the country start? With Jason Aldean's voice? Is that all you need to make your song country these days? When did this happen?

Okay, so it looks like I won't be looking at this through a country point of view, because... how can I? Aldean seems to want to distance himself from the genre as much as possible, so I guess that means I have to follow suit. All right, then... how does this work as a pop song?

Well, the lyrics seem to center around this imagery of burnin' it down, burnin' it down, and burnin' it down some more. Which I guess is supposed to be a code for sex, but... burnin' it down? I get "lightin' it up", or "makin' sparks fly", but "burnin' it down"? What, are you a part-time pyromaniac, Aldean? Or the Wicked Witch of the West or something?

Don't you hurt that poor scarecrow! He's got no brain! He's been through a lot!... uh, anyway...

So, the title of the song doesn't translate for me, which definitely isn't good. But let's take a look at some other lyrics, to see if there's anything salvageable here.

You slip your finger through the tear in my t-shirt

You stirrin' up dirty in the back of my mind

Okay.

You keep on flirtin' cause you know that it's workin'

You stuck in my head girl writing the lines

Yeah.

Couldn't sing this song without you if I tried
Let's light it up like it's our last night
We're just hanging around, burnin' it down

Yep, that's where I tune out: right around the chorus. Look, he even uses "light it up" in the verse, so obviously, he has some kind of clue what he's doing! I hope...

Honestly, the song's not that bad. It's a little dreary-sounding for a love/sex song, and I can't get past that dreadful "burnin' it down" imagery enough to enjoy it, but it doesn't really offend me in the opposite way either. Which sucks, because the death of country music should be with a bang, not a whimper. So, way to go, Jason Aldean. You've left a legacy of mediocrity behind you. Great job. *slow clap*

Weekend Wrap-up (August 3-9 2014): I'm Sorry Ms. Knowles

What happened this week? That's why I'm here! To be honest, you could find all these stories and more on billboard.com, but I love the title "weekend wrap-up", and this is a good way to wrap up the weekend, so let's get to it anyway!

In case you're wondering what Chris Pratt sounds like rapping Eminem's verse on "Forgot About Dre", here ya go. (Spoilers: It's pretty awesome, not gonna lie.)

And... I have no words for this one, except... this is how you look when you try to break up Jay-Z and Beyoncé with a terrible Outkast parody. Ugh.

While Magic! still holds on to the #1 spot on the Hot 100, a trio of Jessie J, Ariana Grande and Nicki Minaj, as well as newcomer Meghan Trainor, make their way into the Top 10. It's always good to have some fresh songs in the Top 10 to review.

In other Billboard news, the soundtrack for Guardians of the Galaxy is set to battle it out with the Now 51 compilation album for the top spot on the Billboard 200 Album Chart. The Guardians soundtrack debuted at #3 this week, with an impressive 60,000 copies sold. If it hits #1, it will be the second soundtrack album to do so, following Frozen's soundtrack.


Finally, *NSYNC released a new album... much to the surprise of *NSYNC! Yes, Sony/Legacy had released another album in their Essential series with *NSYNC without telling them, which is perfectly legal to do, but still lacks common courtesy. Sony/Legacy apologized to *NSYNC, and Lance Bass is set to receive royalties for the album, so everything seems cool.

Flashback Friday: "Maniac" - Michael Sembello (1983)

Hey, so does anyone remember when I talked about Flashdance?

You know, that movie with the awesome soundtrack that I crowned the winner of all soundtracks of all time? Well, that's mostly due to two songs: the one above, and "Maniac".

These songs are songs that you can't bypass when talking about 80's music. They're staples of an era when the music was fine and Jennifer Beals was even finer. Maniacally so, even. And that's where our Flashback Friday song this week comes from. Reaching number 1 on the Billboard chart in September of 1983, it proved to be just as much of a smash hit as the film. So, what makes this song work so well?

Well, part of it is the usage of the song in the movie to showcase the intensity of both the visual moment and the song. The two elements of the scene play off of each other extremely well. She's a maniac, the song is maniacal. It all works.

If I had to pick a favourite part of this song, it would be the guitar solo after that second chorus. It just adds a little extra punch to the flavour of the song. Just what the song needs, actually.

Now, there are rumours that this song was actually written for a very different movie, a 1980 horror film entitled Maniac. The legend goes that the lyrics were rewritten so that the song could be used for Flashdance. Which doesn't even sound like a convincing theory on its own, but when you also factor in the DVD release where the fact that the song was written for Flashdance shows up in the special features, you've got yourself a dead rumour. Urban legends: fun, but usually false.

That's really all I need to say about "Maniac". It's a fantastic dance song that was used appropriately to maximize its selling point, and it's got a wacky urban legend surrounding it. What more could you ask for? Well, maybe other than an all-expenses-paid getaway to Bora Bora. But let's not get greedy.

Top 10 Thursday: Top 10 Tribute Songs to Deceased Musicians

This may seem trite right after I just commented on how death brings in the money in the music industry, but the topic of death also brings out the emotion of performers, especially when that death is a fellow musician. Here are the top 10 tribute songs to deceased musicians.

10. "Hound Dog Man" - Roy Orbison

There have been a ton of tribute songs to Elvis since his death in 1977, but at the risk of appearing repetitive, I decided to go with only one. That one was by Roy Orbison, and it was called "Hound Dog Man". It's the tribute to Elvis I found that sounded the saddest to me, but also the most hopeful. He says "play it again", like he'll see Elvis again someday. But of course, he's still sad about the death and you can really hear it in his voice. When the King of Rock n' Roll died, a lot of people felt this way. And in terms of artists, I think Roy conveyed it the best.

9. "Brickyard Road" - Johnny Van Zant

Johnny Van Zant is the younger brother of Ronnie Van Zant, the former lead vocalist of Lynyrd Skynyrd. On the day when Ronnie died in a plane crash with bandmate Steve Gaines, Lynyrd Skynyrd was put on hiatus. Johnny eventually took over as the new lead singer, and afterwards released Brickyard Road, an album containing a title track that wrenches at the heartstrings. Van Zant sings about his brother and the plane crash in a very soulful way. The personal connection of brother-to-brother really helps to move the listener. The song even mentions a "free bird", in reference to one of Skynyrd's most popular songs. It's those little touches and the familial connections that make for a winning tribute.

8. "Nightshift" - The Commodores

This one's a tribute to two legendary soul singers: Jackie Wilson and Marvin Gaye. Each of them has a verse dedicated to them, and then the same chorus to reference both of them after each verse. It's not easy to reference two people in one song and make it sound personable to both of them, but that's exactly what happens here. The song is organized very smartly, and reflects both singers in a positive, warm light. It was also The Commodores' only hit since Lionel Richie left the group in 1982. Remember what I said on Monday? Okay, maybe I shouldn't reference what I said on Monday if I want to get through this without a hitch.

7. "Late" - Ben Folds

You might remember Ben Folds from that one hit song that he and his band had, "Brick". Or you might remember him from his cameo on We're The Millers. Regardless, Ben Folds released a song called "Late" to honour fellow singer Elliott Smith, who died in 2003. And Ben Folds definitely has the chops to pull off a tribute song like this. Melancholy, but still enjoyable, Ben Folds' "Late" is a somber tribute to a great musician, by a great musician.

6. "I'll Be Missing You" - Puff Daddy & Faith Evans ft. 112

Yes, that's right. The song I singled out on my Monday post shows up on this list. I don't even like Puff Daddy, or P. Diddy, or whatever the hell he calls himself now. Poof Snazzy? Whatever. But this song is admittedly a very heartfelt tribute to Puff's friend and prodigy, The Notorious B.I.G., who died the same year this song was released. It also features Faith Evans, who was once tied to Biggie romantically. It also features 112, who were once featured Biggie on one of their songs, so... that's something, right? Anyway, the message might be simple, but I really do feel the emotion coming from Puff Daddy, which is a first. Of course Faith Evans and 112 are great on the track as well. A great tribute to an amazing rapper, taken way too soon.

5. "Would?" - Alice in Chains

This song was written by guitarist Jerry Cantrell, in tribute to the late lead singer of Mother Love Bone, Andrew Wood, who died of a heroin overdose in 1990. Wood and his band was highly influential in the Seattle music scene, which makes the death so tragic and personal to Alice in Chains, coming out of Seattle in 1987. The song was so strong for Jerry that he needed a lot of coaxing from lead singer Layne Staley to sing the opening part. But he did, and it just makes the song that much more emotional. Unfortunately, Staley would suffer a similar fate when he died in 2003 of a speedball overdose. Rest in peace to both of them.

4. "Let Me In" - R.E.M.

I wouldn't have pegged R.E.M. to do such a good Kurt Cobain tribute, but here we are now, and I have to say, it works just as well as any of their great songs. This is more of a subtle tribute to Kurt, and it deals more with the regret over his death than anything else, and how Michael Stipe felt that he could have done something to stop it, but didn't. It's a very dark song, and even has that grungy feel to it, with the low, distorted guitar and the deep vocals. I think it works on a lot of levels as a tribute, and it just goes to show that I should never underestimate R.E.M. again. Fantastic band. Fantastic.

3. "Tha Crossroads" - Bone Thugs n' Harmony

I still stand by my decision to put Puff Daddy on the list, but I also stand by my position that this song is way, way better as a tribute. This one goes out to Eazy-E, a member of gangsta rap group N.W.A. I think the reason that this one works better is that it's jsut a more talented ensemble overall. I mean, you could sense that Puff Daddy felt some emotion from Biggie's death, but not that much. And that's probably the extent of his emotional range. These guys have a lot more capability, with their melodic rapping. It's a lot more of a believable tribute song, and that's why it gets the nod over "I'll Be Missing You".

2. "Sleeps with Angels" - Neil Young

As the Godfather of Grunge, you'd expect Neil Young to do a fitting tribute to Kurt Cobain's death. And you'd be right. Because Kurt Cobain quoted Neil Young in his suicide note, Neil Young felt an especially large twinge of guilt from the whole ordeal. Just the use of grunge elements in his music here really hammers the message home, that he feels great pain with Cobain's death and wants to recover from it himself and help others recover. It's very sad, but also very soothing, from probably one of the most fitting artists for the job.

1. "Back on the Chain Gang" - The Pretenders

This tribute song sounds starkly different to the other ones, as you might notice. It doesn't sound sad or somber. It sounds happy. So, what's the deal here? Why is it my #1 song on this list? Well, first of all, The Pretenders are awesome. Secondly, the song sounds happy because it tries to do something different with the concept of tribute songs. It sounds happy because Chrissie Hynde is reflecting on previous memories of James Honeyman-Scott, whom this song is dedicated to. It's still a very emotional song, but The Pretenders make it work all the better with their different take on a tribute song. And it's that originality, while still managing to capture raw emotion, that does it for me.

Watch-for-it Wednesday: "Riptide" - Vance Joy

Hey guys! How have your summers been? Have you been going to beaches, maybe swimming in the ocean? If so, then you'll want to avoid a little something called... THE RIPTIDE!!!

Okay, I'm officially running out of intros. Regardless, here's Vance Joy's "Riptide".

Vance Joy, unlike some artists on here, hasn't been hiding under the radar for very long. He's actually a fairly new artist, releasing his first album in 2013. He released his first single, "From Afar", in early 2013, but that one went nowhere. This one did. Why? Well, "From Afar" isn't a bad song, but it's certainly not one I would have chosen as a lead single. It's too slow and unremarkable. Unlike "Riptide", which is set at a faster pace and full of energy. It's really more deserving of the debut single title.

Anyway, "Riptide" is currently sitting at #75 on the US charts. Is it enough to go higher? Well, let's take a look at the type of song this is, because fads come and go, and maybe this one's latching onto a fad.

Now, "Riptide" is an indie folk song. And who can tell me what indie folk artist first pops into their head?

Mmm-hmm. Now the question is, since Mumford & Sons don't appear to be coming back in popularity anytime soon, are we ready for another indie folk act to take the reins?

Well, even though you could file both of these acts under the same genre, they are very different in how they go about their music. The big difference is the ensemble; Mumford & Sons is a group, and Vance Joy is a solo artist. So, they're bound to be different in some ways. Mumford & Sons (okay, this name gets stupider the more I type it) have a more grandiose sound, which is why I usually prefer their live renditions of songs to the studio versions. I don't think this would be the same case with Vance Joy. He seems a little more processed, like the studio is the right place for him, so that he can edit the sound to make it sound a little better. That's not necessarily a bad thing, but it does set a difference between him and Mumford & Sons (seriously, it sounds like the name of an attorney clinic).

I like "Riptide". It flows along nicely, has a sort of dreamlike quality to the sound, and it's got this pretentious-as-hell video that you can't help but love in all its pretentiousness. Except I honestly think the video does detract a little from the song, especially the part where the lady's singing into the microphone and the lyrics on the bottom are obviously wrong. Like, ha-ha, it's funny the first time, but they keep doing it, so much so that I begin to question if I'm hearing the words right. So I don't have to question myself anymore, let's get to the big verdicts.

Hot 100 Success:

Will he have it?

I root for the guy, I do. But I don't think his success will be that great, as I think rock and folk are starting to fall out of favour. Still, this song's got enough value that I can see it on the top half.

Should he have it?

Vance Joy seems like an intelligent artist, and I certainly don't hate his music. If he does more like "Riptide" and less like "From Afar", sure, I'll advocate his sticking around.

CanTunes Tuesday: "Never Gone" - Andee

So who the hell is Andee?

Wait, I know this song... sorta, kinda. Well, welcome to the world of Canadian adult contemporary, Andee! Where if you're not Sarah McLachlan or Alanis Morissette, people barely know you exist. Enjoy it!

Yeah, I still don't know Serena Ryder well enough to pick out her voice from a crowd of pop singers, so I'm certainly not going to do well with Andee. Especially with nondescript songs like these. It's like... a bunch of ideas for an adult contemporary hit, but the project never really finishes and we're left with just hearing those snippets of ideas. So, how do they all come together? How, indeed.

I don't know. I'd give it points for trying, but... I don't know if it really is. I can't even pinpoint the mood of this singer. Is she angry? Jealous? Happy? Vengeful? Lame? Yeah, this is lame.

I don't get this song at all. It revolves around the message "It'll be like I was never gone", which I guess means that it'll be easy to come back to her after this guy is done sexin' another woman? But... why do you want him back? He's cheating on you!

Actually, as the song moves along it gets sadder and sadder. This new girl actually moves in with the guy, and I guess he's calling Andee saying "I miss you"?

Does she know you've been calling me at night
Saying "I miss you, baby you were right"

Okay, no. I'm sorry, this is just not happening like she's narrating it. No human being would ever behave like this... except maybe the lead singer of Hinder, but jury's still out on whether he's an actual person or a crappy post-grunge android. No, this is either all happening in Andee's head, or it's just a really crappy story.

I mean, what is the point? She keeps saying he'll "realize" it's like she's never been gone, but it sounds like he already does! It sounds like he's got one foot out the door already! So what are you harping about? And why should I care? I don't really care. So maybe it's time I screech this review to a halt, and hope that Andee finds more success in Québec than here.

Wow, it sounds just as presumptuous!

Monday Musings: Is death a cash cow?

There is much to be said about death. Where do we go? Will I ever see my loved ones again? Does Satan have a chair reserved for me? Those kinds of questions. But when a famous musician dies, a question pops up with somehow more cynicism than the Satan question I asked earlier: Is death a cash cow?

Now obviously I don't mean a cash cow for the dead performer, because as they say, you can't take it with you. I mean a cash cow for the inheritors, the family, and artists who try to capitalize on the death of a performer. Did someone say "Puff Daddy"?

Okay, that's a little harsh. Obviously Puff and Biggie Smalls were very close with each other, since Biggie was under his record label. Still, you can't deny the success that the song garnered. It's one of the best-selling singles of all time, in fact. So is someone's death, no matter how tragic, a good way to cash in?

Well, a prominent death in the music industry definitely shakes things up. And in that midst, there's bound to be some people that can benefit from it. Yeah, it is admittedly a really cynical point of view, but money is a huge part of what makes the world go round. And when musicians die, people pay money for their records in overdrive. Whoever is lucky enough to get that money really benefits.

So, is death a cash cow? Maybe not consciously, but there is an element of big profit from a musician's death. I don't really understand the mentality behind suddenly buying albums after a musician's death, but you can't deny that it\s there. And for whatever reason, mourning brings in the money. Sad but true.

"Chandelier" - Sia

I think I'm getting a little out of the loop, pop music wise. Case in point: the first time I heard this song was when somebody performed it on America's Got Talent.

Despite my general distaste for singers on this show, this one impressed me. So much so that I decided to look up the original song, seeing as it's on the pop charts as well. In the Top 10, in fact. I guess it's pretty much my duty to do so. So let's take a listen to Sia's version.

...Great. Now I've got two great versions of the song and I can't decide which one I like better! What a problem to have, huh?

On one hand, Sia's version is more spectacular and showy. It sounds like it had a lot of work put into it, and the end payoff is well worth all the work.

But on the other hand, Emily West's version sounds a little more tangible. It sounds like it's coming from a real place, whereas Sia's sounds like it's coming from fantasyland. Sia's version is a little too distanced from authentic emotion, whereas Emily nails this perfectly.

But as I said, both versions are absolutely fantastic. Sia's original lets the full potential of the song's melody of the song shine through in an exciting and memorable way, and West's cover downplays the music to let her beautiful voice shine through and make it sound more like a personal story. Bravo to both of them. 

What can I say? Two great versions of a great song. I don't want to choose between the two, but if I had to, I'd choose Sia's just for being a little more interesting. And after all, she is the original artist and she would know her song best. But Emily West still did an original take on the song and it paid off well. She's through to the next round, and yes, I do watch America's Got Talent. Sue me.

Weekend Wrap-Up (Jul. 27-Aug. 2 2014): Dear Waka Flocka Flame, Count Me In

Shut up, Waka Flocka Flame. I regret that decision.

Kevin McGlynn, a 53-year-old homeless man in New York has been charged with stalking and harassing Rihanna by hand-delivering several letters to her apartment in Manhattan. He has also allegedly sent at least four letters to Rihanna while she was in California, according to authorities. He is currently being held without bail.

Two members of feminist punk rock group Pussy Riot are suing the Russian government for human rights violations over their arrest after their demonstration at a Moscow cathedral in 2012. They claim that the investigation and prosecution amounted to a violation of human rights. They have taken the case to the European Court of Human Rights, because they didn't receive a fair trial in Russia. In the event of winning the case, the two members have pledged to give any compensation received to human rights organizations.

Linda Ronstadt has been honoured with the National Medal of Arts by Barack Obama, who has admitted to having "a little crush on her back in the day". Totally understandable, Barack. Other recipients of the award include The Brooklyn Academy of Music, composer John Kander, and artist James Turrell.

Katy Perry, so far this year, has topped the list for most-played music videos on YouTube. "Dark Horse", released early this year, has racked up more than 500 million views. Coming in second is Shakira and Rihanna's "Can't Remember to Forget You", with more than 350 million plays. For the complete Top 10 list, go here.

Carlos Vives has earned his fifth number 1 single on Billboard's Tropical Airplay chart with "Cuandos Nos Volvamos" jumping from #2 to the #1 spot. Vives' last chart-topping hit on Tropical Airplay was "Volvi A Nacer" in 2012, spending four weeks at the #1 position, the most of any of his singles on that chart.

And if I had to pick a favourite news article this week, this would be it: Chance the Rapper has released a rap cover of the Arthur theme song. Just, just listen to it. It says more than I ever could.

Flashback Friday: "1-2-3" - Gloria Estefan and Miami Sound Machine (1988)

GLORIA ESTEFAN AND MIAMI SOUND MACHINE ARE IN THE BUILDING!

And today, we're gonna learn how to count to eleven with them!

1-2-3-4 come on baby say you love me

So that's 1, 2, 3, 4, come, on... wait, those aren't numbers! What a rip-off!

Okay, so let's talk about Gloria Estefan and this song for a second, because it does eventually go up to 11, in more ways than one. Gloria Estefan started out with Miami Sound Machine in the late 70's. They quickly gained popularity in the United States, peaking during the late 80's and early 90's. This song was one of their biggest hits, peaking at #3 on the Hot 100 and helping the album Let It Loose to go multi-platinum. So, what was so special about Gloria Estefan and her backing group Miami Sound Machine?

Well, despite the fact that this song is a confusing resource for those learning to count, it is a song and band that are full of energy. And you can tell from not only the song, but the video. One of my philosophies with music is that I can give a lot of leeway to a song or artist if they at least seem like they're having the time of their lives up on stage. And that's definitely the case with these guys. Look at them! I would have loved to see these guys in concert. Unfortunately, Gloria doesn't perform with Miami Sound Machine anymore, but she still looks like she has enough energy to carry a show all by herself.

And I think that's what appeals to me, and I think it's what appealed to a lot of people in the late 80's. I wouldn't even call it ridiculous like hair metal was; it was just fun. It makes you want to get up and dance. And if you'll excuse me, that's exactly what I feel like doing. Dancing and counting. What a combo! Now this is the life. Dance with me! 1, 2, 3, 4...