Have you ever heard of a cover that includes the original artist? Hell no! —it is extremely rare! Daddy Yankee, the Puerto Rican reggaeton king, has released a remake of Snow’s 1992 hit song “Informer” with Snow himself called “Con Calma.”
I’m going to be completely honest, when I first heard this track I thought it was going to be another cover that yet again butchers an original. However, Yankee did more than just recreate a blast from the past, he included Canadian rapper, Snow, (that’s right Snow is Canadian—representing!) into his music to create a rich blend of today’s modern music of dance hall and reggaeton with early 90’s beats.
In an interview with Apple Music Yankee said that the 1992 hit “was one of my favorite songs growing up, and to do this the right way I needed the guy to be on the record.”
Being a person that absolutely hates remakes I appreciated what Yankee has so kindly gestured towards. Not only has Yankee included Snow on his track, but also Snow hasn’t appeared in the music scene for over 25 years and to appear with Yankee (let me remind you the creator of reggaeton) will do nothing more than place Snow in the music scene in a new, modernized and innovative way.
“Con Calma” is a track that reminds you that warm weather is right around the corner. It freshly squeezes the mixture of Snow’s vocals, which can be considered the definition of dance hall, and Daddy Yankee’s dembow rhythm to create a tropical holiday in your speakers. You cannot listen to this song without looking down and seeing both of your hips swaying back and forth. The upbeat sound of this track works well with the lyrics too because it is about admiring a girl for her mesmerizing dance moves.
I could see this track being one to creeps its way to the top charts internationally because of its hot temperature. With the weather heating up, I can only image people driving around with the top down and blaring this re-imagined old school hit. Thank you Yankee for yet another surprise!
Middle Child is the newest instalment in J. Cole’s discography and personally one of my favourites. Throughout the track, Cole can be seen rapping about his differences from other current rappers, as well as drug abuse in the rap game. In the lines “I do not snort powder, I might take a sip/I might hit the blunt, but I’m liable to trip/I ain’t poppin’ no pill, but you do as you wish.” Cole suggests that while he himself doesn’t participate in drugs commonly used by other rappers, he understands the addiction and doesn’t necessarily care or judge someone for what they do. In terms of the name of the track, Cole is referring to his place in the current state of hip hop. Cole doesn’t necessarily associate himself with the younger or older generation but rather sees himself in between. His production value and beats usually appeal more to younger hip hop fans, while his lyricism and message is often more appreciated by old hip hop heads. He suggests this in the lines “To the OGs, I’m thankin’ you now/Was watchin’ you when you was pavin’ the ground/I copied your cadence, I mirrored your style”
In terms of the actual sound of the album, the beat steals the show. Produced by T – Minus the sampled trumpet sounds repeated throughout the song create a glorious sound which blend well with T- Minus use of high hats. Cole also uses various flows to create an overall hard hitting track, which he has always done so masterfully.
I’ve loved Sam Smith since I heard him on Disclosure’s song “Latch”, so I was super excited to find out that he released a new track. When I found out it was a collab with Normani, the songstress alongside Khalid in “Love Lies”, I couldn’t wait to hear it and had high expectations for it.
And I can happily announce that all my expectations were met.
The track is nothing short of dance music. It opens with finger snaps over a fuzzy background until Smith sings, then the beat comes into focus and falls into quick and repetitive patterns. Even the lyrics are repetitive, ultimately matching the consistent beat. As Smith sings, “I don’t want to be alone tonight/ It’s pretty clear that I’m not over you”, Normani responds with, “I wasn’t even going out tonight/ But, boy, I need to get you off my mind.” Then they replicate, “I don’t wanna be alone tonight, alone tonight, alone tonight”, making it easy to find the similarities in the lyrics and join in with them. Despite having melancholy lyrics, the beat makes the song so easy to dance to, and there’s so much potential for remixes that the song will easily fit into any club scene. The two later come together in a harmony that is nothing short of masterful. While Smith expertly varies in pitch range, Normani offers smooth and velvety vocals that ultimately balance each other out into perfection.
Although this song is not necessarily revolutionizing in dance music, it’s catchy and solid in its delivery of vocals and beat. Ultimately, the two create an atmosphere that allows any listener to place themselves in the club that Smith and Normani offer – dancing with a stranger in an attempt to forget a certain person.
“S.O.S!” The Jonas Brothers are “Burnin’ up” all the social media feeds as they announced they were reuniting after their six long year break up. They dropped the news unexpectedly, and surprised their fans with their new single “Sucker” at midnight on March 1st. I bet you all the college girls were popping champagne when the clock struck twelve. This was a celebration of a new and improved Jonas that we all been waiting for. The humorous brothers uploaded a nostalgic Instagram post where they recreated their famous “Oh how the tables have turned” meme. The party confetti burst and the banner that writes “Hello again” rolls down which officially confirms their reunion.
Warning! Don’t let your teenage dreams run too wild since it will just lead to disappointment. The title of Mrs. Jonas have been taken and seems like the boys are happy with their decision. Along with the Jonas Brothers we have their wives, Danielle Jonas, Priyanka Chopra and Sophie Turner feature in the Alice in Wonderland inspired music video. The former Disney stars are now more mature and no longer singing about lost love and break-ups. They left behind their more edgier power pop sound and replaced it with an R&B/ pop vibe. Which gives me the Maroon 5 feels. Nick’s falsetto and pillowy soft voice took centre stage, while Joe took over the catchy chorus. This song was definitely meant to be placed on the top 40. I mean the pop hooks, hand claps and whistling are the perfect recipe for a catchy tune. Their cheeky lyrics would have been scandalous for such pure boys to sing 6 years ago. They are now given the freedom to express their emotions without being monitored by Disney. The fans who also grew up with them can also appreciate their more risque lyrics, and not be so concerned about their purity rings.
Nick confessed in James Corden Carpool karaoke that this comeback was kept a secret for 8 months. This bomb that they dropped on us definitely brought back some good old feels, and childhood memories. It’s good to finally have all the brothers playing music, and harmonizing back together again.
Tyler Hubbard and Brian Kelley are back on their fourth studio album to kick the dust-up with their boots, and party recklessly with a couple of hotties down in Georgia. The bro-country is strong with this track, Y’all.
For a duo that emerged from the music industry by church worship groups, they have veered farther from that message of religion, love, and women, as their album, Dig Your Roots featured. Instead, they are driving that honky-tonk back road straight towards what the producers think the radio needs- bro country that sings about pretty girls, plenty of booze, and pickup trucks.
“…a tight, mid-tempo backbeat; a quick, two-verse set-up, often laced with clever wordplay and bouncy, lyrical melody; and — bam — the power chorus to bring it all home and keep them coming back.”
Songwriter, Greg Todd on the genre of “bro-country”
The song starts with a slow and sensual banjo, which is surprisingly just the right balance between hip-hop R&B and country sound. You can listen to the song and find the similarities to their old work underlying in the track but also bringing to the forefront what people love, and in turn, hate about the Bro-country era. The song starts off great, soft instruments playing warmly to give the song an understated sexiness, that is until Hubbard opens his mouth and sings out the egotistical lyrics.
Because the music is so muted in the background, you can’t help but listen to every word they sing about wanting to take their girl out on the town but then changing his mind and wanting to “talk you out” of that “little dress” and spend the night away with a Vandross song playing. This would all be “hunky-dory” if the lyrics didn’t sound so objectifying.
Regardless of the lovestruck and charismatic charm the guitars and keys bring to the song, its overpowered by the crappy underlying message.
Don’t get me wrong, I loved it…but I wish someone would talk these boys out of constantly singing about what would sell on the radio. Whatever happened to “God, Your Mama, and Me”?
Avril Lavigne’s lead single, “Head Above Water,” was released September 19, 2018.
by Chelsea Ives
Queen Lavigne is here. No longer the pop-punk princess we once knew, Avril Lavigne reveals just how much she’s matured with her newest album, Head Above Water released this past February. In her sixth studio album, Lavigne shows a depth that contrasts strikingly with her old music. When I say “depth” I mean she has literally been stranded at the bottom of the ocean – but she’s back – with her head above water and her heart feverishly in her music.
Lavigne has been startlingly absent from the music scene since 2014. After contracting Lyme disease from a tick bite, Lavigne was on bedrest for almost two years – but now she’s finally back. After years of antibiotics and physical therapy for her dystrophic muscles, Lavigne traded in her bed sheets for music sheets. Now, propelled by her experiences, she’s making up for lost time. Lavigne has made a Ke$ha – come back: using her past experiences not only with her illness but also with toxic masculinity to bolster her voice, trading in her usual flippant attitude (“see ya later boi”) for a more serious, adult perspective. The album consists of a series of ballads, with a break in the middle with the more upbeat song, “Dumb Blonde” featuring Nicki Minaj.
“Head Above Water” the title track opens the album, starting with
elegant piano and Lavigne’s strong vocals. The spiritual gospel works like a
prayer, when she sings, “God keep my head above water …” Lavigne revealed on
her website that the song came from what she thought was going to be her
deathbed – truly the bottom of the ocean. The album’s set-up effectively moves
from where Lavigne’s been, to where she’s going. From the bottom of the ocean,
to the highest clouds in “Goddess,” Lavigne’s album is the story of her past,
present, and future.
Her songs, which resonate spiritually, touch places deeper than her old music, even her 2007 “When You’re Gone,” which used to be my go-to sad song when I was an angsty teenager. Come to think of it, so was her 2004 song “Happy Ending”. Oh, and then there was her 2002 song, “Complicated” … Lavigne clearly hadn’t stretched her musical abilities as far as they could go. Her 2013 single “Here’s to Never Growing Up,” easily represented how Lavigne went about her music career until now. All her pop-punk songs were catchy, but they were all the same. Now, Lavigne shows us exactly how much she’s grown up in Head Above Water, which has a different perspective, tone, and intention. No longer pumping out tunes for the masses of angsty teenagers – Lavigne gets real by describing her struggles and how she’s overcome them.
“Tell Me It’s Over,” the fourth
song on the album, opens with a gospel/jazzy/soul sound and Lavigne’s amazing
vocals, which only strengthened during her years off. The classic piano, and the
introduction of trombone and horns gives this song a smooth, strong feeling. The
sound of the song reminds me of the new song from Fall Out Boy, “Heaven’s
Gate”. It is clear Lavigne is done taking shit from any men. The lyrics, “I’m
so tired of certain emotions / That leave me dizzy and confused” are relatable
to anyone who has ever been in a relationship.
“Dumb Blonde” is the fifth song on the album, and musically the weakest in my opinion. Lyrically, and thematically I can see the feminist agenda that Lavigne is trying to push, but the “Hey Mickey” sounds pairs awkwardly with the introduction of Nicki Minaj rapping three quarters of the way through the song. The transition is chunky and jarring, which takes away from the “all-hail strong women” vibe Lavigne sets up in the rest of the song. The song was originally supposed to be a solo piece (you can see Lavigne perform the original here) but two weeks before the album’s release, Minaj’s verse was added to the song. However, the original version is stronger and more effective in getting Lavigne’s point across. In the original she sings, “(…) don’t take no shit / … don’t ever shut up / You gotta stand up and fight for it.”, which I think is closer to the old pop-punk Lavigne that we know, and lyrically does a better job of keeping the theme of the song. The saving grace for this song is that it reminds me of her 2007 song, “Girlfriend” in the beat of the song – to the point where “Dumb Blonde” could be a re-make, showing how Lavigne has grown from the “I want to be your girlfriend” to the “get outta my way” of 2019 Lavigne who isn’t taking shit from men anymore.
“Souvenir”, “Crush”, “Goddess”, and “Bigger Wow” Tell us there is still hope for Lavigne’s love life! Even referencing a possible new beau? The songs which come just before the close of the album bring a positive spin back to love and relationships. After the disheartening image you experience from “Birdie”, “I Fell in Love with the Devil”, and “Tell Me It’s Over” which all reference un-reciprocated love, compassion, and understanding in relationships, Lavigne switches from her toxic relationships of the past to her new, reinvented self. Nothing says “moving on” like picking yourself up and shocking the world with new music which is so drastically different from her old sound.
The song “Warrior” concludes the album perfectly. After she’s revealed
her darkest days to us, Lavigne tells us she’s not here for our pity – she’s
doing it to show her strength, and to encourage others to have faith in
themselves as well. The song features dramatic piano, and Lavigne asserting
herself, “I will not break / I will survive / I’m a warrior”.
How many of us would read a book where the protagonist doesn’t develop at all through the plot? So why should we expect Avril Lavigne to produce another cookie-cutter pop-punk album after all she’s gone through? For me, this album represents real struggle, growth, strength, and most of all hope in a future that will be better. Truer to reality than most of what comes on the radio today, I think Head Above Water is the most authentic Lavigne we’ve had yet. To those who think that the album is “boring”, I say: you’ll understand when you’re older.
In an eerie blend of pop and horror, Billie Eilish’s new track “Bury a Friend”—for the lack of a better term— gave me the heebie-jeebies. Usually I’d refrain from describing a song as “creepy” because it’s such a vague and indeterminate descriptor, but this song is creepy. It starts out with this low, jittery beat with an almost immediate lead-in to Eilish’s airy falsetto. Her vocals are layered over the faint sound of an incredibly deep voice singing the same lyrics, which creates this unsettling rumble.
At this point, you’re intrigued by the appeal of Eilish’s
sweet and airy tone, but don’t be fooled by her angelic pitch—this is by no
means your average radio-bop. There’s a brief break of total silence after Eilish
sings “[w]hen we all fall asleep, where do we go?” and a man’s voice
eerily whispers “come ‘ere” followed by a sharp, piercing screech.
Half of what makes this song so creepy is the deep, rattling beat that plays throughout, accompanied by an array of familiar horror movie sound effects. A third of the way in there’s this low, showstopping rumble that sounds like something you’d hear in a slasher movie as the killer approaches his attractive yet oblivious female victim.
To me, this song is one big, gorgeous homage to the horror genre. It’s clear that the song is heavily influenced by it, and my hunch was confirmed when I watched Eilish’s music video for the track. A demon-eyed Eilish is seen hiding under an unsuspecting victim’s bed, as well as floating dramatically midair in a poorly lit, dingy hallway. It doesn’t get any more horror than that.
The other large component of creepiness for this track, is Eilish herself. Her soft and delicate vocals juxtapose the harsh horror sounds, conforming to one of the genre’s most utilized strategies of pairing creepy music with an innocent, child-like voice. As an avid scary-movie watcher, I can appreciate a song that is simultaneously catchy and bone-chilling, so for me this is a win. I’m incredibly excited to see what the rest of her album is like when it comes out in March.
Orla Gartland is the perfect example of that artist you hear or read about that just went for their dream. Writing songs since she was 14 years old, Gartland brought her music to Youtube after unsuccessfully trying to perform at pubs in her hometown of Dublin. Starting in 2009 with singing covers before moving on to showcasing her own original music, Gartland now has almost two hundred thousand subscribers on her channel. And that just Youtube. This girl gets around on social media. She’s can be found on Facebook, Instagram, Twitter and has a Patreon page where her fans can support her and her music.
After moving to London right after finishing school, Gartland teamed up with writer/producer Ben Langmaid and Sean Genockey. “I have met producers that are so patronizing,” said Orla. “They want me to slap some vocals on the track and leave them to the rest, to have no other input. Ben and Sean know that this is my music and so they trust my instincts; they’re there to help me realize what these songs can be. I’m in really good hands.”
Gartland has since released a handful of singles, one of them being “Why Am I Like This”. It’s her most recent release and it’s a really personal track that almost seems like Gartland has been spying on me. She sings about insecurities and anxieties and thoughts that I believe are shared by more people than they’d probably like to admit. It’s like she’s speaking directly to the listener, confiding in them as they sit together in the corner of a small bar, or maybe on the edge of a rooftop looking up at the night sky, or maybe just walking down a quiet street as neon signs flicker in windows and street lights stutter and spark overhead.
Whatever the scene you picture in your mind, Gartland makes her song sound like she’s speaking directly to you. She doesn’t shy away from the discomfort she feels in her own skin, allowing her listeners to connect with her and her song. Orla shared on her Facebook page that “if it’s not a bit awkward and uncomfortable to sing, then it’s not honest enough.”
Gartland is a fantastic artist. Check out her Youtube channel. Seek her out on Twitter and Instagram. Give her Facebook page a visit. And if you’re so inclined, think about supporting this talented artist on Patreon. I think we could all use a little more of Orla Gartland.
“Fuck stereotypes. If you’re a
strong person and your partner can’t handle you, go find someone who has enough
self-confidence and can support you and lift you up and inspire you in your
life. As an equal.” Avril Lavigne said in an Instagram post hash tagged “Dumb
Blonde”. The Canadian artist is making a cherry-bomb comeback with her sixth
studio LP Album released in January, Head
Above Water.
The quick rat-a-tat-tat of drums opens
“Dumb Blonde” like a parade march…Avril is literally playing herself onto the
court with her own song. If that doesn’t scream “strong, independent woman” I don’t
know what does. After her 2014 diagnosis of Lyme disease, Avril has been through
physical and emotional stresses that should have left her in the dust. But
Avril proved the odds wrong, recovered, and now she’s here to say she’s “takin’
the lead”.
“Dumb Blonde” opens with lyrics and that electric guitar
which gives me serious “sk8er boi,” flashbacks. The song is the most upbeat
song on the album and it’s clear Avril is trying to show her fans that she
might have grown up, but she still knows how to have fun. Nothing is holding
her back, and she’s more confident than ever. Avril has a very Joan-Jett and
the Blackhearts “I love Rock ‘n’ Roll” sound in this song, and I think it suits
the theme of the song. Women shouldn’t be afraid to speak our minds and be recognized
for strength, independence and confidence, and we shouldn’t be condescended for
showcasing our abilities.
Interestingly the song was originally recorded as a solo
piece, but two weeks before the albums release, a verse with Nicki Minaj was
added. I’ll be honest, I’m not a huge Nicki fan. Unfortunately I don’t see the
point of her verse in the song. Avril really brings the feminist agenda here,
calling to people to stand up for strong women. Nicki, apart from being looked at as a feminist (for what,
though?) lends nothing to the song except a rap sound which refers to her own
work with another artist? Sorry Nicki, but I think you dropped the bomb in this
one.
Overall, if there’s one thing to take away from this, it’s that Avril really does have her A-game on, and she is bringing the heat to the court.
Avril Lavigne & Nicki Minaj in “Dumb Blonde” from Lavigne’s newest album, Head Above Water.
The Taloola cafe was a perfect venue for the musical duo The Fontaines, which is composed of a husband and wife who can be found performing at different venues throughout Windsor. The vintage and artsy aesthetic really fit the mood for the types of sounds and lyrics that The Fontaines were about to expose us to. I had tried going to Taloola the previous night on Friday because I knew that the cafe had live music on Fridays and Saturdays starting at 8, however the cafe was packed and so I told myself I would come the next night a little earlier assuring myself a seat. I arrived at about half an hour to eight which gave me enough time to drink my first green tea of the night and wait for what I was expecting to be a great performance.
The Fontaines are composed of Sarah and Ryan, a married couple who musically, excel together. Sarah is the main vocalist and plays the acoustic guitar while Ryan plays the cello and has some solid accompanied vocals on most tracks. The Couple also had their kids and other family members at the nearest table to the set, which for some reason just really added a lot of charm to the performance. With that being said, the most charming thing about the bands performance was just how personal and raw it felt. They performed an hour set of about fifteen tracks, and although they didn’t specify whether or not the tracks were from an album or recent mixtape, it very much felt that way as there wasn’t a single track that felt out of place and the transition between each tracks were very smooth.
A common theme throughout most of the tracks is love, particularly the love the Fontaines share. In songs like “hello my lover” and “lets fall in love” the Fontaines explore love in an interesting way that other bands usually can’t which is due to the fact that they are indeed married and in a sense they are expressing this love in unison and from a place of common understanding. This also translated to the actual music itself as the duo harmonize beautifully together on the chorus’s of most songs. Their music is very much so melancholy, which is weird to say because there songs certainly aren’t sad but rather just sound sad if one wasn’t to be listening to the lyrics, but this is probably just due to the fact that the two main instruments at work are an acoustic guitar and a cello.
Overall I found it to be a very pleasurable and relaxing experience by the end, the cafe was perfect because it allowed me to just enjoy some tea and live music while I escaped reality for an hour which was needed after the stressful week I had. If I had one complaint about the overall experience it would be that due to the social nature of Taloola cafe the chatter of others would sometimes make the music hard to hear clearly, but this was a pretty minor problem overall. The Fontaines were very charming and you could tell that they were genuinely just doing what they love up there with the person they love.
Notes on Notes 