Paying homage to the past can be a tricky proposition. A minor release for Curren$y still bests most major hip-hop releases, and this “Pilot Talk” sequel relishes in the rapper’s expanding set of skills.
(The Jar)” and wonky electronica of “Real Estates” matching Curren$y’s mic mastery.
Pilot talk 3 curren$y cover 1000 movie#
The first four tracks keep the stakes low, as Curren$y conjures stoned-out sequences like “At the drive-in/This is a scary movie I’m in/But I do it for my folk who genuinely want me to win.” The second half of “Pilot Talk II” features a more head-knocking musical palette, with the minimal blips of “O.G. While latest release “Pilot Talk II,” the addendum to Curren$y’s debut earlier this year, is especially laid-back and doubles as a victory lap, his wordplay remains tenacious and avoids complacency. ARTIST: CURRENC$YĪLBUM: PILOT TALK II (BluRoc/DD172/Def Jam)Ĭurren$y releases are relatively low-pressure affairs: with beats comprising cozy synthesizers, the New Orleans rapper’s manner is generally good-natured as he rhymes about weed, women and living the good life. But “Love Letter” could use more of his effortless absurdity. Given Kelly’s absurdly effortless melodic flair, the result certainly satisfies. “Can I bring the love songs back to the radio?” he asks during “Lost in Your Love.” And his question says a lot about the openly nostalgic vibe of cuts like the winsome title track and lead single “When a Woman Loves,” the latter recalling the Percy Sledge hit with which it almost shares a name.
In stark contrast with last year’s wonderfully lewd “Untitled,” “Love Letter” is a relatively chaste retro-soul set that Kelly says was influenced by the old-school work of Sam Cooke and Marvin Gaye. Kelly sings in the a cappella introduction to his latest studio album, “and even all the bootleggers that couldn’t afford to buy me.” A characteristic bon mot from the Pied Piper of R&B-and yet much of “Love Letter” seems designed to confound our expectations about a new Kelly album. “This album is dedicated to the girls who stood beside me,” R. All together, it’s a campy celebration of diva-dom and an over-the-top, triple-threat performance. And Marilyn Manson gets a songwriting credit on “The Beautiful People,” a new dance number including his original’s unmistakable drums and guitar riff. Her second collaboration with songwriter Sia Furler, the ballad “Bound to You,” rings just as true as their first, on “Bionic.” With her first new material in seven years, “Burlesque” co-star Cher belts out a defiant Diane Warren ballad (“You Haven’t Seen the Last of Me”) in her alto growl. On “Burlesque,” Aguilera tackles jazzy Ella Fitzgerald and vampy Mae West covers, doused heavily with pop schmaltz. The soundtrack comes on the heels of Aguilera’s 2010 set “Bionic,” the singer’s noble attempt at the current radio sound, which has fared less well sales-wise. NEW YORK (Billboard) - The soundtrack to “Burlesque,” Christina Aguilera’s first star vehicle, could be a continuation of her 2006 album “Back to Basics.” And why not? It showcased her distinctive flair for the big band style. ARTIST: CHRISTINA AGUILERA, CHER ALBUM: BURLESQUE: ORIGINAL MOTION PICTURE SOUNDTRACK
0 kommentar(er)
