Song Review: "Flawless (Remix) [feat. Nicki Minaj]" by Beyoncé

 

Beyonce's "Flawless" (which has long been anticipated as the next single from the veteran artist's most recent self titled release) was actually far from it, but thanks to a refreshed update featuring Nicki Minaj and the elimination of the Chimamanda Ngozi Adichie speech, it's reached a new level. Read my official thoughts on the original version below (in italic). New comments and rating at the end.

"Previously known as "Bow Down/ I Been On", this spooky hip-hop production is extremely experimental. There are some clear Rihanna influences heard on the track. It is kind on a 'flawless' mess. There is an added part of a speech that Chimamanda Ngozi Adichie presented about her thoughts on feminism, a nice yet completely out of place section. A mash up of works that don't fit together but are linked in a very strange way. A haunting effort."

The new version of the track seems to flow better, with the spitting verses from Nicki (and, on occasion, from Beyonce) seem to stick better in the listener's head. Additionally, the new verses seem to fit the overall concept of the track a whole lot better. It's a welcomed refresh, and yet another Nicki Minaj song on the market (her 6th in under a month).

79.5

Rating (Out of 100)

Positive/Acclaim

Album Review: Trigga (Target Exclusive) by Trey Songz

Trigga (Target Deluxe) by Trey Songz

July 1st

(Atlantic/WEA International)

Trey Songz first really caught my eye with the release of 2010's Passion, Pain and Pleasure, which brought the rise of smash single "Bottom's Up (feat. Nicki Minaj)". The track eventually became his biggest hit in his career (to date) and is perhaps most famous for almost single handedly launching the career of Nicki Minaj, who has gone on to notch 20 Hot 50 entries since the chart's inception in early 2012. Still, that wasn't enough for me to really start taking a liking toward his music.

Then came August 2012, which brought his 5th album (properly titled Chapter V). The album spawned the hit singles "Heart Attack" (which peaked at #41 when the chart was only 40 positions long) and "2 Reasons (feat. T.I.)" which reached the top 40 and became my favorite track of his to date. At that point, I decided that Trey Songz would be moved onto my "purchase list" (a list of artists that I support and buy albums from).

When the lead single from Trigga (December 2013's "Na Na") was dropped, I was a little bit disappointed with the results, but decided to give Trey another chance as I was somewhat against "Heart Attack" (his previously released lead single from his 5th album). Thank god I didn't overlook Trigga.

Going into Trigga, I really had no idea of what to expect, but album opener "Cake" is more of a mixed bag than I had initially anticipated. It sure is a steamy, club ready track with pounding, booty smashing beats, but it really isn't much more than that. The lyrics feel lifeless, and the entire song feels like a tired train wreck that never quite got swept under the rug. Mediocre at best.

"Foreign" (and its official Justin Bieber remix) are doused in loads of auto-tune and somewhat dried over lyrical stylings, which make it an automatic turn off. The original is actually halfway decent, but the remix is just a waste of time: not only is sticking another artist on a track without changing anything else not a remix... Justin Bieber of all people. Really? Come on Trey. This is like a bird taking a dump on a terribly flavored ice cream; and no, I will not take it back.

The album's lead single, "Na Na", is definitely a major improvement over the first two tracks, combining elements of "2 Reasons", "Heart Attack" into a DJ Mustard produced club banger. Still, it can't help but feel like somewhat of a repetitive dud at times, and it bares way too many similarities to fellow DJ Mustard produced "2 On (feat. Schoolboy Q)" by Tinashe.

"Touchin, Lovin" is actually the first Trigga track that I full on respect. The lyrical matter is very similar to that of Enrique Iglesias' "Tonight (I'm Loving You)", but it's actually very refreshing to hear an R&B version of this type of track. Sure it's a touchy subject, but Trey's vocals, the smooth electro-tinged beat and Nicki Minaj's spitting verse combine for a great track. "Disrespectful (feat. Mila J)" is a respectable follow up track, an equally powerful track (it should actually be called a duet).

"Dead Wrong (feat. Ty Dolla $ign)" ended up being yet another perfectly crafted Trigga cut, with a more manageable rap verse (courtesy of featured artist Ty Dolla $ign) and a much more accessible beat that I had even thought possible for a song like this. I had some bad feelings going into this cut, but it turned out to be one of the album's better works. "Late Night (feat. Juciy J)" also goes into this category; I had mixed feelings, but it turned out to be one of the most outstanding tracks he presented on Trigga.

On the other hand, "All We Do" kind of invents its own song category. Is it a ballad? Is it a slow tempo, sexy R&B jam? I don't know. It is way too hard to tell in this case. Overall, it's a dull waste of space on an album that should be packed with punches and great beats.

Rating (Out of 100)

Mixed to Positive

Album Review: Don't Kill the Magic (Target Exclusive) by MAGIC!

Don't Kill the Magic - MAGIC!

July 1st

(RCA/Latium Records)

MAGIC! is one of those acts that you'll never really understand. All of a sudden, the Toronto based band popped up out of the blue with a single called "Rude" and a follow up titled "Don't Kill the Magic" (the album's title track). What's really odd, is that Americans tend to dislike Reggae themed tracks, but "Rude" instantly became a smash single. I mean of all the talents in Canada, this one  seems the most unlikely to breakthrough. 

MAGIC! is backed by lead vocalist Nasri Atweh, who is famous for mainly writing mediocre pop songs that never made it quite big enough (though his production on Chris Brown's F.A.M.E. resulted in a 2012 Grammy win). He has written and produced for New Kids on the Block, Cheryl Cole, Kat Deluna, David Guetta, Shakira, Cody Simpson, Vanessa Hudgens, Big Time Rush, Akon and Pitbull along with others such as Justin Bieber. That definitely worried me when I decided to go out and purchase the album. I was hesitant, but with a first week price tag of just $7, I decided to pick it up and give it a few spins. That was somewhat of a mistake.

Song Review: Fifth Harmony's "BO$$"

I don't typically do song reviews (they are released on occasion), but I found myself in an interesting situation when listening to Fifth Harmony's latest single "BO$$".

The beat is undeniably one of the catchiest ones for a pop song this summer, but I (like a handful of others) disapprove of the writing quality (lyrics). One particular set of words comes to mind: complete garbage. "BO$$" feels like a giant quilt made out of individual squares that don't align right. The lyrics are botched and sound childish, and name dropping the First Lady isn't going to help: it'll make more people hate it. Additionally, the lyrics that could pass off as "decent" sound like they were ripped out of the classic Destiny's Child track "Independent Women Part 1" and stapled to a hodgepodge of poorly written lines. To all the publications saying Fifth Harmony "channels" Destiny's Child or TLC or whatever on their new track: no, they're copying them. I don't care who you are, you can't call yourself the new Destiny's Child if you or your staff writes like this.

On the other hand, the beat is actually decently entertaining, but then yet again there are some issues: Fifth Harmony clearly didn't produce the beat so I can't really give them a grade on that, and it does sound really familiar ("Talk Dirty" and "Problem") which makes it a pleasant disappointment overall.

As for the song itself, I'd skip it but its not terrible in a pinch. Still, it's cheesy, and completely stupid sounding at times.

Yes, I might sound overly critical but don't mind me. The track will still wind up being a moderate hit in the United States thanks to the teen and young adult demographics.

Rating (Out of 100)

Mixed

Album Review: Hideaway EP by Kiesza

Hideaway EP by Kiesza

July 7th/July 22nd

(Island Records/Lokal Legend)

Kiesza is everything everyone looks for in a musician. She's fresh, she's talented, she's energetic, she's engaging... but does she have the ability to captivate? I wouldn't have started this review out with "Kiesza is everything everyone looks for in a musician" if she didn't. While it's not quite her full length debut, Kiesza's US Hideaway EP pulls out all the stops, staying strong throughout. Kiesza displays such a rich and interesting blend of styles in these 4 songs alone, something powerful superstars have a hard time with in the vast majority of their full lengths. The extended play's title track sounds familiar yet as inciting as ever, while follow up "Giant In My Heart" has an emotional twist that works surprisingly well with catchy hooks and infused melodies. "So Deep" displays a trace/dance quality that feels so unique and glamorous all together. The EP wraps with a piano and sting cover of Haddaway's dance sensation "What Is Love"; a picture perfect finish to a steadily displayed work of art.

Not only has Kiesza proven to the world that she's an elegant singer with a soft spot for funky deep house, she brings something fresh and new to the deep house game: a personality. While deep house is a grooving dance sub genre that's crawling with freshly baked hits, most of its familiar faces are invisible. Know what Jess Glynne looks like? If you're not living in the UK, then no, you do not. How about that girl behind Secondcity's "I Wanna Feel" and Duke Dumont's "I Got You"? She's not even credited for her #1 works.

Kiesza manages to deliver a small slice of  joy for everyone whether you enjoy dance, trance, deep house, covers, funky hooks, pop infused works, or all of the above. She's not giving everything she's got away either, so be on the lookout. The whole effort "sends a shiver up my spine". I'm looking forward to more.

Rating (Out of 100)

Critical Acclaim

Kiesza has not only showered us with hours of dancing, she's showered us with a brilliantly crafted EP that shows off a decent amount of what she's made of... saving a few surprises for later of course.

Album Review: Paula by Robin Thicke

Note: I normally would do a track by track review, but in all honesty I can't do so with this album.

After the massive success of his 2013 #1 hit single "Blurred Lines", Robin Thicke pretty much single handedly secured himself a spot among the greatest R&B/Soul performers of all time. His next single ("Give It 2 U") even became a success, and his appropriately titled (yet still controversial) Blurred Lines album debuted in the United States with 177,000 copies sold in its first week. That was good enough for a #1 bow on the album chart. Unfortunately, Robin Thicke got a little too big for his britches. Pictures and videos of him kissing other females (other than his wife) in public places spread like wild fires, and soon Thicke's conquered empire crumbled. He was left without a wife and got a sour reaction from "fans" and others in the music and entertainment businesses. Less than a year after the release of his highly successful Blurred Lines album, Thicke's thoughts from the past several months since his separation have been recorded, pressed and shipped to all your local stores under the name "Paula", in an attempt to rekindle his romance with his wife (Paula). Unfortunately, lots of people are skipping it (Billboard estimates first week sales to be 25,000 at most) and for good reason too.

Paula starts off with a 6 minute attempt at trying to be Justin Timberlake called "You're My Fantasy". Sadly, Thicke sounds more like a predator with vocals that sound like a poor man's John Legend meets Mariah Carey. It's a waste of time. Up next is "Get Her Back" (the album's lead single) which is a slight improvement... but to be honest its no enough of a fix to feel even halfway decent. The album's 3rd effort ("Still Madly Crazy") feels like a cheesy John Legend impersonation, and lacks much of any structure at all. "Lock the Door" is actually a decent track (I actually enjoy it), filled with '60s style female background singers and tingling beats. It's a little too personal of a display, but its the album's most impressive track so far. "Whatever I Want" feels like a reprise of "Lock the Door", but it doesn't work this time... it's just simply annoying this time around.

Despite the fact that "Living In New York City" has the reverse affect that all the rest of the album's other tracks have, which is odd because it really has nothing to do with Paula in any way, shape or form. It's confusing and mind boggling. Either way, it's still a mixed bag of a song.

The rest of Paula doesn't get much better than that. It's an unfortunate outcome that'll likely ruin his career. Paula feels too sappy, too painful and worst of all, too revealing. If you're trying to get Paula back, this was the wrong way to do it. If I was in Paula's shoes, I'd run even faster than before. What a waste.

Negative

Album Review: 1000 Forms of Fear by Sia

1000 Forms of Fear by Sia

July 8th, 2014

(RCA/Monkey Puzzle)

After being being exclusively behind the scenes for over 4 years, Sia Fuler is finally back with another new album titled 1000 Forms of Fear. The new release comes after Furler's writing stints on recent albums by Rihanna, Angel Haze, Eminem, Beyoncé and Christina Aguilera throughout the past 2 years. While her songwriting skills have churned out major hits for nearly all the artist's she's worked with thus far, Sia proves that she still has some powerful lyrics (and of course pipes) in her... saving some of the best chops for herself. Sia makes the business look so easy, ditching the slow jam inspired sounds that consumed her prior discography for fresh new powerful and slick pop jams all filled to the brim with simplistic (yet moving) lyrics.

1. "Chandelier"

It was hailed by TIME Magazine as the best Rihanna track released or meant to be released in 2014. Not only is that a hilarious joke (since Sia has written several hit singles for Rihanna, most notably her #1 hit single "Diamonds"), they're exactly right. "Chandelier" is a beautifully produce pop power ballad that mixes danceable beats, a cleverly crafted chorus, smooth verses and a feel good hook. Most importantly: the track contains a strong set of overlaying vocals. It was instantly one of my favorites of Summer 2014, quickly debuting at #11 on the CDS Music Chart Hot 50. It currently sits at #20 on the most recent current chart

2. "Big Girls Cry"
No it's not a jab at Fergie's massive hit single "Big Girls Don't Cry". Instead. its more of a different perspective of the same story. Interestingly enough, Sia's "Big Girls Cry" is undeniably simple, yet gets its message out there really quickly. Fergie's similarly titled release felt (and still feels) fuzzy and at times unorganized. Overall, with "Big Girls Cry", Sia proves that she can turn a fairly simple topic into a major track and most importantly... nearly everyone will love it. Here's what I first said in my review of the track taken from my most recent CDS Picks:

"While "Chandelier" was a major game changer, follow up promotional single "Eye of the Needle" fell a little flat when it came to overall quality. Thankfully, Sia's next release, titled "Big Girls Cry", is a much more interesting track." 

3. "Burn the Pages"
Rounds of bubbling and fizzing vocals pop up all over "Burn the Pages", with classical influences being clearly heard solid throughout. Filled with ghost like noises, a pop radio friendly beat and plain simple lyrics, this track dances across sub genres and styles, leaving you guessing at what's coming next. Best of all, it does it all without sounding like an awkward mess.

4. "Eye of the Needle"
Sia started off 2014 with a large bang. "Chandelier" opened at #11 on the CDS Music Chart Hot 50 in its debut frame (though it subsequently dropped the most positions in history in its sophomore frame) and currently still ranks in the top 20 as of this week (it climbs 21-17). Now, Sia has continued to tease her fans by releasing a new promotional/official single from her forthcoming 1000 Forms of Fear record (due out July 8th).

"Eye of the Needle" isn't anywhere near the level of amazingness that "Chandelier" clocked in at, but it really shows off her vocals and songwriting chops which have taken a break from mainstream releases (the end of 2012 was the last time period that was dominated by releases penned by Sia).

5. "Hostage"
This track really kept me on my feet the entire time. With its strong verses and hook, "Hostage" relies chiefly on these outstanding components to pull it together, as it lacks a complex structure. In fact, the chorus doesn't even exist (though that's not necessarily a bad thing in this case. It feels radio friendly, simple, easy to listen to and is easily one of 1000 Forms of Fear's greatest successes. It's among one of my all time favorites from Sia.

6. "Straight For the Knife"
After a piano dominated 30 second introduction, listeners were left pondering the possible outcome of the track: will it be fast or slow? Sadly, the iffy quality of "Straight For the Knife" throws that question directly in the trash. Who cares?I know I don't. The whole concept of "Straight For the Knife" is a strong one, so it's extremely unfortunate that Sia wasn't able to deliver something special and memorable this time around. It's the only song I dislike from 1000 Forms of Fear, but that's not even that bad.

7. "Fair Game"
This track is another disappointment. It's just downright creepy and odd. With lyrics like: "So go and challenge me, take the reigns and seat/Watch me squirm baby, you are just what I need/And I've never played a fair game, I’ve always had the upper hand/But what good is intellect and nerve if I can’t respect any man/Yeah, I want to play the fair game", it's hard to even call "Fair Game" a song. It's more of an overly detailed sex scene. It's a disturbingly explained picture that I (like most people) would not want to hear ever again.

8. "Elastic Heart (feat. The Weeknd & Diplo)"
It's a little disappointing that Sia took up a slot on her 12 song 1000 Forms of Fear album for a track that's been widely available from a variety of sources for over 9 months, but that doesn't mean that "Elastic Heart (feat. The Weeknd & Diplo)" isn't the perfect song. Built around an intricate trance inspired beat, "Elastic Heart" feels very Sia-like, as well as perfect for The Hunger Games, perfectly simulating the main character's emotions throughout the entire movie:

"I've got thick skin and an elastic heart/But your blade it might be too sharp/I'm like a rubberband until you pull too hard/I may snap and I move fast/But you won't see me fall apart/Cause I've got an elastic heart"

9. "Free the Animal"
Starting with a thumping, heart pounding introductory beat, "Free the Animal" quickly reaches its climax, with thin verses and much broader and extended chorus sequences. It's easily one of the album's more interesting inclusions, containing stuttered lines, a slick beat and a memorable chorus. It's a beautifully produced inclusion that feels like it could potentially end up conquering British radio if it's ever released as a single.

10. "Fire Meet Gasoline"
An explosion of piano beats and a strong set of vocals combine for a massive heated track that screams "play me!". "Fire Meet Gasoline" experiments with different singing styles that mix well with Sia's thick, accented vocals. It's not super original, but it's still a great effort that is incredibly catchy.

11. "Cellophane"
While "Cellophane" isn't nearly as strong as some of the other tracks on 1000 Forms of Fear, it's home to some of the most dazzling beats and lyrics. It's set apart from the pack as somewhat of a standout because it feels original, its unlike anything else on the album, and it feels like a ballad with a passionate twist. Unfortunately, it's not an instant favorite because it feels like the components of the track (while being stunning on their own) don't mesh in the same way that the structures of other tracks on the album do.

Still, "Cellophane" has Sia soaring sky high with her impressive vocal chords. It's definitely a grower. It will surely captivate your heart -- literally (you'll see what I mean when you listen to it) -- it just may take a few listens.

12. "Dressed In Black"
Wow! 1000 Forms of Fear closes with a stunning masterpiece. "Dressed In Black" starts off with a gentle twinkling beat, that quickly progresses into a monster, uptempo piece of pop perfection. The vocals and lyrics mesh together perfectly, with layered croons dominating the second half of the track in a brilliant way. Simply amazing. One of the album's best tracks, and while its unlikely to become a hit, it's likely to be remembered as one of Sia's finer moments for years to come. A great closer to an extremely strong album (thankfully, it's the longest song on the album).

Rating:

Overview: 1000 Forms of Fear proves that Sia has still got it. The Aussie performer -- who has penned many hits for shining stars -- did an excellent job writing this album... as well as performing it (there are very few who can accomplish such a feat). But what Sia does the best, is transform (and surprise). If anyone else recorded this album, it would be critically panned because first off, nobody (and I mean it) can sing or perform like Sia. She makes things most would find dull into beautifully executed cuts that are both pleasant to listen to and creative.

The entire album encompasses the central theme, and the low points are kept to a minimum. There's stories of pain, emotion, power, love and death -- something for everyone when you think about it. Additionally, the best two tracks lead off and close the album, which will help listeners through the whole effort.

While Sia may have scored her most mainstream hit to date in the US (#20 with "Chandelier"; #11 on CDS Music), she's not about to go mainstream. She's keeping true to her style, and trying to keep as low of a profile as possible (see album cover, May 19th Ellen performance where she literally kept her face in a wall during the entire performance).

Sia has created the perfect record. In fact, it has inspired me to attempt to do something new this summer: attempt to be as iconic and famous as Sia's hair.

Top Tracks + Quick Thoughts
1. "Chandelier"
2. "Dressed In Black"
3. "Big Girls Cry"
4. "Hostage"
5. "Eye of the Needle"
6. "Cellophane" (On first listen #9)
7. "Free the Animal" (On first listen #6)
8. "Burn the Pages" (On first listen #7)
9. "Elastic Heart" (On first listen #8)
10. "Fire Meet Gasoline"
11. "Straight For the Knife"
12. "Fair Game"

Album Review: In the Lonely Hour by Sam Smith

1. "Money On My Mind"
Kicking off a rather mundanely simple set with a falsetto baring pop production is a bold move -- and a good one too. While "Money On My Mind" is far from the perfection and upper reaches of In the Lonely Hour's most entertaining efforts ("Stay With Me", the acoustic rendition of Disclosure's "Latch" and "Leave Your Lover"), it's easily one of the albums most accessible cuts and one of the few that'll still be able to appreciate listen after listen after listen. It was already a success in the United Kingdom (#1 in January), and I'm willing to bet US pop radio will eat it up as well. It may take a while (as the gospel tinged "Stay With Me" is currently being shopped to domestic stations), but trust me, it's bound to happen.



2. "Good Thing"
The pain of a twisted and complicated love is always referred to in some way or another one an album, even in ways that you can't figure out (at times). But when a whole album is about a lonely heartbreak, it's hard to find a track that really stands out as truly outstanding when it comes to heartbreak. "Good Thing" is so so sad, it and its dripping instrumentals will reduce you to tears:

"I had a dream I was mugged outside your house/I had a dream in a panic you came running out/For a moment you were sure I'd die on you/For a moment I believed you loved me too/But life is never like this, and you're never strong"

3. "Stay With Me"
The spine tingling, gospel choir backed sounds of "Stay With Me" are both chilling and graceful at the exact same time -- even if that doesn't seem possible. The track navigates and shape-shifts through love brushed verses and rounds of choruses that feel like they could be sung at church congregation every Sunday without ever getting boring. Currently being shopped to pop radio, "Stay With Me" has become a runaway success for Smith, as well as his most successful release to date. And it makes sense too -- it's extremely catchy.



4. "Leave Your Lover"
In a world -- and by that I mean album -- filled with the pain of heartbreak and sorrow, it's odd to find a piece of music that actually asks the person in question to inflict pain on their lover and trade in for a new one. It's sad because the track is actually a great stand out on In the Lonely Hour, but the whole concept makes me uneasy. If you're spending the rest of your time gushing about how cruel love can be on a full length album, I feel it's not appropriate to inflict someone else with the same pain you're planning on babbling about for a complete hour. It's just cowardly and completely hypocritical. It's even more sad, given its one of the album's more exquisite offerings (in terms of sound).



5. "I'm Not the Only One"
There's no denying that Sam Smith can tell a vibrant, passionate, heart-wrenching story, but when you compare the bold and downright ridiculousness of "Leave Your Lover" to what you hear on "I'm Not the Only One", you get a sense of confusion. For those criticizing "Leave Your Lover" for being hypocritical, it's hard to still call Sam Smith a hypocrite by the time the end of strings and chords come to a bitter end in "I'm Not the Only One". Why? Because you've already forgotten about the previous track, and are engrossed at the possibilities of what's next to come.

I'll give Sam Smith one thing: he's surprisingly good at telling a type of story that he hasn't had much experience with.

6. "I've Told You Now"
The instant shifts between falsetto vocals and standard pop chords would normally seem a bit jolting or uneven, but somehow everything seems to snap and flow well on "I've Told You Now". It's extremely enjoyable to listen to whenever you're down -- and even includes a picture perfect ending. Unfortunately (or fortunately; depending on your point of view), the story seems a bit undeveloped, seeming to be open to interpretation. While that's not necessarily a bad thing, it seems odd to have one story that makes you think in a sea of clearly explained chapters. Smith croons: "I've told you now", but you can't help but ask him to at least explain what he's told his lover.

7. "Like I Can"
Sam Smith has voiced his opinion for immensely successful, fellow British singer/songwriter Adele many times before: he loves her and her music. What better compliment to a fellow artist than to rip off one of their most successful singles of all time, right? No. "Like I Can" is easily one of the album's shiniest moments. It's not stripped down, it's bold and its extremely catchy... courtesy of Adele. Now, I'm pretty sure everyone who had a hand in producing In the Lonely Hour would call this criticism of the track preposterous if they read this review, but I (along with a large group of others) noted that "Like I Can" sounds almost identical to Adele's #1 single "Rolling In the Deep" (in terms of the beat structure). It starts off almost the same, and progresses to include the banging of a drum within 3 seconds of when "Rolling In the Deep" does it (0:21 versus 0:24) and the chorus explodes around the sam time as well (0:40 versus 0:50 and 1:00). Hmm...

8. "Life Support"
Is it just me, or is there a sense of trap flavored music discreetly stuck right in the middle of the beat here? Okay that's just a bit odd. Anyway.... "Life Support" is just in the style of the album's other ventures, with an extra load of somewhat creepy falsetto. The entire chorus sounds like it was sung by a female ghost. Sorry to say it that way, but I could easily do without this mess.

9. "Not In That Way"
As the guitar strums in the background stay gentler than a tear rushing down a face throughout the entire length of the track, "Not In That Way" proves to me that Sam Smith does know how to sing. Sure, it's evident on other tracks as well, but not in the same way. This track feels wholesome, down to earth and completely naked. It feels more real, and gives the listener -- what appears to be -- at least somewhat of a true look at Sam Smith's life. It's both elegant and enjoyable.

10. "Lay Me Down"
What I don't understand, is how this wasn't well received upon release. It really makes no sense. "Lay Me Down" (Smith's initial lead single) is better than over 1/2 of In the Lonely Hour, yet nobody payed attention to it. Now, they're engrossed in an album that's of a worse quality. It's a real shame, because "Lay Me Down" could have easily become a hit if "La La La" had been released before it.

11. "Restart"
It's a decent way to start off the deluxe version of the album, but its not amazing. It works well in a cheesy, '80s euphoric way similar to Katy Perry's "Walking On Air" (minus the dance ready beats).

12. "Latch (Acoustic)"
This is actually really painful to listen to in full. It's tear reducing, gust busting and just pure grim. The oddest thing is that the original Disclosure produced track appears to be a feel good, party track about love. If you're reading to hear some true heartbreak (instead of an hour long whine), then "Latch (Acoustic)" is perfect for you. Sorry, it only comes on the deluxe edition of the album.

13. "La La La (feat. Naughty Boy)"
This track really does not fit the theme of the album, and feels just like a random filler that was both unnecessary and unwanted. It's a good pop song, but it gives off a mixed signal. Why include a complete swerve from the main road the album has already developed for the past 12 tracks? It makes absolutely no sense. And don't even give me that "Well he just wanted to put it for the longtime fans" crap. Everyone who intended to buy "La La La" already did so, and that's just that. If it was acoustic (like Sam Smith's other collaboration, "Latch") it would have fit into the pool so much better.

Rating: 70/100 (C-)

Quick Wrap: Sam Smith captivates with the promise of an interesting story and killer vocals, but there are too many blips and blemishes to accept it without ridicule. In the Lonely Hour proves that music designed around heartbreak and pain is profitable and sometimes easy to write... even when everything that comes along with it is completely fabricated.

Album Review: X by Ed Sheeran

1. "One"

Building on the sounds of his debut studio album (+), “One” tells the sweet melancholy story of a true love felt by Ed Sheeran and of course his lover. It’s a slow paced folk-pop infusion record that feels full of live yet incredibly delicate and sparse. I honestly think that every other singer wishes they could paint a story as vivid without trying hard – Ed Sheeran is one of the few that knows how to do time and time again.

2. "I'm A Mess"
Ed Sheeran goes for a much more acoustic approach, applying minimal effects to "I'm A Mess" (there's a guitar and a dash of a beat, but not much more). This stripped down track is even more bare boned than "One", which led the album off on a familiar note to satisfy his longtime fans (for those of you that recall +, the English singer's first album).

3. "Sing"

When “Sing” was first released as the album’s lead single, it sparked lots of complaints from the fans. Many claimed he was trying too hard to fit in with mainstream format, but if you listen closely to “Sing”, you’ll realize that Ed Sheeran isn’t trying to fit into a pattern, he’s trying to create his own. I mean honestly… when have you ever heard another innocent English singer/songwriter try his hand at a hip-hop inspired pop song. That’s what I thought… never.

4. "Don’t"

There’s no better way than this to get back at an ex-girlfriend who cheated on you: come up with a slick melody, make it catchy and of course, include all the juicy details. The concept of “Don’t” likely revolves around Ellie Goulding (who he briefly dated several years ago), but it feels like Ed had someone else on his mind when he came up with this one: Taylor Swift. T Swizzle (Ed Sheeran’s American best friend), who is notorious for not only being the only country artist with two albums that debuted with first weeks sales of 1,000,000+, is also well known for writing about all the people who “brake her heart”. I know it wasn’t his intention, but “Don’t” can’t help but feel like a punch in the face for Swift. Her best friend (who’s more junior when it comes to the music business) just created a single song that’s better than ½ of her break-up discography.

Lyrically, the song opens up about how this mysterious relationship started off slow but quickly took off until the couple was ordering pizza to-go, singing on Sheeran’s couch and spending a night in a hotel room. It also details how the relationship crumbled: she cheated on Ed with someone on the same floor of a hotel they were staying at. Ed sure knows how to keep it both sassy and classy.

5. "Nina"
Written with perhaps Nina Nesbitt in mind, Ed Sheeran goes all over the place about a love that ended just as soon as it began. It's both pop and hip-hop inspired (yet again), but takes a different approach on love. While "Don't" focused on cheating, "Nina" focuses more on not being able to connect with your lover. At one point, Ed even sings "You should go Nina/Cause I ain't never coming home Nina", a truly heart crushing line.

6. "Photograph"
When I first listened to this track, I got a really strong "Lego House" vibe (for those of you that don't know, that track featured on Sheeran's debut album; it's also my favorite track from that album). Unfortunately, "Photograph" still really doesn't compare to "Lego House" in terms of overall quality (and that's a bit of a shame). It is, however, nice to hear a piano for the first time on any part of this album.

7. "Bloodstream"

Let’s just start by saying this: it’s a disappointment. Why? Because it gets you all pumped up, but it turns out to be a dud. “Bloodstream” isn’t a bad song - in fact it’s one of the album’s better ventures – yet it feels over simplified. The verses and the pre-chorus make it feel exhilarating (by Ed Sheeran standards), but the chorus itself ruins the song. Ugh. It just bothers me for some strange reason. Ah…oh well.

But on a more positive note, "Bloodstream" does contain some of the most creative lyrics on X, and its overall structure trumps most of the albums other songs as well. A river of "mmmhhs" and a side of "ahhhs" wash over the base of the track in a melodic, end of the world fashion.

8. "Tenerife Sea"
The calming lullaby whooshes of "Tenerife Sea" are both soothing and heart melting. As the track progresses, it becomes perfectly clear: Sheeran is a master craftsman. As his voice weaves around a melodic guitar, the true essence of beauty and emotion are heard more clearly than ever before. It's not a game changer, or something you'll end up hearing on the radio, but "Tenerife Sea" will forever remain etched into the minds of listeners as a pure pop gem.

9. "Runaway"
Though this track didn't really strike well with me upon first listen, after several more plays, I began to enjoy it. With that being said, "Runaway" is still among one of the album's sinking points mainly because it feels a little lost in the sea of 'runaway' hit singles that surround this track (see "The Man", "Bloodstream", "Afire Love", etc.).

10. "The Man"

Built around a "boom-boom-clap" beat, "The Man" blends an very thick accented proper English free style rap with a clean cut chorus where we find Sheeran belting out: "I don't love you baby/I don't need you baby/I don't want to love you no, anymore. The track gives off a strong hip-hop vibe that appears to over power, but a closer listen reveals a meadow of folk-pop sounds echoing throughout.

The thing that really sets "The Man" apart from the rest of the pack, is its ability to feel both complex and twisted while remaining in seemingly safe territory for Sheeran (who's no beginner when it comes to the less is more concept). Additionally, it has a strong replay quality that'll help it find its way into the hearts of millions of fans around the world.

11. "Thinking Out Loud"

Just like Rixton's Jake Roche said on Twitter: "Just downloaded "Thinking Out Loud" by Ed Sheeran. I had a cry. A crouch down in the shower until the water runs cold kinda cry". There's simply no better way to put it, "Thinking Out Loud" really sounds like that. Drawing inspirations from a variety of male pop vocalists hand crafted for Adult Contemporary radio, the track is reminiscent of approximately 1/4 of Jason Mraz's discography (that's actually quite a bit). It is not a runaway success like "The Man" or "Don't", yet "Thinking Out Loud" still puts up a good fight.

12. "Afire Love"
Written with his late grandfather in mind, "Afire Love" is one of the most touching ballad styled tracks on the entire album. More importantly, it is one of Ed Sheeran's most prolific efforts from X, mainly because it stands out in the waves of hip-hop or folk-pop inspired tracks. Scratch the hip, the hop and the folk, because "Afire Love" is a pure pop gem with a solid chorus and monumental verses.  What's more touching than the song itself? It was lyrically completed at Ed's grandfather's funeral. Watch out for this one... it'll likely impact pop radio sooner rather than later.

Rating: 94/100 (A)
Certified Fresh

Overview: I definitely had a hard time giving this album a 94 (that's the highest I've given since I started doing reviews in November), but it feels right. Why? Because Ed Sheeran knows how to deliver something all audiences (not just average teenage girls) will remember and cherish for quite a while. Sheeran's debut studio effort, +, was set in a very subtle singer/songwriter fashion and was draped with dreary lyrics and snotty-Kleenex/bawl-your-eyes-out music (acoustic works, folk pop, and indie pop all in slow fashion). Follow up x is a huge departure from the Tumblr girl's favorite record sound of +. Incorporating more mature themes (songs written about actual relationships), new sounds (hip-hop flavored verses and pop radio styled hooks), and more people (notably Pharrell  Williams), is what really set x apart from +. I mean let's be honest: Ed Sheeran could have created a body of work worse than +, and it still would have sold millions. Luckily for him, x ventures to a mature enough mark to appeal to a broader spectrum of listeners, and it's also chalk full of interesting highlights.

From the tear welling "Afire Love" to the heart crushing "Don't", x has something for all kinds of lovers (and listeners).